The Donnaregina Foundation for Contemporary Arts - Madre Museum presents Go, go, Saudade, a collective exhibition that proposes a poetic itinerary articulated in a series of stories linked to art produced in Brazil from the post-World War II period. These are "travel notes" that merge into a free exhibition path interconnected by formal and conceptual, spiritual and earthly, political and geographical themes underlying a narrative that follows a logic similar to that of a novel divided into chapters. Touching on urgent issues of continental, modern, and contemporary Brazil, the exhibition takes its title from a samba composed by Heitor dos Prazeres (Rio de Janeiro, 1898 - 1966), a Carioca artist who was among the first to suffer censorship from the military dictatorship in 1964.

Organized by unexpected associations and dialogues between artists, Go, go, Saudade begins with a first chapter represented by the comparison between the work Livro da Arquitetura (1959-60) by Lygia Pape (Nova Friburgo, 1927 - Rio de Janeiro, 2004), which describes the history of man as a builder of civilizations through an inventory of architectural archetypes, and a sacred path by the artist from the Acre region, Hélio Melo (Vila Antimari, 1926 - Goiânia, 2001), who narrates the destruction of his natural habitat by that same "civilized" man through metaphors and poetic allegories. The exhibition concludes with the series Era uma vez a Amazônia by Jaider Esbell (Normandia, Rorania, 1979 - San Paolo, 2021), where the artist tells of the impoverishment of the living conditions of the indigenous populations of the Amazon and the uncertain future of this land lived for generations in respect of its ecosystem.

From the end of slavery, abolished only in 1888, to mass immigrations from countries like Italy, Lebanon, Japan, and Germany, up to the more recent Bolsonarism, Brazil has lived between positivism and democracy, dictatorship and censorship, frustration and hope without ever abandoning the resilient spirit typical of countries that have experienced a colonial history. A country that has exported the struggle for the rights of indigenous and Afro-Brazilian populations worldwide, becoming a bastion of humanistic and democratic values. The intention of this exhibition is therefore to present Brazil as a fertile land of ideas and artistic revolutions, a country that has been able to build an identity based on the valorization of multiculturalism and the fusion of multiple languages, challenging Eurocentric views for a history of art in a single direction: Brazil has been among the major players of avant-gardes on the world stage since the beginning of the last century, and there is no avant-garde without the observation of ancestral or simplistically considered popular cultures.