This article examines contemporary artists’ appropriation of the city of Brasília to critique Brazil’s continued reliance on the “unfinished” project of modernity. Exploring the construction of the scenography of Brasília and its resonance with the architecture and organization of space in the colonial plantations, the works of contemporary artists Lais Myrrha (Estudo de Caso [Case Study], Estudo para um Futuro Construído [Study for a Constructed Future]), and Talles Lopes (Construção Brasileira [Brazil Builds]) allows us to reconnect Brasília with the backdrop that gave rise to this ideal. These works invoke the reconciliation of the colonial matrix of power in Lucio Costa’s discourse about modernist architecture in Brazil, of which Brasília is the culmination. Myrrha’s and Lopes’ works show that the history and legacy of Brasília, not only as an idea but also as form, are embedded in the Brazilian imaginary and built environment in the contemporary moment.

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奥斯卡·尼迈耶 (Oscar Niemeyer) 专栏的许多生活：巴西利亚的遗产、殖民地和 Lais Myrrha 和 Talles Lopes 作品中的遗产

本文审视当代艺术家对巴西利亚市的挪用，以批评巴西对“未完成”的现代性项目的持续依赖。探索巴西利亚景观的构建及其与殖民地种植园建筑和空间组织的共鸣，当代艺术家 Lais Myrrha 的作品（Estudo de Caso [案例研究]，Estudo para um Futuro Construído [构建未来的研究） ]) 和 Talles Lopes（Construção Brasileira [巴西建筑]）使我们能够将巴西利亚与产生这一理想的背景重新联系起来。这些作品在卢西奥·科斯塔 (Lucio Costa) 关于巴西现代主义建筑的论述中援引了殖民地权力矩阵的和解，巴西利亚是其中的巅峰之作。Myrrha 和 Lopes 的作品展示了巴西利亚的历史和遗产，