Sallisa Rosa (Goiânia, GO, 1986, who lives in Rio de Janeiro, RJ) began her career as a visual artist with the exhibition Dja guata porã: Rio de Janeiro Indígena (Indigenous Rio de Janeiro), on display at the Rio Museum of Art (MAR), in 2017, where she presented her installation Oca do Futuro (Hut of the Future). Her production is often through collaborative and participatory formats and stems from her experience as an indigenous person in urban spaces, and addresses themes such as identity and fiction, futurism, nature and decolonization of museum spaces. By bringing together ancestral and futurist references, Sallisa takes a stand against an overpowering present where a politics of erasure of indigenous communities has become the norm. She has a degree in journalism and a masters in audiovisual creation and production from the Federal University of Rio de Janeiro (UFRJ).
She has participated in exhibitions, including “Táticas de Desaparecimento” (Disappearing Tactics), Paço das Artes, São Paulo (2021); “Against, Again: Art Under Attack in Brazil,” at the Anya and Andrew Shiva Gallery, New York (2020); “Histórias feministas: artistas após 2000” (Feminist Histories: Artists After 2000) at the São Paulo Museum of Modern Art (MASP, 2019), “VAIVEM,” (To-and-fro) at the Bank of Brazil Cultural Center, Rio de Janeiro (CCBB, 2019), Barro Biennial, Caruaru (2019), “Estratégias do Feminino” (Feminine Strategies), Farol Santander, Porto Alegre (2019), and “Dja Guata Porã,” Rio de Janeiro Museum of Art (MAR, 2017).