1985, lives and works at Rio de Janeiro

Clarissa Diniz (Recife, 1985) is a curator, writer and art teacher. Graduated in visual arts at UFPE, master in art history at UERJ and doctoral student in anthropology at UFRJ, she is currently a professor at the School of Visual Arts of Parque Lage. Between 2006 and 2015, she was editor of Tatuí magazine. She published numerous catalogues and books, such as Crachá – aspectos da legitimação artística (Recife: Massangana, 2008) and Gilberto Freyre (Rio de Janeiro: Coleção Pensamento Crítico, Funarte, 2010, co-authored with Gleyce Heitor). She has texts published in magazines, books and collections on art and criticism of Brazilian art, such as Criação e Crítica – Seminários Internacionais Museu da Vale (2009); Artes Visuais – coleção ensaios brasileiros contemporâneos (Funarte, 2017); Arte, censura, liberdade (Cobogó, 2018), among others.

She has curated among others, Contrapensamento selvage (co-curated with Cayo Honorato, Orlando Maneschy and Paulo Herkenhoff. Instituto Itaú Cultural, SP); O abrigo e o terreno (co-curated with Paulo Herkenhoff. Museum of Art of Rio – MAR, 2013); Ambiguações (Banco do Brasil Cultural Center, Rio de Janeiro, 2013); Todo mundo é, exceto quem não é – 13ª Bienal Naifs do Brasil (SESC Piracicaba, 2016 and Sesc Belezinho, 2017); Dja Guata Porã – Rio de Janeiro Indígena (co-curated with Sandra Benites, Pablo Lafuente and José Ribamar Bessa. MAR, 2017); Rio do samba: resistência e reinvenção (co-curatorship with Evandro Salles, Marcelo Campos and Nei Lopes. MAR, 2018) and À Nordeste (co-curated with Bitu Cassundé and Marcelo Campos. Sesc 24 de Maio, São Paulo, 2019).

Guest curator of Pivô Research 2020 Cycle II