The CCBB Rio open, in 15 de Mayo, at 18h, the exhibition "Yes! We Have Bikini "

Exhibition assembles 120 works to celebrate the 70 years of costume that turned the woman's behavior, promoting dialogue between fashion and art, In addition to addressing current issues such as female empowerment and standards of beauty imposed by society.

The revolution caused by some of the most iconic pieces of women's clothing is the theme of the exhibition Yes! We Have Bikini, the Centro Cultural Banco do Brazil Rio de Janeiro (CCBBs Rio) open day 15 de Mayo. The show celebrates the 70 years of the suit that transformed the women's behavior and accompanied paradigm shifts, achievements, releases and donations – all with a look at Brazilian. "The Bikini revolutionized the world, but Brazil has revolutionized the Bikini ", says curator Lilian Pacce.

The show gathers 120 works, between iconic and historical looks of swimwear, photographs, paintings, sculptures, videos, illustrations, facilities, historical artifacts and extensive iconographic material. Performances, debates and a cycle of cinema are also part of the exhibition schedule, who will occupy the second floor of the Cultural Centre until 10 July. The exhibition is sponsored by Banco do Brazil.

"Fashion, In addition to your original purpose which is put on the body, has always been related to social issues, cultural, political and economic. This exhibition brings a diversity, We always seek for the programming of the CCBB and presents a dialogue between the world's largest brazilian representation in fashion with contemporary works of art that challenge the visitor to interpret these associations ", comments the General Manager of the CCBB Rio, Fabio Cunha.

The route begins with an explanation of the creation of the French engineer Louis Reard, who dared to decrease the high waist panties and reveal the woman's navel-symbol of the bond and the rupture between two lives, erogenous zone, Center of the human body and the world, as we see in the work A Bigo., Lia Chaia. Reard wanted your idea was as explosive as the first nuclear tests at Bikini Atoll – hence the name of the play. Illustrating fashion, fad and ruptures, a timeline shows the evolution of the swimsuit, with original pieces from the 19 until today, looks that epitomize the image of each decade, as well as women who have made the fame of bikinis throughout history.

In the next room, the visitor discovers that historically, Despite being a French creation, the credit for the invention of the Bikini could fit Brazilian Indians and your way of covering the body. Marajoara culture from the pre-Columbian period thongs, provided by the Museum of archaeology and Ethnology-USP, show that the costumes were already used by here long before the discovery, but they were not perceived as "clothing" under the prism of morals of Portuguese colonists. The room is complete with works by artists who were born in other countries, but who have chosen to live in Brazil, as Claudia Andujar, John Graz and Maureen Bisilliat, representing the enchantment of foreigners with our culture, and also bikinis inspired by indigenous culture.

Fundamental themes in the present day, the female empowerment and issues related to standards of beauty imposed by society are part of the debate proposed by the exhibition. The reflection on the body and the beach happens in the next room through the dialogue of works by Marcela Tiboni, Claudio Edinger and Elen Braga with creations of designer Amir Slama, Isabela Frugiuele (Triya) and Adriana Degreas, beyond Tiago Carneiro da Cunha sculpture. Already the relationship between fashion and art is handled by the mutual inspiration and unusual partnerships – Beatriz Milhazes, Glauco Rodrigues and Jorge Fonseca for Blue Man, J. Carlos to Salinas, Goncalo Ivo and J. Borges to Amir Slama, Maria Martins for Adriana Degreas. In the center of the room, in featured, Stripencores, Nelson Leirner's work of 1967 he wins a fifth element created especially for the show.

The beach as geographical territory, even in virtual and social scenes of everyday life in the images captured through the lens of Alair Gomes, Cartiê Bressão, Fernando Schlaepfer, Francium in Netherlands, German Lorca, Julio Bittencourt, Otto Stupakoff, Pierre Verger, Rochelle Costi, Thomaz Farkas and Willy Biondani, Besides Janaína Tschape video and sculpture of Eder Santos. As a counterpoint, the work prepared by names that helped create the identity of brazilian swimwear (and design worldwide) appears in iconic images: Dalma Callado on photo that leveraged your international career in the years 1970, made by Luiz Tripolli, and Gisele Bündchen clicked by Jacques Dequeker in the early 2000, already famous – and still Antonio Guerreiro, Bob Wolfenson, Claudia Guimaraes, Daniel Klajmic, Klaus Mitteldorf, Marcelo Krasilic, Miro and Vava Ribeiro.

But long before the fashion editorials, was the Illustrator and costume designer Alceu Penna who "dictated" trends in extinct magazine "O Cruzeiro" with "the girls of Alcaeus", true It girls of the time. The beach is seen also by the trace of the illustrations of Carla Caffé, Filipe Jardim and Paul von Poser. The room brings a videoinstallation with great moments of swimwear on fashion weeks in Brazil, and a series of mannequins with bikinis and swimsuits of exceptional character, is the construction, modeling, material or the creativity itself – proof that the Bikini is the most brazilian of all.

In the last room, the visitor is invited to share experiences of the beach, on the work of Cássio Vasconcellos, Katia Maciel and Leda Catunda-and the question is: What is your beach? "The strength of a piece as small as the Brazilian bikini, basically four triangles of fabric, is directly linked to the women's emporaderamento over the last century and goes far beyond the beach itself. The exhibition aims to show these interfaces, your impact on women's achievements and the lifestyle created around it ", says curator Lilian Pacce, author of the book The Bikini Made in Brazil.

The set design is signed by Pier Balestrieri, with visual communication of Kiko Farkas, contemporary art consulting Sandra Tucci, General coordination and executive production With Tact Sociocriativa Agency.