Paper short abstract:

This paper will explore how contemporary indigenous art can transform the mainstream Brazilian art scene, especially curatorial practice. I will seek to develop the idea of the curator as a txai (the Huni Kuin word meaning "brother-in-law") and the txai as a curator.

Paper long abstract:

The term txai was popularized in Brazil with a 1990 album of the same name by the musician Milton Nascimento, although used by indigenous peoples for many decades. Txai is what members of the Huni Kuin’s Artists Movement (MAHKU), a group with whom I have been working since 2016, call foreigners who are relatively close. The most accurate translation for txai is “brother-in-law”. In contrast, the Huni Kuin also use the term nawa to designate non-indigenous people, a word that translates to “Whites” or “enemies”. Txai and nawa designate in different ways those non-indigenous peoples who crossed over the back of the mythical alligator Kapetawã, separating them from the indigenous peoples. From the categories of txai and nawa, that place me in the relationship with MAHKU members, and from this group’s artistic practice, I will seek to develop the idea of curator-txai: a long-term curatorial practice, sustained by the difference, that has in the alliance its main axis.