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Gustavo Caboco Wapichana, to Venice. Ka›a Pataxó, who is from Bahia, Gustavo When that happened, I was lef with this
Pûera is the name for a large area of forest that Caboco, who is Wapixana, from Roraima. “cosmo-agony” (laughs). I didn’t have
is in the process of regeneration af er being It is a very intense geography, territorially. what people call “evidence”, I only had
burned or used as crops or pasture. Occupying these spaces puts the this authorization from the Enchanted.
The exhibition in Italy also foresees that the indigenous population in the spotlight, So I went af er it. Af erwards, Fernanda
Brazilian Pavilion in the Giardini della Biennale makes it clear that indigenous peoples are Liberti (photographer and visual artist)
will be renamed the Hãhãwpuá Pavilion (the being swallowed up by a very aggressive arrived in the village and brought me a
Pataxó name that was used to describe Brazil dynamic. Help them see the indigenous book called The River Before the River ,
before the Portuguese sighting). According presence. by Rafael Freitas Silva (Editora Relicário,
to the Fundação Bienal de São Paulo, Célia 2021). On the cover of this book there is a
Tupinambá’s exhibition to be installed in – Next week, you will show the woman in an illustration, a woman wearing
Italy addresses “issues of marginalization, Tupinambá Cloak that you made at the the cloak with a child on her back. It›s
deterritorialization and violation of territorial Moreira Salles Institute, on Avenida a woodcut. This image, of the woman
rights, inviting reflection on resistance and the Paulista, in São Paulo. What is the wearing a cloak, I later looked at three
shared essence of humanity, birds, memory importance of the Tupinambá Mantle in other drawings again. In another drawing,
and nature”, which integrates it into the general these itineraries? she wore the cloak, skirt and maraca. Later
theme of the 60th International Art Exhibition – For this activity I am inviting relatives. on, (anthropologist) Daniela Alarcon and
La Biennale di Venezia: Foreigners Everywhere So there’s Pankararu, Pankararé, Guarani, I ended up finding this material. But there
(Foreigners everywhere). Tukano. The mantle brings this space for was still little trace. In 2022, when I was in
Born in 1982 in the Tupinambá village of Serra dialogue and rupture, we tend to encounter Denmark, the mantle spoke to me.
do Padeiro, in Olivença, in the south of Bahia, tensions, challenges. And it’s not just Célia
Célia is a master’s student in Anthropology Tupinambá, it’s a historical burden, and – Does the cloak speak to you when
at the Federal University of Rio de Janeiro these alliances, this being with relatives you are near it?
and headed the negotiations to repatriate to (serves) to see what situation they are in, When I’m around him, he talks to me, and
Brazil, in 2024, the Manto Tupinambá, which is what places they are. So, it is important he told me he was feminine. I already had
currently in the National Museum of Denmark, and fundamental that the presence of the this proof, having seen the cloak being
in Copenhagen. During the colonization of mantle makes people think, re-elaborate used by six to seven women, and each
Brazil, the cloaks of the Tupinambá became other conceptions. Being with relatives, texture of the cloak was different. In 2023,
objects of barter, looting or negotiations, because of possible dialogues, is I was at the Palace of Versailles, in France,
and their construction technology was lost important, just as it is important for the and in the Royal Hall we saw this illustration
in time. She relearned how to make the cloak, mantle to be in movement so that people of a work that represented the continents.
becoming the first woman to construct such can understand another logic. The Manto On the South American continent there
an artifact in more than 400 years. is a provocative body. was a woman wearing the Tupinambá
On November 25th and 26th, the zum Festival, Cloak. The people who were with us said
organized by the Instituto Moreira Salles – You made the first Manto to me: “Ah, Célia, but this cloak has a Greek
photography magazine, brought together Tupinambá in 2006. This is already 17 years touch”. And I said, “Does that change the
artists, photographers and researchers for old. How many more did you do af er that fact that it’s a woman?” In the imagination
conversations, workshops, exhibitions, fairs first one? of Hans Staden (1525-1576), the cloak is
and other free activities. The event, which I made two more. The one I’m going to only used by shamans, and we know that
has reached its 8th edition, took place at the present now is the female cloak, there’s it was also used by chiefs. It is the shaman
ims headquarters in São Paulo (Av. Paulista, a difference. The first one I made from an and the Tupinambá society around him
2424), and was highlighted by an action by image, an image I saw of the mantle that and the mantle. But when we found these
Célia Tupinambá. Glicéria Tupinambá gave is in Denmark. So it’s an approximation, images, we came full circle to six women
the following interview to arte!brasileiros: you couldn’t see the plot, it was too full wearing the cloak. The last one was on
of feathers. In 2018, when I saw a cloak the map I saw of Atlantic France, which
– The ibge Census, recently released, in France, and soon af er, another cloak has an illustration with another woman
reported that the indigenous population in Switzerland, in Basel, I started trying wearing the cloak. Then I realized that
in Brazil today represents 0,83% of the to understand the mesh. There is a the cloak was feminine.
total number of Brazilians, around 1,7 cloak there in Basel that is more worn,
million people. And it is a very diverse you can see the mesh perfectly. My idea – How many Tupinambá Cloaks are
representation, there are groups with was to understand the heart and bone there in the world today?
12 individuals and others with 20, 30 of the mantle. I previously tried to get There are 11 mantles. They are in Brussels,
thousand people. Is it too complicated my great-aunts to teach me their way of Copenhagen and Basel. There are also
to go to Venice representing all this making the cloak. But they told me that, many Tupinambá objects in the cabinets
diversity? as I had already dreamed of the mantle, of curiosities. In France, there is an axe, a
It depends on what point of view you’re I already knew how to do it, there was club, a hammock. That week in Versailles
talking about. Because, if you think that nothing to teach. So I took their advice and was very intense, we saw a lot of things
Brazil is indigenous territory, and if you made the first cloak, which is now in the in France, and the Tupinambá memory
think that this percentage that ibge raised, National Museum in Rio de Janeiro. It was was very strong. It was then that I had
trying to demarcate this presence, these incorporated from the traveling exhibition this confirmation of how the Tupinambá
populations trying to resist, trying not Os Primeiros Brasileiros, curated by João people were received. In the historical
to be swallowed... Well, I’m going to Pacheco de Oliveira, in 2021. In 2020, I narrative, we never had a political place of
represent the indigenous people. But it made the second mantle, which was for equality, but the various representations
has an immense partnership with other my brother, who is chief Babau of the of indigenous people that I could see, and
Indigenous Nations, such as Denilson Tupinambá people. It was then that the one of them is an exclusive fresco, things
Baniwa, who is from Amazonas; Arissana cloak told me that it was made by women. that we had never seen, demonstrate that

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