The Tupi people roasted their prisoners on a grill called a “moquém” before eating them in anthropophagic rituals. Frederico Filippi’s Moquém - Carnes de caça (2023–24) presents the fragments of two tractors incinerated during a Federal Police raid in Itaituba, Pará, on just such an iron grid. The installation riffs on interrelated struggles—people versus machines and among themselves, and machines against each other—to produce an absurdist allegory on the suicidal nature of certain forms of “progress.” Nearby, Zimar’s jesting zoomorphic masks, Careta de Cazumba (2024), traditionally worn in parades and here made from found materials, such as motorcycle helmets, PVC, rubber, wigs, or animal bones, appear to be mocking Fillipi’s charred materials. Zahỳ Tentehar’s short science-fiction video Máquina Ancestral: Ureipy (2023), on the opposite wall, shows the artist wandering through a ruined factory in the jungle. This triad of works proposes a critical reading of excessive industrial ambition, and of the relationship between ancestral Indigeneous traditions and capitalism. They represent the boiling point of this heated 38th edition of Panorama, the biennial temperature-check of Brazilian contemporary art. Panorama is inextricably linked to the Museu de Arte Moderna (MAM), and has nurtured the institution’s collection since its inception in 1969. This …