Robert Filliou 29 (Virgulino)

This painting is grounded in two key Brazilian cultural movements: the «Anthropophagic Movement» (1920s), which proposed metaphorically devouring foreign cultural influences to generate an autonomous Brazilian modernity; and «Tropicalismo» (1967–1968), which merged popular traditions with global forms in opposition to authoritarianism and cultural orthodoxy.

Within this conceptual lineage, the painting juxtaposes two contrasting figures: Robert Filliou, French Fluxus artist, and Lampião, the legendary Brazilian outlaw. Rather than resolve their differences, the work maintains a productive tension—between avant-garde and folklore, conceptual art and oral tradition, the poetic provocateur and the political rebel.

Their connection lies in the hat: Filliou’s «Galerie Légitime» (1962–1963), a folded paper hat functioning as a mobile gallery; and Lampião’s «chapéu de couro,» a leather hat adorned with regional symbols of resistance and authority. Both hats transcend function to become ideological artifacts.

Set in a metaphysical space inspired by Giorgio de Chirico’s palette, the painting also reflects my own experience between South America and Europe—where divergent cultural codes coexist through symbolic form.

This work is part of «Davis Museum Barcelona,» a miniature museum conceived as a ready-made in 2009. Inspired by Duchamp, Filliou, and Broodthaers, the museum operates as a digital curatorial platform. Its «Paintings Section»—the only one offering works for sale—features portraits and still lifes that engage with their foundational projects. In this context, painting becomes a visual essay connecting history, art, and critical thought.