![\"\"](\"http:\/\/ciaexcessos.com.br\/ciawp\/wp-content\/uploads\/2020\/12\/Hilda-de-Paulo-Princesinha-do-Cerrado.jpeg\")
<\/span><\/p>\n<\/p>\n
In memory of the young trans person <\/span><\/i>Keron Ravach, <\/span><\/i>who was Beaton to death in Cear\u00e1 (Brazil) on the 4th of January of 2021, the very same day the exhibition installation began. I am so sorry, Keron. I have no words.<\/span><\/i><\/i><\/span><\/p>\n <\/p>\n Angelita Correia, mulher trans goiana encontrada morta em Matosinhos no dia onze de janeiro. Mana, agora voc\u00ea faz parte tamb\u00e9m do meu cerrado. A morte colonial produzir\u00e1 seu esquecimento, mas aqui ela n\u00e3o entra. Descansa em paz porque lutaremos por voc\u00ea aqui.<\/em><\/span><\/p>\n <\/p>\n Often called Princesinha do Cerrado<\/i>\u00a0[Little Princess of the Cerrado] during the 1930s, Inhumas, Goi\u00e1s, Braz<\/span>il <\/span>is the city where transdisciplinary artist Hilda de Paulo was born and lived until her teen years. In this exhibition, filled with confessions that reiterate the autobiographical aspect of these works, the artist resumes a previously unfinished project us autofiction in order to discuss her trans<\/span>sexuali<\/span>ty and the way societies deal with dissident bodies. <\/span>\u00a0<\/span><\/span><\/p>\n In her investigations of color in painting, which is materialized in traditional mediums, as well as in unconventional ones, there are references to elements from nature that point towards cosmic forces, indicating that human existence is a small form of life in a much larger universe \u2013 precisely to emphasize the interdependence of everything that surrounds us<\/span>.<\/span><\/p>\n <\/p>\n <\/p>\n I am a fiction<\/span><\/i>.<\/em><\/span><\/p>\n Hilda de Paulo<\/span><\/p>\n \u00a0<\/strong><\/span><\/p>\n Hilda de Paulo ventures out on new painting paths with the exhibition<\/span> Princesinha do Cerrado<\/i> [Little Princess of the Cerrado], curated by Suzana Queiroga. It presents the artist\u2019s poetic reverberations towards a vast array of material possibilities. Among the works in the show is the diptych\u00a0J.A.D\u00a0<\/i>(2019), composed of two canvases measuring 20 x 20 cm each. One outlines the silhouette of a body in gray and yellow, its inner mass confused with the surface of a dark red shade, where the body rests. The other holds the word \u201ccaos<\/i>\u201d [chaos], drawn in a curved fashion and in multiple colors; below the inscription we see an irregularly thick circle traced in black. The letters and the shape \u2013 similarly to its neighboring canvas \u2013 are filled with a golden color that also tones the surface of the painting<\/span>.\u00a0<\/span><\/p>\n A dead body: that is what\u00a0J.A.D<\/i> depicts. Hilda de Paulo began this piece during an artistic residence program in Brazil, in 2019. \u201cI was drafting a presentation about my artistic process for the residence\u2019s public. Every time I talk about my artistic research, I begin by showing photos of where I was born. I googled the name of my city and, unfortunately, there was an image of a dead body \u2013 the body of an 18-year-old young man who was murdered in my hometown, who I had known since we were kids. His name was Jo\u00e3<\/span>o Antonio Donati<\/span>\u201d\u00a0[1]<\/b>.\u00a0\u201cYoung gay man murdered\u201d, the newspapers headlines read all across Brazil, in a tragedy \u2013\u00a0with its following media circus \u2013 surrounded by multiple violences and \u201cofficial accounts\u201d, which the artist deem deemed very unreliable. \u201cOff the record\u201d, through the streets of Inhumas, in Goi\u00e1s, Brazil, people say Jo\u00e3ozinho was going to testify in a police investigation against a local cop. The domestic chit chat propagates that that was the real reason behind his murder<\/span>.<\/span><\/p>\n In Hilda de Paulo\u2019s narratives, the murder of her childhood friend echoes the violences she herself suffered as a child and as a teenager in Inhumas. These violences are expanded through the artist\u2019s words to also encompass the wars that destroy the memory of material and immaterial cultures, the European borders that assassinate refugees, the growing intolerance from religious sects, the policemen who kill trans people, black people, children\u2026 with the <\/span>mournful conclusion being \u201chumanity is shipwrecked\u201d right before her eyes\u00a0[2]<\/b>. The golden circle in\u00a0J.A.D\u00a0<\/i>appears as an homage to Jo\u00e3o Ant\u00f4nio, with the small dots in one of its extremities evoking the shape of a floral wreath, like the ones usually placed on coffins in tribute of the deceased. The \u201cchaos\u201d inscription that hovers over it reminds us of the confusion caused by the pain and the grief associated with death \u2013 and its images. That word translates and produces psychological punitive frameworks that kill bodies and pleasure<\/span>.<\/span><\/p>\n Voices from decades ago, when Brazil went through its last (will it be our last?) civic-military dictatorship (1964-1985), also resonate. In a moment of dispossession, of authoritarian chaos, as Anna Bella Geiger and Guilherme Samy suggest, we must appropriate the chaos, <\/span>\u201cbecause we\u2019re inventing it inside, and outside, ourselves. Inside us through the dismantling of an innocuous mental structure that is unable to realize the experience of the present; outside us due to the feasible participation in present times, seeking to know the direction of things\u201d)\u00a0[3]<\/b>.\u00a0These words are restored in the face of Hilda de Paulo\u2019s artistic practice.<\/span><\/span><\/p>\n Times are folded into the artist\u2019s works, multiplied in countless small rectangles measuring 5 x 7 cm each, divided into day and night. The body of\u00a0J.A.D\u00a0<\/i>is transmuted into landscapes of ever-changing colors and shapes, inhabited by dense constructs of the once empty body. Bodies and landscapes are indivisible in the creation of\u00a0Princesinha do Cerrado<\/i>, which, one must not forget, is the nickname that was given to the artist\u2019s hometown in the 1930s. Inhumas permeates the exhibition space, embodies the artist\u2019s personal childhood memories \u2013 now repositioned in the public\/artistic realm \u2013, transforming them into the Via L\u00e1ctea <\/i>[Milky Way] from the single by Brazilian musicians C\u00e9u and Liniker, through which one imagines becoming \u201cthe sky in reverse\u201d.<\/span><\/p>\n \u201cI destroy my past and, afterwards, I rebuild it in my poetic creative universe. All my works are strictly related to my biography.\u201d\u00a0[4]<\/b>\u00a0Hilda de Paulo\u2019s statement brings her artistic gestures close to Louise Bourgeois in doings, undoings and redoings of works that mobilize the narrative of the self. In a contemporary feminist sense [5]<\/b>, this relates to the <\/span>fragmented autobiographical narrative that emerges in elements such as the images of the self, the titles of the works, the stories told by the artist and more\u2026 Hilda de Paulo creates pieces in which her psychological and corporeal experiences \u2013marked by constructions of gender \u2013 are made evident in movements that destabilize fixed identities, in a continuous process of recreating oneself<\/span>.<\/span><\/p>\n The documentation of a tattoo on her leg, a thinly traced garter belt that reminds us of VALIE EXPORT, is also part of the exhibition. VALIE EXPORT investigated the production of images, exploring her own body as an artistic instrument. Hilda de Paulo told me, during one of our conversations regarding\u00a0reperformance <\/i><\/span>concepts, that art critic Marvin Carlson said that EXPORT developed \u201can approach to performance called \u2018feminist action\u2019, which pursued a similarly fractured agenda, \u2018seeking to substitute the equation material = body = nature <\/i>for body = social construct = transfigured nature\u2019<\/i>\u201d [6]<\/b>.<\/span><\/span><\/p>\n In\u00a0Hilda de Paulo (Depois de VALIE EXPORT) <\/i><\/span>[After VALIE EXPORT]\u00a0<\/i>(2020), the artist mobilizes a sign associated with an universe historically and culturally constructed as feminine, embedding it into her own skin, and updating the performance as transfeminist. The tattooed garter belt takes on meanings of seduction and of oppression, in a tense game where hetero-cis-normative codes are challenged, expanding the meanings of womanhood. The socially constructed body, as a fixation, is the expressive dimension of this work, which is part of an ongoing series titled\u00a0Hilda de Paulo<\/i>\u00a0(2020-)<\/span>.<\/span><\/p>\n There\u2019s a statement \u2013 which also serves as the exhibition\u2019s epigraph \u2013 \u201cav\u00f3: rainha da terceira idade em 2000; m\u00e3e: rainha estudantil em 1983-1984-1985; eu: rainha quando?<\/i>\u201d [\u201cgrandmother: elderly beauty queen in 2000; mother: student beauty queen in 1983-1984-1985; me: beauty queen when?\u201d], that thickens the layers of transfeminist meanings in Hilda de Paulo\u2019s artistic practices. It also integrates the series Hilda de Paulo<\/i>\u00a0(2020-), underlining the artist\u2019s ventures into different mediums. It is an excerpt from an autofiction essay in process \u2013 it has a somewhat \u201csurgical\u201d aspect, the artist says. The essay continues: \u201cmy grandmother was a beauty queen, my mother was a beauty queen, is it possible for me to be a beauty queen? So, inside this CIStem <\/i>[N.T.]<\/b> we live in, we are no entitled to this tradition\u201d\u00a0[7]<\/b>. It is also from this autofictional essay that Hilda de Paulo got the title for this exhibition:\u00a0Princesinha do Cerrado<\/i>.<\/span><\/span><\/p>\n The series, so far, also encompasses a painting-object \u2013<\/span> Hilda de Paulo (Sapatos)<\/i>\u00a0[Shoes] (2021) \u2013 created from another important element from the cultural repertoire associated with femininity in modernity: red high heels. Immediately associated with seduction, it evokes the fairy tale \u201cThe Red Shoes\u201d, also known as \u201cThe Devil\u2019s Dancing Shoes\u201d and \u201c<\/span>The Red-Hot<\/span>\u00a0<\/span>Shoes<\/span>\u00a0of the\u00a0Devil\u201d, widely known in the version by <\/span>Hans Christian Andersen<\/span> [8]<\/span><\/b>. Among feminists, the image of the red feet, exhausted from dancing, is connected to the struggles of becoming an artist<\/span>.\u00a0<\/span><\/p>\n Margaret Atwood, <\/span>in her novel <\/span>Lady Oracle<\/span><\/i>\u00a0(1976), reminds us of the punishment for those who dared to desire dance: \u201cThe true little red shoes, the feet punished for dancing\u201d. Filled with concrete in order to support the steel rods that are also fixed in the pink colored rounded plank beneath, Hilda de Paulo\u2019s shoes evoke the weight of fixed identities. Nonetheless, their creator, Atwood, \u201cdeconstructs the feminine identity, always on the lookout for the ways one can weave and unravel oneself, using materials that culture provides\u201d [9]<\/b>. Similarly to the writer\u2019s creative process, Hilda de Paulo redraws herself and her own art, freeing herself from entrapments and mobilizing cultural objects from the most various origins<\/span>.<\/a><\/span><\/p>\n Se n<\/span><\/i>\u00e3<\/i>o puder (tamb<\/span><\/i>\u00e9m) dan\u00e7<\/i>ar, esta n<\/span><\/i>\u00e3o \u00e9 a minha revolu\u00e7\u00e3o.<\/i>\u00a0[If I can\u2019t (also) dance, this is not my revolution.]. It was through this almost made-up statement by anarchist <\/span>Emma Goldman (<\/span>or was it Hilda de Paulo?), that our paths crossed \u2013\u00a0mine and the artist\u2019s. We shared, from the beginning, a passion for practices of freedom and liberty. But there is another dimension to those words: the pleasure of dancing with others, which is also solidified in the relation with the sculptures from the series titled Eus<\/i>\u00a0[Mes] <\/span>(2019-2021), compos<\/span>ed of works such as\u00a0Peitinhos<\/i>.<\/span> De Hilda de Paulo para Tales Frey.<\/span><\/i>\u00a0<\/i>[Boobies. From Hilda de Paulo to Tales Frey.] (2020);\u00a0Para sempre juntas e com sorte de termos uma \u00e0 outra. De Hilda de Paulo para Suzana Queiroga.<\/i>\u00a0[Together forever and lucky to have each other. From Hilda de Paulo to Suzana Queiroga.] (2020);\u00a0Bixa-Travesty. <\/i><\/span>De Hilda de Paulo para Tales Frey.<\/i>\u00a0[Tranny-Fag. From Hilda de Paulo to Tales Frey.] (2020);\u00a0Queda de Tens<\/span><\/i>\u00e3o no Traje da Dan\u00e7<\/i>a Serpentina de Lo<\/span><\/i>\u00efe Fuller. De Hilda de Paulo para Grasiele Sousa.<\/i>\u00a0[Voltage Drop in Lo\u00efe Fuller\u2019s Serpentine Dance Costume. From Hilda de Paulo to Grasiele Sousa.<\/span>] (2020); and\u00a0Monumento <\/span><\/i>\u00e0s Nossas Corpas. De Hilda de Paulo para A Xavier, Alice Yura, Maria Diogo, Maria J\u00falia, Maria Lucas, Mavi Veloso, Pedro Galiza e Tiago L\u00eado.\u00a0<\/i>[Monument to our bodies. From Hilda de Paulo to A Xavier, Alice Yura, Maria Diogo, Maria J\u00falia, Maria Lucas, Mavi Veloso, Pedrx Galiza and Tiago L\u00eado.] (2020).<\/span><\/p>\n Created from papier-m\u00e2ch\u00e9 casts of kitchen utensils filled with polyurethane foam and covered with a mix of white glue, acrylic paint and hot glue, these sculptures take on different shapes, becoming body-objects. <\/span>The first is titled:\u00a0Fl\u00f4. De Hilda de Paulo para Alice Yura, Al\u00edcia Medeiros, Ana Pereira, Ana Pigosso, Bruna Costa, Camilla Braga, Carol Frey, Celeste Cerqueira, Cristina Mateus, Catarina Louren\u00e7o,\u00a0Daniela Labra, Francesca Rayner,\u00a0Gabriela De Laurentiis, Grasiele Sousa,\u00a0Isabeli Santiago, Jaqueline Lodi, Julia Lima, Katiana Rangel, Leika Morishita, Let\u00edcia Maia, Lizi Menezes, L\u00facia Helena, Luciv\u00e2nia Almeida, Lu\u00edsa Sequeira, Ma\u00edra Freitas, Marcela Tavares, Maria Lucas, Maria Luis Neiva, Mariana Manh\u00e3es, Monique Bernardine, Nara Reis, Olga Machado, Paola Frey, Phiphi Molla, Pollyana Quintela, Priscilla Davanzo, Rute Rosas, Sara Cunha, Sara Monteiro, Silvana Frey, S\u00edlvia P\u00f3voas, Susana Abreu, Suzana Queiroga, T\u00e2nia Dinis e Z\u00e9lia Figueiredo.<\/em><\/i>\u00a0[Flower. From Hilda de Paulo to Alice Yura, Al\u00edcia Medeiros, Ana Pereira, Ana Pigosso, Bruna Costa, Camilla Braga, Carol Frey, Celeste Cerqueira, Cristina Mateus, Catarina Louren\u00e7o,\u00a0Daniela Labra, Francesca Rayner,\u00a0Gabriela De Laurentiis, Grasiele Sousa,\u00a0Isabeli Santiago, Jaqueline Lodi, Julia Lima, Katiana Rangel, Leika Morishita, Let\u00edcia Maia, Lizi Menezes, L\u00facia Helena, Luciv\u00e2nia Almeida, Lu\u00edsa Sequeira, Ma\u00edra Freitas, Marcela Tavares, Maria Lucas, Maria Luis Neiva, Mariana Manh\u00e3es, Monique Bernardine, Nara Reis, Olga Machado, Paola Frey, Phiphi Molla, Pollyana Quintela, Priscilla Davanzo, Rute Rosas, Sara Cunha, Sara Monteiro, Silvana Frey, S\u00edlvia P\u00f3voas, Susana Abreu, Suzana Queiroga, T\u00e2nia Dinis and Z\u00e9lia Figueiredo.] (2019). In it, two figures are placed on the same pedestal, united, growing closer together: there is the \u201cidea of an encounter\u201d between \u201ctwo beings, two presences\u201d, that artist told me. The flower reminds us of a delicate gesture towards others, of a desire for closeness and for libertarian social constructs \u2013 implied in all of Hilda de Paulo\u2019s practices<\/span>.<\/span><\/p>\n The artist establishes a poetic of challenges \u2013 of not accepting as valid; of contesting, of rebutting, and of non-confrontation \u2013; of bordering, of limiting, and of confining\u00a0[10]<\/b>. <\/span>Princesinha do Cerrado <\/span><\/i>invites us to dive into expanding artistic practices, countless possibilities of new relationships, combinations, formations, and we can\u2019t refuse this invitation. In sync with transfeminist academics and activists, Hilda de Paulo introduces possibilities \u201cfor the construction of new ways of existing in the world, new relations with desire, with the body, the identities and the categories of comprehending reality\u201d, to quote Helena Vieira\u00a0[11]<\/b>. With her willingness to face herself \u2013 reflexivity \u2013 and to build narratives and ways to connect, the artist affects us. On my part, I venture here in writing a curatorial essay, and I couldn\u2019t imagine a more joyful collaboration<\/span>.<\/span><\/p>\n The autobiographical and\/or autofictional dimensions of her work carry the libertarian sense of creating oneself, just like other authors from the past, such as <\/span>Gertrude Stein<\/span> and her book \u201cEverybody’s Autobiography\u201d or, more recently, such as Amara Moira and her \u201c<\/span>E se eu fosse puta<\/span><\/i>\u201d [If I were a whore], as well as Virginia Woolf, Carolina de Jesus, Toni Morisson,\u00a0Gabriela Leite, Virginie Despentes and so many others who craft their own lives through creating narratives about an ever expanding self. Hilda de Paulo follows those paths, merging them with visual arts. Princesinha do Cerrado<\/i>\u00a0asks us to enter the artist\u2019s autofictions, in a world with multiple shapes and materials: a world ruled by abundant and generous relationships<\/span>.<\/a><\/span><\/p>\n <\/p>\n Gabriela De Laurentiis, December 2020<\/span><\/p>\n <\/p>\n NOTES<\/strong><\/span><\/p>\n [1]<\/strong> Conversation via WhatsApp between Hilda de Paulo and Gabriela De Laurentiis, December 17, 2020. Freely translated by Julia Lima from the original: \u201cfui preparar o roteiro de uma fala sobre meu processo art\u00edstico para apresentar ao p\u00fablico na resid\u00eancia. Sempre que vou falar da minha pesquisa em arte, inicio mostrando fotografias de onde nasci. Coloquei o nome da minha cidade no\u00a0<\/i>Google<\/span>\u00a0e, infelizmente, havia a imagem de um corpo, de um corpo de um adolescente de dezoito anos que foi assassinado na minha cidade natal e que eu conhecia desde crian\u00e7a. Seu nome era Jo\u00e3o Antonio Donati<\/span><\/i>\u201d.<\/span><\/span><\/p>\n [2]<\/strong> Cf. HENRIQUE, J. C. \u201cEntrevista com Paulo Aureliano da Mata\u201d.\u00a0eRevista Performatus<\/b>, Inhumas, Ano 4, n. 15, Jan. 2016.<\/span><\/span><\/p>\n [3]<\/strong> GEIGER, A. B. & SAMY, P. G. \u201cDial\u00e9tica e Metavanguarda (II)\u201d.\u00a0Jornal do Brasil<\/b>,<\/i>\u00a0Rio de Janeiro, 1970. Freely translated by Julia Lima from the original: \u201cporque o estamos inventando dentro e fora de n\u00f3s. Dentro de n\u00f3s pelo desmantelamento de uma estrutura mental in\u00f3cua e insuficiente para fazer a experi\u00eancia do presente; fora de n\u00f3s pela participa\u00e7\u00e3o poss\u00edvel no tempo presente, buscando conhecer dire\u00e7\u00f5es<\/i>\u201d.<\/span><\/span><\/p>\n [4]<\/strong> HENRIQUE,\u00a0J. C. \u201cEntrevista com Paulo Aureliano da Mata\u201d.\u00a0eRevista Performatus<\/b>, Inhumas, Ano 4, n. 15, Jan. 2016. Freely translated by Julia Lima from the original: \u201cEu destruo meu passado e em seguida o reconstruo no meu universo po\u00e9tico de cria\u00e7\u00e3o. Todos os meus trabalhos est\u00e3o estritamente relacionados com a minha biografia<\/i>\u201d.<\/span><\/span><\/p>\n [5]<\/strong> ARFUCH, L.\u00a0O Espa\u00e7o Biogr\u00e1fico. Dilemas da Subjetividade Contempor\u00e2nea<\/b>. Rio de Janeiro: UERJ, 2010; RAGO, M.\u00a0A Aventura de Contar-se: Feminismos, Escrita de Si e Inven\u00e7\u00f5es da Subjetividade<\/b>.\u00a0Campinas, SP: Unicamp, 2013; TVARDOVSKAS, L. S.\u00a0\u201c<\/i>Autobiografia nas Artes Visuais: Feminismos e Reconfigura\u00e7\u00f5es da Intimidade\u201d.<\/i>\u00a0Labrys, \u00c9<\/b>tudes F<\/span>\u00e9ministes<\/span><\/b>, jan.-jun. 2010<\/span>.<\/span><\/p>\n [6]<\/strong>\u00a0CARLSON, M.<\/span>\u00a0Performance: Uma Introdu\u00e7\u00e3<\/b>o Cr<\/span>\u00edtica<\/span><\/b>.<\/i>\u00a0Belo Horizonte: UFMG, 2010, p. 189. Freely translated by Julia Lima from the original: \u201cuma abordagem da performance chamada de \u2018a\u00e7\u00e3o feminista\u2019, que perseguia uma agenda fraturada similar, \u2018procurando substituir a equa\u00e7\u00e3o material = corpo = natureza, por corpo = constru\u00e7\u00e3o social = natureza transfigurada\u2019<\/i>\u201d.<\/span><\/p>\n [N.T.]<\/span><\/b> CIStem<\/i> is a wordplay (relatively common in Portuguese language concerning gender studies) between the terms \u201csystem\u201d and \u201ccisgender\u201d, implying the existence of a cisgender-normative system of prejudice in society.<\/span><\/span><\/p>\n [7]<\/strong> Conversation via WhatsApp between Hilda de Paulo and Gabriela De Laurentiis, December 20, 2020. <\/span>Freely translated by Julia Lima from the original: \u201cminha v\u00f3 foi rainha, minha m\u00e3e foi rainha, ser\u00e1 <\/i>que tamb<\/span>\u00e9m posso ser rainha? Mas eu n\u00e3o sou uma mulher cis. Ent\u00e3o, dentro desse\u00a0CIStema\u00a0que vivemos n\u00f3s n\u00e3o temos direito a essa tradi\u00e7\u00e3o<\/i>\u201d.<\/span><\/span><\/p>\n [8]<\/strong>\u00a0PINKOLAS, E.<\/span>\u00a0Mulheres que correm com os Lobos<\/b>. Rocco: Rio de Janeiro, 1999, p. 160-161.<\/span><\/p>\n [9]<\/strong> TELLES, N.<\/span>\u00a0D\u00e9lia: Uma \u2018Intui\u00e7\u00e3o do Instante<\/b>\u2019. Nashville: AATSP, 1988. Freely translated by Julia Lima from the original: \u201c\u00e9 uma desconstrutora da identidade feminina, sempre alerta para a maneira de tecer e desenredar a si mesma, usando o material que a cultura coloca \u00e0 <\/i>disposi<\/span>\u00e7\u00e3o<\/i>\u201d.<\/span><\/p>\n [10]<\/strong> hooks, bell.\u00a0Art on My Mind: Visual Politics<\/b>.\u00a0<\/i>New Press: New\u00a0York, 1995, p. 77-78.<\/span><\/span><\/p>\n [11]<\/strong> VIEIRA, H. \u201cO Transfeminismo com Resultado Hist\u00f3rico das Trajet\u00f3rias Feministas\u201d. Em: HOLANDA, Heloisa Buarque de (Org.). \u00a0Explos\u00e3o Feminista<\/b>.\u00a0<\/i>Companhia das letras: S\u00e3o Paulo, 2018, p. 337.\u00a0Freely translated by Julia Lima from the original: \u201cpara a constru\u00e7\u00e3o de uma nova forma de estar no mundo, novas rela\u00e7\u00f5es com o desejo, o corpo, as identidades e as categorias de intelec\u00e7\u00e3o do real<\/i>\u201d.<\/span><\/span><\/p>\n <\/p>\n <\/p>\n 1)<\/strong>\u00a0Hilda de Paulo,\u00a0av\u00f3: rainha da terceira idade em 2000; m\u00e3e: rainha estudantil em 1983-1984-1985; eu: rainha quando?\u00a0<\/strong>[grandmother: elderly beauty queen in 2000; mother: student beauty queen in 1983-1984-1985; me: beauty queen when?]<\/span>, 2021. Sticky-backed plastic, 230 x 75 cm;<\/span><\/p>\n 2)<\/strong>\u00a0Hilda de Paulo,\u00a0J.A.D.<\/strong>, 2019. Acrylics on canvas, 20 x 20 cm each;<\/span><\/p>\n 3)<\/strong>\u00a0Hilda de Paulo,\u00a0Hilda de Paulo (Depois de\u00a0VALIE EXPORT)<\/strong> Autofictions by Hilda de Paulo, an artist of encounters<\/span><\/u><\/span><\/b><\/span><\/h3>\n
ARTWORKS<\/strong><\/span><\/h3>\n
![\"\"](\"http:\/\/ciaexcessos.com.br\/ciawp\/wp-content\/uploads\/2021\/01\/mapa-de-sala-princesinha-do-cerrado.png\")
<\/p>\n