Jonathas de Andrade's Brazilian Pavilion at 59th Venice Biennale Confronts Political and Social Collapse

For the 59th Venice Biennale, Brazilian artist Jonathas de Andrade presents a new, visceral installation in the national pavilion, commissioned by curator Jacopo Crivelli Visconti. The project uses absurd Portuguese idioms—like 'Bunda Mole,' 'Cabeça nas Nuvens,' and 'Dedo Podre'—translated literally into large-scale sculptures, films, and graphic panels to allegorize Brazil's political, social, and environmental crises. A giant ear sculpture at the entrance and another at the exit ironically reference the phrase 'entrar por um ouvido e sair pelo outro.' Key works include the inflatable red sculpture 'O Coração saindo pela Boca' and the film 'Nó na Garganta,' which juxtaposes environmental disasters with scenes from a private zoo in Maragogi, Alagoas. Andrade's approach, described as 'fantastic realism,' avoids naive or documentary commentary, instead employing linguistic play and collaborative processes. The exhibition connects to the Biennale's overall theme, 'The Milk of Dreams,' curated by Cecilia Alemani and inspired by Leonora Carrington's book. The 59th Venice Biennale opens to the public on April 23 and features five other Brazilian artists in the main exhibition: Rosana Paulino, Jaider Esbell, Lenora de Barros, Luis Roque, and Solange Pessoa.