Mariana Destro (b. 1993) lives and works in Rio de Janeiro, Brazil. She holds a BFA in Visual Arts from the University of Brasilia and is pursuing a Master's degree in Arts and Contemporary Studies at Fluminense Federal University. Her practice focuses on image-making through mixed media such as video, performance, photography, and installation, often associated with curation, in physical spaces and online.

info@marianadestro.com

︎︎︎ CV
︎︎︎ Texts: Where the striptease ends by Thiago Granai (2021); Mariana Destro by Marília Panitz (2018)


Mariana Destro

(b. 1993) lives and works in Rio de Janeiro, Brazil. She holds a BFA in Visual Arts from the University of Brasilia and is pursuing a Master's degree in Arts and Contemporary Studies at Fluminense Federal University. Her practice focuses on image-making through mixed media such as video, performance, photography, and installation, often associated with curation, in physical spaces and online.

info@marianadestro.com

︎︎︎ CV
︎︎︎ Texts: Where the striptease ends by Thiago Granai (2021); Mariana Destro by Marília Panitz (2018)



GUAVA Curation ︎︎︎ 2019 –



GUAVA is an online artist-run gallery. Founded in 2019, it is a curatorial platform for exhibitions and projects made especially for the internet. Focused on Latin American contemporary art by women, BIPOC, and LGBTQIA+ artists and curators, GUAVA aims to build a closer dialogue between artistic practices and the broader fields of society, never letting go of the ephemeral nature of a world in constant change.



Na boca de quem não presta pomba-gira é vagabunda Installation 2022


Na boca de quem não presta pomba-gira é vagabunda! (Pomba-gira is a tramp on the lips of dishonest people!) Thus is written the maxim that enunciates the eshusiastic potency incarnated in the feminine. The pomba-gira is one of the most challenging symbols in the complex culture of the Brazilian macumbas. The pomba-gira enchants us not only for what she is but also for what she refuses to be. Queen, woman, it is she who comes from the encruza to animate our gira. It is she who wields the scissors that sever the embarrassments of a world haunted by sin and regimes that restrict rights and perpetuate inequalities.” (Luiz Antonio Simas and Luiz Rufino)



Things that look worse in paintings Crypto art 2021


Things that look worse in paintings is a series of images taken with smartphones between 2020 and 2021 during social isolation. The images were posted on Instagram stories and tokenized as NFTs on Hic et Nunc. The title of the series is a reference to text 112 from The Pillow Book by Sei Shōnagon.



Nonada Artist's website ︎︎︎ 2019 – 2021



Nonada is a net art project composed of five videos, four texts, a virtual installation, and dozens of images. The result of approximately five months of digital file production in 2019, Nonada is a website that emulates the artist's desktop. The digital pieces are accessed by clicks according to the will of whoever is exploring the work. Strongly influenced by notions of psychoanalytic theory, post-pornography, and autofiction, the artist turned dreams, emotional and political experiences, and images such as nudes and gifs into a digital archive conceived as a hypermedia platform.



Mata virgem Painting 2020



1. Lourdes
    Mata virgem (Virgin forest) series
    Acrylic and oil on canvas
    53 x 43 in

2. Vênus de Willendorf (Venus of Willendorf)
    Mata virgem (Virgin forest) series
    Oil on 425 g/m² Hahnemühle paper
    9 x 12 in

3. Vênus de Renancourt (Venus of Renancourt)
    Mata virgem (Virgin forest) series
    Oil on 425 g/m² Hahnemühle paper
    9 x 12 in

    Vênus de Monpazier (Venus of Monpazier)
    Mata virgem (Virgin forest) series
    Oil on 425 g/m² Hahnemühle paper
    9 x 12 in



Rainforest Video 2019


Rainforest begins and ends with the same image of the sea at night. In it, the artist interacted as a camgirl with anonymous people she met online, on sex websites, as Maria Padilha, a pomba-gira free from castrating morality and male domination. In an attempt to make a commentary on coloniality, she juxtaposes to her performance excerpts of writings about Brazil by European authors that even today are a reference to how people in the West produce knowledge and meanings — with the only exception being Frantz Fanon, psychiatrist, philosopher, and post-colonial militant. Full length: 12:36 min.



Monstera deliciosa Solo Exhibition 2018


Mariana Destro was a resident artist at Casa Voa (Rio de Janeiro, Brazil) in November 2018. There was no residency project when she arrived there, so the artist chose to explore the notion that, during a residency, there is a strong enough change in the artist's environment to provoke new practices. She spent her first few weeks in Rio walking around and collecting material from thrift stores, flea markets, and street vendors. It led to the Monstera deliciosa series, featuring three collages, a book object, and a video. Photography by Victor Jobim.



Floating gaze Video 2018


Floating gaze is a visual research on camming, that is, the act of performing certain activities, often sexual, in front of a webcam for viewers. Guided by a text that depicts a childhood memory, the video presents a fragment of Marguerite Duras and Alain Resnais' Hiroshima mon amour (1959) on a loop, overlapped by screen recordings of performing camgirls and self-portraits taken by the artist with digital devices such as smartphones and webcams. Full length: 3:46 min.



Jardim Solo Exhibition 2018


Mariana Destro held the exhibition “Jardim” (Garden), curated by Marília Panitz, at deCurators gallery (Brasilia, Brazil) in October 2018. The artist designed the gallery's window display for the occasion, presenting the installation Jardim. She created an untamed but artificial garden in response to the notion that Western sensibility imposes a false dichotomy between nature and culture. In it, by the hands of the artist, nature, thought as one of the colonization project's targets, grows inside sterile environments such as the white cube. The straw braid, an object she saw in a dream, is the focal point of the garden. A sign from Oya. Photography by Jean Peixoto.



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