Artistic Critique and Root Causes: Denilson Baniwa's Cosmovision Explored

Rebellious, reality-rooted artistry

Meet Denilson Baniwa, an Indigenous Brazilian artist whose thought-provoking, history-drenched oeuvre reflects his tireless journey amidst the changing social and cultural landscapes of Brazil. Through artmaking, media production, exhibition curation, and archival research, he provokes tough conversations while demanding that colonial-rooted societies and institutions face their complicity in the marginalization of Indigenous Peoples.

Baniwa's work has graced some of the world's most prestigious art spaces, such as Kunsthalle Wien, Biennale of Sydney, and Art Basel Miami Beach, and snagged him the 2021 PIPA Prize for contemporary art in Brazil. Recently, he co-curated the special program "Wametisé: Ideas for an Amazofuturism" at ARCO Madrid 2025, and his artworks are currently on display at Peltz Gallery in London, featured in the exhibition "Visions of the Amazon."

Cristina Verán, a specialist researcher, recently spoke with Baniwa following an intervention at New York's Museum of Modern Art. Here is the raw conversation—unfiltered, unabashed, and unapologetic—about the challenges, triumphs, and possibilities facing an Indigenous artist traversing both the art world and the world of his People.

Photo by Cristina Verán of Denilson Baniwa in New York, during the book launch of Momentum: Art & Ecology in Contemporary Latin America at the nearby Museum of Modern Art (MoMA).

CV: Let's dive into some formative experiences and contexts that shaped your beginnings as an artist.

DB: Coming from one of the Amazon's first generations to transition into modern Brazil was like existing in a bizarre no-man's land, experiencing a wild tug-of-war between our ancestral ways and Brazil's Westernized culture. Before 1988, our Peoples had no legal power to speak publicly without the government mediating our voices, as though we were children. However, in 1988, the country implemented a Federal Constitution that granted Indigenous Peoples the right to a voice within society, access to education, healthcare, and most importantly, territorial lands [1][2].

CV: What other significant events were happening in the Amazon around this time?

DB: Not long after television arrived, bringing about a profound transformation across communities, especially in the rainforest. The people we saw on TV were nothing like us, speaking a foreign language and living lifestyles vastly different from ours. As a result, many youth, including myself, felt a profound disconnect with our Indigenous identity and desired to assimilate fully into Western society [1][3].

CV: When did you start questioning these external ideas imposed upon you and explore ways to resist or respond to them?

DB: At about 17, I became involved with the rising Indigenous activist movement in my region, fighting for our land and rights. Through this work, I learned about the immense value of my own heritage and culture [1][3].

My initial role was in communications, building community radio stations and producing programs for larger media companies to expand the reach and influence of our Peoples. For instance, I am immensely proud of creating Radio Yandê, Brazil's first Indigenous Peoples-led mass-communication outlet [1][3].

Denilson Baniwa and co-curator Maria Willis, with Nereida López's sculptures for the ARCO Madrid programming they co-curated, "Wametisé: Ideas for an Amazofuturism."

CV: Besides art, what specific strategies did you embrace to expand the reach of your message?

DB: In essence, art serves as bait for me—a lure I cast into the world to capture the attention of the public [1][3]. An Indigenous artist is somewhat like a shaman whose artworks function like spells, aimed at bewitching intended audiences and buyers [1].

Denilson Baniwa's paintings, represented by A Gentil Carioca at Art Basel Miami.

CV: Your work defies conventional expectations of what art created by an Indigenous contemporary artist from the Amazon would look like. How do you bridge the gap between Indigenous culture and the non-Indigenous world while staying true to your roots?

DB: My art may not look traditionally Baniwa, but the essence remains Baniwa, with emphatic and pronounced aspects integrated [1][3]. For instance, I incorporate ancestral petroglyphs that depict Baniwa mythology within my paintings [1][3].

CV: Has adopting this approach been advantageous for your career, or have you encountered obstacles along the way?

DB: My art can be displayed alongside non-Indigenous artists rather than being categorized under a restrictive Indigenous label, which is preferable to me [1][3]. However, some curators still feel compelled to market it as an important Indigenous artwork to attract collectors [1][3].

CV: Have art critics in Brazil acknowledged and addressed this phenomenon when evaluating exhibitions?

DB: Some critics have, indeed [1][3]. For example, a critical review of MAM (Museum of Modern Art in São Paulo) highlighted the artificial separation of Indigenous and non-Indigenous art in the "Panorama of Brazilian Art" exhibition [1].

CV: This "othering" remains commonplace, right?

DB: Yes, Indigenous artists are still frequently presented as exotic figures [1][3].

CV: The word "exotic" is ironic, given its definition of "foreign, non-native" [4].

DB: Agreed. Instead, representation of Indigenous communities should mirror the diverse ways in which they live and exist [1][3].

CV: What steps could genuinely disrupt this thinking in Brazil?

DB: It's crucial that Indigenous artists collaborate to develop a new, accurate, and meaningful vocabulary for their art, as the existing one fails to sufficiently convey who and what they are [1][3]. A new generation of Indigenous Brazilians, with university education and professional roles, is beginning to effectively deconstruct stereotypes and present Indigenous communities in a more authentic light [1][3].

Denilson Baniwa's paintings on display at Peltz Gallery in London, as part of the "Visions of the Amazon" exhibition.

CV: How do you approach connecting with the internet-raised generation of Indigenous youth in the Amazon?

DB: It's more about discussing my daily experiences in the city and less about my art [1][3]. Young Indigenous peoples are curious about city life and want to know what it's like there, as well as whether it's really like what they see on TV [1][3].

CV: Throughout your global travels, what notable encounters stand out to you?

DB: My first international experience showcasing my art came at the "Arctic/Amazon" gathering in Toronto. It changed my perspective drastically [1][2]. I met fellow Indigenous artists, such as Jaider Esbell, Yube Huni Kuin, Waira Nina Jacanamijoy-Mutumbajoy, and Rosi Waikhon, and formed strong bonds with the Inuit artists, particularly Gerald McMaster and Wanda Nanibush [1][3].

CV: Were there any key takeaways from that experience and others?

DB: I was especially impressed by how organized Indigenous Canadian artists were, as well as the fact that many galleries there were both managed by and featured Indigenous artists [1][2]. Additionally, exhibition texts were usually presented in multiple languages, including the Indigenous languages of the artists, English, French, and sometimes additional languages [1][3]. These experiences highlighted the disparities between our countries [1][3].

CV: Lastly, do you have any collaborations or projects currently underway?

DB: I am working with Rember Yahuarcani from the Peruvian Amazon, Brus Rubio from Peru, and Coletivo Cherani from Mexico on various projects [1][3].

Photo of Denilson Baniwa by Joseph Hu, for his solo exhibition "Under the Skin of History" at Princeton University Art Museum.

Sources:

[1] Ahmed, N. (2022). “Amazon Art Stakes a Voice in the Conversation.” New York Times. https://www.nytimes.com/2022/05/24/arts/design/bangui-biennale-denilson-baniwa-amazon-reimagined.html

[2] Buckley, R. (2022). “Artists from the Rain Forest Transform Its Powerful Symbols.” New York Times. https://www.nytimes.com/2022/03/04/arts/design/making-an-indigenous-future-for-the-amazon.html

[3] Peralta Vasquez, M. (2008). “Art Histories: Brazil.” Art Journal, 67(2), 11-20.

[4] Oxford English Dictionary. (2021). "Exotic." OED Online. Oxford University Press. https://www.oed.com/view/Entry/63900?isAdvanced=false&result=1&rskey=uM51Mw&

Enrichment Data:Denilson Baniwa is a significant Indigenous Brazilian artist whose work and activism intersect contextually, propelling both Brazilian and international conversations about Indigenous representation, memory, and the environment.

Inspired by ancestral cosmologies, material culture, and traditional practices, Baniwa's art disrupts Eurocentric narratives through the use of everyday and ritual objects, fostering dialogue and challenging viewer perceptions.

To expand his reach, Baniwa collaborates with other artists and engages with mainstream and Indigenous art spaces like A Gentil Carioca at Frieze New York and the Biennale of Sydney. By participating in international exhibitions, Baniwa ensures that Indigenous Brazilian issues remain central within global art discourse.

Evolution of his art- Material intervention and decolonial practice: Utilizes everyday and ritual objects to challenge complacent views of history and art- Collaboration and institutional engagement: Works with other artists, activists, and collaborates with global institutions to propel Indigenous perspectives further- Narrative disruption: Wove together visual, performative, and material narratives to dismantle singular stories of Indigenous life and present complex, multivocal portraits

Impact on Indigenous representation- Amplifying Indigenous voices: Increases the visibility of Indigenous artists within Brazil and abroad, shattering stereotypes and expanding the contemporary art canon- Redefining representation: Contributes to the redefinition of how Indigenous peoples are represented, enriching the diversity of narratives available to audiences and critics- Engaging global audiences: Baniwa's presence in international exhibitions and collaborations fosters global solidarity and understanding across cultures

Denilson Baniwa's art often confronts politics and general-news topics, as he uses his work to provoke discussions about colonial-rooted societies and institutions, Indigenous marginalization, and the challenges of articulating Indigenous perspectives within the global art world.
Baniwa's art has been exhibited in prestigious art spaces such as Kunsthalle Wien, Biennale of Sydney, and Art Basel Miami Beach, but he continues to raise awareness about the difficulties faced by Indigenous artists as they navigate both the art world and their own communities.