Neyde & Alejandra, Museu de Arte Moderna da Bahia,
alejandra muñoz
Uruguayan-born and based in Brazil, Muñoz is an architect, curator, and art critic. She holds a Master’s degree in Urban Design and a PhD in Urban Planning from the Faculty of Architecture at the Federal University of Bahia (FAU/UFBA), as well as a postdoctoral degree in Systemic Relations in Art from the Institute of Arts at the University of Brasília (IA/UnB). She is currently a tenured professor of Art History at the School of Fine Arts of the Federal University of Bahia (EBA/UFBA).
As a curator and art critic, Muñoz has served on numerous juries and selection committees while developing a wide-ranging and critically engaged curatorial practice across diverse artistic contexts in Brazil, where she is established as a significant interlocutor in contemporary art discourse. Her expertise is frequently called upon in shaping exhibitions, programmes, and institutional directions, and has contributed to major curatorial teams including the Visual Arts Program at Instituto Itaú Cultural (2011–2013; 2017–2018, São Paulo), the 3rd Bahia Biennial (2014, Salvador), Lianzhou Foto Festival (2018, China), the 21st SESC_Videobrasil Biennial (2019, São Paulo), and the 4th PhotoLux Festival (2019, Lucca, Italy).
Her work engages large-scale exhibitions and international platforms, informed by a critical attention to context, representation, and the conditions of artistic production. More recently, her research has focused on the visibility of women artists within institutional contexts, examining their historical presence at the School of Fine Arts at UFBA and in key museum collections in Salvador da Bahia. Her work has identified early pioneering exhibitions by women and investigates why, despite their presence since the 19th century, their contributions remain insufficiently documented and institutionalised.
neyde lantyer
Brazilian visual artist based in the Netherlands, she holds a Master’s degree in Visual Arts/Intermedia from the Faculty of Fine Arts of the University of Porto, Portugal. Her practice is shaped by an in-between condition informed by her migration from Brazil to Europe. Working across video, installation, and mixed media, she critically engages with questions of displacement, memory, socio-politics, and feminism.
Among her projects, Stories We Keep is a decade-long research-based investigation into memory, gender, and photography, interrogating the systematic erasure of women from the official histories of her native region, the Brazilian sertão. Since 2020, she has also been developing The Mountain as a Metaphor, which examines the structural invisibility of migrant women artists within the Eurocentric art context.
Lantyer approaches curating as a form of political engagement and as a methodological framework through which ideas, research, and artistic practices can be activated and critically examined. Her work is guided by an awareness of the exclusions that persist in society as well as within the art field, particularly the uneven distribution of visibility, representation, and institutional legitimacy among artistic voices.
Since 2018, she has developed curatorial projects that foreground the work of women artists, fostering encounters between practices, genealogies, and bodies of work in order to open space for marginalised practices, non-hegemonic voices, and alternative forms of knowledge. Feminist praxis has been integral to her art work since the early stages of her artistic career, gradually consolidating into a central epistemological framework within her curatorial approach.