The PIPA Foundation Residency: An interview with curator and scholar Hanayrá Negreiros
- Written byEuan McLaren
- Published date 23 August 2024
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From São Paulo to Chelsea College of Arts, fashion curator and scholar Hanayrá Negreiros has spent the last month in London as part of the PIPA Foundation’s first research residency.
A UK registered charity, the foundation is dedicated to advancing Brazilian contemporary art on the global stage. For the first time, the PIPA Foundation is running a residency giving early-career curators, up to age 35, the opportunity to further explore, network and advance their area of research during a month long stay at a chosen institution.
This year, Chelsea College of Arts and UAL’s Research Centre for Transnational Art, Identity and Nation (TrAIN), proudly supported the PIPA Foundation’s residency, with Hanayrá Negreiros spending a month at Chelsea College of Arts in July and August.
We caught up with Hanayrá about her research, her residency at Chelsea College of Arts and hopes for the future.
Can you tell us your name, where you’re from, and a bit about your background?
My name is Hanayrá Negreiros and I am a Brazilian fashion curator and scholar. I come from a Black Brazilian family with a deep-rooted passion for clothing and fashion that has been nurtured over several generations; my grandmother was a seamstress, and my grandfather was a tailor. My background encompasses experiences where fashion and visual arts intersect, with a particular focus on the history of dress within the African diaspora in Brazil.
I completed my undergraduate studies in Fashion Business, followed by a Master’s degree in science of religion at the Pontifícia Universidade Católica de São Paulo, where I focused on the relationship between Black memories and Candomblé, an Afro-Brazilian religion. Currently, I am pursuing a PhD in history, concentrating on the dress of Black women in 19th-century Brazil.
In addition to my academic pursuits, I have gained professional experience teaching in art institutions and curating exhibitions in museums, including the Museu de Arte de São Paulo Assis Chateaubriand (MASP).
Can you tell us more about your PhD research?
In my PhD research, I explore the histories of dress among Black women during the 19th century, particularly women of African descent in the Maranhão region of northeast Brazil. My work begins with the narratives of women who lived in this region and era, intertwining these accounts with analyses from visual culture studies, iconography, photography, painting, art history, and material culture. Additionally, I work with the histories of slavery, the representation of Black women in art history, colonial archives, and the study of fashion history through the lens of cultural history.
You have a special interest in curatorial practices, photography, religiosity, and family memories. Why are these specific areas of interest to you?
My interest in curatorial practices, photography, religiosity, and family memories is deeply rooted in my own family’s history, which, as I mentioned, has a longstanding connection to fashion. I consider myself fortunate to belong to a Black family that has preserved some records, such as documents and photographs. I say “fortunate” because in Brazil, the legacy of over 3 centuries of slavery has resulted in repeated attempts to erase the memories and histories of Black people and their families.
My work is part of a contemporary effort to rethink and even reimagine these memories. The study of photography and Brazilian archives, both personal and public, operates within this framework. Similarly, the exploration of Black Brazilian religiosity and the relationship between dress and ritual attire finds its place here. Curatorial practice, with a particular focus on fashion, ties all these threads together. It is through research and curatorial practice that I find my work, whether it be teaching courses on topics related to the Black diaspora, religiosity, and fashion, or curating exhibitions that intersect with these themes.
What made you apply for the PIPA Foundation residency?
I had been following the activities at Chelsea College of Arts at UAL for some time, with a particular interest in TrAIN. I first discovered TrAIN's work around 4 years ago while conducting research on African diaspora studies and their connections with fashion and art. It was then that I came across the work of Professor Carol Tulloch, who teaches Dress, Diaspora, and Transnationalism at Chelsea. Discovering her work opened up a wealth of possibilities for study and practice, and ever since, I have been keen to engage with UAL, particularly as a student, to broaden my experience both as a researcher and curator.
UAL has a globally recognised history of research in art and fashion. When I saw that the PIPA Foundation, a Brazilian institution I have long followed (with particular focus on the PIPA Prize, which is highly regarded in the contemporary visual arts scene) was launching this call for young curators, I immediately felt it was the perfect opportunity. It offered a chance to strengthen ties with Chelsea College of Arts and TrAIN while also bringing me closer to the PIPA community.
Can you tell us about the experience you had during your residency at Chelsea College of Arts?
My experience has been incredibly enriching. To begin with, living on the Chelsea College of Arts campus for a month was truly inspiring. Even during the holiday period, the university remained open, and the atmosphere was very welcoming. I had the opportunity to meet researchers and professors, exchanging experiences and references. I also had the chance to present my research and explore many other art institutions, which undoubtedly broadened my perspective on visual arts and fashion, as well as the potential connections we can forge between Brazil and the UK.
What have been some of your main observations and challenges during your residency?
I believe my main observations have been centred on understanding the contemporary visual arts and fashion scene in London. I noticed both similarities and differences between London and Brazil. For example, in London there is easy access to museums or fashion collections in museums and art galleries. The fashion you see on the streets and the diverse cultures that coexist in London also caught my attention. As for challenges, adapting to a culture that is quite different from Brazil's and navigating the language were significant. Even though I speak English and have worked in this language on other international projects, it's always challenging to live in a place where the language is different from your mother tongue.
How has being in London impacted your research?
Being in London has had a profound impact on my research. I had previously studied aspects of the city's art and fashion from afar but experiencing them in person has been invaluable. Observing the street fashion cultures, understanding how art institutions engage with fashion in their programmes and collections, and meeting people I had been following have all been crucial in expanding my network. This experience has definitely opened doors for potential future collaborations.
What’s next for you?
As part of my residency award, I will be joining the selection committee for the PIPA Prize 2025, an opportunity I’m very excited about. I’m also working on an article that will detail my experiences during my residency, allowing me to share more of my discoveries in London.
What would you say to someone thinking of applying for the PIPA Foundation residency?
I would say it’s an incredibly valuable opportunity. My experience was both enjoyable and enriching in terms of curatorial learning. I would also encourage different curatorial practices, as they are very much welcomed. It's important to have a preliminary plan of the people and places you wish to connect with. A brief map of your activities and research in the city is essential because London offers endless possibilities.