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But brought together by The Square, suddenly it was an idea that maybe felt a little closer. “It’s a house that’s alive…. It gives us the possibility of having a conversation that no one has,” De Jesus do Nascimento said later. His work on paper, Derranhos, 2022, depicted drawings of carrancas, or spiritual guardians typically attached to the prows of boats to protect their inhabitants from evil river spirits. He had been inspired by recent environmental crimes by mining companies. “Look inside at your own monsters what do you contain?” Eleison added: “Art is a part of our own wonderful monstrosity.”
That night at the after-party in an abandoned neoclassical building in downtown São Paulo, I ran into Blazy once again making his way off the dance floor, though this time the fête was larger and the banquet had been replaced by bottles of beer and trays of burgers, pao de queijo, and chocolate brigadeiros. This time he had an early flight later that morning to look forward to. “I hope people understand this project,” he said, by way of parting. “For me, there was no one like Bo Bardi. She was for us.”
For the event, the Italian house looked to build specifically on Bo Bardi’s legacy as the architect of the city’s top art museum, Museu de Arte de São Paulo, and the lauded cultural center SESC Pompéia but also as a designer (of furniture, sets, costumes, and jewelry) and moreover as an Italian who fully embraced and left a lasting effect on Brazil. “Brazil is the country I chose, and it is therefore twice my country,” she once said with the zeal of the newly converted. “I was not born here. I looked for this place and decided to live here. I chose my country.”
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