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"The truly revolutionary artist cannot be categorized by any ideology.”

So writes the artist in white chalk on a blackboard,in one of his experimental films. Júlio Plaza’s (1938-2003) positioning can be seen as a pioneering artistic practice with a clear intent to provoke. Plaza’s definition perfectly reflects his work, one of the most controversial inBrazil’s post-1950s landscape. As affirmed by curator Inês Raphaelian, the artist links the past-icon, present-index and future-symbol plot to elaborate forms and strategies of operating the past to project the present over the future. “O …