A talk with Joardo Filho and Divino Sobral June 27, 2026.
Launch of “Cristo Rendentor, Goiás,” a photo book by artist Joardo Filho, with a critical essay by Divino Sobral.
Published by Editora Reticências, run by Ceará-based publishers Ana Cecília Soares and Júnior Pimenta, the photobook “Cristo Redentor, Goiás” is the result of nearly 10 years of intensive research by Joardo Filho, in which the artist documents a recurring type of monument in the interior of Goiás: statues inspired by Christ the Redeemer, Rio de Janeiro’s postcard image and a national icon in Brazil. In the publication, Joardo presents an inventory of these statues distributed across forty-three cities in Goiás, raising questions about the imaginaries that vie for public space in the state’s interior.
Photo book "Cristo Redentor Goiás" (Christ the Redeemer, Goiás) (2026), by Joardo Filho. Photos: Rafael Ferraz.
Despite the focus on monuments, the images presented in the photo book allow viewers to observe the context in which these statues were placed, showcasing scenes featuring urban landscapes, public spaces, squares, and highways. By exploring the similarities among different cities in the interior, the book offers a perspective on a specific type of built landscape in the interior of Goiás. As a work of art with broad public appeal, the recurring presence of Christ the Redeemer in these cities demonstrates religion’s role in the public sphere and its intertwining with concepts of tourism, heritage, civic engagement, and national identity.
In his essay, Divino Sobral notes that “the statues installed in these towns do not possess the same degree of formal refinement as Christ the Redeemer, located on Corcovado. These are works produced by artists outside the institutional art circuit, who work on commission. (...) On the other hand, one can observe the stylistic diversity of the bases and pedestals used to support and elevate the statues, as well as the incorporation of architectural elements such as plazas, ramps, and staircases, and the use of landscaping features—after all, Christ the Redeemer is intended to be a tourist attraction.”
Joardo Filho holds a bachelor’s degree in Social Communication from the Federal University of Goiás (2012) and has participated in group exhibitions at various venues, such as “Dialetos II” (2018) at the São Paulo Cultural Center and the Goiás National Contemporary Art Salon (2022) at Museum of Contemporary Art of Goiás (MAC GO). He received an award at the 25th Anapolino Art Salon (2020) and held the solo exhibitions “Espacos Invisíveis" (Invisible Spaces) (2017) at the Anápolis Museum of Visual Arts and “Monumentos Esvaziados" (Empty Monuments) (2019) at the FAV Gallery (UFG).
Divino Sobral is a self-taught visual artist, researcher, and independent curator. He has been active in the art scene since 1990. He received curatorial awards from the Salão Anapolino de Arte (2017) and the Marcantonio Vilaça CNI SESI SENAI Award (2015); the Art Criticism Award from Situações Brasília - Federal District Visual Arts Award (2014); as an artist, he received the Marcantonio Vilaça Award, MinC Funarte (2009), and the Bonito/MS Winter Festival Award (2005). Between 2011 and 2013, he served as Director of the Goiás Museum of Contemporary Art. As an essayist, he is a contributor to the Collection Ensaios Brasileiros Contemporâneos - Artes Visuais (Contemporary Brazilian Essays—Visual Arts), published by Funarte in 2017.
This project was funded under Regulation 01/2024—the Aldir Blanc National Policy for the Promotion of Culture (PNAB)—by the Federal Government via the City of Anápolis.
Photos: Rafael Ferraz.