Helena Cebrian, an up-and-coming Brazilian multidisciplinary artist based in London, recently made waves with her exhibition Qualquer Um Pode Ser Presidente / Cualquier Uno Puede Ser Presidente (“Anyone can be President”). The project, a joint exhibition with Helena’s long-standing creative partner and Venezuelan artist Victoria Ruiz, was a powerful exploration of political symbolism focusing on the presidential sash.
Born and raised in Rio de Janeiro, Helena is becoming known for blending sculpture, photography and installation producing work deeply rooted in her Latin American heritage. Since moving to London in 2018, much of Helena’s work centres on the concept of “saudade”, a word which only exists in Portuguese describing a melancholic feeling of deep longing for someone or something that is not present, and building worlds that evoke cultural nostalgia while addressing contemporary issues blending activism, environmentalism and art.
Her most recent exhibition Qualquer Um Pode Ser Presidente / Cualquier Uno Puede Ser Presidente (2024) in June earlier this year at Tropigalpão in Rio de Janeiro, engages with issues of power and governance through a critical lens and has cementeed the duo as rising stars in contemporary art. Part-installation, part photography, the exhibition presented a series of presidential photographs of ordinary citizens wearing the sash on an almost translucent fabric reminiscent of national flags all leading towards the central installation – a wearable sculpture crafted from hundreds of presidential sashes representing various Latin American countries. The project challenges the traditional associations of emblems of power – particularly the presidential sash – by allowing ordinary citizens to wear the sash, questioning who holds the right to authority and governance.
As these fabric ‘flags’ are lined up, they transform the room into an immersive visual experience. Upon entering, the effect is arresting: the images side by side, unified by the subtle transparency of the fabric, while a red carpet draws attention to the central installation. This deconstruction of a historically powerful symbol – the presidential sash – evokes a sensation of collective empowerment, highlighting that political leadership could and should represent the broader populace rather than a select few.
The installation titled The Body of Politics brings together the whole of Latin America and illustrates how political identities can be claimed, concealed, or even repressed depending on societal structures and historical contexts. The decision to arrange the space with this sculptural installation at the end of a red carpet, resembling a presidential room, emphasizes the ritualistic and theatrical aspects of political power. The viewer is guided through a processional experience, gradually building a sense of authority and formality as they approach the podium. The tactile and interactive nature of the installation reinforces this symbolic engagement with leadership and governance. The choice of venue – a spacious warehouse with panoramic windows showcasing the Rio skyline – adds another layer of significance. To powerful effect, the piece invites the viewer in to the central, constructed seat of power flanked by imagery of ordinary people and flooded by light while overlooking the city below. The venue connects the local to the global, reminding visitors of the real-world implications of the symbolic themes being explored.
Ruiz and Cebrian infuse the exhibition with a carnivalesque spirit, temporarily inverting societal norms and allowing viewers to envision alternative possibilities for political representation. The exhibition is deeply rooted in Latin American solidarity, not just through its bilingual title, but also in its broader critique of how political symbols are wielded throughout the continent. The exhibition’s critique of leadership and authority is both timely and timeless, engaging with questions of power, representation, and the role of the people within the political landscape – and not only for post-Bolsonaro Brazil.
I caught up with Helena after the exhibition to discuss her work and what comes next.
What would you say your art is about?
My art is very personal. I like to focus on themes that resonate universally even as they stem from my own experiences. Saudade, for example, a very important project for my artistic path, delves into this unique Portuguese term that embodies a mix of longing and nostalgia. Through it, I wanted to convey my own sense of saudade while inviting others to connect with it in their own way, allowing the piece to evoke varied but intimate interpretations.
Recently I collaborated with my work partner Victoria Ruiz on Para Tú Altar: Las Fuerzas Divinas de La Naturaleza, where I worked on the set design. Our shared reflections on spirituality and its ties to nature added a layer of personal meaning for us, as we drew on our experiences with the divine and the natural world, shaping an intimate yet universal narrative.
At its core, my art is about memories and hope. My work often begins with personal memories, evolving into explorations of the hopeful and transformative qualities those memories bring. For me, this connection between memory and hope forms the most profound connection.
For a project like this, how did you choose the mediums you engage with?
Anyone Can Be President creates a visual and immersive dialogue about the fluidity of political symbols and the ways they can be reclaimed by those traditionally outside of power. The project exemplifies how clothing and performance can serve as tools for both personal expression and collective political action. I focus on using installations and sculptures to convey stories that are deeply tied to my Brazilian roots and experiences as an expatriate, while remaining globally relevant.
What comes next for the “Anyone Can Be President” project, I understand it is being serialised?
This initial edition sets a strong precedent for the project’s continuation across Latin America, providing a unified critique of leadership, authority, and the people’s role in shaping it. We really want to go to Venezuela next, Victoria’s home country. With everything that is going on politically, we feel it would be very important to continue this series there.
What inspires you?
My country and Latin America as a whole. Growing up in Brazil, many of us didn’t see ourselves as part of Latin America; it’s a perspective that has been slowly evolving, partly because of the language barrier—Portuguese being distinct in a predominantly Spanish-speaking region. That is why having a bilingual title for this project was so symbolical. Living in London and connecting with Latin Americans from all over, especially thought my relationship and collaborations with Victoria, has been transformative. It’s opened up new paths for my creativity and perspective, making me realise the strength and richness the come from unity and shared experiences across borders. This collaboration, collective strength and unity — knowing that together we are more powerful — is what truly inspires me.
What one thing could be done to better support young artists?
I believe one of the most impactful ways would be by creating collaborative spaces that bridge cultural and geographical divides. From personal experience, creating opportunities for young artists to engage in international residences, multicultural workshops and cross-border projects could enrich their work and perspectives. Spaces that bring diverse artists together, where they can exchange ideas, learn from each other and share resources. These environments would not only support individual growth but also encourage them to see themselves as part of a larger community, which I feel is essential for building impactful careers in the arts. I also feel that young artists should receive stronger support on the business side of their careers. We are so focused on finding our own voice that we overlook the practical aspect of making a sustainable living from our art. I lacked a lot of this side in my education and I am a firm believer that it is of extreme importance. Equipping artists with business skills — like marketing, financial management and contract negotiation — would empower them to build successful, lasting careers without compromising their creative integrity.
