Page 85 - artebrasileiros-64

and Nature, in defense of Democracy, through the attraction of thousands of criticizes Western modernist thought
Stories, Memory, Reparation, on visitors to the Pavilion, but above all through and the linear concept of progress –
Collecting, brought very rich and the enormous capillarity of this process, derived from the thought of Leda Maria
anticipatory debates, in the voices of capable of transforming the central issues Martins –, punctuates the entire exhibition.
international artists such as Alfredo Jaar discussed in the exhibition into central Understanding history as an open field of
or Voluspa Jarpa, Paulo Tavares, from elements of the debate, production and possibilities is a common strategy of guests
Forensic Architecture, winner of this dissemination of thought about art. Under at the 35th Biennale and their concept of
year’s Venice Architecture Biennale, or the topic choreographies of the impossible, spiral time. There are many works that
Denilson Baniwa. Curators such as João the exhibition brings together a record illustrate this relationship, such as A voice
Fernandes, from Reina Sofía, or Jochen number of non-white artists, whose poetics for Erauso. Epilogue to a trans time, by
Voltz, many years before becoming challenge a Eurocentric and linear notion Helena Cabello and Ana Carceller. Or the
directors of the ims and the Pinacoteca of history, rescue traditions, and shed powerful installation by Ayrson Heráclito
de sp, respectively, or the curators of the light on invisible issues and communities. and Tiganá Santana, which takes the visitor
Berlin Biennale, Lisette Lagnado and Community strategies, the combination on an immersive and sensorial journey
Agustín Perez Rúbio, Moacir dos Anjos, of different languages and techniques through the forest. The earth, amphorae,
curator and director of the Joaquim and a permanent seduction of the senses vases and bowls are also constant materials,
Nabuco Foundation in Recife, Claudinei predominate with great intensity. signs of ancient cultures, of belonging to
da Silva, now on the Board of mam and The opening of the exhibition is Ibrahim massacred traditions, but which remain
mac and Director of the Museu Afro Mahama, an artist from Ghana who has standing, such as the works of Castiel
Brasileiros, Sandra Benítes, one of the already been featured at the Venice Biennale, Vitorino Brasileiro, Daniel Lie, M’Barek
curators of the Bienal das Amazônias. with a very large installation made up of Bouhchichi, among others. .
Brazilian thinkers such as Peter Pelbart, elements such as a train track, a series of The tone is not one of urgency, although it
Christian Dunker, Tania Rivera, Elisabeth ceramic vases that punctuate the space is past time to overcome the political, social
Telsnig, from Switzerland, the Italian and a large brick grandstand, which should and environmental issues addressed there.
Franco Berardi, Bifo. Directors of receive a series of actions linked to the Nor does resignation prevail, but a certain
institutions such as Garage da Russia, public program of the event, which has wisdom in understanding the multiple
Guggenheim Liverpool, Vídeobrasil, an extensive program of performances, intersecting times. The time of the horror
Inhotim, Bienal de São Paulo, Masp, Itaú debates and conversations. (available at of slavery and the wisdom of the inhabitants
Cultural, Sesc. 35.bienal.org.br/agenda). of the forest, the time of the drama of
And many others, who turned open and The initial feeling of spaciousness immigrants abandoned to their own devices
recorded meetings – even throughout continues throughout practically the entire and that of the victims of lgbtphobia, colonial
the pandemic, when they became entirely exhibition, thanks to the exhibition designed brutality and psychological suffering. These
virtual – into true spaces for exchanging by the Vão office, which proposed the partial are works that, most of the time, oscillate
and building content. closure of the openings that connect the between “hope and despair”, as Carles
The most recent, the 1st Latin American side of the second floor to the central Guerra summarizes in the presentation
Seminar, held in Buenos Aires, Argentina, bay, creating freer spaces for the various text by Filipino artist Geraldine Javier. Or
in partnership with bienalsur and exhibition areas. and enabling a break with that they have, in Diane Lima’s definition,
untref university, fulfilled yet another the already consolidated idea that the third “terrible beauty”.
desire: to blur borders. floor would function almost naturally as a The idea of choreography, present in the
I am especially grateful to collaborators more museum space within the Biennale. title of the exhibition, echoes throughout
such as journalist and art critic Fabio Transdisciplinarity, in terms of concept the exhibition. There are many works
Cypriano, whose interlocution was and language, is one of the hallmarks of this that seem to float in space, expanding
fundamental when discussing ideas, edition. The hermeticism foreshadowed invisibly, like Lung of the mine: the air
themes, guests and strategies, and in the first curatorial texts gave way to also floods, by Luana Vitra. Works like
to Eliane Massae, without whose a light and fluid set, in which poetic the Niño de Elche installation literally
competence and administrative diversity and the collectivist spirit seem make the audience dance; Pauline
determination it would be impossible to predominate. The recurrence of work Boudry and Renate Lorenz investigate
to make these meetings possible. carried out in partnership and the large the movement of the body and merge the
Let’s go, strengthened for the number of collectives, artistic and political, space of the video and the physical space
next ones. draw attention. Movements such as the Ayllu of the exhibition in a disconcerting way;
collective, the Ocupação 9 de Julho kitchen Not to mention historical references like
35 são paulo biennial [pages 12 to 23] (which takes over the restaurant), the Frente Katherine Dunham. But it is not just an
th
3 de Fevereiro, the Giap (Group of Research important presence of works and artists
POETRY IN TRANSIT in art and politics) or even the Zumví Arquivo linked to dance, movement and music,
With an emphasis on collective and Afro, just to name a few, have presence at the but the emphasis on works that are built
transdisciplinary practices, the exhibition. It is worth remembering that the on movement – real or symbolic – in time
35th Bienal de São Paulo calls into curation itself responds to this aggregating and space. This is the work of Ana Pi and
question the Eurocentric view of art
principle, being signed jointly by Diane Lima, the Candomblé priest Taata Kwa Nkisi
by maria hirszman Grada Kilomba and Manuel Borja-Villel, in Mutá Imê: four bronze rods that move
a careful balance between genres, origins synchronously, like antennas, on a floor
with 121 artists and more than a and training. of traces, images and speeches stitched
thousand works occupying an area of Some elements seem to punctuate together from the experiences collected
30 thousand square meters, the 35th São the entire exhibition, revealing affinities by the duo in a long journey that connects
Paulo Biennial will focus the attention of between the most different authors. Africa, France, Brazil, in search of identities,
the country’s arts circuit over the next few The circular or serpentine shape, which memories and affections. “Accelerating
months. This magnetizing power occurs refers to the idea of spiraling time and emotions is the role of art”, says the artist.
85