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In Arriere-Garde's view, Brazil has been part of the vanguard of innovation and originality in cultural fields, particularly since the beginning of Modernism in the 20th century. Its cultural practices, from the popular to the intellectual, have played a vital role in the emancipation and recognition of Latin America as a producer of knowledge, practices and ideas on the global stage, and it is our intention to show examples that represent this role beyond craftsmanship, cuisine and folklore - exploring the realms of music, literature, cultural studies, human rights, architecture and fine arts.  

The Brazilian Cultural Carnival, which was launched by Claudia Albuquerque Garcia in 2018, is aware that, in Brazil, Carnival is not simply a street party of Afro-Brazilian origin, in which people mingle to celebrate and forget the problems of a developing country, inundated by social, political and economic crises. 

For Claudia, a Brazilian Lawyer and Cultural Producer based in Spain for almost twenty years, bringing the ethos of Brazilian Carnival to Salamanca is a way of informing the local community about the rich traditions, hybrid cultural profile and complex anthropological, social, political and economic aspects of one of Latin America's largest and most diverse countries.  

With this in mind, and with the ambition to improve each year the programme of the Carnaval Cultural Brasileiro, from the 2021 edition onwards, Arriere-Garde will integrate a visual art event into Claudia Albuquerque Garcia's initiatives across the city of Salamanca. 

 

In 2021, we proposed a solo exhibition by Henrique Fagundes, a southern Brazilian artist who focuses both on video art and on one of the most avant-garde practices among young emerging artists worldwide, from New York, to London, to São Paulo: the use of digital technology and the appropriation of online material propagated by new media such as YouTube and Instagram. 

Fagundes' work brings an understanding of how contemporary Brazilian artists are an active part of an important debate, as are those from the main centres of cultural production in the US and Europe. Not only that, but Fagundes' art also represents a testimony of the trajectory of Brazil's social and cultural history from the country's colonial phase to contemporary times.

 

By Kalinca Costa Söderlund