Abstract
In an interview with Sheila Cabo Geraldo, visual artist Carlos Zílio recalls aspects of a trajectory that turned him into a reference in the field of art in Brazil since the second half of the 1960s. The conversation emphasizes, above all, the artist’s political engagement, his imprisonment and the possible ways of resistance in that period; it also reviews the interaction with his generational peers (Gerchman, Vergara, Dias) with Iberê Camargo and French art historian Hubert Damisch. Finally, it discusses his perception about painting itself and his notion of an encounter with a “ground zero” of painting in the 1970s, projecting its chances of permanence in contemporary times.
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