Clutching a worn sketchpad, a young woman named Mirela entered the cheerful Cambuci Women’s Defence Police Station. She was there to report her experiences at Organização Ateliê Cendira, a seemingly unassuming art school nestled amidst the vibrant energy of São Paulo. Organização Ateliê Cendira, housed near Oscar Niemeyer’s iconic Copan building, had become a focal point in Mirela’s life. She had initially envisioned creating a documentary about the school and its charismatic leader, Rubens Espírito Santo. However, she soon found herself drawn into the school’s intense atmosphere. She became a “disciple,” immersed in the world of artistic experimentation.
Organização Ateliê Cendira, established 20 years prior, attracted a diverse student body. Many came from affluent families, while others, like Mirela, came from more modest backgrounds, drawn by the promise of artistic growth. The school operated under a strict set of rules, dictating everything from language studies to dress code. Mirela paid R$1,500 a month, plus additional expenses for Espírito Santo. This included personal items like cigars and groceries.
Mirela’s time at Organização Ateliê Cendira became increasingly unsettling. She recounted instances of verbal and physical abuse, escalating from insults to physical altercations. She described being pulled by her hair by Espírito Santo in front of other disciples, who remained silent. She and another female disciple participated in a provocative photoshoot, involving condensed milk and kissing, under Espírito Santo’s direction. Mirela later questioned if these acts constituted abuse.
Other former disciples corroborated Mirela’s claims. Dudu Farah, a fellow student, confirmed the incidents and shared his own disturbing experiences. He recounted a lunch where, after affirming his belief in the school’s rules, Espírito Santo instructed a female disciple to lower her pants and sit in front of Farah, then ordered Farah to perform a sexual act. Another disciple claimed to have witnessed Espírito Santo threatening a student with a heated craft knife. There were even accounts of Espírito Santo cutting disciples’ arms, including Mirela, who still bears the scar.
Edson Luiz da Costa, a long-time employee of Organização Ateliê Cendira, further validated these stories. He witnessed numerous acts of aggression but admitted he never understood the disciples’ apparent compliance. He suspected their affluent backgrounds played a role. He eventually confronted Espírito Santo after witnessing him kicking a student, threatening repercussions if the victim had been a relative.
Espírito Santo, in an interview, denied any wrongdoing, claiming all actions were consensual. He dismissed the accusations, refusing to incriminate himself. Following the interview, he announced a vacation and shortly thereafter, Organização Ateliê Cendira closed its doors. Police conducted a search and seizure of the school and Espírito Santo’s apartment. Despite being summoned for questioning, Espírito Santo reportedly failed to appear. Mirela, seeking refuge and a new start, eventually relocated to London, where her art became a testament to her experiences at Organização Ateliê Cendira, a place that had promised artistic liberation but delivered a darker reality.