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© 2025 by Osmar Santos

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At the end of 2025, I completed an artist residency at the Museu Bispo do Rosário de Arte Contemporânea in Rio de Janeiro, where I developed the series Palimpsesto. The body of work consists of three site-specific installations, a banner, photography, and video performance, with the installation presented here serving as the project’s starting point.

The core premise of Palimpsesto was to create interventions that referenced the past of the Colônia Juliano Moreira neighborhood, aiming to rewrite the past over the layers of the present. The work materialized in the construction of a bus stop for a line that no longer circulates in the area. The structure, featuring a minimalist aesthetic, is based on a primary system of two “X” shapes, designed to optimize resource usage.

All materials were salvaged from disposal sites and scrap yards. Due to the unpredictability of material availability and quantity, I developed a design that required fewer resources than conventional public equipment. The execution process spanned three months and was carried out entirely independently, covering everything from theoretical and logistical conception to the cutting of parts, assembly, and final on-site installation.​

Exhibitions

At the end of 2025, I completed an artist residency at the Museu Bispo do Rosário de Arte Contemporânea in Rio de Janeiro, where I developed the series Palimpsesto. The body of work consists of three site-specific installations, a banner, photography, and video performance, with the installation presented here serving as the project’s starting point.

The core premise of Palimpsesto was to create interventions that referenced the past of the Colônia Juliano Moreira neighborhood, aiming to rewrite the past over the layers of the present. The work materialized in the construction of a bus stop for a line that no longer circulates in the area. The structure, featuring a minimalist aesthetic, is based on a primary system of two “X” shapes, designed to optimize resource usage.

All materials were salvaged from disposal sites and scrap yards. Due to the unpredictability of material availability and quantity, I developed a design that required fewer resources than conventional public equipment. The execution process spanned three months and was carried out entirely independently, covering everything from theoretical and logistical conception to the cutting of parts, assembly, and final on-site installation.​

Video

At the end of 2025, I completed an artist residency at the Museu Bispo do Rosário de Arte Contemporânea in Rio de Janeiro, where I developed the series Palimpsesto. The body of work consists of three site-specific installations, a banner, photography, and video performance, with the installation presented here serving as the project’s starting point.

The core premise of Palimpsesto was to create interventions that referenced the past of the Colônia Juliano Moreira neighborhood, aiming to rewrite the past over the layers of the present. The work materialized in the construction of a bus stop for a line that no longer circulates in the area. The structure, featuring a minimalist aesthetic, is based on a primary system of two “X” shapes, designed to optimize resource usage.

All materials were salvaged from disposal sites and scrap yards. Due to the unpredictability of material availability and quantity, I developed a design that required fewer resources than conventional public equipment. The execution process spanned three months and was carried out entirely independently, covering everything from theoretical and logistical conception to the cutting of parts, assembly, and final on-site installation.​

Painting

Palimpsest no. 2 – Announcements​ This work references elements of the physical landscape that no longer exist. Street names that have been silenced and overshadowed by other, meaningless names. Three streets are mentioned: Rua dos Lordes, Rua do Bloco Médico, and Rua da Creche. The trio points to three places of former social significance in

Architecture

At the end of 2025, I completed an artist residency at the Museu Bispo do Rosário de Arte Contemporânea in Rio de Janeiro, where I developed the series Palimpsesto. The body of work consists of three site-specific installations, a banner, photography, and video performance, with the installation presented here serving as the project’s starting point.

The core premise of Palimpsesto was to create interventions that referenced the past of the Colônia Juliano Moreira neighborhood, aiming to rewrite the past over the layers of the present. The work materialized in the construction of a bus stop for a line that no longer circulates in the area. The structure, featuring a minimalist aesthetic, is based on a primary system of two “X” shapes, designed to optimize resource usage.

All materials were salvaged from disposal sites and scrap yards. Due to the unpredictability of material availability and quantity, I developed a design that required fewer resources than conventional public equipment. The execution process spanned three months and was carried out entirely independently, covering everything from theoretical and logistical conception to the cutting of parts, assembly, and final on-site installation.​

Architecture

At the end of 2025, I completed an artist residency at the Museu Bispo do Rosário de Arte Contemporânea in Rio de Janeiro, where I developed the series Palimpsesto. The body of work consists of three site-specific installations, a banner, photography, and video performance, with the installation presented here serving as the project’s starting point.

The core premise of Palimpsesto was to create interventions that referenced the past of the Colônia Juliano Moreira neighborhood, aiming to rewrite the past over the layers of the present. The work materialized in the construction of a bus stop for a line that no longer circulates in the area. The structure, featuring a minimalist aesthetic, is based on a primary system of two “X” shapes, designed to optimize resource usage.

All materials were salvaged from disposal sites and scrap yards. Due to the unpredictability of material availability and quantity, I developed a design that required fewer resources than conventional public equipment. The execution process spanned three months and was carried out entirely independently, covering everything from theoretical and logistical conception to the cutting of parts, assembly, and final on-site installation.​

Architecture

When we speak of architecture, we commonly refer to a field of knowledge that studies spaces and their visual characteristics, regardless of the nature of the space. There is still no established definition for it, just as there isn’t for art, but it is understood that architecture is grounded in a collective understanding. For what is taught and produced in architecture is not grounded in all social and urban spheres. That is, the architecture produced by architects does not incorporate insights from all social spheres.
Generally, architecture is a reproduction of concepts and ideas that stem from a perspective rooted in the lifestyles of the most privileged. And a worldview rooted in privilege as well, contributing to a field that remains highly elitist and is heavily grounded in knowledge restricted to certain social spheres. It is not very common to see people who have an open perspective on all spheres—a perspective that is, so to speak, neutral. Generally, the architect’s perspective is so influenced by academia that they end up reproducing everything they were taught there. So the constructive architectural teachings that academia doesn’t cover, they don’t reproduce. Academia, in this case, just like the schools currently in operation, doesn’t talk much about Brazil as it should, because the educational foundation in Brazil is still very focused on European history, so it isn’t very focused on Brazilianness, on Brazil.

That is why it is grounded in a social and historical understanding of the elites.

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