This article is also available in: Português

The brazilian artist Fernando Carpaneda had two of his works selected for the 2020 Long Island Biennial, at The Heckscher Museum of Art, in New York. One of the works is called “Homofobia mata. Caso número 17” (“Homophobia kills. Case number 17” – allusion to the number 17 from Bolsonaro’s party), while the other one is a black Jesus Christ.

"Homofobia mata. Caso número 17"
Partial reproduction of “Homofobia mata. Caso número 17”

“I considered this selection important, because we live in a difficult moment. Having these works selected for an exhibition in a museum, in this moment, is a big victory for all of us who believe in freedom and equality for everyone”, the artist celebrates.

With a record number of 800 subscripted works of art at the Long Island Biennial, 100 works from 52 artists were selected for exhibition. For the first time, the majority of the artists displays two or three works of art, showing the spectators a more complete image of their recent works.
esus Christ by Fernando Carpaneda
Jesus Christ by Fernando Carpaneda
The exhibition will be displayed from October 15, 2020 to January 10, 2021. More information on this link.


Fernando Carpaneda is an artist of desire, interested in both its investigation as well as in its instigation. In his series “Homem Objeto” (“Object Man”), the artist exposed the desire and its rawness. It is not a matter of the political criticism about objectification, about the complaint of becoming merely a “piece of meat”. On the contrary, Fernando evidences that existential place that is part of every butchery bed, of every cleaver look, of every carving touch, of every bleeding surrender, of every carnage sex. His sculpture is a radical corporal art: the artist’s body hair composes the works. Fernando objectifies himself and turn fragments of his being into elements of someone else’s desiring narrative – as we all do in our beds, after all. In an investigation about the desire’s dissatisfaction, we also expose an unprecedented series of studies for Fernando’s painting. The artist’s palimpsests allow us to get close to his scrutiny of bodies as an unfinished exercise, as an always partial apprehension of each other, as a never satisfied desire. In times when desire is treated as a threat, it is fundamental to face the persecution and the censorship, asserting galleries and museums as territories for the human investigation and its myriad of erotic possibilites.

This article is also available in: Português

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