Jaider Esbell
Opening April 1, 2025
Seoul
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Gladstone presents the first solo exhibition in South Korea of indigenous artist, activist, and curator
Jaider Esbell (b. 1979, Normandia—d. 2021, São Sebastião, Brazil). Comprising paintings on canvas
and works on paper, spanning the artist’s later years, the show highlights his distinctive visual
language of vibrant contrasting patterns across saturated black backgrounds. Esbell’s deep
connection with nature, rooted in ecological activism and Macuxi cosmology, permeates every
aspect of his work—from the use of plant-based dyes to the depiction of myths and environmental
elements such as birds, trees, and cacti. Underscored by his belief in the interconnectedness of all
living and natural forms, and the presence of mythological beings and spirits within our complex
ecosystem, Esbell’s artistic legacy mobilizes narratives of resistances and champions indigenous
epistemologies.
Esbell challenged the boundaries between art and activism in a practice he named “artivism.” As a
key figure in Arte Indígena Contemporânea (Contemporary Indigenous Art), he used his platform to
advocate for the recognition of indigenous rights and territories and to create spaces that highlight
myriad decolonial perspectives that transcend Western art historical traditions. Driven by his
activist efforts, this social movement uplifted artistic production by Afro-Brazilian communities,
Indigenous peoples, and other historically marginalized populations. As Esbell’s prominence in the
art world grew, he became a critical voice and contributed to the larger community through the
establishment of a gallery that served as an artistic and intellectual laboratory, prioritizing
institutional collaborations, and curating exhibitions that center indigenous art.
Esbell’s artistic practice weaves together activism and ecology to affirm Indigenous relationships
with the land and urge environmental consciousness. This exhibition brings together paintings and
works on paper that forefront narratives highlighting the relationship between living and non-living
entities in the natural world through the lens of Macuxi cosmology. Esbell asserts indigenous
worldviews and aesthetics through depictions of mythological beings and spirits including
Makunaimî, the Macuxi creator of all nature. Works such as Os cactos e jardins de Makunaimí 2
(2021) render vibrant gardens created by Makunaimî, while A festa da chegada das chuvas (2020)
celebrates the arrival of rain, capturing the dynamic interplay of nature’s rhythmic cycles. Recurring
motifs such as serpents, birds, and cosmic elements function as both cultural signifiers and political
metaphors, reflecting concerns towards the exploitative process of extractivism in the Amazon
region. Forged through the intersectional dialogue between art, ancestry, and ecology, Esbell’s
“artivism” stands as an enduring testament to the importance of creating pathways for indigenous
expression within contemporary art frameworks.