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Baía de Itapajipe















SÃO CRISTOVÃO Aeroporto Internacional de Salvador








Parque de Pituaçu

Exhibition spaces of the 3rd Bahia Biennial’s second season


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Artwork: Clara Domingas (Mixed media: stencil and urucum)




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1. The projects and programs that form the structure of action for the 3rd Bahia Biennial should not submit themselves, without thorough critical reflection, to economic, historical and social reasonings that ignore the local conditions and contexts. 2. A banal idea will never be saved by a costly or technically elaborate realization. This serves for art (Sol Lewitt), but also applies to biennales, exhibitions and their curators. 3. The task of this Biennale is not to hold its programs as comments or illustrations about the themes and questions proposed in its curatorial project, but, always with those very same questions, generating new forms of social, artistic and human experiences. Hold a Biennale with the Northeast, and not about the Northeast. 4. Thus, there is no hierarchical difference between distinct forms of intelligence for the 3rd Bahia Biennial. The question then becomes another: create spatial and temporal conditions in which those very same intelligences can be active. 5. A biennale and its structures are never as radical as its artistic, social and economic context requires. This is a fact. 6 The radical proposals and actions then become regulative ideas, never to be abandoned. 7. Always prioritize the thoughts of the artist (and not their work), so that this thought might be alive in face of different contexts and intelligences. Strategy and solution. 8. But, either way, the curatorship has no mission to serve art, the artists nor their circuits. It has a moral obligation to the historical, social and human context in which these same art projects take shape. In short: this is not a Biennale for artists, it is a Biennale for everyone. Including the artists here. 9. Thus, the 3rd Bahia Biennial lacks a center, but instead has several micro-centers; at the same time independent and part of the whole, in an idiorhythmic style. 10. All of the works of the exhibition nuclei must create an internal consistency in the face of formal and conceptual demands of the 3rd Biennial. Do not build fake walls to provide a false condition. Enjoy what there is in the first place! 11. Avoid using the latest digital technology, opting, whenever possible, for analog in order to offer, from a formal perspective, a critical comment on ideologies, obsessions and fashions contained in the use, without prior thought, of high technology. 12. The 3rd Bahia Biennial has a duty to memory: inserting the narratives of the Bahia Biennales into the history of Brazilian art. 13. As a consequence, the 3rd Bahia Biennial obliges itself to showcase complex visualities, rough and rarely seen. 14. This guidance should make the curatorial practice an ethical and aesthetic exercise. 15. This ethic leads to the acceptance, and even the treatment of, the symptoms of engendered trauma, be it by science or religion. And, in many cases, by culture. 16. The healing process experienced by the 3rd Biennial promotes the opportunity for other paths, breaking the artistic and cultural distaste and prejudice, about and for Brazilian art in its whole complexity. 17. For the 3rd Biennial, the end of the hierarchies of knowledge in the systems of the arts is desired: “All men are artists.” 18. The 3rd Biennial takes place by means of questions to be asked, rather than answers as an affirmation of the truth. When did creative uniqueness separate itself from relationships that engender it, mutilating creative processes, notably those who have no place in a specific locus of enunciation, in which they nominate art? And more: why has the creative subject started to not be seen as a subject of instituted creative thinking? 19. We stand for the unrestricted ‘Nordestepolitan’, for post-racialist utopias and for the free space dedicated to performactivities of gender.


After 46 years, another biennale has finally taken place in Bahia. It has continued and discontinued the previous 1966 and 1968 biennials. The latter, formally closed by the civil-military dictatorship imposed in Brazil in the wake of the 1964 coup. At the onset, some questions, almost inevitably, were asked: why rescue the idea of biennale after so long, and why revisit and reclaim an almost forgotten history? The right to memory is a substantive part of cultural rights. Knowing our history, traditions, possibilities of life, crushed and silenced by the dominant violence - in this case literally - appears as a condition to illuminate the present and the future. To seek alternatives and other ways of feeling, thinking and shaping the world, without losing sight of the memory. Diving into history in an important year such as 2014 – with the 50 years anniversary of the military coup and 30 years of the broad democratic movement of Direct Elections Now (Diretas Já) brought on scene attitudes, questions, limits and possibilities, which can be critically continued and discontinued, but should always be reevaluated and updated. Certainly, Bahia was a different place, as well as the national and international circumstances in the 1960s. A Bahia that, since the late 1940s, had put itself in motion, leaving the paralysis of the first half of the twentieth century behind it. A very unfair and (still) provincial Bahia, but increasingly alive with its economic dynamism, and its cultural renaissance. It is stimulating to look, without nostalgia, at this creative Bahia, which was then suppressed by the years of civil-military dictatorship and authoritarianism that has remained in our state, even in the postdictatorship period. The Bahia of the 1950s and 60s was inhabited and built by Glauber Rocha, Gilberto Gil, Caetano Veloso, Muniz Sodré, Carlos Nelson Coutinho, Tom Zé, Capinan, Geraldo Sarno, Othon Bastos, Rubem Valentim, João Ubaldo Ribeiro, Gal Costa, Maria Bethânia, Juarez Paraíso, Sante Scaldaferri and many others. This generation was educated by such luminaries as Hans-Joachim Koellreutter, Agostinho da Silva, Ernst Widmer, Walter Smetak, Rudzka Yanka, Martim Gonçalves, Gianni Ratto, Romulo Almeida, Pinto de Aguiar, Lina Bo Bardi, and Walter Teixeira da Silveira. The 3rd Biennial interacted with the interesting cultural history of Bahia, recalling nearly forgotten episodes, but it also opened itself obligatorily to the present and future. Its theme/ question – Is Everything Northeast? gave uniqueness to our Biennale and was the differential in relation to the most important biennales in the country today. The Northeast in focus was multiple and complex, past and present, singular and universal, a territory and an experience. Since the Lula administration, significant changes have occurred in the Northeast and in Brazil. Unlike previous moments, the region has greater development today when compared to other regions of Brazil. This Northeast in motion, with dilemmas and tensions inherent to the process of

change, invents new and contemporary territorial dynamics, human experiences and cultural creations. This contemporary Northeast is also very different from that of the 1960s, which is strongly present in the Brazilian culture produced then. Territories and experiences in the world today can only be imagined in a ‘glocal’ dimension. There, global and local flows underlie and give meaning to territories, experiences and creations. In contemporary times, even when it presents itself riddled with problems and difficulties, we live in real time and in planetary space. These devices conform to the contemporary mode of the human experience, and transform it into the potentially universal, because it dialogues, often in real time, with similar experiences that have been lived in widely different corners of the planet. In this perspective, the question/theme of the 3rd Bahia Biennial demonstrated its reach by opening multiple possibilities of intercultural dialogues, which were encouraged, welcomed and installed at the Biennale. It was this Northeast, the territory, human experience and creation, which was on scene for 102 days in Bahia; in the capital and in the interior; in numerous spaces and diverse cultural ways, since the 3rd Biennial was not restricted to the visual arts, but mobilized many languages and territories. It was preceded by a process of collective discussion, which allowed the construction of a distinctive and innovative biennale model: spatially, socially and aesthetically amplified, without losing quality and creativity. The 3rd Bahia Biennial involved this entire kaleidoscope of dimensions and questions. It was the biggest activity of the department of Culture of the State of Bahia in 2014. Coordinated by the Museum of Modern Art (MAM), it presented and represented Bahia in this milestone year, when the World Cup and elections were also held in the country. Thus, the 3rd Biennial placed culture firmly in the spotlight. The Department of Culture of the State of Bahia thanks everyone - artists, curators, workers and the general public - who experienced the Biennale and revived it with amplitude, brightness, creativity and democracy after so many years. May the Bahia Biennial happen again every two years; this is the desire of all who participated in it.

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The 3rd Bahia Biennial – ‘Is everything Northeast?’ was a success in many respects, especially in its artistic and philosophical conception, as well as in its democratic structure. The Biennale was able to be both regional and universal. Regional because, while proposing a theme linked to the Northeast, it allowed several sectors of Brazilian culture to think and reflect on this important region of Brazil. At the same time, it questioned the very concept of the Northeast and its cultural, political and socio-economic implications, and enabled a more comprehensive and universal reflection about the construction of the concepts which carry within themselves the contradictions and struggles of everyday life and the real world. The democratic profile and nature of the 3rd Bahia Biennial were already present in the initial design, when it claimed itself as a continuation of the two Biennials held in the 1960s, which were interrupted by the mixed civil/military dictatorship. By defining that the diverse actions that were planned would be decentralized, and occur in various locations within the Metropolitan Region of Salvador and in dozens of cities in the interior of Bahia, it reaffirmed the democratic character of the event. The Hansen Bahia Foundation is proud to be part of this historic moment for the culture of Bahia, and takes this opportunity to thank and congratulate all those who directly and indirectly contributed to the completion and success of this historic Biennale. It is necessary to recognize the importance and the courage of the people who made this historic moment possible. In this sense, the Hansen Bahia Foundation compliments the Government of the State of Bahia, through the State Secretary of Culture Mr. Albino Rubim, the director general of the 3rd Bahia Biennial and MAM-BA, Mr. Marcelo Rezende, and the Institute of Artistic and Cultural Heritage of Bahia - IPAC/BA, represented by the director-general Elizabeth Gándara Rosa. On their behalf, we reaffirm our appreciation to everyone involved in this great project. The Hansen Bahia Foundation will always be available to the people of Bahia for the tasks and challenges that cultural life imposes on us, already waiting for the call for the preparations of the 4th Bahia Biennial.



The Museum of Modern Art

A biennial project for Bahia belongs to the very history of the creation of the state’s Museum of Modern Art. In files that tell of the birth of the institution, among letters and official documents of the period (the late 1950s and early 60s), the architect Lina Bo discusses models and activities which could serve to materialize the mission of the newly created institution: the space in which Lina becomes the first director, the artistic director, a teacher, an architect and an artisan – in the most varied sense of the term. In these multiple roles, Lina is guided by the desire and political necessity for contact with the intelligence of one and all, starting with the power of the popular (and not the folklorish) in face of the new forces of the labour organization in Brazil, and especially in the northeast of the period. In this context, the creation of a biennial was part of a strategy that aimed for action not “about” or “from”, but essentially “with” the popular culture, in a museum project aimed at the inclusion of the other, always taking into account the very desire of that other. Lina had her experiment at MAM Bahia cut short in 1964, after the imposition of the military dictatorship that arose in Brazil. But the biennial, as an idea, resists, and a generation of local artists was able to carry it out in 1966 and 1968. An ambitious political gesture, which ended up being destroyed by the same dictatorial regime that had put an end to the idea of a museum as a human experience, proposed by the MAM-BA under the direction of Lina Bo. In 2009, the then Secretary of Culture of Bahia, Marcio Meirelles, and Solange Farkas, the director of MAM-BA, publicly announced the return of the biennial project to Bahia, and the Museum of Modern Art as the institution responsible for its organization. After 46 years since its first edition, the 3rd Bahia Biennial is held this year, in 2014. In numbers, the project could be summarized as follows: 56 workspaces; including exhibitions, open workshops, performances, film cycles, dance, theatre, research groups, expeditions and public discussions distributed al over Salvador and 24 other municipalities in the state. But numbers and percentages are not able to represent what is the greatest legacy of this return of the Bahia Biennial: to complete the task of remembering that, in the cultural history of an entire generation of Bahia, the project was not only stopped, but forgotten in the narratives that claim to account for the history of Brazilian art, along with its social, artistic and political confrontations. What is from Bahia is from the world, and what is from the world is from Bahia. That was the message of those who mobilized to create a program aimed at fostering the cultural debate in the northeast via a Biennial. Now, the debate is resumed.

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Particularly in the last third of its successful 153-year history, CAIXA has gained an outstanding role in supporting and promoting Brazilian culture, by allocating, annually, more than R$ 60 million of its budget to the sponsoring of the production and circulation of works of art, theater, dance and national craft, which attracted to the universe of our brand the interest, creativity and partnership of the most important artists of our visual culture, present today in the rich Artistic Collection of the company, with works of major artistic and historical significance to our people. To keep the partnership with the arts and the Brazilian artist alive and thriving, CAIXA has diversified, decentralized and expanded its investments in cultural sponsorship, in order to encourage and democratize access to their sponsorship lines to all artists, and also contribute effectively to the efforts of the Federal Government for the construction and consolidation of a socio-cultural awareness in the country, which makes the implementation of public policies for the preservation of the cultural property of our people effective, and for the effective and permanent structure of cataloging, registration, storing, distribution and accessibility of cultural collections to the entire population, especially children and adolescents. This is the main meaning and the ultimate goal of CAIXA’s sponsorship of the 3rd Bahia Biennial, when intensifying its commitment to history and to the Brazilian people, valuing the magnitude of this event which, resumed after 46 years of interruption, puts it back in its place of singular importance on the artistic agenda of the country. Thus, CAIXA reaffirms its cultural policy and its unshakable conviction of contributing to the renovation, expansion and strengthening of national culture and the cultural development of our people, investing from its own budget and strengthening its institutional role of a socially responsible company, to stimulate the creation and offer concrete conditions for artists to present their work and promote their art. For CAIXA, life requires more than a bank. It requires art, and culture.



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In its long awaited and prestigious third edition, the Bahia Biennial surprises everyone by the diversity of its content and artistic expressions addressed. The French Embassy in Brazil, through the French Institute of Brazil, celebrates on this occasion a unique partnership with the Hansen Bahia Foundation and the dialogue with the Museum of Modern Art of Bahia, and has the honor to participate in this event that attracts an audience spanning all generations. Held in various spaces in the capital Salvador and various other cities in Bahia where art becomes the main attraction, and with a bold program in which the artists and the audience have the opportunity to exchange ideas and experiences, the Biennale draws attention wherever it goes. For a hundred days, Bahia has become the stage of what it knows so well: the art exposed, performances, film screenings, educational activities and debates, among many other cultural events. Everything is Northeast. But France is also present in this third edition of the Biennale, through the projects Free Art Fair and the Imaginary Museum of the Northeast. Contributing further to the presence of artists and curators, the dissemination of activities and the exhibition of feature and short films, the Embassy of France in Brazil supports the initiative with great enthusiasm, certain that such participation will yield future partnerships. To everyone involved in this important project, and to arts in the state, we hope that this resumption arrives for this Biennale, but also for the next editions. With they will become more frequent and increasingly diverse, in the 3rd Bahia Biennial!

the public accompanying the with enough energy not only the wishes that from now on we invite all to participate

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May 29th 2014


Photo Alfredo Mascarenhas

With the help of 70 volunteers, the performance-procession Genesis and Genes, designed by the Portuguese artist Luisa Mota, left the MAM-BA heading toward the Passeio Público, passing by the 2 de Julho Square and Rua Carlos Gomes. Along the way, the procession was joined by pedestrians, instigated by the work and curious to know its end. Part of the performers was characterized with the metallic clothes of “invisible men”, holding three blue embroidered rugs as they passed the “immaculate” participants, completely naked. The selection of the members was made from a workshop held by the artist about body language at the casarão of the MAM-BA. Genes and Genesis is the representation of several fictional (or not) characters, that refer to social, religious and cultural symbols that transcend borders.

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Photo Gillian Villa

Alagbês kicked off the Biennale with the performance Oritálaiyè (Crossroads of the World), accompanied by the voice of Inaicyra Falcão and by the guitar of Maurício Lourenço.

The Invisible Men of the performance Genes and Genesis, created by Luiza Mota, guide the procession to the Passeio Público.

The FREE University of the Vila Velha Theater welcomes the audience and performers at the entrance of the Passeio Público.

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

The dance began with the band Ceguêra de Nó and forró dancers spread over the square.

Performance-installation by Ieda Oliveira.

Performance of the drag queens Mitta Lux, Valerie O’harah and Kaysha Kutner.

The party ended with the carnival group ‘De Hoje a Oit8’ formed by samba dancers, percussionists, composers, artists and samba lovers in the neighborhood of Santo Antônio Além do Carmo.

T I M E L I N E The artist Arthur Scovino starts the occupation Caboclo dos Aflictos - São Jorge Elevador in the Church of the Afflicted, which continues throughout the Biennale. Photo Leonardo Pastor

The Lithography workshop given by Professor Renato Fonseca took on the character of a research group with the students of the MAM Workshop, whose work process was open to the public and mediation.

Opening of That’s how it is on the coast at the main house of the MAMBA in Salvador, the first city to host the traveling exhibition. Photo Alfredo Mascarenhas

Photo Rafael Martins

May 30th 2014


EURICO ALVES AND HIS FARM ANA PATO Chief curator 3rd Bahia Biennial

We learn of Eurico Alves Boaventura (1909-1974) through Juraci Dórea and his enthusiasm for the work of the poet. The personal letters and the exchange of correspondence with other writers are the object of an academic study by Dórea, committed to “withdraw from oblivion” not only the production of the poet, but to emphasize the importance of preserving personal collections. The action on the Fonte Nova farm is an update of that desire to transform the farm into a museum-house. Preserved by the family, the farm maintains, even today, the same spirit cultivated by Alves around the physical and cultural issues of the northeastern countryside (Sertão). By shifting the gaze from the coast to the Sertão, Eurico Alves gives the figure of the cowboy a central role in building the imaginary formation of the country. Eurico is one of the people responsible for the proposed creation of the Cowboy Museum and a great defender of the memories of the countryside. To Eurico, the strength of the Sertão is miscegenation, marked, as he said, by the encounter between the native Indian and the Portuguese (Mameluk). Accordingly, Eurico is opposed both to the discourse of São Paulo regionalism, by proposing to move his analysis from the Southeast to the Northeast, but also by distancing himself from the racial theories of Nina Rodrigues, which used to defend that the issue of miscegenation is a setback for the country. Going to the Fonte Nova Farm is to discover the genuine Sertão, a narrative written and inventoried on every piece of the house, on the cowboy spurs hanging on the wall, on the earth and rock floor, by the fire listening to the frogs, in the bush, a veteran of the drought; on the wood and leather tree, in the resistance with which he defends the memory of a Sertão ‘place’; a living museum. It is not possible to forget the Sertão, because the countryside is the life experience of the past, and ingrained in the soul: the Sertão teaches. But what does it teach? “Education via the stone,” says João Cabral de Melo Neto. Photo Alfredo Mascarenhas

HERA GROUP MEETS BRUSCKY The Hera Group has established itself as one of the main literary and cultural movements organized by writers, artists and poets of Feira de Santana. Between 1972 and 2005, the group edited twenty issues of Hera magazine, primarily devoted to poetry, achieving national recognition. The magazine was conceived in the editorial project created by Antonio Brasileiro in the 1960s, the Cordel editions. Several colaborators went through the trajectory of the group and magazine, such as Roberval Pereyr, Juraci Dórea, Washington Queiroz, Wilson Pereira, Rubens Pereira, Ruy Espinheira Filho and Erthos Albino de Souza. The idea of the encounter between the Hera Group and the artist Paulo Bruscky came during a visit to Salvador by Bruscky to develop the project of the Biennale. He was delighted to learn that the Hera Group had published a 30th anniversary edition of the homonymous magazine and he proposed a book exchange with the group because he very much wanted to have a copy for his records. Thus, the idea of inviting the artist to participate in the reading of poems on the farm of the late poet Eurico Alves along with members of the Hera Group was born. The convergence between the artist and the group from the city of Paulo Bruscky next to Antonio Brasileiro, a member of the Hera Group | Photo Alfredo Mascarenhas Feira de Santana happened quite frequently in the 1970s, as Bruscky comments: “We articulated ourselves as the resistance, because there was a brutal censorship, you had to keep in contact to share a little of what was going on. Few people remained in the resistance, the majority were cowards. And here [Feira de Santana] is cool because it has always had it.” At the meeting, the reading of the poems Elegy for Manuel Bandeira, by Eurico Alves and Escusa, by Manuel Bandeira was held. Alves’ poem is an invitation from the Bahian poet to the Pernambucan peer to go to Feira de Santana. Touched by it, Manuel Bandeira’s responds with the poem Escusa. At the Fonte Nova farm, Escusa is recited by another Pernambucan artist, Paulo Bruscky.

The assembly of the work of Juraci Dórea at the Fonte Nova farm | Photos Alfredo Mascarenhas


May 31st 2014

GOLD AND WOOD THE REENACTMENT The Monastery of S達o Bento PERIOD 05/31 to 09/5 VISITORS 3,381 The project integrated the exhibition centers of the curatorial project, returning to the Biennials of Bahia 1966 and 1968 and their possible memory. The exhibition did not seek to imitate or re-present the shows seen (and unseen) of the first two editions. Its intention was to work through, via artworks, documentation and curatorial scenarios, the chaos of the official discourses of history, the subjective memory and the archive as an indecipherable secret. The Monastery of S達o Bento of Bahia is the first Benedictine monastery in the Americas, founded in 1582. Stage of the Dutch invasion, it served later as an infirmary during the Spanish plague in the 17th century and welcomed victims of the war of Canudos in the 18th century. Photo Alfredo Mascarenhas

LETTER OF APOLOGY The Department of Culture of the state of Bahia, on behalf of the Government of the State of Bahia, publicly apologizes to all the artists and cultural agents who had their works prevented from being exhibited and subjected to repressions and other disorders due to the suspension of the 2nd Bahia Biennial in 1968, imposed by the military dictatorship.

Above an image of the exhibition at the Monastery; at the side, work schedule of the curator Fernando Oliva; on the left, the letter of apology read during the 3rd Bahia Biennial.

The State Department of Culture believes that the creation and diffusion of culture are incompatible with censorship and all forms of violence, as they require an ambience of complete freedom that enables and stimulates human creativity. In carrying out and considering the Biennale 2014 as the 3rd Bahia Biennial, the Government of the State of Bahia, through its State department of Culture, makes an effective public apology, rejects all forms of violence that affect culture, rescues the memory of our beautiful cultural history and opens up possibilities for a new creative relationship between the state, now democratic, and the cultural community of Bahia.

At the side, page of the GAM magazine, about the biennial project for Bahia; on the next page, newspaper cuttings of the time and the letter against the 3rd Bahia Biennial written by the artist Antonio Manuel and published in the newspaper Folha de S達o Paulo.

Albino Rubim Secretary of Culture of the state of Bahia May 18, 2014

T I M E L I N E Start of the expedition Instruments to Bend Rivers, performed by the artist Gaio Matos in cities on the banks of the S達o Francisco River. Photo Gaio Matos

Meeting of the Research Group in Metal Engraving, supervised by Professor Evandro Sybine, for an afternoon of production at the workshops of MAM.

At the opening of the exhibition The Reenactment, Arthur Scovino performs QuiZera. Photo Alfredo Mascarenhas

Photo Rafael Martins

June 1st 2014


From: Marcelo Brazil Date: 7 June 2014 11:45 Subject: The Reenactment To: Fernando Oliva, Talyta Singer Dear Fernando and Talyta, how are you? Yesterday, I was at the monastery and I left there very happy. The display was very beautiful and I got very emotional with the images with my father in them. I did not know about the existence of that video. As I am the youngest son of the first marriage, I have no memory of my father alive, and yesterday I could see him "live" at least for a few seconds ... It was fantastic! Congratulations on the careful research and assembling the exhibition. The monitors were all very friendly and helpful, thank them for me. A big hug, Marcelo Brazil

E-mail from Marcelo Brazil, son of the artist L锚nio Braga

Exhibition does not respect the memory of the violence and emptiness generated in 1968 Antonio Manuel Special for the Folha 6/30/2014 3:10 a.m. Re-present this exhibition is crazy. They are doing so without considering what happened in that year of 1968. I fear it a lot. When the exhibition closed, people were arrested and the works were removed and went missing. I had been invited to attend the 2nd Bahia Biennale with a panel of four meters, with various newspaper pictures printed in silkscreen on a red background. The work dealt with street violence between the police and students. On it was written the phrase "Repression again." I still have the receipt for delivery of the work, which was never returned to me. Someone told me that this work would have been burned, but nobody knows what happened. It was something very strong, of outstanding violence. It was a feeling of emptiness, helplessness. Incidentally, I do not remember another time when I have felt so afraid as I was at that biennale. I had to return to Rio in a very dramatic way. I traveled taking, by hand, a matchbox with information about what was happening. I wrote a note and put in the box. If I was arrested, if something happened, I would try to leave that little box with the hope that someone would find it. Bahia is now having a new Biennale, called the third edition, and it does not respect that past. They assume, with that name, the liability of the memory of the dictatorship, of the violence. I am outraged by this story, with this attempt to create something political without giving the slightest satisfaction to the artists. I hope they do not copy my work or reenact it. ANTONIO MANUEL is an artist.

The first Drawing workshop, taught by Professor Olga G贸mez for both beginners and the initiated, worked on observational drawing of pure geometric forms. Photo Rafael Martins

Paint in the Biennale, with Maninho Abreu, received families for the activity of free painting in the Flamboyant Courtyard of the MAM-BA. Photo Tiago Costa



June 2nd 2014


When I was invited by Marcelo Rezende to bring the Esteio to the Biennale, I was surprised and very happy, because I had always had the desire to bring back the Esteio. In reality, Esteio ended not because I wanted it to end, but because I moved away from Sítio Novo, from the home of my parents, and could no longer manage the space and think of the artists, invitations and everything else that I articulated. I also put aside many projects that I dreamed of doing and could not, such as the paintings on the walls. There was a work that I call ‘Junctions’, which consisted of setting sculptures at all junctions, starting from Salvador and going all the way to Sítio Novo; in other words, Camaçari, Dias D’Ávila, Mata de São João, Pojuca, Catu and Sítio Novo. All these cities would have a sculpture by an artist from that place. But

MAXIM MALHADO Integrated the group of artists who participated in the 3rd Bahia Biennial

The Esteio Memorial

House of the Visual Arts

Em fio (In string), by Tecco Ribeiro


PERIOD 06/2 to 07/5

Chão para a Esteio (A floor for Esteio), by Johanna Gaschler PERIOD 07/15 to 08/3


Relicários do Paraíso (Paradise Reliquary), by Luiz Ramos PERIOD 08/7 to 09/5

this project was not feasible. Also, there was another project that was putting sculptures in the middle of the woods and people from the nearby community could earn money through these sculptures, guiding tourists along the track on foot, horseback, by bicycle, wagon, etc. It was all part of Esteio, part of the project Art in the Village. I could not imagine that the Esteio would be seen as it was seen at the Bahia Biennial. I just did it because I had a strong desire to do so, because I had no room, there were no places where we could implement ideas and I think there still isn’t. We are still very needy in relation to places for this end, but restarting Esteio was to restart this whole thing about working with people, this collective thing; about thinking together, discussing.

House of the Word

Um curta doce (A sweet short), by Tuti Minervino PERIOD 06/2 to 07/15

Liberdade desbandeirada (Unflagged freedom), by Zuarte Júnior PERIOD 07/21 to 08/10

Pratos para serem lidos (Dishes to be read), by Ediane do Monte PERIOD 08/15 to 09/5


Photo Gillian Villa

Relational Kitchen and Samba session with the bands Coisa Mandada and Batata Acústica, featuring Juliana Ribeiro, at the bar Toalha da Saudade, House of Batatinha.

Holding the meeting ‘The Biennale avoids School’ to discuss the theme “Art, education and ways to unlearn.” Photo Gillian Villa

Photo Rafael Martins

First edition of the action ‘Open Mural’ within the Biennale, aimed at the employees of the MAM-BA and of the Biennale, and taught by Hilda Salomão, where she worked with clay plates. The works resulting from this workshop are part of the collective panel elaborated throughout the Biennale.

June 3rd 2014


PARTICULARS Photos Alfredo Mascarenhas

When I thought about one hundred days of action at the Esteio, I went crazy because it was a great opportunity for me to enable all those plans thought for so long, this mix of visual arts with literature, with the crossing of theories, etc. It made me think about how all this structure of the Esteio would be within the Biennale. And building houses... from the outset, I drew a sort of model with three houses. In principle, all three would be together. I proposed three houses: one dedicated to the memorial of the Esteio, another dedicated to the artists who worked not only with visual arts but also literature, from the articulated word to the visual arts; and the third one dedicated exclusively to the visual arts. And so it was done. Of course, the project changed when I brought the model to the Biennale curators, and in accordance to the space available at the School of Fine Arts. And we thought it best to make a large courtyard, because I really like this courtyard setting, square, because it offers various possibilities for building a place. I have letters where I ask how it is done, what are the possibilities of building a city, a place; how a particular place arises. Then I list some possibilities. It could be a slaughterhouse, a brothel; it can be a church, a train station. It is these possibilities that I glimpsed in Esteio. Esteio has everything that I just listed. We then also created the space between the houses for the people to concentrate; where the courtyard was, the square. As for the construction of the houses, when I thought, “Man, will it be brick?” there was this thing of the deadline, which was short, and the costs too. But there is also the whole principle of binds that I do in my painting and in my three dimensional work that is, for example, The Jolt, a work done with wood scaffolding. Then I had the idea of making mud houses. So I brought the project to discuss with the curators and, when approved, I articulated it with the people who could build it, in a determined time, these three houses. So I called Pedro, who is a gentleman I did not know there at the Sitio Novo. He organized a team and we brought the whole group. The idea was to do it in February, but it was not possible due to other problems. But we made three houses. We had only fifteen days, but we were able to do all three houses in twelve. In twelve days, Pedro, with all the rain, with all the difficulty, finished the three houses.


Opening of the Imaginary Museum of the Northeast | Department of Time | Section: Psychology of Testimony, in the Hilda Salomão Atelier.

Photo Gillian Villa

Cátia Milena Albuquerque presents her Cadastro workshop “How to speak “baianês” from the periphery”, in the flamboyant courtyard of the MAM-BA.

Photo Gillian Villa


June 4th 2014

The artist Hilda Salomão in her atelier | Photo Gillian Villa


Find ways to connect in time, space and the social field. Among the structures that materialize the curatorial project of the 3rd Bahia Biennial, the creation of departments and sections of the Imaginary Museum of the Northeast (IMN) served not only to present the artistic, historical and cultural production freely, without hierarchies at its origins and in its proposals. There is also the question of the human potential and the use of space. Part of the IMN took shape in historically or culturally representative locations, as well as in private homes and artist studios. Here, the human dimension becomes the protagonist in the workplaces offered by the Biennale. In this pursuit of a knowledge exchange between the local (the artists in their space; monks in their monastery or employees of the libraries, archives and cultural institutions of all kinds) and the visitor, an operation can be established in which the two become, at least for a moment in time - in which the function and routine of these spaces changes - the same audience that participates in the recreation of a territory from their new circumstances and desires. In this experience there is less order than disorder, a positive disorder, because this reconfiguration of the space that creates a new audience deals with an intermediate situation between what is personal and private, closed and open; secret and revealed. And above all else, it deals with what is thought to be the truth of a social and historical situation, and also with the possibilities that that situation could be altered from a new collective construction.

Imaginary Museum of the Northeast Department of Time Section: Psychology of Testimony Hilda Salomão Atelier PERIOD 06/3 to 09/3


The atelier of Hilda Salomão has operated in Stella Maris since 2000 and has works of the different phases of the career of the artist, besides the works of her grandmother and mother, both ceramic artists.


In this situation of permanent dialogue, the Bahian artist Hilda Solomão (with extensive work and research in the ceramic technique) had on display at her home/studio in Salvador one of the works of the series Travel sculptures created by the Italian Bruno Munari at the end of Photo Lara Carvalho the 1950s. Geometric pieces made of paper on an industrial scale, the sculptures are transportable and able to be mounted in any room or situation. These works sought to interfere with what Munari (this ‘total’ artist) identified as a progressive distancing between the artistic action and the everyday experience: “You need to understand that while art remains distant from life’s problems, it will only appeal to a small group of people”.

T I M E L I N E The Gardening Workshop, conducted by Claudio Pinheiro, received the students of the school Bom Jesus dos Milagres, who learned to perform transplants, seeding and about specific care for plants. Photo Rafael Martins

Biennale mediators occupied the School of Fine Arts (UFBA), continued down Sete de Setembro Avenue towards the MAM, talking to the public about the curatorial proposal of the 3rd Bahia Biennial. Photo Rafael Martins

June 5th 2014


33 TIMES CINEMA “An audience of 115 children and adolescents ... After all, that group, coming from the neighborhoods Pedro Jerônimo, Banco Raso and Maria Pinheiro, had for the first time - and for free - the opportunity to go to a movie. The audience in question, accompanied by teachers and coordinators, packed the chairs of the Zélia Lessa Theatre, in Itabuna. The space hosts the Biennale’s first incursion into the interior of Bahia.“ Cláudio Lírio, Cineclube Mocamba - Itabuna (BA) On June 5, the first round of the Yemanjá Cinema opened; a cinema screening circuit of the 3rd Biennale, which involved 21 cine clubs and 12 cultural centers in the state of Bahia. In the words of Cláudio, one of the ‘children’ of the Bahia cinema club circuit, the action represented the arrival of the Biennale in the countryside. Itabuna, Itapetinga, Jacuípe, Valença, Rio das Contas, Heliópolis, Porto Seguro and Juazeiro are some of the cities that received screenings in their squares, in backyards, in the halls of the associations, in the cultural spaces, in the flour mills. In total, 33 locations for the Biennale. The film clubs, as well as the cultural spaces of the state, gave the possibility


Cultural spaces circuit CITIES 14



AUDIENCE c. 3,000






of spreading the circulation of films to distant territories, promoting the democratic access to cinema and encouraging the critical thinking of the audience with open discussions. In addition, this experience has meant, for some, the first encounter with a movie screen. Is it only a question of access? But what makes something inaccessible? Distance? It is not always necessary to go so far to find the countryside, the other side. One of the surprises of the screening was the implementation of the Cinema club in the so-called City of Plastic (CCDP), also known as ‘Occupation Zeferina Warrior’, a community located in the neighborhood of Periperi. To reach the small square of capoeira, where film screenings are still regular, it is necessary to cross

the tracks of the suburban railway, led by a bunch of little kids, and greet a pink cat. To a certain Alice, it would be an ordinary adventure. The Northeast as a human experience. The 3rd Bahia Biennial thanks the storytellers of yesterday and today, the sons of cinema who opened the doors of their houses, to the eyes of those who allow themselves to be seduced by the seventh art.

Carmen Palumbo Assistant curator of the 3rd Bahia Biennial

CINECLUBES 1. SALVADOR Cineclube Vila Cineclube do Imaginário Cine Sereia Rede REPROTAI Imagens Itinerantes Urubucine Cidade de Plástico Clã Periférico

2. JACOBINA Payayá - Associação de Ação Social e Preservação das Águas, Fauna e Flora da Chapada Norte 3. HELIÓPOLIS Filhos do Sol 4. ITABUNA Mocamba

5. ITAJUÍPE Cineclube AFAI

6. ITAPARICA Oficina das Artes

7. CAIRU Cine Mais Saber

8. RIO DE CONTAS Espaço Imaginário 9. CACHOEIRA Mario Gusmão

10. CARAVELAS/TEXEIRA DE FREITAS Cineclube Professor Ralile 11. ITAPETINGA Difusão Cineclube Itapetinga 12. MAR GRANDE Manga Rosa

13. VITÓRIA DA CONQUISTA Janela Indiscreta 14. POÇÕES Tela em Transe

CULTURAL SPACES 1. SALVADOR Casa da Música Centro de Cultura de Plataforma Cine-teatro Solar Boa Vista Centro Cultural de Alagados Sala Walter da Silveira / DIMAS 2. FEIRA DE SANTANA Centro de Cultura Amélio Amorim 3. SANTO AMARO Teatro Dona Canô

6. PORTO SEGURO Centro de Cultura de Porto Seguro 7. JUAZEIRO Centro de Cultura João Gilberto

8. VALENÇA Centro de Cultura Olívia Barradas

4. ALAGOINHAS Centro de Cultura de Alagoinhas

Artwork: Clara Domingas (Mixed media: stencil and urucum)

Screening of the film All the memory of the world (Alain Resnais) at the Cineclube Vila, in Salvador, via Cinema Yemanjá.

Screening of the film Boi Aruá (Chico Liberato) at the Cine Sereia, in Salvador, via the Cinema Yemanjá.

The first Painting Workshop takes place, taught by Professor Rener Rama.

Photo Rafael Martins

5. MUTUÍPE Centro de Cultura de Mutuípe

Photo Reproduction

Photo Reproduction


June 6th 2014

The sea as seen from Itaparica, from the headquarters of the Instituto Sacatar | Photo Alfredo Mascarenhas

TABLE OF TIDES ANA PATO Chief curator 3rd Bahia Biennial

The residency program of the 3rd Bahia Biennial, in partnership with the Sacatar Institute, offered artists and curators an antecedent action to the Biennale. Between March 17 and May 12, Omar Salomão, Eustáquio Neves, Lisette Lagnado, Ícaro Lira, Rodrigo Matheus, Giselle Beiguelman, Luisa Mota, Luis Berríos-Negrón, Gustavo de Carvalho, Renan Vieira Andrade, Paulo Nazareth, Charbel-joseph H. Boutros, Camila Sposati and Milena Travassos were on the island of Itaparica, in alternate periods and groups of up to six residents at a time. The proposal of the Biennale was to use the space of the residence for field research and the production of works. Artists developed site-specific projects, and in the case of the group connected to the department Archive and Fiction, the residence became a place of encounters and dialogue. For Lisette Lagnado, an expert invited to participate in the Critical Gravitational Field, the residence was “a kind of laboratory of reflection on the historical characters and the context experienced in the workplace.” Or, like Ícaro Lira said: “We eat the same food for days. We were completely contaminated by each other. At the end of each day, we sat on the porch listening to the sea together, always with a bottle of some cachaça from Minas (Gerais). Sometimes we swam in the sea in the middle of the night and we woke each other up for breakfast. Waiting for the ferry together, reading the same books that were lying around the house.” The ability to “digest” a common experience together, the activation of the Public Archives, was enhanced by this experience. In addition, the intense process of research resulted in the daily commute of the artists from Itaparica to Salvador. Thus, the island becomes a place that is not able to change according to the taste of our desires. The tide determines not only the crossing, but imposes a waiting time, and compromise.

T I M E L I N E Juraci Dórea reproduces the pigment International Klein Blue (IKB) at the MAM-BA Workshop warehouse to be displayed at the Pilar Church.

Hilda Salomão performs the action Open Mural at the space Vivá, where the audience, mostly young people, works with clay tablets. Photo Gillian Villa

Photo Alfredo Mascarenhas

June 7th 2014




The creation of Work Groups aims to promote dialogue between archivists, museologists, librarians, architects, communicators, artists and curators and it allowed us to address other perspectives to deal with the existing documentation in the archives and libraries. For this end, it was vital to create a dynamic that does not build hierarchical relationships between archivists1 and artists, as well as to avoid the submission of one field to another. The intention was to create fertile ground for discussions in which archivists could not just follow the artists and the curators in their research, but to rethink their practices during the Biennale. The Municipal Historical Archive of the Gregorio de Matos Foundation of Salvador; The Public Archives of the State, the Memory Center of Bahia and the state public libraries administered by the Pedro Calmon Foundation all participated in the project; in addition, the Institute of Information Science and the course of Museology at the Faculty of Philosophy and Human Sciences, both from the Federal University of Bahia (UFBA), also took part. All the activities of this project held the presumption of the issue of the archive and contemporary art acting as a thread. In this direction, the proposed occupation of the State Public Archives and the State Central Library (Barris) during the Bahia Biennial was not reduced to bringing the artist to the archives, but to propose situations that prioritize the collaboration and shock of practices and procedures used in the fields of art and the human sciences, with the aim to discuss the problem of the Archive in the Brazilian context and, more specifically, in Bahia. Why are our archives at risk? How to make the public archives public? What is the magic key to open the archives?

Photo Alfredo Mascarenhas

Ghosts in the Library, a Project of the Libraries WG (made up of architects Daniel Sabóia, Diego Mauro, Patricia Almeida, Ícaro Vilaça, the performer Tiago Ribeiro, and the educator Marta Argolo), was set in modules destined for the conversations with staff and users of the Public Library of the State of Bahia. This WG proposed to investigate the presence of orality in public libraries, in dialogue with artists of the Biennale.

(1) The term Archivist, here, refers to the students and professionals that are connected to the archives, and not specifically to the profession of archivists.

Photo Alfredo Mascarenhas

The Archivist WG (formed by the archivists Adriana Pacheco dos Santos, Daniel Marins and Eduardo Wintzel; and the museologists Anna Paula Silva and Janaina Conceição) at the Vila Velha Theater. It was proposed to them to problematize the archivist practice from the contact with the artistic practice.

MaPaginário workshop - Written in Transit | Photo Alfredo Mascarenhas

The expeditions are an attempt to create unexpected situations for the exchange and recognition of the local context. The dialogue takes place in the middle of the way, while crossing the street, when stopping to rest, moving forward, changing direction. The walks connected to the project Archive and Fiction began as a desire to get to know the neighborhood, the neighbors, the path leading from the Public Archives to the Cemetery Quinta dos Lázaros and to the Parque school. Which paths to take? How and when to decide to stop and find another? There were various walks of the WG of the narrators to neighborhoods of Plataforma, Pernambués, Narandiba, Engenho Velho, with the mediators of the Public Archives, students and teachers of the Parque School, the group Levante Popular Carlos Marighella and the artists Clara Domingas, Ícaro Lira, Laura Castro and Leonardo Villa-Forte.

Photo Alfredo Mascarenhas

The choreographer, teacher and researcher Lia Robatto coordinates the action Shared Process on the first floor of the MAM-BA main house. Visual artists, dancers, musicians and poets attended the event.

Photo Alfredo Mascarenhas

Expedition of the Narrators WG (formed by the communicators Enderson Araujo/Mídia Periférica, Monique Evelle/ Desabafo Social, Negro Davi and Ítala Herta) into the neighbourhood Engenho Velho. To them, it was proposed to observe and narrate the process of researching and assembling the exhibition at the Public Archives. The objective was to bring the view of young communicators to the project, with independent political actions that often do not match the “official” story, found in the archives.

Screening of the film The Hiper Women (As Hiper Mulheres, Fausto Carlos, Leonardo Sette and Takuma Kuikuro) in the Cineclube Mocamba, in Itabuna via Cinema Yemanjá. Photo Reproduction

A new meeting of the research group in engraving takes place, with professor Evandro Sybine. Photo Rafael Martins


June 8th 2014


In January 2013, the Museum of Modern Art of Bahia started to implement a new project, looking, via new actions and programs, to approximate the institution to its original intentions: to be a space of constant research, allowing not only the conservation of a collection, but the creation of a system of exchange of knowledge irrespective of the social and historical origin of this knowledge. For MAM-BA, in this new moment, the question of its own past was not to promote the repetition of its origin or even cause any kind of “aggiornamento”; but rather realize that in that very same origin there

T I M E L I N E The Drawing Workshop, given by Olga Gómez, takes place for the second time in the Biennale. Photo Rafael Martins

Presented by Maninho Abreu, the action ‘Painting at the Biennale’, a free activity for adults and children, is held on another Sunday at MAM-BA. Photo Rafael Martins

The MAM-BA workshops’ Free Studio program received the artist Lauren Selden, from Stephen F. Austin University (USA), who made and filled up an inflatable sculpture. Photo Rafael Martins

June 9th 2014

Photo Lara Carvalho

MAM Discusses the Biennale and MAM Discusses the Arts system and circuit

Photo Ana Clara Araújo


Photo Ana Clara Araújo

System of exchange

From March to November 2013, the Museum of Modern Art of Bahia (BA-MMA) held two series of meetings, lectures and activities that fueled the debate about existing models of biennales in Brazil and in the world, extending the discussion to what would be the most conducive format for the current scenario in Bahia.

Aiming to promote the meeting between all forms of intelligence in direct contact, the system of exchanges promoted discussions on contemporary issues of public interest, such as situational relations; relations between man and nature; notions of time; the medicinal, dietary and sacred use of herbs; triangles, pyramids and spirals.

Photo Ana Clara Araújo

Photo Blenda Tourinho



In November 2013, the Museum of Modern Art of Bahia (MAM-BA) offered the public special activities and encounters with a celebratory calendar of the program MAM Manifesto. With a policy of making the thought of the museum evident, increasing its reach into a space of public discussion, the MAM-BA held throughout the year, and particularly in the month of its 50th anniversary of moving to the Solar Unhão, public readings, discussions and a series of exchanges which gained strength and other possibilities with the new publications of the museum and educational activities in a special program.

With 23 works spread across two floors of the main exhibition space of the MAM-BA, the exhibition It’s tropical, actually had its title borrowed from the essay Nordeste published by Gilberto Freyre in the 1930s - and revisited the collections of the MAM-BA under a climate perspective, looking to identify, along the path of Brazilian art from the second half of the twentieth century, the feeling of tropicality commented on by the anthropologist. The exhibition remained open from December 19th 2013 until March 18th 2014.

is a lot of potential to be implemented now in the new local and global context, more than half a century after the creation of the museum. These actions also had the task of managing to direct a transition between the “time of the museum” and the “time of the 3rd Bahia Biennial”, due to the fact that MAM-BA is the institution responsible for the implementation of the return of the biennale project to Bahia. At that moment, the MAM-BA begins to work with exhibition projects (It’s tropical, actually, on climate issues from the production of the anthropologist Gilberto Freyre), assembly models, and expansion to other areas, the creation of free courses and workshops, and other ways to

make contact with the public. An example was MAM Manifesto actions in November 2013 involving theater, dance, singing, music, cooking and cinema. All activities were performed at the MAM-BA’s mainhouse. This experience of contact activities and different human perspectives becomes the very beginning of the process of implementation of the 3rd Biennial with the System of Exchange program. Once again, the casarão started to receive artists, professionals from different fields, workers, curators and other officials to openly discuss ideas and intentions that serve to guide and materialize the various practices proposed by the 3rd Bahia Biennial.

The action Open Mural, overseen by Professor Hilda Salomão, receives patients from Juliano Moreira Hospital at the MAM’s workshops. Photo Alfredo Mascarenhas


June 10th 2014

OVERCOMING THE PROBLEMS OF ART In the church of the Blessed Sacrament of the Pilar, a building of the 18th century in the neighborhood of Comércio in Salvador, an idea about a possible shrine touching the historical development of conceptual art was presented through the works of the artists Yves Klein, the Lebanese Charbel-joseph H. Boutros and Brazilian Mestre Ambrósio Cordula.

Photo Alfredo Mascarenhas

Imaginary Museum of the Northeast The Department of Grace Section: Immaterials

In this reliquary proposed by the 3rd Bahia Biennial, Klein is seen as a point of origin, able to articulate at the same time discourses of immateriality, shape, the relationship with nature, the scientific method and the mystery present in the generation belonging to historical conceptualism. But Klein is still a violent and brutal clash looking for exits in the direction of new possibilities for the real.

Pilar Church PERÍODO 06/10 to 09/5

In Bahia and the northeast of Brazil, conceptualism was kept to the margins of the large official narratives and projects of public works, sustaining itself with difficulty between local and national systems and microsystems; and even this little space was achieved mainly due to the voluntarism of artists and other members of the local cultural scenes.


The church was built in 1718 with the financial aid of the Spanish community. The ceiling painting, the gilding of the carving and eight other panels are all by José Teófilo de Jesus.

His International Klein Blue (IKB) was here in display. The chemical mixture to reach the pigment was developed by the Bahia artist Juraci Dórea, following instructions by the chemist Edouard Adam, with whom Klein had worked on creating the pigment in 1960. Next to the IKB, an original edition of a publication by Yves Klein in the late 1950s, Le Dépassement de la problematique de l’art. On the same altar, a small bottle containing a tear from Charbel-Joseph’s right eye sits beside a statue of Saint Rita of Cascia, sculpted by Ambrósio. Every day in the morning, at the opening of the church, loudspeakers emitted the prayer written by Klein to Saint Rita evoked the spiritual in Klein, the immaterial of art to come, and the liberation of his conflicts with history, in an imaginary narrative about the development of conceptualism in different and possible territories.


ON THE SPATIAL ORDER One of the strategies proposed by the 3rd Bahia Biennial was a rejection of all forms of scenic action in its more than 30 exhibition projects. Among the reasons for the objection was the desire to promote a reflection on exhibition models and modes of action that intend to create a supposed “universalization” of exhibition language when, actually, they only support a perverse economic logic. Thus, the strategy adopted was to work in various spaces based on its historical context and situation of social order. These elements would not remain neutral in light of the artistic projects carried out by the Biennale, but would become new layers able to offer readings and contexts in permanent contact with the work and the artistic research in a perpetual exchange between culture and manifestations of art.

Imaginary Museum of the Northeast Department of the Encounter Section: Forms of Orientalism The Eckenberger studio PERIOD 06/10 to 09/6


Installed in the traditional neighborhood of Santo Antônio, the studio of Reinaldo Eckenberger consists of his production which includes paintings, prints, fabric sculptures, freehand drawings and ceramics. Photo Alfredo Mascarenhas

ECKENBERGER: SOMEWHERE SOON The studio of the Argentine artist (and Bahian by choice) Reinaldo Eckenberger, made up part of the constellation of exhibition spaces of the 3rd Bahia Biennial. Located on Rua dos Passos, in the traditional neighborhood of Santo Antônio Além do Carmo, the atelier was open to visitors until the closing of the Biennale. Eckenberger has 40 years of career and countless Baroque works, influenced by Portuguese culture. In addition to the pieces displayed in the collection, the public could also contemplate a work by the English artist Jonathan Monk, Somewhere Soon (2010). The action was part of the Imaginary Museum of the Northeast | Department of the Encounter | Section: Forms of Orientalism.


Photo Reproduction

Students and artists in training develop their own research at the Research Group in Lithography with the professor Renato Fonseca, using the stones of the MAM workshop as a mold.

The workshop Cadastro, with the theme Knots, was held by Guilherme May. At the meeting, the public learnt about different knots and their respective uses.

Exhibition of the film Guerra e Paz no Jardim (Jean-Yves Collet) at the Espaço Cultural de Alagados, in Salvador, for Cinema Yemanjá. Photo Gillian Villa

Photo Rafael Martins

June 11th 2014



In September last year I was called to head a proposal by Marcelo Rezende called MAM Side B. It was to be a program for community relations focused on independent projects around the city. I would interact with some peripheral neighborhoods of Salvador chosen as the initial focus to approximate the Museum of Modern Art of Bahia (MAM-BA) to these people, these artists. The intention was not to make events in the community, but instead, educational activities; not only to make people involved with the program of the museum, but for us to take advantage of what already existed in these communities. While we mapped the most effervescent territories, the Biennale came onto scene. There was talk of some neighborhoods that were interesting to the MAM due to the relationship with the government and city hall. And the suburb was one of them. I began to map out who the personalities were, the leaders of Suburbia and also [the neighborhood of] Liberdade. But it was in the suburb that we managed to achieve a work with a beginning, middle and an end. On February 10, I contacted the manager of the Cultural Center in Plataforma, with the proposal to integrate some cultural areas of the state as part of the Biennale exhibition spaces. I took that list and made a sorting of which ones were near the periphery, such as the Plataforma Cultural Center and the Engenho Velho de Brotas. I went after these areas to explain the mapping proposal and gauge their interest, because we had to involve the surroundings so that people feel like they belong to the proposal of the Biennale. Then I advanced to the Suburb. I first carried out an interview with the manager of the Cultural Centre, and she told me about the local scene. From there, we devised an invitation with which she, being very involved in the popular movements, called all the artists and leaders to get to know the MAM project Side B with the sorting of the Biennale. We gathered over fifteen people there in the theater, and presented the MAM Side B. Each one then spoke of what he or she did in their neighborhood. They are really invisible artists, because the suburb is an invisible territory. And the challenge was exactly to approximate what existed in the suburbs with the proposal of the Biennale. Then we brought to the educational curatorship a presentation of who these people were, and registered them as possible partners for MAM Side B. I continued mapping elsewhere and realized that there was always a communicator of the periphery or an independent mc or dj in these places. The chief curator Ana Pato was immediately interested in this information and involved it with what she was

The tree of Ivo Foguete, in Narandiba | Photo Isbela Trigo

planning in her curatorial project. At that time I worked in the curatorship of Ana with the library, archivist and architect working groups (WG), and then we set out the WG of Communicators, who would be the narrators, recording the entire process of their curatorial process. From the initial mapping, we called people from Plataforma, Itapuã, Nordeste de Amaralina, and from several peripheral suburban neighborhoods. Fifteen people were invited to the MAM-BA, where each had fifteen minutes to present their work as an independent communicator. Of these fifteen, 11 remained. We selected those with a more political bias. During three months we visited all the state archives: Vila Velha, the Gregorio de Matos Foundation, the MEL Archives (Estácio de Lima Museum), the Public Archives and thereafter, content for the internet and photographic records appeared. We made a ‘one-day Journal’ of the curatorship, which is the journal available in the exhibition spaces, containing the narratives of these young communicators. In addition, expeditions took place throughout the neighborhoods. A pilot expedition occurred in the suburbs and spread in various other actions, such as the integration of the Laje Collection at the Biennale. This work, professionally and personally, was a watershed for me. My research with peripheral communities has been going for some time, but had never had much impact. One of the “invisible artists”, for example, Perinho Santana, is the poet, the prophet of Plataforma, who writes pages on the walls of the neighborhood. We went to the book-house, as he calls his home. The relationship that was built and this immersion in the work of each individu-

Mediators of the Biennale go to the neighborhood 2 de Julho, and to the Monastery of São Bento talking to the public about the Bahia Biennial. Photo Rafael Martins

al made me understand that things need only effort, energy to happen. It was clear that cultural mediation is important, starting from the sensitivity of the place, and creating a relationship with both the work and the artist. Because sometimes it’s like this: the curator defines, the work arrives and the artist does not even go there. But Ana has this sensitivity to weave through the information that comes and the people who appear along the way into her curatorship. There was a lot of mobilization and the community got actively involved. That made an enormous difference, not only to the Biennale-Suburbia proposal, but in the reverberation of the actions and in the self-esteem of these people, in achieving unprecedented visibility and also in being able to communicate directly with the art circuit. Perinho is receiving an invitation to go to São Paulo, and Laje Collection is now at the São Paulo Biennale. To be part of this, for me, was important since the first meeting, which was with Ivo Foguete. He came to the MAM within the action System of Exchanges, and after that there were people who went to see Ivo’s tree, without any further call from the Biennale. And Ivo’s tree went through and won a legal process against the mayor’s office who ordered the removal of all the items in the tree, but now Ivo’s putting it all back. All this makes us understand that Marcelo Rezende’s proposal goes beyond the museum. The Biennale has expanded, and is, above all, a human experience.

* Acted as the Public Relations of the Educational Department and was part of the work group of Narrators of the project Archive and Fiction, both in the 3rd Bahia Biennial.

Screening of the film Boi Aruá (Chico Liberato) at the Cineclube Imagens Itinerantes, in Salvador, via Cinema Yemanjá. Photo Reproduction

Screening of the film Southwest (Eduardo Nunes) at the Difusão Cineclube Itapetinga. Photo Reproduction

The films The Retreat of an Adventurer (Moustapha Alassane) and Cowboys are Black (Serge-Henri Moati) are shown at the Cineclube Mário Gusmão, in Cachoeira.


June 12th 2014

Photo Rafael Martins

LEARNING TO HAVE HOW DO YOU MAKE A MEDIATION OF THE 3RD BAHIA BIENNALE? RECIPE OF SIMPLE MEDIATION Ingredients • 2 cups of knowledge about art in general with an emphasis on contemporary art • 3 cups of knowledge about the thematic axis of the 3rd Bahia Biennial, ‘Is Everything Northeast’? • 4 heaped tablespoons of understanding of the bureaucratic processes and hierarchical organization of the Biennale • 3 ideas of ways to move around the spaces, and questions to discuss with the group • 1 1/2 cup (approximately) of exchange with the other mediators • 1 heaped tablespoon full of openness to dialogue with whoever the visitor is (children, the elderly, heteronormatives, crossdressers, dogs, redskins, foreigners) • Season with the responsibility of the political and cultural education of whoever approaches • Add tropicality according to taste How to prepare 1. Whisk the ideias and questions 2. Set aside 3. Beat the knowledge over everything you have ever known (including everyday stupidities) 4. Add the political and cultural receptivity and the responsibility little by little, without stopping 5. Finally, add the conversations and exchanges with the other mediators 6. Put everything into yourself, enjoy it and stretch

7. Go meet the visitor who is open to dialogue 8. Bring the questions about what you believe to be adequate in the location and what the individual presents as a discussion, and be open to follow the flow of the conversation Or not, simply use your knowledge, suggestions and willingness to propose ideas, approach people, exchange ideas on practices in the world, about art, about life, about Bahia. Ana Beatriz Henriques, mediator of the 3rd Bahia Biennial

How do you make a 3rd Bahia BiennIAL workshop? Through the sharing of knowledge. Believing that dialogue - more than paintings, prints, ceramics or any artistic object - is the great final product, the only sincere way to build knowledge. The Biennale is experience. It is learning from the experience itself, uniting thought, feeling, intuition, a little improvisation and a huge amount of willpower. Leandro Estevam, mediator of the workshops at the MAM for the 3rd Bahia Biennial

How do you produce the Educational Curatorship of a Bahia BiennIAL? The big challenge of producing the Educational Department is not distinguished in anything of the challenge of carrying out the Biennale itself: knowing how to deal with things, knowing how to relate. To articulate people and ideas and implement projects demands a great balancing act which is necessary when you are in Bahia. The peculiarities of this production, such as the lack of funding and structure, are compensated by an articulated teamwork, sharing responsibilities and competencies in a horizontal management project based on the autonomy of the parts. This way of working allows decentralized activities to be performed autonomously, with departmental coordinators managing your time and workload. This permits a more effective interaction and a more intense relationship with the different audiences that the Educational Department of the Biennale reaches with its proposal, and thus is able to distinguish the diverse needs and make the necessary adjustments during the process. But the fundamental point is to understand that we are in Bahia, and that Bahia has quite peculiar forms of relationship, which leaves us with a feeling that, as much as we plan, we are always in progress, ever-changing; always reinventing ourselves. Felipe Dias Rêgo, financial manager and production coordinator of the Educational Department of the 3rd Bahia Biennial


Personnal Museum of the Northeast, one of the educational materials produced by the 3rd Bahia Biennial | Photos Lara Carvalho

June 13th 2014




1. 2. 3. 4. 5. 6. 7. 8. 9.

Feira de Santana Santa Bárbara Araci Caldas do Jorro Tucano Euclides da Cunha Monte Santo Canudos Cocorobó

Artwork: Clara Domingas / Mixed media: stencil and urucum)

“The Sertão is this: you push it away, but suddenly it comes back and surrounds you on all sides. The Sertão is when you least expect it.” Riobaldo in Grande Sertão: Veredas by Guimarães Rosa

To sleep: Jorro! The place where hot water springs from the earth. In the square, everyone bathes with the freedom of touch and smiles - bikinis, swimsuits and shorts persist, along with shower caps. Even the drunks in the square are enchanted with such delight at what it is: bathing with everyone in the square.

June 13, 2014 We left Salvador at almost midday with backpacks, water, notebooks, lightweight clothing and expectations towards the gates of the Sertão of Bahia. It is Feira de Santana that welcomes us, the land of our guide on this expedition, the artist Juraci Dórea. We meet Juraci, joined by longtime friends who also embark on the journey, at the Museum House of the Sertão, at the local Federal University. After hugs and confirmation of the route, the Expedition Earth began. The first stop was Santa Barbara, in a cafeteria at the roadside. A football game on TV, meat hanging in the sun, ladies with cloths on their heads and cigarettes in their mouths, coffees served, requeijão (cream cheese) for snacks, the fall of the afternoon. If, a few hours ago, we crossed the expressway of the urban wall of Salvador, it now smelled of the Sertão, of the countryside. We passed through the Araci square. Curious eyes. What do these people want here? There were 25 of us strolling through the square, all smelling of the capital. The children: loose, sly, shirtless, on bicycles; they posed for photos and asked if they would be on TV. Juraci jumped into a colorful ball pool.

June 14 and 15, 2014 I have grandparents who are stallholders in the northern state of Maranhão, I know the smell, of the kind, but my market in the city of João Paulo doesn’t have one thing that the Tucano market has: people! Innumerous people; of all types, sizes and ages. The smell of leather is omnipresent. The fruits in the sun, men and women calling out to clients, the rain of clothing in the air, the tobacco rope burning. Paraphernalia, hats, sheaths for knives, lead, bags, and clothes for horse riding. We had lunch in Euclides da Cunha and arrived at Monte Santo in the late afternoon. Juraci proposed that we climb the mountain which gives its name to the city. As a shield of the municipality, the mountain has chapels and crosses throughout their ascents that characterize the mystical point of the Bahian Sertão. We climbed up to the sound of classical music, with wobbly legs and sweat. When we arrived we were graced by the moon, which came up fat and red. On June 15 we enter the land, visiting houses, textures, listening to wisdom of whoever accompanied us. At this time, we already had the honourable company of two people: Dedega and Wil-

son. The former, a friend of Juraci Dórea’s wanderings and very knowledgeable of the area. The latter, the accordionist who won our hearts with the utterance: I would like to enter that van and follow your journey, can I?! And so it was with the accordion, picnics, stories told by Dedega and the visible emotions of Juraci Dórea as we went along some of the backwoods trails, between villages and hamlets. One of the most exciting moments was watching Juraci thrilled with an Umbuzeiro tree. The tree was in front of a friend’s house. The friend and the house were no longer there, but I heard people swearing that it is impossible not to note the presence of both at the location. We returned to Monte Santo to screen two films in the square. The plan was simple: wait for the bell to ring at the end of the mass, and call whoever would venture with us. First, the documentary Terra (Earth), about the artwork of Juraci Dórea, followed by a silent film by Benjamin Abrahão about the bandit Lampião.

June 16, 2014 The next morning, before hitting the road, we made a quick visit to the Museum of the Sertão in Monte Santo. With a Poster of ‘Black God, White devil’ on the door, photographs, ceramics, household objects, documentation, plus another umbuzeiro tree... and a treasure in the form of a house that hosts some of the visual codes of this imaginary and yet so real place that is the Sertão. To finish the expedition: Canudos. We arrived at the dam at around

noon; we left there at three in the afternoon, wrapped in the mystique of the place and its characters. Manoel runs a small museum about the Canudos War. With a face filled with the rivers of time, holding hands with his wife, he was quick and direct: “There is no better place to live than in the Sertão! I’m not convinced that São Paulo is better than here. We just need the rain, only that”. Beside Manoel, Dona Magdalena, full-breasted and with a smile to knock down armies, served us a historic tilapia fish dish and told us that if Canudos kept growing the way it was, according to the wishes of Antônio Conselheiro, it would have gotten as far as Feira de Santana. I will never forget the curious eyes, the colorful houses, the gossips in the square, the goat screaming, the people at the windows and doorsteps, watching life pass by while I, armed with a clipboard, felt like a fool in wanting to understand why the Sertão is so special. Among the colors and landscapes, ruins and smells, and the people who Juraci Dórea indicated to us, I carry a light certainty: our Tupiniquim knights, warriors of the sun and of the earth still exist, persist, and are there, full of stories, living with the nature of their place in the world and reverberating knowledge to the asphalt until, I hope, an infinite future.

* Executive producer of the 3rd Bahia Biennial

Photos Alfredo Mascarenhas


June 14th 2014

A PIECE OF TELEPATHIC COMPOSITION Salvador, 11th June 2014 To the Director of the 3rd Bahia Biennial This morning I met Sulz Itaberaba Lyra, from Helvetia. He is a writer. The only document he has, and which I found very interesting, is a book dated 1847 which has passed from father to son until it fell into his hands. In this book, the Port Society of Saint Joseph wrote down, since its founding year, the minutes of the meetings between its members. The book served as a record of the society’s activities for almost 60 years (the last recorded date is 1898). The minutes follow some events of the Leopoldina Colony, such as the foundation of Helvetia, which officially took place on September 14, 1872, but which has existed since 1847. The most interesting page is one which registers the employment of “blacks” in the cultivation of coffee. The word “slave” does not appear on any page; only the word “black”, which appears once. Another relevant page is dated 1878. In this motion, a farmer proposes to “import” Chinese people as laborers for the coffee plantations, ten years before the abolition of slavery. In the opinion of Itaberaba, farmers were already aware that the abolition of slavery was imminent.

Imaginary Museum of the Northeast Departament of the Immaterial Zones Section: Psychology of Testimony ICBA (Goethe-Institut PERIOD 06/14 to 09/6


After the founding of the Goethe-Institut in Germany, in 1951, the Goethe-Institut Salvador-Bahia / ICBA was founded in 1962, and has always worked in the building where it is located today; in a big house on the Corredor da Vitória. In 2015 it will become the first Goethe Institute of academic and artistic residencies in the southern hemisphere.

He also thinks (a view shared by other people questioned) that there was never a climate of repression in the mills. The slaves in Helvetia were probably freed before the abolition. According to Ciro Barcelos (the choreographer from Rio de Janeiro who developed a theater project in Helvetia), other slaves from other regions settled in Helvetia due to the more liberal ambiance of the community. After the abolition of slavery, some farmers left, while others stayed, such as Itaberaba’s ancestors (attached is a picture of them). Today, 90% of the population of Helvetia is black. I contacted the residents of Helvetia. The community leader, Tidinha, is the president of the Quilombo Association of Helvetia, and the future director of the museum that will be installed in the community. The material for this museum does not yet exist, or at least there has not been a survey yet. None of the four respondents own photos. On the subject of whether or not there was the presence of a quilombo (communities formed of runaway slaves) in the days of slavery, there are several versions; but the majority of respondents believe that a quilombo community was never actually started - after all, as there was no repression, no resistance was necessary. In 2005 the district of Helvetia was recognized as a reminiscent area of quilombo and the following year the Helvetia Arts Association was created, composed of quilombo women. The Association was founded with the support of Suzano Papel e Celulose, the second largest producer of eucalyptus pulp in the world and the leader of the paper market in Latin America. Suzano has a unit producing eucalyptus in Helvetia. At the Supereco Institute, a non-governmental organization for environmental education, you can read that the association was founded “with the objective of proposing alternative income and conservation of the environment with the production of handicrafts, and encouraging responsible and conscious consumption.” Today, the women create maroon crochet with chips of the eucalyptus tree. Helvetia, since the 1980s, has suffered the consequences of the reliance on only eucalyptus cultivation that has devastated the flora and fauna of the area, as well as many other districts in the extreme southern region of Bahia. Among the countries that hold shares of the Suzano Group: China, Switzerland, USA, Brazil, Israel, Argentina, Austria, and the Cayman Islands. Zé da Paz, of Italian descent and a resident of Helvetia, told me that the old cemetery, where the tombstones of slaves were separated from the gravestones of the farmers by a fence, was invaded and plundered by the cultivation of eucalyptus. Zé also told me that even the Queen of England has stocks of the multinational corporation. Attached are the photos of the devastation caused by the eucalyptus. This seems to be the story. In my opinion, the book from Itaberaba is a unique, 174-year old document. How can you possibly show all that?

Carmen Palumbo Assistant curator of the 3rd Bahia Biennial

The foundation of Helvetia (the old Leopoldina colony), whose name is due to the Swiss origin of a portion of its early settlers, falls within the framework of German immigration to Brazil in the nineteenth and twentieth century, which was caused by social problems occurring in Europe and the offer of plentiful land in Brazil. In 1808, with a royal charter, non-Portuguese immigration was allowed to fill cities and whiten the population. In 1818, the Colony Leopoldina was born, the first example of German immigration to Brazil, in order to increase the production of food and raw materials, and cause changes in the attitudes of Brazilian peasants.

Arno Schmidt | Photo courtesy of the Arno Schmidt Stiftung

Is conceptualism a chapter in the history of Western art, a vocation or a tool that creates other possibilities in response to the human experience? In the last case, this tool would serve as a key to access the unlimited potential of an artistic project that moves between the actions of history and the movements of culture. The writer Arno Schmidt integrates himself to the research areas of the 3rd Biennial from his methods of production and reproduction of images, developed through writing, his photographic archive and texts to be dictated. Thus, Arno Schmidt approaches the process of deconstruction of the real in the ever rugged and inaccurate narrative of art. Marcelo Rezende


Photo Reproduction

Screening of the film Esse amor que nos consome (Allan Ribeiro) at the Cineclube Espaço Imaginário, in Rio de Contas, for Cinema Yemanjá.

Another Guerrilla Action, this time leaving from the Eckenberger studio an exhibition space of the Biennale and covering the Pelourinho area.

The film Morro do Céu (Gustavo Spolidoro) is exhibited at the cineclube Tela em Transe, in Poções. Photo Reproduction

Photo Rafael Martins

Research Group in metal engraving with Evandro Sybine.

June 15th 2014

GOETHE und Einer seiner Bewunderer [»... und es ist ebensowenig wahr, daß ich um eine Privataudienz beim Papst nachgesucht hätte! .....«]

Er frisset entsetzlich! (Jean Paul)

GOETHE and one of his admirers [»... and it is so unlikely to be true that I have asked for a private audience with the Pope! .....«] He eats horribly! (Jean Paul)

Endlich war es gelungen, Tote wieder lebendig zu machen; oder, präziser ausgedrückt: Leute, die das erste Leben und den ersten Tod erlitten hatten, auf kurze Zeit wieder zurückzurufen (ichweißichweiß; exakt müßte ich sagen: das n=te Leben; und jetzt befinden sie sich in n plus 1. – Natürlich hatte es mit den Unsterblichkeitstheorien des Christentums nicht das geringste zu tun; es war wieder mal ganz anders). Finally it was possible to bring the dead back to life; or, to be more precise: people who have suffered the first life and the first death, to remember, for a short time, again. (I know, I know, I know, the right would be to say: life is X and now they are in X + 1. -and of course it had nothing to do with the theories of immortality of Christianity, it was, again, quite different).

Aber wozu die langen Erläuterungen; die Sache selbst ist ja jedem Kinde bekannt, zumal seitdem Knaur jetzt die Volksausgabe darüber herausgebracht hat (vom ‹Bonjour immortalité› dieser elfjährigen Pariserin ganz abgesehen. Und dem Rororo=Taschenbuch). But why all explanation; the thing itself is already well known to children, especially after Knaur launched the pop-

ular edition about it (not to mention the <Bonjour immortalité> by this Parisian of eleven years. In addition to the paperback edition).

Natürlich sind 15 Stunden nicht viel, zugegeben; aber es ist doch schon was, wenn man sich mit Hannibal ante portas unterhalten kann. (Obwohl das sofort zu den ersten Unstimmigkeiten führte: Walther von der Vogelweide hatte sich arg darüber beklagt, daß die Germanisten das Mittelhochdeutsche so komisch aussprächen. Und bei der byzantinischen Theodora hatte man vor dem verzweifelten Dilemma gestanden: die Professoren für Griechisch konnten nicht mehr gut; und wer gut konnte, hatte noch nicht genug Ahnung vom Griechischen!). And of course 15 hours may not add much; but it’s something to talk to Hannibal ante portas. (Although immediately notice the first differences: Walther von der Vogelweide complained of how ridiculously German scholars spoke middle German. And the byzantine Theodora faced a hopeless dilemma: Teachers of Greek were no good to her; and those who were did not know enough Greek!).

Das war es nämlich: jeder Revenant mußte selbstverständlich ‹geführt› werden! (‹Zur Austarierung des Zivilisationsgefälles›, wie es sich vornehm=offiziell eingebürgert hatte; also, plan gesagt: um allzu häufiges Überfahren= und Verhaftetwerden zu vermeiden; dem ‹Alten› konnte zwar nicht viel passieren, aber es ging kostbare Zeit dadurch verloren; für den ‹Führer› wurde eine zusätzliche, auf 24 Stunden befristete, Lebensversicherung abgeschlossen – die aber doch wohl von problematischem Wert war: die ‹Police›, in einem Sprachgemisch aus ‹Kritik der reinen Vernunft› und ‹Finnegans Wake› abgefaßt, gab in § 811 b nicht undeutlich zu verstehen, daß Antitrinitarier, zumal, wenn ihnen die Tonsillen, sei es auch nur zum Teil, entfernt wären, von einer ‹Zahlung im bürgerlichen Sinne› so lange ausgeschlossen sein sollten, ‹bis die distributive Einheit des Erfahrungsgebrauches, die an der Spitze der Möglichkeit aller Dinge steht, zu deren durchgängiger Bestimmung die realen Bedingungen hergegeben› hätte!).

Another edition of the Drawing Workshop with professor Olga Gómez takes place.

Photo Rafael Martins

It happened like this: Each returned had to be guided, of course! (< to balance a Hiatus from civilization> like an establishment of nobility = it naturalizes itself officially; in short, simplifying: avoid frequent trampling = be arrested, although it cannot happen a lot to the <Old man>, precious time was lost; for the <Führer > an additional life insurance, limited to 24 hours, was signed - which was certainly something problematic: the insurance, written in a mix of languages of the <Critique of Pure Reason> and <Finnegans Wake> hinted in § 811 b, obscurely, that the anti-Trinitarians, especially those who had tonsils, even partially, to be removed, should be excluded from any civil settlement until <the unit of distribution of the use of experience, which is at the forefront of the possibility of all things, consistently determine the actual conditions given>!).

Aetius (that’s it, that’s it: 451; The Battle on the Catalaunian fields - the collateral result was figuring out where in fact they were) for a guided tour of West Germany. (He, however, must have been very skeptical; the protocols were secret, of course, despite pressure from the Social Democratic Party; it was only known that: he had ..... yeah, I do not remember exactly, in any case, the statement appeared with the words <Christian= western> twice).

Also Maler möglichst vom Maler (da hat man ungefähr die gleichen Charakterdefekte); Dichter vom Dichter, nischt wie Fugger & Welser.

((There were even rumors that the Americans would have consulted Hitler - Discovering in the process, how many millions of Germans had become candidates, offering themselves only to the rumor, especially to guide, especially for this Führung. Apparently, a longtime politician best known as R. was won in the end - but I do not want to commit myself, it could have been someone else too!)).

Thus, possible painters of the painter (after all, the character defects are the same); Poet of the poet, nothing like Fugger & Welser.

Und sehr interessante Kombinationen waren da schon vorgenommen worden! General Dr., der Oberkommandierende der NATO, hatte Aëtius (ebeneben: 451; Schlacht auf den Katalaunischen Feldern – als Nebenergebnis hatte man rausgekriegt, wo die eigentlich lagen) zur Führung durch Westdeutschland bekommen. (Der sich aber sehr skeptisch geäußert haben soll; die Protokolle waren natürlich geheim gehalten worden, trotz einer ‹Großen Anfrage› der SPD; es hatte lediglich geheißen: er habe sich ..... ja, ich weiß nicht mehr genau; jedenfalls kam in dem Kommuniqué zweimal ‹christlich=abendländisch› vor). And very interesting combinations have already been made! The Dr. General, Supreme Commander of NATO, managed to get

((Man munkelte sogar, die Amerikaner hätten bereits Hitler konsultiert – découvrierend nebenbei, wieviel Millionen deutsche Bewerber sich, lediglich auf das bloße Gerücht hin, für speziell diese Führung angeboten hatten! Anscheinend war zuletzt der bekannte großgreise Politiker R. dafür gewonnen worden – aber ich will mich nicht festlegen, der Andre kann’s auch gewesen sein!)).

Excerpts from Goethe and one of his admirers (1955), by Arno Schmidt. The translation to Portuguese was done by the curator Tobi Maier and the artist Omar Salomão. The work could be heard at ICBA (Salvador) in the space dedicated to the production of the german writer.

Maninho de Sousa coordinates one more ‘Painting at the Biennale’ session on the walls of the MAM-BA. Photo Rafael Martins


In the morning, the mediators visit the City Park to talk to the public about the Biennale, in another Guerrilla Action. Photo Rafael Martins


June 16th 2014

Photo Alfredo Mascarenhas

A record of the assembly process of the exhibition Imaginary Museum of the Northeast | Department Full Steam | Section: Tropicalities, at the Carlos Costa Pinto Museum, in Salvador.

T I M E L I N E Study 165 Antonio Brasileiro Compose a man With his plots, his dramas theogonies, grammars, hiccups; Compose a man out of the morning dew, compose a man, out of the sky filled with stars, from the mystery of man

compose the man; compose a man out of the child there is in the man, from the man guessing himself over age-old retinas; compose a man with his hiccups, grammars and theogonies - and recite him in front of other men.

June 17th 2014


The Estácio de Lima Museum Collection The Estácio de Lima Museum Collection gathers 19 (nineteen) files containing textual documents (manuscripts, typescripts and printed) and iconographic documents produced and accumulated by the former Estácio de Lima Museum, which operated in the same building as the Nina Rodrigues Forensic Medicine Institute. The 19 (nineteen) dossiers received totalled 403 (four hundred and three) textual documents, 697 (six hundred and ninety-seven) iconographic documents and eight (08) negatives. The meaning and importance of the collection contrasted with the fragility and the wear that was found on the documents that make it up. This fact motivated the Bahia Biennial to undertake efforts to find alternatives to qualify the preservation and access of the public to the collection in question. In this perspective, the intervention was initiated on the collection, in partnership with the Public Archives of the state of Bahia (APEB)/Pedro Calmon Foundation (FPC) and the 3rd Bahia Biennial. The partnership involved the participation of the mediators of the Biennale in the steps specified below:

(3) Area of Content and Structure: record information about the subject and the organization of the unit of description; (4) Area of Notes: register information about the state of conservation and/or any other about the unit of description that has no place in the above areas. In the cited areas, there are 07 (seven) mandatory elements of description inserted, supplemented by 02 (two) elements, with a total quantity of 09 (nine) elements for the description of the collection: Reference Code; title; date; Level of description; Dimension and Support; Name of Producer; Scope and Content; System of arrangement and General Notes. The areas and selected elements of description allowed the formatting of the form used, represented below.

Step 1 - Sanitization The text and iconographic documents underwent a mechanical sanitization, under the supervision of the technicians Janilda Abreu and José Roberto Dias, respectively. Step 2 - Organization The collection was organized into five (05) document series: Administrative (ADM); Forensic Medicine (MLE); Black Culture (CNE), Cangaço (CNG) and Criminalistic and Technical Policing (CPT). Step 3 – Archive description We proceeded to describe the documents that comprise the Estácio de Lima Museum Collection, according to the Brazilian Standards of Archival Description (NOBRADE), officialised and recommended by the National Council of Archives (CONARQ). The standards for archival description aim to structure the information from elements of common description. The standardization of the description improves access and promotes the exchange of information on national and international levels. NOBRADE considers 06 (six) levels of description, namely: the Repository (level 0) collection; fund or collection (level 1); section (level 2); series (level 3); dossier or process (level 4) and documental item (level 5). Since the definition of the levels takes place in a hierarchical structure, the documental item should be understood as a level and not as a document. The standard is divided into 08 (eight) areas, which are comprised of 28 (twenty-eight) elements of description. In this work only 04 (four) areas were adopted: (1) Area of Identification: register the essential information for the unit of description;; (2) Area of Contextualization: register the information about the provenance and custody of the unit of description;

The purpose of the Reference Code is to identify the unit of description. It constitutes one of the main access points. It is composed of 06 (six) parts: the country code (BR - Brazil), the code of the custodian (BAAPB – Bahia, Public Archives of Bahia) (1), the code of the collection (CMEL - Collection Museum Estácio de Lima), the code of the series (e.g.: ADM - Administration), the code of the file (e.g.: COLOR - Correspondence) and the document code (e.g.: 01).

* In the text, the custodian is APEB. However, it is worth clarifying that the custody until then has not been made official. Until now; is to claim the proper gathering of the material by a competent public organ.

Title nominally identifies the unit of description. We chose to highlight in this element the indication of responsibility, such as the Author(s) and Recipient(s) described in the document. Failing to identify the author and the recipient, we used the abbreviation N/A (Undeclared). Date informs the date(s) of production of the unit of description, using Arabic numerals. When unidentified we put the initials N/D (No Date). We considered it relevant to register the location where the document was produced (Topical Date), but when not indicated, we used the abbreviation N/R (No registration).


Photos Tatiana Golsman


June 18th 2014


Level of Description identifies the level of the unit of description in relation to the others. As already mentioned, the option fell to level 05 Documental item, which corresponds to the lowest documental unit, intellectually indivisible, an integral part of files or processes. Dimension and Support identifies and registers the physical or logical dimensions, and also the support of the unit of description. They require the following information: number of pages and sheets of the unit of description; the shape, if it is an original or copy; kind of support, whether on paper, handwritten or printed.

General Notes provides information that was not included in any of the other areas. When, at certain times of the description, it was not possible to identify the information due to degradation of the document or difficulty in reading it, we used the conventional bracketed ellipsis (...).

Name(s) of the Producer(s) identifies the name(s) of the producer(s) of the unit of description, which corresponds to the statement of the Principle of Provenance, which should be brought in line with the other elements of description used such as: date, administrative history and contents. Scope and Content contains additional or relevant information to the title element of the unit of description. We chose to identify in this element the indication of annexes(s), if any, in the document described. System of arrangement provides information about the internal structure of the unit of description. It informs the order of the unit of description.

Salvador, July 17, 2014.

Adriana Sousa Silva Archivist Public Archives of the State of Bahia/FPC/SECULT


Archive of the Estรกcio de Lima Museum, available to be seen during the Biennale | Photos Tatiana Golsman

June 19th 2014


The Cleaning and Organisation workshop of the documents of the Estรกcio de Lima Museum | Photos Fรกbio Souza


June 20th 2014


What feeling do you have about what is happening now in Bahia, compared to the first time you were here, 12 years ago? One of the things that the Biennale has to its advantage is its inclusion in the city, in the context of Bahia. I’m touring the city and seeing the Biennale all along it. When I came here in 2002, there was no contact between the lives of the artists and the city. And this time I had the opportunity to immerse myself, visiting institutions that I did not know of, and see the other places where the Biennale is present. I find Salvador much more active artistically; and there is now a different spirit here. This has to do with the Biennale, and it seems to me that it is a model of Biennale that should be replicated in many other places. Because one of the problems that biennales have, which is a paradox, is that almost always the biennale is identified with the name of a city and yet it has nothing to do with the city. It’s more like a UFO that lands in the city and then takes off and goes away, and it is perhaps seen as a curiosity, as a spectacle, but the city does not participate.

When you were here, the idea of calling a foreign curator to see the portfolio of artists meant a desire for insertion in the system, in some way. What would mean a real insertion? It seems to me that is something that has not only to do with biennales, but with contemporary art in general, which has gone through a process of reduction of its public. It has become a very self-referential language; very specialized and based very much on collectible inaccessible objects rather than on a more mass-based distribution. This has impacted on the communication of contemporary art with the world.

It seems to me that a challenge for artists and curators is trying to achieve an increase in audience and a different insertion, which has not only to do with the world’s elite, the small, what we call the ‘art world’, but with an art that spreads out and can have a broader dynamic and cultural action. Anywhere in the world you have to see the possibility of art inserting itself in a more dynamic way into society itself, and not just being there as a chapel. And I believe that contemporary art, by its methodological liberty and morphological freedom, has that ability to be able to participate, the ability to enter. But often it does the opposite. I think there is an almost ontological problem that affects what we call the visual arts; it is the way it is consumed that is different from the rest of the arts. And the market is also totally different. The rest of the arts came about in the Industrial Revolution. And the visual arts separated themselves from the Industrial Revolution and preserved the unique, hand-made object. As a consequence its consumption is based on the uniqueness factor and collected by people who have the money to do it, or by museums and institutions. A singer, the song of a musician is not collectible. What interests them is selling thousands of DVDs, or being downloaded from the Internet, or filling a stadium for a concert, like a writer with a book, etc. But not art. Art can make a digital video that can reproduce itself ad infinitum, but it says no, they are only ten copies, and it certifies in a registry office that there are only ten copies, just like a photo. It even contradicts the very possibilities of mechanical reproduction; it denies it to preserve this limited, expensive object, from the market. It happens that collectors have great power, whether they are museums, private collectors, or foundations.

Do you think it is possible to turn this trend around? I think it is possible; in other words, I do not think there will be a complete transformation, nor that it will be something quick, but there is the possibility of doing it by the very dynamic that contemporary art has. We say that anything can be art nowadays. And even then it gives you the opportunity to enter other situations. It may be very difficult, or impossible, but it is as impossible as it is necessary. So I think it’s an obligation for us to work in this direction, if we are interested that art should have a social role.

If the Biennale was not restricted to the art world, what would its mission be then? What you did here is a very clear example. There is a Biennale in Istanbul curated by Charles Esche and this Turkish counterpart, Vasif Kortun, with resident artists who carried out projects for the city, the communities, deviating a bit from the touristic Istanbul. The Biennale of Havana, at its time, when it was well advanced into the city, was very popular and had a general participation. I think it is a duty of a biennale to do this, advance to models that broaden the real public participation. Of course, this is not only the work of curators and artists, but educational work is necessary; as well as efforts devoted to communication. There are many things that can be exploited and done. And it seems to me that the decision is as follows: either we are pleased with an art which is ever more elitist, more in the hands of collectors and institutions, increasingly for the ‘minority’, or we see the possibility that this art can go in another direction. With this I am not saying that there is a kind of art that is very valuable and that it is a white cube. I am not proclaiming: “We will destroy the museums.”


Acervo da Laje | Photo Alfredo Mascarenhas

The chat at the Laje Collection | Foto Isbela Trigo

The Narrative Expedition in Federação | Photo Alfredo Mascarenhas The Narrative Expedition in Plataforma | Photo Leonardo Pastor

June 21st 2014


Interview with Gerardo Mosquera, by ANA PATO AND MARCELO REZENDE

The horse ride for the 3rd Bahia Biennial carried out by the community of Serra das Correias | Photo Bianca Góis

But I do see that we are totally on the side of the white cube. I think that art can vary more, discover itself, it has to take off its suit and go more often to the beach.

What are the obstacles of making this happen? Many. Firstly, this cult of the ‘original’, fetishized and of high monetary value, which makes things difficult and even annuls its own possibilities to disseminate. On the other side is the institutionalization of art, all the networks of museums and other institutions that already follow and are used to this kind of art presentation. And there is a certain accommodation in tradition. The tradition can be broken, but it takes work. On the other hand, it is very encouraging that there are many processes that you see around the world in informal groups, based on artists, by young curators who make such a different scene. But I’m also optimistic because I see that there is the practice of contemporary art throughout the world, even in places where it did not exist a few years ago; think of the Middle East, Central Asia, Southeast Asia. There are practices of a looser art, more critical, and this is very positive.

We discussed a lot in the process of making the Biennale this relationship between art and education, including about how it has contributed to this situation of separation. Did you ever think a little bit about this relationship? Yes, and I would go beyond that. It looks to me that there is a problem in the way the departments of education of museums or biennials are structured, which act as resonators of the curatorial work. In other words, act in a second instance. The curators do


this, and they are responsible, in a second moment, to communicate it. And this is useful, but not sufficient. I see the education department working with the curatorship, at the same time. And by doing so, the project already has an educational take within itself, and not in a second moment. Do you think it is necessary to hold a biennale without exhibitions? Why not? This biennale has exhibitions, of course, but you said something the other day that really impressed me, that more than half of the activities are not exhibitions. Why not?

Do you think it is necessary to hold a biennale without artists? [Laughs] Maybe the ideal model would be one where a biennale has artists, obviously, but also other professionals, such as workers, artisans, teachers, filmmakers, musicians. In other words, as if it were like a real festival, but a festival of knowledge, dialogue and exchange. It would, perhaps, be a utopian model. But anyway, I think these utopias, what good they have to offer, is that they make us move towards improving things. There is a German philosopher, Ernst Bloch, who came up with the concept of concrete utopia. He says that the present can also be modeled with the aspirations we have for the future. He does not proclaim a proactive utopia separate from reality, but a utopia based on the actual situation and aspirations of each person. It is a model that I really like because it implies a grounded action, not like other utopias that become, in the end, elements of a repressive and authoritative character.

Things can’t continue as they are, and that is clear to everyone. There isn’t a clear answer to how it could be different yet; but we still don’t look that much, right? Yes, I think it is in the doing. I’m interested in doing lots of different things, like you have done here, so I’m very surprised at what you have accomplished; because it is also not the theory, of being able to theorize models, but you have to practice. And not in an improvised manner, this is a very structured biennale. Everything is systematic, is taxonomized, a little inspired on the Marcel Broodthaers museum, but in a very poetic and suggestive way. But at the same time it is something that is being done in a response to a situation. I think it was you who told me that there was no artist list. That sounds wonderful, because the list will be made as they arise and as reality requires. Also, this Biennale of an extended time period, 100 days, seems also very good to me, because it gives the possibility of adjusting as it goes, creating things. I once said that ‘Curation’ is more important than ‘Curating’, in the sense that the curatorial perspective is more important than analyzing and saying “this artist is good, but that one does not strike me as interesting”. Here the important thing is the model which has been presented, and its effectiveness.

Curator, critic and art historian, the Cuban Gerardo Mosquera was one of the organizers of the biennial project for Havana, being part of its curatorial group in the first three editions and directly responsible for the paradigm shift in the art system that they caused.

The Narrative Expedition in Plataforma | Photos Leonardo Pastor


June 22nd 2014


Educational DEPARTMENT of the 3rd Bahia Biennial

From January 25 to April 27, 2014, the Course for Mediators of the 3rd Bahia Biennial was held. Free and open to people over eighteen years old, either attending a high school or graduated, it brought together such a diverse body of knowledge, as diverse as the participants. The course trained 154 candidates, of whom 74 became mediators working in the exhibition spaces and educational activities of the 3rd Biennial. It also created, from among its 482 entrants, the first audience of the Biennale. Configured as an extension activity by the Fine Arts School of Bahia Federal University (EBA-UFBA), in partnership with the MAMBA, the course was supported by the Jorge Amado Theatre and the School of Architecture-UFBA, where the meetings took place. The essentially educational perspective adopted in the mediation training was consistent with - and necessary to - a Biennale whose theme involves critical reflection, and whose project involves dialogue with diverse audiences, in different contexts. This stance is clear in the following statement by Mariela Brazón Hernández, coordinator of the course, on the opening day: “Using the ideological tripod as a base and praxis created by the pedagogical proposals of Anisio Teixeira, Paulo Freire and Lina Bo Bardi, we intend here to give shape and content to a kind of creative dialogue focused on mediation; a mediation that creates and recreates itself like a birth of ideas that builds incessantly and acknowledges itself as a process, fundamentally an open and critical process. We have included in this course various forms of communication and interaction between teachers and students, such as lectures, round table discussions, seminars, dialogues – both in the classroom and online - statements, spaces for discussion and the application of knowledge, individual and collective activities, [and] workshops (...). I would like to conclude this brief intervention with the words of Paulo Freire, who guides our conduct. I hope these words will be of encouragement to the work you will perform here during the coming months: Teaching (which is what we will do) requires methodical rigor; research; respect to the knowledge and autonomy of the students; criticality; aesthetics and ethics; risk and acceptance of the new; rejection of discrimination; critical reflection on practice; recognition of cultural identity; awareness of the unfinished; common sense; humility and tolerance; happiness and hope. It requires a belief that change is possible. It requires curiosity and generosity; safety, professional competence and commitment. It requires the openness to dialogue and love for the students. And above all, teaching requires understanding and believing that education is a way - a beautiful way, in fact - to intervene in the world.”

Photo Leonardo Pastor

There were theoretical classes, lectures, readings, group dynamics, research and audiovisual presentations, organized around the themes Biennials and Mediation; The History of Art; Thinking the Northeast; Accessibility; Security notions; and specific content of the 3rd Bahia Biennial. The Training Course was attended by 47 guest speakers, among them artists, art educators, curators, researchers and university professors from various universities (UFBA, UNEB, UFRB, UFRN UNIFACS, IFBA, UEFS), along with cultural institutions such as MAM-BA, IPAC, MAC Buenos Aires, the Mercosur Biennale, the São Paulo Biennale, Pará Art Circuit, and the Art Circuit in Salvador, as well as members of the Fire Department of the State of Bahia. For some participants, this was their first insertion in the context of a discussion about art, history, society and education. The environment of exchange, due to the heterogeneous, procedural, and critical nature of the course, was instrumental in the formation of the participants and the entire staff of the Educational team. It was the Biennale happening even before the opening ceremony. The Educational Department of the Biennale worked from the understanding that mediation is always, and necessarily, in the process. Therefore, upon completion of the course and throughout the Biennale, training was continued through individual dialogues at the exhibition spaces, journal writings, and general meetings to exchange experiences.

One of the meetings of the Training Course for Mediators of the 3rd Biennial was attended by guests who had been monitors at the 1st Biennial, held in 1966. One of them, the anthropologist, artist and professor Renato Da Silveira, spoke a little bit about the course which taught them about the work of a monitor and about the political and cultural landscape at the time. “It was an effervescent atmosphere of exchange: the experience of being a monitor, the gatherings of the monitors led to many later developments. We met and constantly discussed everything. The Biennale was a major meeting in two regards: it was an encounter with the contemporary arts, and between monitors” Silveira also remembered the presence, in the course of 1966, of the teachers Frederico Morais, Valmir Ayala, Mário Pedrosa, Mario Schenberg, Juarez Paraíso and Riolan Coutinho. He compares that environment to the political moment that the country was experiencing: “Culture, besides being, in Bahia, that boiling environment, was also the gap through which we could protest, where people could resist the dictatorship”. Silveira also remembered one of his colleagues of mediation, Sérgio Furtado, who entered political militancy and disappeared in the repression. Furtado had a plaque dedicated to him at the exhibition The Reenactment, at São Bento Monastery.


Photo Leonardo Pastor

Photo Leonardo Pastor

Photo Leonardo Pastor

Photo Alfredo Mascarenhas

June 23th 2014




Photo Rafael Martins

After four months of training, the mediators of the 3rd Bahia Biennial were deployed to the different exhibition spaces according to their availability and affinity with the location and curatorial proposals. This articulation was essential for a favorable dynamic for their continuing work and trainings. The Educational Department of the Biennale believes that training does not end in the period of the course, following in the progress with experience, reflective action and research. The opening, on different dates, of the various exhibitions, demanded many adjustments and compensations of scale and attention to the personal interests involved, and were decisive factors for a dynamic which was difficult to generate, but enriching for the production team and especially for mediators. Many of them, from a group of about 80, transited through different exhibition spaces, and thus could have a better understanding of the whole project and an ability to articulate what was highlighted in each exhibition. In this way, they could represent the parts and the whole with a clearer overview and motivation. The mediators of the 3rd Bahia Biennial developed strategies to approach the specific curatorial proposals for each exhibition space and their works, searching, through dialogue and occasional provocations,

different views and settings. Assuming the role of a partner for each visitor, the mediators taught and learned in a continuous communication process. Thus, the negotiation and updating of content is dynamic and constant, in and between each exhibition space. It was this flow of knowledge, which overtakes the transmission of information, that the Biennale’s Educational Department looked to feed. The question ‘Is Everything Northeast?’ consolidated, unfolded and updated itself with the participation of the public, in a more or less active way, more or less critical, and yet, with or without the accompaniment of the mediator. This understanding of the work of mediation establishes a fundamental rule in accommodating the public: the relationship of each mediator with each visitor, individually or in a group, depends on sensitivity and common sense, but also the creative and provocative capacity to search, for all involved, an enriching and meaningful experience.

* Research Coordinator of the Museum-school Lina Bo Bardi

The Imaginary Museum of the Northeast - Department of Ways of Education, setting itself as a space for the educational and not exhibitionary, and by being located at the Museum of Modern Art, a place with a huge demand from local and foreign visitors, served as a point of reference for understanding and reflecting on the Biennale as a whole, and its various exhibition proposals. Being a place for bringing together mediators; the educational team working on the production of workshops and activities, but always ready to welcome the public; wi-fi and work space for visitors and other members of the Biennale staff; and yet it is still, in practice, a great corridor between the Unhão Courtyard and the Flamboyant Courtyard, in a certain way a corridor between the exterior and the interior of the Museum of Modern Art of Bahia. Lina Bo Bardi’s idea of experiencing the museum as a house was tried here. The educational space was everyone’s and for everyone. It offered the public a relaxed environment that valued their individuality as guests, recognizing in the involvement of each visitor and of each participant or worker of the Biennale a sense of community and a continuous in-progress dynamic. A collaborative wall, which still today resists a consensual name, was the protagonist of this dynamic. Influenced by the Literary spelling book by Paulo Freire, the Educational Department reserved the space for drawings and pictures made by the visitors, inviting them to draw or write about words or ideas relating to dayto-day life, the present and the Northeast. This wall was unblocking, proactive and empowering the conversation and meeting, resulting in a collection of images and ideas from words like Dictatorship, Freedom, Museum, Time and Quality.

Photos Rafael Martins


June 24th 2014

Guerrilla action

Educational DEPARTMENT of the 3rd Bahia Biennial

Guerrilla action on 7 de Setembro Avenue | Photo Rafael Martins

The Educational Department of the 3rd Biennial returned to the geographical and social experience to provoke different ways of seeing, narrating and building ‘northeasts’; both real and imaginary. For this purpose, it assembled a team of mediators who explored circuits in Salvador as territories of meeting, dissemination and dialogue about the 3rd Bahia Biennial, its curatorial proposal and program. These circuits included streets, schools, shops, restaurants, and parks, and each situation demanded from the mediators different strategies of approximation; some mediators improvised small performances, others sat at the table with domino players, while others have addressed groups of youths asking: “Is Everything Northeast?”. The Guerrilla Action was a direct way to inform and engage more people with the Biennale, but it was also a way for the mediators to come into real contact with the public and expand the space for dialogue of the mediation beyond the exhibition space.

Three moments of the Guerrilla action: 05/22 The first Guerrilla Action of the Biennale took place in the Colégio Central da Bahia, during a meeting of about 250 teachers and coordinators. The dynamic of entering rooms, speaking in front of new people and answering questions was the first exposure for many of mediators - a first taste of what would, from then on, be a relationship of ever-growing and direct contact with the public.

06/11 The roads linking the neighborhood 2 de Julho down to Avenida 7 de Setembro - a large commercial area of Salvador - was fertile ground for mediators to try different strategies. The course was held in streets that are very noisy during the day, with crowds coming and going, full of peddlers wanting to attract the attention of the passersby. The strat-

egies adopted by the mediators to draw attention were varied: some used the same techniques of the marketers’ and street sellers’, borrowing microphones from the shop door to talk about the Biennale, for example. Other performances were held in small groups on the crossings when the traffic lights went red. Many preferred to work on individual or small group discussions, inviting the public to participate in the Biennale.

06/15 The Guerrilla Action went to the Parque da cidade along with a music show. This way, the audience addressed by the mediators was the public who came to watch the bands. Initially worried about having to compete for the public attention with guitar chords, mediators - when talking to people individually - found an audience that was interested and willing to dialogue.


Photos Rafael Martins

June 25th 2014



The island of Itaparica from the perspective of Salvador | Photo Ana Clara Araújo

How was your experience at the residency at Sacatar Institute? Lisette Lagnado - It went beyond what I expected, and it was also far from those expectations. There are two opposite directions I need to mention. First, what I mean by “far”. I could not do the reading program I imagined I would and I could not write the texts that I thought would be needed to get out of here with a reflection on this process. And also far, because I know that for a residency to actually happen, it has to be done at length. And two weeks seem like two months, but are just two weeks. For my part there lacked availability in my agenda; making it impossible that I could stay longer and, from Sacatar, make other expeditions. For example, to go to Canudos, which is something that came out of the contact with the artist Ícaro Lira. In this sense it is also “beyond”, because suddenly I found myself almost ignorant of the richness of the history of this place, in Itaparica as well as in Salvador. There was an amazing thing that was the days spent on the island thinking about what the island has to offer and the encounters with the artists there. So in that sense, it went beyond. I thought I would be alone and it would be an environment for thinking, philosophizing; but it was a sharing environment. That was unexpected. From your experience, can you explain in what way the curatorship carries out critique on a process like the Biennale? Lisette - There is much talk of the exhaustion of the biennial model. Since the 1990s, this exhibition format exploded in several cities. Cities that already had an institutional structure; a cultural circuit organized around museums, cultural centers and galleries, but also deserted cities in terms of apparatus and cultural facilities. In the case of Bahia, what I’m seeing is that it is a biennale of process, but not because it was thought beforehand that it would be a biennale of process. It is a counter-biennale because it is a biennale which thinks every day. It is a biennial of much more action than project. I can see a project, I can see a program. This reinvention every day because of the adversity of the site is what makes this a more critical biennial. And in that sense, I can almost say that it is a counter-biennale because the biennial is a

format that has become an institution. And I think the upside here is that I do not see a rigid institution, I do not see a rigid model. I see one thing, always in motion. And I think the critical nature should be exactly this ability to rethink the whole time. How do you understand the relationship of the art scheme of the south/southeast and the north/northeast? Lisette - I am part of a generation that lived through a conflict and rivalry between Rio and São Paulo. After a while it subsided slightly, when Belo Horizonte entered in the map. I believe that the turning point is located when the Belo Horizonte Salon was turned into the residency grant of the Pampulha. It was a project designed by Adriano Pedrosa and effectively made Belo Horizonte a living place again. Belo Horizonte has always been an important place, but artists used to leave Belo Horizonte for other cities. This exodus is the problem with which we must deal. As was the exodus of artists during the dictatorship, looking for a place with more freedom. Thereafter, Recife became another very interesting place. We should perhaps stop to think about how effectively Recife has entered the map, thinking of it as a place that destabilized this dynamic of Rio-São Paulo-Belo Horizonte – it was no longer a city with a similar program. Also because of artists who circulated in the Southeast and now transit to Recife. I think we are now living a more interesting time in that these categories or geographical classifications have lost their meaning. I see it, for example, in the research of Clarissa Diniz for the Art Museum of Rio (MAR) where she presents an exhibition called Pernambuco Experimental. What does she do? She brings her research to a place that qualifies itself as an iconography museum of Rio de Janeiro, proposing to stop thinking of just ‘carioca’ history. I think a lot still has to be done, such as thinking of Brasília as a capital whose initial design was the occupation of the central part of Brazil; it is something that has not been done yet. There is an entire occupation to be made. And not necessarily from just one local viewpoint. I think it would be very interesting to get people to connect. What dialogue could we think of between the three capitals of Brazil: Bahia, Rio de Janeiro and Brasilia? They are three historically distinct capitals with very

different characteristics and we could try to maybe draw a map from these three cities. Is everything Northeast? Lisette - Everything is Northeast if we understand that the northeast is a place that is not in the center. I’m still thinking about it, but I want to expand the idea of the Northeast, and I feel challenged to ask other questions like “Is everything Africa?”, “Is everything Capitalism?”, “Is everything Neoliberal?”. I use this question as a starting point, actually. It comes to my attention that the title of the Biennale was indeed a question with a question mark. Because behind me, in this dish here, we see como viver junto (how to live together), also formed with a question mark. The Biennale which I made in São Paulo in 2006, it was called “Como viver junto”, but without the question mark. We understood that if you are asking questions, maybe people could provide answers and these answers would function as a sort of primer, self-help. All this comes from the book of Roland Barthes, and Roland Barthes did not use a question mark, but why? Because he is not giving answers. He is describing little fantasies, small utopias. So, Como viver junto is nonetheless something you might find at a given time. It may correspond to the definition of heterotopia of Michel Foucault, but I absolutely did not want como viver junto to be understood as a program. The program we had at the 27th Biennial [of São Paulo], in 2006, was actually the Hélio Oiticica’s Environmental Program. Then yes, we had a number of characteristics we tried to absorb into the exhibition. But is it all Northeast? is different. I think it’s a question of identity still in the identity stage. After that I think would be interesting to design a program.

Lisette Lagnado is a critic, curator and researcher. Among her works are Drifts and Derivations: Experiences, Journeys and Morphologies (Museo Nacional Centro de Arte Reina Sofia, 2010). As curator of the 27th São Paulo Biennale, Lisette placed the event as an agent and participant in the social, cultural and political debate, aiming to expand the discursive centers and promote the end of national representations. Lisette participated in the residency program during the 3rd Bahia Biennial.

The work Oculto from the series Oculto, handwritten book, varied techniques, 2014, by the artist Omar Salomão.


June 26th 2014

THE RETURN OF THE BAHIA ART BIENNALE After the free sessions in the auditorium of the Museum of Modern Art of Bahia to discuss a possible biennial exhibition of visual arts, the 3rd Bahia Biennial, over 45 years after the second, is no longer a promise; it has a date of inauguration. It was a claim and a ghost that haunted the unconsciousness of the artists, especially the young ones. The speeches were many, it lacked analysts. Over the last forty years, we have not advanced in thought, or even built a more effective cultural policy, despite the investment in mobilizing communities and art workers around the theme, in this country. The report of who lived and who has followed the events of the Bahia Biennials, even distant in time, puts in focus a different context to the moment we are living, forgotten at the back of the memory, important for resuming an experience with historical references. The art scenes in 1966 and 68 were of a Bahia interested in the decentralization of Brazilian art. The increased industrialization of the Northeast, SUDENE (Federal agency dedicated to the economic development of the northeastern region), the Industrial Center of Aratu, the state Bank of Bahia inaugurated a new consciousness in Brazil, and a change in the culture of the Northeast; a favorable context for the Bahia Biennial, the most important art exhibition in the country after the São Paulo Biennale. In the second half of the sixties, there was a desire to follow the diversities of the Brazilian avant-garde in Bahia. There was an avant-garde procedure, not a thought, which was more of an inconformity with the situation in Bahia in relation to the concerns of the 1960s: counterculture, Tropicalia, experimentalism and breaks with the traditional support mechanisms. A willingness to interchange with the vanguard resulted in the Biennials of Bahia, which counted with the participation of the most important manifestations of the era: Concretism, Neoconcretism, Tropicalia etc, making Salvador the center of visual arts in Brazil. They provoked the local cultural scene, contrary to an

update of the arts in Bahia. As the political regime of the late 1960 was little in favor of cultural freedom, the 2nd Biennial was closed. That was the end of an initiative which left Brazilian art in a state of mourning. Without a project of continuity and suffering from a lack of interest for changes on the part of artists and local critics, the Biennial’s future was doomed. The 2nd Biennial was closed soon after opening, due to the critical political moment that the country was passing. The expected cultural shift with industrialization was nothing but a dream. The cultural and political reality today is another, but it is necessary to know the past to take a step forward. An art exhibition of national repercussion is the object of anxiety of all local artists and something promised by the State that deserves its purest attention. Especially in times of biennials, curatorships and residencies, the expectation is different from the 1960s. The discussions promoted by the Director of the Museum were timely, putting the relevant issues on the table, exceeding the possibilities of the simple staging of exhibitions, such as: their own actions, not only of MAM, but also of other art museums; the training of artists, and art now. Between the bureaucracy of editals, the incentive laws and the superiority of the market, the museums are walking a tightrope, without resources to accomplish their projects and to maintain a program free from from external pressures on the cultural commitments of the institution. If the MAM should, or not, promote a national art show, does not matter. First it is necessary to have a broader curatorial project, able to overcome the bureaucracy and external pressures; in other words, a supporting device to ensure that the exhibition is not a large, isolated party, which ends up with a hangover the next day. After all, the museum is not a charity, adopting “needy artists” and even less a venue available to bidders and sponsors who want to publicize their brands. While many exhi-


bition rooms are currently waiting to find proposals awarded in the lottery that are the government editals, some projects would not even need to ask for luck to have visibility and approval, as they are necessary to the cultural circuit. After culture was dominated by barbarism, in a society that favors the production of cultural goods, the thought was defeated by the entertainment industry and power of the market. Who ends up deciding what art is, is the market; with advertising appeal, it imposes value and legitimacy. Art fairs mobilize investors; exceed expectations in terms of art biennials, which have been transformed into supermarket of the suburbs, with cheaper products for the consumer middle class. People no longer believe in language, but in the exchange value. Thought is the spilled liquid that glows on the surface of the work, with a limited shelf life. If the object of art is a false diamond, it does not matter; it satisfies the so-called creative economy. The audience with an education not committed to art history looks for a safe investment. A biennial of art, like a car fair, if not a bank of reliable information, brings to the market innovations to stimulate or attract the attention of consumers. But with minimal intelligence, it can help to inform and transform the art medium. In this case, the 3rd Bahia Biennial with the theme “Is Everything Northeast?” hopes to put the region on the national scene and draw attention to the need for a deeper artistic language here. Although the state, on behalf of a cultural democracy, prefers to invest in training proponents, courses of how to fill out forms and the design of projects, rather than critic artist information, public education, training of human resources and qualification of cultural spaces. The pre-biennale discussion organized by MAM-BA was worth it - the reconstruction of history is favorable to thought, and culture profits from it. Not everything is absurd and bizarre. The 3rd Biennial is no longer a dream. Further down the line, after inaugurated, it deserves a critical analysis.

Magazine Segunda Pessoa, João Pessoa/B. – year 4 / nº 1 / dec-jan-feb-2014

Integrated the group of artists who participated in the 3rd Bahia Biennial

T I M E L I N E Works by Almandrade, from left to right: Mural para lamentações (1993), Tensão e equilíbrio (1999), Untitled - a model for a public sculpture (2014) and Untitled (1998) Photos Alfredo Mascarenhas

June 27th 2014




3rd Bahia BiennIAL Curatorial nucleus of Archive and Fiction Ref.: Details of the action proposal – according to the document nº 071/14 This action proposal, in partnership with the Transport Company of Bahia (CTB), aims to conduct artistic interventions in railway stations, which comprise of the route between the Calçada station and the station of Almeida Brandão (Plataforma). It is intended that this action is part of the program of the 3rd Bahia Biennial, in the period between July 17th and September 7th, 2014. Description: Application of poems and phrases of the poet Waly Salomão, supported by the physical structures of the railway stations, such as: walls, pillars, railings of the stairs and walkways. The texts will be applied with paint, in reference to the popular typology of Bahian lyricists. The 3rd Bahia Biennial is responsible for the entire production, as well as the painting of the poems and phrases. 1. Calçada station 1.1 Write on the walls of the Calçada station the following poem: BABILAQUE POP CHINFRA TROPICÁLIA PARANGOLÉ BEATNIK VIETCONG BOLSHEVIK TECHNICOLOR BIKINI PAGODE AXÉ MAMBO RADIO CYBERNETIC CELL PHONE AUTOMOBILE PUSSY SLUM LYSERGIC ACID MARIJUANA NYMPHET MEGAPHONE MICROPHONE CLONE SILICON SONAR SPUTNIK DADA SAGARANA STEREO UNDERDEVELOPMENT PESTICIDE EXISTENTIALISM FÓRMICA ARROBA POLYVOX ANTIVIRUS CHAINSAW MOTOBOY NATIONAL LOTTERY PACEMAKER CUBO-FUTURISM BIOPROSPECTING DODECAPHONIC CHANCE CAMP KITSCH





1.2 Walls (Areas where art should be applied, signaled in blue - view from the Calçada station):

2. Other stations 2.1 Write on the pillars, railings of the stairways and walkways the following poem excerpts and sentences: No Utopia inhabits me any more. An endangered animal, I want to practice poetry - The least guilty of all occupations. .................... Enter the sea let the sea noise involve you even erase the human blah-blah-blah. .................... I have a desire to become everything that I’m not .................... DEVOUR ME OR I DECYPHER YOU This project is part of the series of actions and proposals which, for diverse reasons, couldn’t be made during the Biennale.

OSBANOMAM launch of Total, by a recital

Photo Gillian Villa

Screening of the film As Hiper Mulheres (Carlos Fausto, Leonardo Sette and Takumã Kuikuro) at the Cineclube Mocamba, in Itabuna, via Cinema Yemanjá.

Sarau, with the the book Poesia Waly Solomão, and by Omar Salomão.

Photo Reproduction


June 28th 2014

and bodyart in the square. There are also the boys of Outros Diversos, Casa de Batatinha and other artists that make this meeting possible.


Performance shows itself markedly in my relationship with art. Everything mixes in need, ritual, superstition, faith and desire for communication and poetry. But performance in Bahia is Zmário, Tuti, Coletivo OSSO, Biriba, Ieda, Tina, Roberta, Michele, Ricardo... It is based on them that I think about performance and understand my process. They are my inspiration so I can move between art and life, developing my work. The axis of this work in the Church of Aflitos was the action São Jorge Elevador where, in a kind of body act of one second, I interpret an apparition of the caboclo guided by religious syncretism based on the symbols of Saint George, Saint Sebastian and Oxóssi. Other elements, drawings, performances, photographs, cachaça, etc., were developed during the occupation in the Church. During these 100 days, I went around with Gabriel Guerra to record this action in 100 places in Salvador. The neighborhoods, streets and street nicknames were chosen along with the public in the first month. The Church is next to my house, so I kept my usual routine, like in my relationship with the butterflies. I could not predict it before starting the occupation, but they came and many were born within the Church, like what happens in my house. The watercolor Musa Cabocla, which participated in the exhibition “tropicalidades” (PEBA) at the Palacete das Artes, came up with a performance with poetry by Waly Salomão and LPs by Gal in the Square of Aflitos. Other actions took place, like Lua de São Jorge, Beiju para Deus (from the series QuiZera), an offering for the Cabocla at the window, infusion of Cachaça, caboquismo on album covers, appearances of the Caboclo, the exhibition Hibiscus with the collective MiZera etc.

São Jorge Elevador at the Abaeté Lagoon | Photo Gabriel Guerra

THE CABOCLO OF AFLICTOS – ELEVATOR OF SÃO JORGE The occupation of the Church of Aflitos for 100 days happened because of the people who were there daily. What was presented is something that is still in process and its essence is my relationship with the city, the history and people of that place. It all starts in Aflitos. I speak of the relations with neighbors, friends, artists, the square, the city, and of course the Caboclo, the Caboclo and all the energy that comes from the strangled and intense nature of that point in the city center. I also speak of the independence of Bahia, Brazil, the conflicts of Brazilian miscegenation, of all Saints bay and Dois de Julho.

I live on the Hill of Aflitos, next to the church. What happens there is a strong connection with the Caboclo of Aflitos. The Church is the main point of energy. Along with it I present my life and my working process to the public during the occupation. I am part of the parish community and this work involves the complicity of Father Aderbal and all the people who are part of the Church. The Caboclo has connected with me since 2011 when I moved there. Even with the church closed, before starting the refurbishment of the structural part, I was already part of the meetings and performative spaces: I made the records of the actions of Zmário in 2012, which celebrated its 15 years of performance

There are several stories and many I learned there, with each carrying a reference, a memory, a gift ... a lot of energy exchange. During the occupation, I developed the project Casa de Caboclo for the 31st São Paulo Biennale; drawings, photographs and videos were produced in this context. I went to the Lagoon of Abaeté to thank and ask permission to take the Caboclo dos Aflitos out of Bahia for the first time. On September 6th, at the opening of the Sao Paulo Biennial and last day of the Bahia Biennial, I presented the ritual of the opening performance which I did with cachaça, cashew, cloves and cinnamon and LPs by Gal. This work is part of the Bahia Biennial and also follows it in Casa de Caboclo until December at the São Paulo Biennale.

Arthur Scovino São Paulo, October 3, 2014


Photos Gabriel Guerra

June 29th 2014

Tools for Bending Rivers (research in progress)




The artist who deals with space operates with assemblages and the production of effects. As opposed to planning and structure, he is not sure about what their inventions and articulations will result because the space loses ‘situationess’ and is no longer a precise inscription in geographic dimensions, accessible to the individual experience, but instead a space for negotiation. In the research, the space of the São Francisco River and its orbit is given not only as a support, but as a raw material of the events in an environment fraught with tension and possibilities. Restless and ready to move in any direction, enabled by the intensities that are beyond our control, always indicating or suggesting a broader, complex and uneven multi-territorial reality. It is this perspective that makes an alternative interpretation of the San Francisco river possible, of its design and typology; what gives the place its specificity is the fact that the spaces can be translated from the understandings that contribute to its orbit, the negotiations themselves are not inert: they are processes. Perhaps one should also say that about the river, that it is also a process.

The Bend

On the engineering of things - the ground| Photo Gaio Matos

Today we experiment a multi-optional space in the composition of our identity and territoriality. At the same time, since the idea of space/time is discussed in an increasingly wide and abstract dimension, spaces, as well as individuals and information, also experience, and increasingly, the potency of the containment mechanisms. The attempted diversions, flow control and the flow of information, of people and things, the building of new walls, ducts, barriers, territorial restraints and so on, show the face of a power and its dam effect. It is exactly this point that provokes one of the greatest paradoxes in the understanding of space these days.



On one hand we see the fluidity of a flexible and moving space, on the other we have the continuous production of these borders, boundaries and strategies of enclosure and control in, and between, the spaces and territories. What comes next are movements of counter-positioning faced to the instrumentalization and manipulation of the spaces, flows and subjects by the state or other control systems. And when the mechanisms of closure and containment no longer respond, the occurrence of flow and seepage processes is inevitable, as well as the tactics to outline in contrast the borders and limits. Strategies for diversion appear in search of an exit away from the edges, the surveillance of the walls and control. Illegal immigrants, drug trafficking, smuggling, espionage, piracy, tax evasion and so on are emblems of these strategies of evasion where you are always in the middle or on the verge of positioning between one territory and another. In this sense, the idea is to set an expedition going up the São Francisco river for the production of works related to the situation of closing and opening caused by the innumerous interventions, acquisitions, deviations and changes in its orbit, from the point of view of engineering, topography and the design of its course from its mouth, between the states of Sergipe and Alagoas, to the town of Remanso. Map the places, towns and villages close to the river, hear the São Francisco and hear their stories. All of these processes are raw materials for the invention of works where the stimulus, the bend and the “art of circumventing” the configuration of spaces, places and flows prevail, starting from the difference in their understanding. A strategy where reaction prevails in the works and where tactics of mobility, mapping experiences and displacements are a counter-point to the well-thought static occupations, such as buildings and long-term monuments. * Integrated the group of artists who participated in the 3rd Bahia Biennial

8 7


6 4

2 3 1

Artwork: Clara Domingas Mixed media: stencil and urucum)

1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Piaçabuçu (Alagoas) Piranhas (Alagoas) Canindé do São Francisco (Sergipe) Paulo Afonso Petrolândia (Pernambuco) Rodelas Juazeiro Casa Nova Remanso Sobradinho


On the engineering of things - Digger | Photo Gaio Matos

Tools for Bending Rivers | Photo Gaio Matos


June 30th 2014



First circle | Photo Alfredo Mascarenhas

Second circle | Photo Daniel Lisboa

You did something similar to this work in 2006, in Minas Gerais, but what is it like doing it here in Salvador?

subject of the nocturnal, which also does not fail to be interesting, in the sense of being the life inside out, at the time when productivity is not going on, at the time that the bread is not baking, at the time that statistics do not work so well, the time of the owl.

Nuno Ramos - I did it in Minas like a film. The thread was a film that we were making. Here it is a bit different: there is always some bigger tension with the audience, and this is a work that somehow escapes the public. It wants to illuminate, like a flashlight, a strange light, desolate places, abandoned, lost. Places that tomorrow, when we remove these circles, will not have anything to do with what we are seeing now. It’s kind of a hut I erect, a low-cost job; easy to perform - in 5 hours we set up everything – and which gives life to a place that was there for god knows what. Now this life, if we inhabit it with what we already know, such as theater groups, groups of this and that, institutions, I think it would kill the idea. So we think that the work needs to escape somewhat from the public, and is to that extent that it will succeed. Which is not to say that there can be no audience, or that whoever is close would not be welcome, but would have to be this weird move; kind of case-by-case. But when you call an audience, which was the case today, what is your idea- to make people think about the space? Nuno – Yeah, I think that is in the actual context of the Biennale. A Biennale that always occupies the same places in the same urban area, it stretches its reach with these works. Now by doing this, it also loses some access to the public, it is a work with its back to the public. Of course it will be released to the public as a film, or other formats, such as this interview, for example. I want an audience, of course, but I think it’s a piece that has a bit of this paradox of not being seen much, or that can only be visited in the recessive sense, not dominant, unlike public works when you just want the audience, so you seek highly visible places. So it is with the‘nowhere’ that we do a sort of basic operation: vertical and light elements. There is another issue that is the

Have you had the experience with this work with the public, of people coming and something unexpected happening? Nuno – I have. For example, yesterday we were here at a junction with three roads, and the generator broke and burned. I had never seen a generator explode, it was pretty crazy; Bang! It caught fire and was burning for hours, it was strong stuff. In other occasions a guy on a unicycle, or another reciting a poem have turned up, without us expecting a thing. Another time, two actors came, and I kind of directed them. We do not always work as isolated as in this example here, sometimes we’re a little closer to a space. Why call it Iluminai os Terreiros (Set the Terreiros Alight)? Does it have any relation to the Assis Valente song with the same title? Nuno - The title was very important to me. It is funny how there are works that come from the title, and I think that it was a bit of it in this case. I love the song, but terreiro is anywhere; it is a nowhere and it is anywhere. But here in Bahia, a Terreiro is a sacred place. Nuno – I’m not sure if it is sacred, but something like a UFO had descended on it. Something out of some kind of mystical order ... but I honestly thought of Terreiro in the neutral sense, I did not think of a place of ritual, although it has nothing against this direction. I feel that Brazil is experiencing a strong urban tragedy and we’re going through urban violence, a unique form of urban stupidity. It had been many years since I came here in Salvador. Last year when I came I was very impressed with the violence on display, both

Third circle | Photo

Alfredo Mascarenhas

from land speculation on one side, to the protection on another, condo blocks being protected; left as ruins, waiting; undead. You had a Project to raise a façade, didn’t you? Nuno – Yes, the first idea was to raise a façade, but then we thought about making a replica of the staircase of Lina Bo at the MAM in a church on Itaparica, but the budget was restricted. I think I could do it here because it has an urban thought of displacement, and of making people understand that this is not so different from the cities in which we live, this place where we are now. This here has to do with the level of urban desolation in Brazil; it is not such a crazy thing. So, your idea was to call attention to these abandoned spaces, which are here inside, but at the same time outside. Nuno – That’s it. What we understand as ours, as urban, as control, is very restricted. There is so much of space like this that a lot people do not know about, but additionally this here is out there too. We pretend not to see it. I’m talking about Salvador, but I could be talking about São Paulo. But in this case we are in Salvador, so what’s happening to us in metaphorical terms impresses me, it shows how much our development is blind and dumb in the sense that we lose what is best and will soon be making one stupid move after the next and it will become impossible to solve and no one wants to stop and no one ever backs down, just one thing that goes, goes, goes and in the end everyone is cramped, in tight spaces, the beaches are 10 feet in size, there is no room for anyone, and there are those ridiculous buildings; after all, it is chaos. This on one side - the chaos that speculation creates – and on the other is that the desolation creates chaos, nobody knows what to do, so we look at the past, we have very strict institutions that let things lay waste; and then we look to the future and see those buildings and, at present, you are there on that crap, trying to balance.

T I M E L I N E I. A crossroads to where three open paths in the woods converge – or radiate from, in the forest reserve of the Parque do Vale Encantado, between Avenida Paralela and the Estrada Velha do Aeroporto. II. A warehouse of monumental proportions, part of the vast collection of ruins of the old Aratú cement factory in Paripe, abandoned

for over 30 years. A landscape of apocalyptic contours, formed by huge volumes of concrete pieces, between two beautiful beaches in the suburbs of Salvador.

of Salvador. A strip of dark and deserted beach on the edge of Itaparica Island, next to the ruins of the chapel of St. Antônio de Velasquez, built in the seventeenth century.

III. A secluded beach, where no electricity, running water or car can reach; in front of All Saints’ bay and the lights of the frontispício, the port and the suburbs

Three circles of light formed by nine poles and powered by a generator. Three lanterns on the emptiness; illuminating, for one night at a time, remote and distant points

from the urban centers of Salvador. Dimly lit places where the presence of people around is so dismal that its appearance is a surprise. This is not about giving visibility to invisible places, but looking at the emptiness waiting for something, or nothing, to happen.

July 1st 2014



THE SAIL THAT CARRIES THE BOAT The proposals by Guto Lacaz for the Biennale consisted of three projects of kinetic installations, of the rotational type, made of ordinary objects of daily use, and exploring the technological possibilities of art in different spatial situations in Salvador. As is a characteristic of the artist’s works, the three ideas are tangent to humor, irony, and the unusual. The first proposal was the Kinetic Spiral, a monumental structure designed for the Lacerda Elevator, a symbol of the city and the first

Kinetic Spiral on the Elevador Lacerda, preliminary study | Guto Lacaz

modern building in Salvador, which resulted in an electronic animation displayed during the Biennale at the Museum of Sacred Art of the Federal University of Bahia (MAS-UFBA). The second project was the installation Three ladders composed of three parts that would be placed on the roof of the Central Library of the State of Bahia in the neighborhood of Barris; made out of wood, the three objects are configured as three windmills of interference and reproposition of the main facade of the great

Kinetic Spiral, preliminary study | Guto Lacaz

A still from the film Saravá, project by Guto Lacaz and executed by Dan Palatnik.

The Three sails project

building of the library. The third proposal was Three sails, an object composed of three sloop sails mounted on a single shaft (mast) clamped to the floor, which would rotate like a big ‘weathermill’ located on the seafront with good wind incidence; the place chosen was the Sculpture Park of the MAM-BA and the project is a legacy of the Biennale for the museum’s collection. Alejandra Muñoz

Three Ladders, preliminary study | Guto Lacaz

Three Ladders project, an installation proposed for the Public Library of the State of Bahia, in Barris.


July 2nd 2014

The Pagodão Rehearsal PARTICULARS

The project Pagodão rehearsal (Ensaio Pagodão), by Pedro Marighella, consisted of a processual installation in the House of Music located in the Lagoa do Abaeté Park, the FUNCEB cultural space that houses the legendary Dodô and Osmar music truck, and various music-related activities in the region around Itapuã. The proposal was born out of the research in design and music that Pedro has been doing for some time about the aesthetics of Pagode, a type of music derived from the samba which originates in Rio de Janeiro in the 1970s, and which today constitutes a popular strand of great complexity in most big Brazilian cities. Pedro invited Pagode artists such as Mr. Bobby, Alex Gama and others for interviews, conversations and discussions. The artist has constructed a database on the manifestations around the Pagode, both its musical specificities (from instruments and rhythms to the shows) as well as the stylistic-visual (from the clothes to the choreography, and the graphic design of the music videos). During the months of July and August, the project occupied the House of Music as a workplace for the artist, open to the public, aiming to construct an iconographic collection of Pagode as a cultural phenomenon and, more broadly, to recognize a feature of political proposition based on fun and enjoyment. At the closing of the Biennale, a booklet was published with drawings and graphic experiments conducted during the period, which was also made available online (

Alejandra Muñoz

Images from the book Pagodão Rehearsal, by Pedro Marighella


Casa da Música | Photos Pedro Marighella

July 3rd 2014




The artist has a responsibility and complicity when he or she take their work to the street. It is not just to put it into place, without going through a process of reflection and adaptation to the public space. We live in a world dominated by image, and art should be a picture that diverts the eye away to the thought and the poetic. The sculpture was designed to be installed in a square where the passerby could interact. With the primary colors, blue, red and yellow, the plans fit into one another occupying a place in space. The whims of nature were not neglected: light and shadow participate in the composition of the work, and collaborate in its playful dimension. In the distance, how can we forget the fantastic sculptures of Franz Weissmann or the labyrinths of Hélio Oiticica? Art does have its memory. The sculpture, installed, dialogues with the surrounding buildings and the green landscape. Between sculpture and architecture, a shelter for the eye and body. No inside or outside. Depending on where you look, you can be inside or outside. An uninhabitable shelter, architecture of chance, light and playful. The plans intertwine and mutually support each other, creating a situation of equilibrium. Colorful, fun, they do not deny reciprocity with constructive tradition, minimalism and conceptual art.

Almandrade Integrated the group of artists who participated in the 3rd Bahia Biennial

Public Sculpture Almandrade is one of the great Brazilian names of the visual poem, and one of the leading exponents of Concretism, Minimalism and conceptual art in the Northeast. His artistic research transits through painting, drawing, printmaking, objects and installations. In the context of the Biennale, his proposal is to materialize one of the three-dimensional exercises designed for urban sculptures in tiny models, but never realized in the full-scale desire of the artist. After choosing one of the smaller models and the details of the project to be implemented, the work was made in corten steel treated for protection against natural corrosion, with a special support structure of concrete with steel buckles, finished with automotive paint in the primary colors. Various urban situations for the installation of the work were studied, considering the specifications of the proposal: a public sculpture, accessible to the people, which would be exposed to sunlight to enhance the perceptual and ‘immersive’ effects of the colors on the observer. The location chosen was the open space of the Ondina Campus of the Federal University of Bahia, between the Central Library, the University Restaurant and Milton Santos Institute. The work was produced by the Biennale and donated to UFBA as a public legacy. Alejandra Muñoz

Model of the work | Photo Gillian Villa

The assembly process | Photos Gillian Villa



July 4th 2014

Campo Grande Square | Photo Patricia Almeida

The planting of sacred and medicinal herbs coordinated by Tata Mutá Imê | Photo Gillian Villa

“Pyramid” over the terrace of the foyer of the Castro Alves Theater | Photo Gillian Villa

NONSPHERES XIII: TEAR DO TERREIRO The following extracts are taken from the publication Tear do Terreiro, part of the eponymous work by Luis Berríos-Negrón

The Tear do Terreiro makes the surface of the roof of the Castro Alves Theatre possible. The act of making possible in itself a social pedestal. These visibilities are articulated by the use of three infrastructures: a pyramid, a warp and a stage. Over time, their collective use energizes, nourishes and reinvents the realization of a green roof that was officially designed by, and for, the theater. The project is currently suspended due to the lack of resources. The three infrastructures are: Pyramid. A temporary structure installed using scaffolding on the surface of the terrace overlooking the foyer of the theater, creating a circuit of ramps and stairs that allow the public to see and climb onto the roof, like an open circuit. Warp. The large surface area of the roof of the theater, only noticeable from the street, to the extent that when the public approaches, it strengthens as a material, as a collective tapestry, a mental and medical field, not very different to a Terreiro. Stage. Activation of the small green roof south of the foyer

terrace as a stage to draw attention to the possible refurbishment of the higher ceiling of the theater through events of an activist character, religious practices, urban and medicinal agriculture, and experimental music performances and arts. Luis Berríos-Negrón


A conversation between Marcelo Rezende e Tata Mutá Imê

MR - Is it posible to create a sacred space, in the sense of a territory? TM - The sacred space is a place where you nurture your spiritual health. It’s a place where people meet to talk, to see each other, to see themselves, to discuss issues; it is a place where you feed all spirituality, regardless of religion. MR - So we met people, we find ourselves, and what is the result? TM - The result is very simple. This sacred space is made to give you an orientation, a direction. We understand that there is only one way; a single arrow. The sacred place is appropriate for this: to strengthen your arrow, learn to direct your path, learn what is a target. MR - If there is only one way, how can we understand the participation of all these others

which surround us in our sacred space and in our development? TM - In meeting with these others, it is the encounter with many paths, one must understand that the others are there for that, so you can better understand your own way; that is, who are you.

The Greenhouse chronotope Caroline A. Jones

“The question is to inhabit certain European geometries [...] only to undo them. In part, this necessary undoing is done via the indicial pointing out to you - but, unlike the Peirce index, it does not indicate a past event, but a set of future of potential: pointing to the garden imagined, indicating the “warp” of the roof as the place of weaving a “mental, vegetable and collective tapestry”, as defined Berríos-Negrón.


Can the structure Berríos-Negrón extend to another level of the index, pointing to the temple Tembu, guarded by the community led by Tata Mutá? The architect-designer intuits that just by promoting such cultural practices, while bringing together flora and architecture, medicine can happen.”

Weaving and unraveling in the 4th dimension

Luis Berríos-Negrón

“The roof surface of the Teatro Castro Alves is enormous. It is almost imperceptible from the street - it is really only visible from the skyscrapers around Campo Grande, or from outer space. Public access to the edge of the large extruded triangle provides a unique perspective that potentiates a present-future, as a mental and agricultural space, a space of contemplation and vegetation. By watching it closely, we try to weave an alternative social tapestry as a nomadic image. This image intends to recall the time scales between the human, biological, cosmic time, reflecting the incremental deficiency of the environment for agriculture, such as the fight against the by-product of neo-colonial modernity. This non-objective image is revealed through the roof surface as a desire and aspiration to compose a political re-imagination of the public space in Salvador. This potential medicinal and garden landscape tries to instígate the public refurbishment of the Theater Ceiling, benefitting the city to increase the institutionally collective and unconscious memory of the idea of public space; providing an imagination of the shape of this possible green roof.”


Studies by Luis Berríos-Negrón

July 5th 2014


EARTH ANATOMICAL THEATRE, Itaparica [2014] A work by Camila Sposati | The 3rd Bahia Biennial with support of the municipal government of Itaparica

GEOLOGY IN MOVEMENT Beginnings The project began to make more and more sense, and the concept became more solid, thanks to the context of Itaparica. I searched for other places both in Salvador and in Chapada before, but Itaparica began to make more sense within the context of the history of Bahia, including in its geological history. The idea of the Anatomical Theater comes from the human body and afterwards it is transferred to the Earth. So I start from 16th-century Anatomy and I trace a relationship with the anatomy of the Earth in 2014, by the need to find out what’s inside the Earth, which of these resources do we have; i.e. to have a reflection of the Earth’s interior as a resource that is limited. The research involved contact with doctors, architects, I went looking for a lot of 16TH century literature, photographs, I went to the Library of Medicine in Paris, well, basically I had to research a lot of architecture and medicine, which are two areas that do not combine very well. From there, I started to research geology. But to develop this in Itaparica was as laborious as developing the very concept. This is because digging is a lot of work. You have to understand the constitution of the land, if there is going to spill water, if it is possible to happen. THE PROCESS During the process I had to make daily decisions, it was not possible to do a

Earth Anatomical Theater | Photo Camila Sposati

The concept of the Earth Anatomical Theater, 2014


thorough planning. There were financial problems, problems of understanding, of architecture, in summary, of communication. So all decisions were made daily; without even knowing if the project would actually happen. Because every day was a different problem (or all at once): financial, or if there would be too much water in the hole, or because we would not have support from City Hall, or because the owner of the land would not rent, or because the engineer didn’t understand the project exactly, or because wood wouldn’t work, or because Itaparica wouldn’t have enough material… the legal barriers, negotiations with the IPHAN and IPAC etc. That was the biggest challenge. Having the patience to make a decision every day and never know if it would work. And the challenges don’t end. Even now, with the theater ready, there is still the challenge of the presentations, the use that the theater will have. ITAPARICA It was over a year of project, which in addition made me move to Salvador and experience the practical reality of catching the ferry or a boat daily, and face a context that is not for the art public, which is always in something more “clean”. Here I had to know the site thoroughly, cross the bay, walk, meet people, the workers, understand what an island is, understand the history of Itaparica, the relationship of Itaparica with Salvador, Brazil’s independence of Itaparica. The difficulty also serves to pre-

Photos Alfredo Mascarenhas

pare the viewer not for entertainment, but for an investigation, another exploration. DIRECTIONS OF USE The theater was made with an engineer from Itaparica, an administrator from Itaparica, wood from Itaparica, ultimately, all things involved were from Itaparica. The monitors are from Itaparica; I’ll give classes, and the people from Itaparica are very present in my work. But if you are going to use the theater, it depends on the visitors. I gave some information and instructions, but people who want to enter must be aware that they take responsibility for their own actions. The only warning I have is: this is a steep theater, it has this shape, it is made of wood and you do what you want, but you take responsibility for your own body. So walk in, exit, see the garden, you can see the wall, you can go up and down, but there is no one controlling, the idea is precisely that; there is no control. A lot of people who go there also ask “but where do the audience stay?”. Sometimes it is difficult to understand a theater without an audience, and with a stage so small, a theater that is not for entertainment. And precisely in Bahia, where everything has to be entertainment, celebration, and happiness. I want to amplify this concept of a theater also being scientific and that it can also be a place of dialogue, it has a science. * Integrated the group of artists who partici-

pated in the 3rd Bahia Biennial

Photo Camila Sposati


Consulting: FGMF arquitetos Architectural technical drawing: Otávio Costa Geotechnical Engineering: GeoEng Technician responsible for the project: Alexandre Santiago Project Administrator: Edson Pacheco


July 6th 2014

CURATORSHIP, INVENTORY AND reenactment ANDERSON ALVES CUNHA Assistant curator of the 3rd Bahia Biennial

I took the liberty of calling this report ‘small’ and ‘affective’. Affective by the real sense of the word and small because everything that I experienced during the curating of exhibitions, primarily the exhibition The Reenactment, reactivated important experiences and memories. It is impossible to scale the value that the fruit of this work was to me. To bring back the whole story tracing the works that were censored and the whole context, during the closing of the 2nd Biennial in 1968, was instrumental in the development of the curatorial actions that resulted in the science-fiction exhibititions | Cosmology | Utopia-Distopia, by Juarez Paraíso and Between Systems, of Riolan Coutinho.

13. Euclides da Cunha, Os Sertões 14. Davidson de Oliveira Diniz, Walter Benjamin e as Passagens: uma narratividade poética do histórico (Walter Benjamin and the passages: a poetic narrativity of the historical) 15. Pedro Arcanjo Silva, Bienal do Recôncavo: Aspectos de uma intervenção contemporânea (Recôncavo Biennale: aspects of a contemporary intervention) 16. Virginia Gil Barbosa, Uma parada- Antonio Manuel e a imagem fotográfica do corpo (A stop – Antonio Manuel and the photographic image of the body)

In the first instance, I adopted the posture of conducting independent interviews with various artists who participated in the Bahia biennials, and others who, while not participating in the exhibition, have experienced the stories and have been able to report some facts that were of paramount importance to the understanding and perception of gaps and of the events generated by the closing of the event on December 21, 1968.

The development of the work permeated the interviews, readings and meetings which enabled a greater understanding of the scenario that existed during the editions of the Bahia biennials. The intense experience during field research in multiple locations, as well as the various visits to the archive of the Instituto Histórico e Geográfico, to the section of rare books in the public library of Barris, provided a crossing and tracing of information with the data collected on the internet, and provided a foundation for a methodology. The fruits of this research enabled the gathering of some works that were censored or that were missing, and that took part in the II Bienal da Bahia, such as Cavalo de Tróia, by Siron Franco, on display in the exhibition The Reenactment; the series Impromptu by Lênio Braga, today in the collection of the Museum of the city of Salvador, in addition to the work Natureza Semi-Morta by Renato da Silveira, belonging to the collection of Elisabeth Roters Coutinho.

I spent the first weeks, as assistant curator, searching for an understanding of the curatorial project of the exhibition, looking for sources in books and catalogs that mentioned the closing of the event, as listed below. Books which support the great questioning proposed by the Biennale, and which feed the actions of the project “Is Everything Northeast?”. These records have served as an emotional repertoire that led to the guidelines of the curatorial work in the research stage, with the first independent meetings with artists like Justin Marino, Maria Adair, Chelsea Mello, Bauer Sá, Ramiro Bernabó and Edison da Luz. Research in books, theses, dissertations, magazines, newspapers and catalogues visited: 1. History of Biennials 2. History of the Bahia Biennials 3. The newspapers A Tarde, Diário de notícias 4. Catalog of the 1st National Biennial of Visual Arts of Bahia 5. Magazine Gam 17 - catalog of the 2nd National Biennial of Visual Arts of Bahia 6. Mário Pedrosa, Dos murais de Portinari aos espaços de Brasília (From Portinari murals to the spaces of Brasilia) 7. Arthur Freitas, Arte de Guerrilha: arte de vanguarda no Brasil - 1969-1973 (Guerrilla Art: Vanguard art in Brazil - 1969-1973) 8. Aracy Amaral, Arte e meio artístico: entre a feijoada e o x-burguer (Art and the Artistic Circles: between feijoada and the cheeseburger) 9. Aracy Amaral, Arte para quê? A preocupação social na arte brasileira 1930-1970 (Art, What for? Social consciousness in Brazilian art 1930-1970) 10. Alan Kaprow, How to make a happening 11. Campos de Carvalho, A Lua vem da Ásia (The moon comes from Asia) 12. Nicolas Bourriaud, Pós-produção, como a arte reprograma o mundo contemporâneo (Post-production: how art reprograms the contemporary world)


During the meetings, phone calls and dialogues with these significant people within the process of the 3rd Bahia Biennial, it was possible to get to know more deeply the scenario and the motivations that may have been decisive for the closing of the event at the time, as well as the poetic and conceptual relations of each of the artists interviewed or researched during the process. The access and analysis of this researched knowledge resulted in the construction of knowledge essential to the holding of the exhibition The Reenactment. Getting closer to the thinking of Juarez Paraíso and Riolan Coutinho was also essential to the development of the exhibitions of the artists mentioned above. The interviews with Nair de Carvalho, Ramiro Bernabó, Glei Mello, Renato da Silveira, J. Cunha, Maria Helena Flexor, Celeste Poussant Braga and Luis Henrique Dias Tavares broadened even more the historical knowledge about the biennials, being fundamental in best assisting the curator of the exhibition, Fernando Oliva, who, with a critical and careful eye, created a more dynamic reading of the works in the exhibition. In addition to the experiences, histories and stories told, on my part there was the articulation with São Bento Monastery, which resulted in the cession of the space that served as the central stage for The Reenactment.


Plaques present at the exhibition The Reenactment | Photos Lara Carvalho

July 7th 2014

Paulo Bruscky, Marcel Duchamp x Rrose Sélavy, 2010

RULES OF XADREZEN ROGÉRIO DUARTE Integrated the group of artists who participated in the 3rd Bahia Biennial


| Photo Gillian Villa

What is XadreZen?? A system which is virtually identical to traditional chess, but which proposes to select, at random, the column where the initial movement of both players should be made. For example, if selecting with an 8-sided die or by tossing a coin three times, let’s assume that in the first hypothesis the “a” column is drawn and that in a second hypothesis the “g” column is drawn. Thus, if the first-mentioned possibility occurs, White will have the choice of three possible moves in his first move: 1. Ca3, 1.a3 or 1.A4), whereas in the second case they would have two options (1 ... g6 OU 1 ... G5). Following this selection, a second draw is held: who will be the first to play, in other words, they can start the game as white or black, unlike the current official rules of chess! Noted, then, that in this system you can start the game with the black pieces, in which case one might christen such a rule by the name of “reverse Chess” or “mirror chess”. The reasoning behind the system of XadreZen

Imaginary Museum of the Northeast Department of the Insertion of the Act in a System of Rules Section: Immaterials ACBEU PERIOD 07/7 to 09/6


The ACBEU Gallery has been open since 1975 on the Corredor da Vitória and receives contemporary art exhibitions.

Although the second draw defines who will be the first to play, we must clarify that the color of the pieces to be played is automatically defined by the double-round-robin system table. The first rule of this system aims to stimulate attention and creativity, as well as combat the monotony of options currently used at the beginning of a game of chess and the automatism of playing memorized positions, not always well studied or understood when playing. Xadrezen provides less common situations in the game, like playing “with the colors reversed,” that is, to play variants such as Whites playing like Black! Therefore, we expect a greater and better understanding about the openings that are unique to classic chess, encouraging players to know more deeply the implications of these subtleties in the opening moves. We hope to contribute to the development of the openings, to the strategic vision, and to chess itself. Xadrezen aims to change paradigmS The second rule of this system aims to fight a symbolic inherent prejudice to the rules of chess, that black should always play second. Beyond creating an optical, aesthetic and even psychological phenomenon with the situations that we call “mirroring” on the board, Xadrezen brings a new way of looking at what is normally played by a certain color / side of the board. Reverse chess also requires the player’s attention, encouraging him to “transcend” certain rules in favor of true positional understanding, that is, regardless of the color of the squares and the side that the king, the queen and their respective flanks occupy in your eyes and your memory.

tinerant action of Open Mural lead by Professor Hilda Salomão that occupies for one afternoon Salvador Bus Station. Photo Rafael Martins

Mediators of the Biennale went to the Salvador Bus Station in a new Guerrilla Action.

Photo Rafael Martins


July 8th 2014

That’s how it is on the coast INAJARA DIZ Executive producer of the 3rd Bahia Biennial

All the professionals involved in the assembly, follow-up, mediators course, driver and production, in addition to performing their tasks, developed the most unusual and diverse functions, having to deal with electric installations, painting frames, assembling and packing art works. Also, they learnt the difference between a goat and a sheep, were amazed by the São Francisco River and all the peculiarities of the wonderful and welcoming cities of the itinerary, in addition to the others that were on the way along the journey. An enriching experience where it was possible to experience cultural differences between distinct cities with wonderful people who made up the local teams, always willing and very happy to collaborate with the arrival of the Biennale. The greatest difficulties occurred due to the staff being very few in number for such an undertaking, requiring a lot more than what each one should actually carry out, and the lack of exposure in the cities.



Feira de Santana, being the first city, we did not know what problems and solutions we could have; indeed, we didn’t know in any of the following cities, but Feira gave us and brought us great partnerships, thus making the work much easier and more pleasant. Besides being an amazing space, we had a responsible and focused team to rely on. Many thanks to the Centro de Cultura Amélio Amorim and its team (Bia Vasconcelos, cleaning and security team), to the mediators and new friends Heber Fontes, Nataly Porto and Lucy Shammah, for the willingness and confidence to perform the work of mediators.

Within the itinerant program, Vitória da Conquista proved to be the venue with the greatest possibility of mismatches in terms of expography and structure (general) because of the distance and also for not being a cultural center (standard architecture) for everyone in the state. Discovering Elomar’s farm and the beauty of the region brought us new possibilities in expography and a lightness, a feeling due to the contact with the space;

*Annex: Report mediators.

Bernardo Santos



“Ears open to music Eyes open to natural beauty Refined Perceptions red earth, thorns, cactii and clouds”












100 90 80




160 140

70 50








10 0













Average rain report in mm

Temperature in °C


July 9th 2014

Travelling journal by Bernardo Santos, cultural mediator of the 3rd Bahia Biennial



Juazeiro and its heat. It was the city with which I most identified myself; with the region, people, climate. Despite the distance traveled to reach the city and the physical fatigue, the hospitality and energy of the city was reinvigorating for the entire team.

Alagoinhas showed me that unity is strength!! Upon arriving in the city, more precisely at the Cultural Center, and facing an old slaughterhouse with a huge history about the founding of the city and its energetic weight, I questioned everything that I had lived and seen. To see a group of artists rolling up their sleeves, making that place even more pleasant with art, was joyous. And unity is strength, because a few days before opening the main house was completely transformed by the arts displayed there.



*ANNEX: Report mediators

| Photo Gillian Villa

SALVADOR / MAM / Main house



PERIOD 09/25 to 06/8

That’s How It Is in the Coast

*ANNEX: Report mediators



With the minimalist exhibition layout of That’s How It Is On The Coast the stairs which connect the two pavements of the MAM was in the spotlight. Projected by Lina Bo Bardi during the refurbishment that inaugurated the MAM, the stairs is built of only fitted pieces, using a locking system found on ox carts.

FEIRA DE SANTANA / Centro de Cultura Amélio Amorim PERIOD 07/17 to 07/25


The Centro de Cultura Amélio Amorim was constructed in 1992 and since 2000 has been administrated by the UEFS. The cultural complex includes showroom, amphitheater, rehearsal rooms and an exhibition gallery.

VITÓRIA DA CONQUISTA / Casa dos Carneiros PERIOD 07/28 to 08/10


The Casa dos Carneiros is the center of the small farm that the musician Elomar Figueira Mello maintains in the semi-arid, in the region of Gameleira, Serra da Tromba in the municipality of Vitória da Conquista.

JUAZEIRO / Centro de Cultura João Gilberto PERIOD 08/15 to 08/24


Inaugurated in 1986, the Centro de Cultura de Juazeiro pays homenage to one of the illustrious sons of the region, the musician João Gilberto. The space makes available the showroom, the amphitheater, multi-use rooms and the gallery.

ALAGOINHAS / Centro de Cultura de Alagoinhas PERIOD 08/28 to 09/7


The Centro de Cultura de Alagoinhas has a showroom, an acoustic shell, rehearsal rooms and a gallery. Inaugurated in 1986, it was renovated in 2008 and re-opened in 2009, being the main cultural space of the city.

Screening of the film Histórias que só existem quando lembradas (Julia Murat), at the Cineclube Janela indiscreta, in Vitória da Conquista, for Cinema Yemanjá. Photo Reproduction

The gardening workshop given by Cláudio Pinheiro worked with the transplantation of plants that exist in the space of the MAM-BA.

Photo Rafael Martins

July 10th 2014



The work Cãos de Jacobina, by Adenor Gondim, at the Departament of Post-Racialism (body, device and subjectification) | Photo Alfredo Mascarenhas

Before I begin the Journal of my Second Visit to Brazil, from which I was absent a year and three days, it will be necessary to give a short account of the principal events which took place during that year, and which changed the government of the country. The Prince Regent had in vain sent the most pressing representations in favour of Brazil to the Cortes. No notice whatever was taken of his dispatches; and the government at Lisbon continued to legislate for Brazil as if it were a settlement on the coast of savage Africa. The ministers who had served Dom João had seen enough of the country, during their residence in it, to be persuaded that Brazil, united, was at any time competent to throw off all subjection to the mother country; the object, therefore, became to divide it. Accordingly a scheme for the government of Brazil was framed, by which each captaincy should be ruled by a junta, whose acts were to be totally independent of each other, and only recognizable by the authorities in Portugal; and the Prince was ordered home in a peremptory and indecent manner. I have mentioned in my Journal the reception those orders had met with, and the resolution His Royal Highness had adopted of staying in Brazil. As soon as this resolution became known to the provinces, addresses and deputations poured in on all sides, from every town and captaincy, excepting the city of Bahia and the province of Maranhão, which had always had a government independent of the rest of Brazil. In December, 1821, the King had appointed General Madeira governor of Bahia and commander of the troops. He entered on his office in February; and shortly afterwards the first actual warfare between the Portuguese and Brazilians began in the city of St. Salvador, on the 6th of the month, when the Brazilians were defeated with some loss.[95] Meantime, the province of S. Paulo had made

every exertion to raise and arm troops; and early in February 1100 men marched towards Rio, to put themselves at the disposal of the Prince. Some recruits for the seamen and marine corps were raised, and a naval academy established, the object of which was to prevent the Prince to be carried away by force. It was now thought advisable that the Prince should visit the two most important provinces, S. Paulo and Minas; and on the 26th or 27th of March he left Rio for that purpose, leaving the executive government in the hands of the minister José Bonifacio. His Royal Highness was received everywhere with enthusiasm, until he arrived at the last stage, on his way to Villa Rica, the capital of the province of Minas Geraes; there he received intelligence of a party raised to oppose his entrance by the town of Juiz de Fora, supported by a captain of one of the regiments of Hunters (Caçadores). He immediately called for some troops to be assembled and join those which accompanied him, and then remained where he was, and sent to the town assembly, to say he was able to enter by force, but had rather come among them as a friend and protector. Several messages were exchanged; the conspirators discovered that the Prince was, indeed, sufficiently strong to overpower them; and besides, they met with no support, as they had hoped, from the magistrates or the people. His Royal Highness, therefore, entered Villa Rica on the 9th of April, and to the magistrates and people attending to compliment him, he addressed them thus:— “Brave Mineiros! The shackles of despotism, which began to be loosened on the 24th of August in Porto, are now bursting in this province. Be free,—be constitutional! Unite with me, and proceed constitutionally. I rely entirely on you. So bear with me. Let not yourselves be deluded by those who seek the ruin

of your province, and of the whole nation. Viva, The Constitutional King! Viva, Our Religion! Viva, the Constitution! Viva, All the honourable people! Viva, All the Mineiros!” The next day the Prince held a general court, and remained eleven days in Villa Rica. The only punishment inflicted on the conspirators was suspension from their offices; and this royal visit attached this province to him, as firmly as those of S. Paulo and Rio. He returned to Rio de Janeiro on the 25th, where he was received in the most flattering manner, and where he became more popular by the day; and on the 13th of May, King João’s birth-day, the senate and people bestowed on him the title of Perpetual Defender of Brazil, and thenceforward his title was CONSTITUTIONAL PRINCE REGENT, AND PERPETUAL DEFENDER OF THE KINGDOM OF BRAZIL. The impossibility of continuing united to Portugal had become more apparent by the day. All the southern provinces were eager to declare their independence. Pernambuco and its dependencies had long manifested a similar feeling, and the province of Bahia was equally inclined to freedom although the city was full of Portuguese troops under Madeira, and receiving constant reinforcements and supplies from Lisbon. The Cortes seemed resolved on bringing matters to their extreme; the language used in their sessions, with respect to the Prince, was highly indecent. Such commanders either on sea or land who obeyed him, unless by force, were declared traitors, and he was ordered home anew within four months, under the threat of submitting to the future disposition of the Cortes; and they decreed that the whole means of the government should be employed to enforce obedience to their terms. The Brazilian members did indeed remonstrate and protest formally against these proceedings; but


The work Taa Bolo, by Bakary Diallo, 2013

July 11th 2014


Imaginary Museum of the Northeast Department of Marquetry of Unstable Fictions Section: Forms of Orientalism

Department of Post-Racialism (body, device and subjetification) Section: Africas Solar Ferrão

PERIOD 07/10 to 09/7 Built at the end of the 17th century, the Solar Ferrão ocuppies six floors and holds in addition to the Solar Ferrão gallery, the Abelardo Rodrigues Museum and three collections: the Claudio Masella collection of african art, the popular art collection and the collection of “plásticas sonoras”, made by Walter Smetak.


No hard feelings and far from trying to deviate away from other absolute truths, the Department of the Marquetry of Unstable Fictions proposes a series of poetic investigations that attempt to suggest new perspectives on the NorthEast - now understood as unrestricted, complex and unintelligible. But the body of work of the Department of Post-racialism presents the black body while exercising device dynamics that go beyond the idea of race, amid several processes of subjectivity.

O Grande Duelo, by Evandro Sybine, at the Departament of Marquetry of Unstable Fictions | Photo Alfredo Mascarenhas

they were over-ruled; and the spectators in the galleries, on one occasion, went so far as to cry, “Down with the Brazilians!”

viceable; and the patriots ventured to take the field against Madeira’s parties, even before the arrival of any assistance from Rio.

In the months of June and July, Madeira began to make sallies into the country around Bahia, as if it had been possessed by an enemy; and, indeed, he quickly found one most formidable. The town of Cachoeira, large and populous, and intimately connected with the hardy inhabitants of the Sertão, soon became the headquarters of crowds of patriots, who assembled there and resolved to expel the Portuguese from their capital.

Meantime, news of these transactions arrived in Rio, as well as notice of the decrees of the Cortes at Lisbon. The Prince and people no longer hesitated. His Royal Highness, together with the senate, issued proclamations on the 3rd of June, calling together a representative and legislative assembly, to be composed of members from every province and town, to meet in the city of Rio; and on the first of August he published that noble manifesto, by which the independence of Brazil was openly asserted, the grounds of its claims clearly stated, and the people exhorted to let no voice but that of honour be heard among them, and to let the shores, from the Amazons to the Plata, resound with no cry but that of independence. On the same day, a decree was put forth to resist the hostilities of Portugal, containing the following articles:—1st, All troops sent by any country whatever, without leave obtained from the Prince, shall be accounted enemies: 2d, If they come in peace, they shall remain on board their ships, and shall not communicate with the shore; but, having received supplies, shall depart: 3d, That in case of disobedience, they shall be repulsed by force: 4th, If they force a landing in any weak point, the inhabitants shall retire to the interior, with everything they are able to transport, and the militia shall make war as guerillas against the strangers: 5th, That all governors, &c. shall fortify their ports, &c.: 6th, Reports to be forthwith made of the state of the ports in Brazil, for that end.

They began to form regular troops; but though they were abundantly supplied with beef and other provisions, they were in want of arms and ammunition, and sent a representation to Rio de Janeiro to describe their situation to the Prince and request assistance. They were also in great distress for salt to preserve their provisions; and as to accoutrements, raw hides supplied for almost every thing. An apothecary, in Cachoeira, shortly began to boil sea-water in sugar-coppers to make salt, and soon reduced the price of that article, so that the quantity at first sold for ten pataccas (eighteen shillings) fell to seven vintems (seven pence). The same apothecary, collecting all the salt-petre in the neighbourhood, applied himself to making of gunpowder, and a fortunate discovery of some hundred barrels smuggled into Itaparica by some English, was of essential use to them. But they had no cannon, no lead for ball for their muskets and matchlocks; the lead, indeed, and a quantity of gun-locks, their friends within the city contrived to smuggle to them; and their guns were supplied in the following manner. In each engenho (millfarm), there was an old gun or two for the purpose of balancing some part of the machinery; these were at once sent to Cachoeira, where, being cleaned and bushed by an ingenious blacksmith, they were rendered ser-

Photo Gillian Villa

The visual artists Ana Fraga and Rogéria Maciel occupy the Esteio Gallery with the meeting Hanging Gardens. Rogéria Maciel also presents her work of the production of lead flowers, an action which developed with inmates in the countryside of Bahia. Ana Fraga, for her part, carried out a performance.

Maria Graham Excerpt from Journal of a Voyage to Brazil, and Residence There, During Part of the Years 1821, 1822, 1823 (1824)

The work Gato/Capoeira, by Mario Cravo Neto, 1979


July 12th 2014

BLACK BUTTERFLY, OWL AND FROG The sugarcane crop in the Northeast aristocratized the white man into lord and degraded the Indian and mainly black, first as slaves, then as outcasts. It aristocratized the rock-and-lime houses into Stately homes and degraded the straw hut in Mucambo. It valued the sugarcane fields and made worthless the woods.

or in action, almost the same height that the big house gave in the hours of rest.

In this system of relations that divided men and their dwellings, and the landscape itself, in so many different and even antagonistic halves, one might say, for the sake of generalization, that the horse was in the first group and the ox in the second group. And these were the two big beasts of the sugarcane civilization in the Northeast of Brazil.

And it should be pampa, mottled white; or brown “andrinho” true brown, yellow-brown, belly of a stag, chestnut, pigeon-dun, true dapple, melado-reposo, “rudado”, “rudado apatacado”, argel (White right foot). That was what the horse of the planter was. But preferably, it was white on the “right hand” and on the “left foot”: the “spear hand” and “foot for riding.” The “galvões”, that is, the experts in knowing the horse by the color or spots, warned buyers against the argel horse: he could bring disgrace to the owner; against the horse “Baguette”, i.e no marking on the member: a horse who saw the soul of night; against the gázeo-sarará horse. Good was the sorrel. Great for running: Cardão-Pedrês. Good and beautiful the melado caxito.

This civilization became sharply chivalrous from the earliest times. Without the horse, the figure of the plantation owner in the Northeast would have been incomplete in their dignity as owners of such vast lands and in its fidalgo mystique of big, isolated houses. Incomplete in their movements of control; in their gestures of gallantry; in their warrior outbursts. It did not change, and actually deepened, in the imported horse for the mills of the Northeast, its quality of animal of aristocratic and autocratic excellence. The trot, the imperial noise of their feet, has been done through our social history with the majesty of order’s own rhythm, the authority of dominance. The rulers of the earth have almost no gain or victory over the rebel, upon the unruly; upon the poorly satisfied – people almost always on foot, landless and horseless - which was not a victory of men riding majestically. Only the gaucho horse in Rio Grande do Sul or a certain type of Sertão inhabitant escapes the characterization of the Brazilian horse as the animal, more than any other, at the service of the dominance of the “defenders of Order” upon the masses. The horse of the plantation owner played that part magnificently. The Lord of the mills of the Northeast was almost a figure of a centaur, half man, half horse. And this centaur, a “defender of order,” although defending it in his own way at times meant disobeying the King or revolting against him. Impossible to imagine it - this centaur - outside the patriarchal hammock without being the man on horseback, big hat, black boots, silver spurs, whip in hand, from whom people of the mucambos accepted the blessing like they were a king. From on top of the horse is where that this real king-and-our-lord saw the cane fields that he could not see from the top of the big house: from on top of the horse he shouted, like from the top of the big house, to the slaves, workers; to the ‘moleques do eito’. The horse gave to the sugar aristocrat, when in motion

For this purpose, the horse of the lord should be majestic in size and beautiful in shape. The most possible among the horses of Arab origin that, in the Northeast, were decreasing in size.

Other specializations of aristocratic animals were given the good treatment of the stables of the big houses, swimming in the river, the hand of the muleque who rubbed his coat until it shined, abundant and good food which fattened it into a voluptuous animal, with hips almost like a woman. The horse of the planter differed from all the others because of this treatment and care - from the horse of the yoke, the countryman, and the hick. Angular, bony horses. Also it stood out from any other animal raised in the shadow of the same mill, but without the same benefits. Unless for the small lamb of a boy or a cat of a crazy spinster, raised on her lap. The horse of the mill owner was required to have certain military qualities. It should walk low, half, equipped, mixed. Jump ditches. Cross creeks with elegance. Know how to leave. And, if the rider was good, to know how to arrive. It was then the orthodox horse of the mill owner; the one he covered in silver when he went to visit relatives or for a visit to the neighboring mills, the squire or aide at one side on a less stately horse. But not only was the saddle horse treated with so much exaggeration by the men of the manors in the Northeast: the carthorse also had its privileges. The cabriolet of the mill became one of the most characteristic highlights on the rural landscape of the Northeast in the nineteenth century. Before, it was almost exclusively by hammock that more indulgent people travelled from one farm to another: a hammock or a litter. In the red clay only ran ox carts. The large wooden wheels,

screeching like an unloved woman, were the only ones who ventured by massapê, the mud, the holes and bumps in the paths making nearly any other traffic impossible, besides the blacks, the donkey and the working animal -the proletariat transport of water, sugar, food in the northeast of Brazil. With an increasingly large English and French influence on the life in the region - an influence that deepened itself a lot in the administration of the Baron of Boa Vista in Pernambuco - Recife got filled with traquitanas, carriages, the cabriolets of doctors, all new styles of carriage; before, almost only the bishop and the governor travelled by carriage. The palanquim - which in Salvador would still have almost half a century of life left - in the capital of the extreme Northeast, a flat city, proved more effective in hilly cities by travelling than the not so smooth carriages, and it disappeared almost overnight after Independence. It became a colonial anachronism. (...) Animals have, in the life of the Brazilians from the sugarcane Northeast, a considerable mystical importance. They are present in their stories, in popular songs, in the poetry of the common people, the obscene anecdotes - a consequence of their intimate connection with the sexual life of the child and the muleque on the farm. But it is curious to note that it is the imported animals, and not those of the land - the horse, the ox, the cow, the donkey, the lamb, sheep, pig, goat, cat. Admittedly, in the stories there are also armadillos, jaguars, turtles, snakes, foxes, from the land, at times replacing exotic animals from European, Asian or African stories. For most of us on the coast, the animals of the land remain, however, almost indifferent creatures within the vague expression “animals”. And the most familiar animals, and more identified with man, were brought from Europe. Horseshoes and ox horns - precisely the two animals closely linked to sugar civilization, and to the conquest of the forest by sugarcane fields - bring happiness. Seashells and snails, alligator and snake teeth, hanging from the necks of boys, free us from the evil eye. Black Butterfly is foreboding. Owl is foreboding. Beetle-Mangangá is foreboding. The owl and frog are ominous creatures.

Extract from Nordeste (1937), by Gilberto Freyre


The view of the sertão from Elomar’s opera house; district of Gameleira, Vitória da Conquista | Photo Alfredo Mascarenhas

July 13th 2014



The film Arugba, by Tunde Kelani | Photo Reproduction

In addition to the Cineclubes, the Cinema Yemanjá film cycle also circulated in the movie theater of the Public Library of the State of Bahia, named after the founder of the first film club in the state: Walter da Silveira. The first cinematographic cycle (of a series of three), dedicated to Nigerian cinema, with a presentation of the films by filmmaker Tunde Kelani, is closely linked to the theme of the Biennale “Is Everything Northeast?” And, in particular, the theme Africas, thought in order to develop projects that promote artistic, aesthetic, historical and social readings about the African continent, in varied conditions and prospects. And just like Africa, Brazil also has the plural.

PROGRAM AUGUST 14th Maami Tunde Kelani, 92 minutes, Nigéria, 2011 AUGUST 15th Arugba Tunde Kelani, 95 minutes, Nigéria, 2008 AUGUST 16th Saworoide Tunde Kelani, 105 minutes, Nigéria, 1999

A variety and cultural plurality that is even more evident when you think about Nigerian cinema as an industry. Nollywood today is a phenomenon that deserves global recognition and respect. The volume of production exceeds Hollywood and almost parallels the Indian Bollywood. In 2010 more than 1,500 films were released. As each of these productions employs between 50 and 100 people, and generates countless indirect jobs, Nigerian film is responsible for the employment of hundreds of thousands of people annually, second only to the workload generated by agriculture. Recently, the modern Nigerian film industry was mentioned by UNESCO as the second largest in the world.

choice of presenting the Yoruba culture and language in his films. The peculiarity of this filmmaker is in not letting himself be totally seduced by the aesthetics of American cinema, a trend ever more evident in Nigerian film making (and not less present in international productions). In this perspective, Kelani’s films, compared to the more classical Nollywood films, are placed on a counter-trend: the cinematography Kelani presents openly addresses topics often considered “controversial” and usually absent in most Nollywood films funded by the private industry. Thus, on the one hand, the films in English (representing almost all Nigerian films) tend to imitate the European and American tastes and values, and on the other, the productions in native languages (in Yoruba, for example) promote the diverse local cultures, address major political issues of African society and ensure the preservation of an ever more threatened and less accessible linguistic memory for new generations. Returning to the starting point: when thinking about the universal looking at the local, the exhibition of Kelani films fuses with the 3rd Bahia Biennial by being a result of the merger between European formalism (the director took a degree in the London International Film School) and cultural influences of his local tribe, while his language, Yoruba, speaks directly to the African diaspora in Bahia.

Consequently, knowing, discussing, or talking about Nollywood cinema is not a gender issue. But speaking of gender, it is clear that, on the Nigerian movie scene, Kelani is one of the most interesting and atypical directors of Nollywood movies; surely, the most political of all, starting from the

Carmen Palumbo Assistant curator of the 3rd Bahia Biennial

We don’t have excuses anymore in Africa. By the new digital technologies we have the tools to tell our own stories. The difference was the chemical process of celluloid films was a medium of exclusion. There was no way we could control the means of production. But the reverse is the case in this era where with a modest investment we could actually own the means of production and use that to let us be heard. There was a time when only a few people could read and write in the world. But today everyone can buy a pen. So Nollywood is like finding out you have a voice, today everyone has a voice, so thereís a lot of shouting! But itís better than being silent. Itís a powerful force that cannot be negotiated. Africans are blessed that this is a knowledge era but more importantly this is an era of the fusion of all media and we are going to play. Interview with Tundi Kelani by Marisa Moorman, 2013


July 14th 2014


AYRSON HERÁCLITO Chief Curator 3rd Bahia Biennial

Imaginary Museum of the Northeast Department Full Steam Section: Tropicalities Carlos Costa Pinto Museum PERIOD 07/16 to 09/6


The Museum was created in 1969 to conserve the residence of Carlos Costa Pinto and the object of art collected by him in the 20th century. There are 3175 items in 12 collections: Crystal, Drawing, Diverse, Sculpturing, Engraving, Imaginary, Furniture, Honorific orders, Goldsmithery, Painting, Porcelain and Silverware. The artist Edinízio Ribeiro Primo in performance | Photos Gerson Zanini and Regina Vater

The artist and designer Edinízio Ribeiro is distinguished in graphic techniques like drawing, printmaking and by creating sets and costumes for theatrical shows and concerts in the 1960s and 1970s. One of the masters of the Tropicália movement’s visuals, his work, driven by experimentation and innovation, is dispersed and poorly known due to his untimely death at the age of 31. The start of his production coincides with the transfer of his family to the town of Jequié, in Bahia, where he had direct contact with young artists from the so-called “Jequié Group” responsible, according to researcher Narlan Mattos, for the sharpest underground phase of ‘tropicalism’, significantly influencing various artistic languages in the postmodern scene of the 1970s. One of the few texts written about the artist was penned by Dermival Ribeiro Rios, entitled Edinízio Ribeiro: an unsubmissive artist: From Jequié, by option and heart, although born in the rural town of Ibirataia (BA), in the Southern Bahian cocoa plantations, on 15th May 1945. As a child, Edinízio was already busy with shapes, and started making works with clay. In elementary school, he painted in his notebooks, and in his colleagues’ as well, in exchange for kisses or snacks. He was twelve years old when the family moved to Jequié, back in 1957, and settled in Jequiezinho, a small street

of the ladeira da Balança. Nenzinho, the correct and sensible Salmon Ribeiro, the father, concerned about the education of his school-age children, wanted to live in a bigger city that offered the primary and secondary school, still far from the small Ibirataia in those times. But in the following year, 1959, his father died in Minas Gerais, while visiting a cattle farm, run over by a train, making Edinízio an orphan, in a family of many brothers and sisters, larger and smaller than him. [...] Edinízio moved to São Paulo with his family in 1966, where he approaches the artistic and intellectual scene of the great metropolis. He is recognized as a young talent by the critic Mário Schemberg and by the couple Pietro and Lina Bo Bardi. Through Mario Schemberg, he enroles on a scholarship at the Fundação Armando Alvares Penteado (FAAP), where he stands out, receiving awards and developing graphic work such as the creation of the catalog for Flávio de Carvalho’s exhibition, in 1967, at the Brazilian Art Museum of FAAP. The existential and cultural scene that is built around the studio on Rua da Consolação, in the late 1960s, defines his active participation in the movement of tropicalism. The workshop became a haven for Bahia artists in São Paulo; Caetano Veloso, Gilberto Gil, Gal Costa, as well as their group of friends from Jequié: Dicinho, Jorge and Waly Salomão, Tuna Espinheira, Alba and Chico Liberato, Lula Martins, Bené

Sena, and Cesar Zama, among others. Art, sex, community life, profound experiences in altered states of consciousness define an ultra creative and libertarian generation. The music world fascinates and offers a universe to exercise their aesthetic proposals. Os Mutantes, Secos e Molhados and Novos Baianos are on the list of friends and collaborators. He was a set designer for several shows, the first being Gal Costa’s in Sao Paulo, Divino maravilhoso (1972), and did the revolutionary cover of the LP Expresso 2222, by Gilberto Gil, plus the covers of the LPs Drama, by Maria Bethania, and Índia, by Gal Costa. Another fundamental moment in his career was his experience with the Oficina Theater, led by José Celso Martinez Correa. Involved with the construction of sets and costumes, during this process he was imprisoned for 45 days in the infamous Carandirú complex with other group members. He maintained a very productive partnership with the poets and essayists brothers Haroldo and Augusto de Campos, with whom he worked on the project Caixa preta (Black box), of music and art, and participated in the publication Qorpo extranho (Exquisite Qorp), with a central insert recording in photos the performance titled Modo de volar. He participated in important exhibitions, including the III Salon of Contemporary Art in Campinas, SP, and the First National Biennial of Visual Arts in Salvador, with the work instrumentos de posse (Instruments of possession) and, in 1971, had

his first solo exhibition at the Brazilian Art Museum of FAAP. In 1967, mysteriously, he drowned in the waters of Búzios in Rio de Janeiro, at the age of 31, and his body was never found. Some Brazilian researchers are only now beginning to investigate an artistic production that went through a long period of invisibility for various reasons, among which the lack of legitimacy in the commercial system, the lack of critical and historiographical works, the ignorance and almost erasing of all the artistic production that was labeled subversive by the military dictatorship, condemning this production to oblivion for not being convenient to the established artistic systems. The initiative of the 3rd Bahia Biennial intended, initially, to present the artist’s work in an “monographic” exhibition, in order to help bridging this gap. This idea led to the exhibition of the Imaginary Museum of the Northeast, Department at Full Steam, Section: Tropicalities, which contained a significant amount of works collected in different places of Brazil The artist defines the harmful and repressive spirit of the time he lived in the following reflection: “Worse than the mutilation of the feet and hands is the mutilation that is out there - the mutilation of ideas. Here we can clearly see that there is no more protest art. Today, repressions are demonstrated and felt on the body. Whoever managed to liberate the body is far out of everything.”


Photo Rafael Martins

The roaming Open Mural Action, by Hilda Salomão on Ladeira da Preguiça, had as its main audience children and adolescents from the hill and the neighborhood. At the workshop, they created many of the plates that make up the collective panel of the action.

Screening of the film Futuro do Pretérito: Tropicalismo Now (Ninho Moraes and Francisco César Filho) at the Cineclube Vila, in Salvador, for Cinema Yemanjá. Photo Reproduction

The opening of the Cycle Biennale in Tunde Kelani, with a screening of the film Maami. Photo Reproduction

July 15th 2014


Adilson Carvalho Costa, Dicinho, was born in 1945 in Jequié, in the interior of Bahia, and is not part of the group of artists who came to Salvador in the 1950s, or who started in the early 1960s like his peers Waly Salomão and Rogério Duarte. Dicinho’s journey between Jequié/Salvador/São Paulo/ Rio de Janeiro is different both in the sense, and in the chronology. Dicinho quit his job in Jequié to go to São Paulo, where he spends a time until the money he had saved finished, and there he saw the performances of Caetano Veloso, Gilberto Gil and Maria Bethânia. After that, he spent some time in Salvador, working in a studio he had set up with Lula Martins, also from Jequié, in Pelourinho, in 1967. During this period, Edinízio, passing through the city, sees some of the works in leather that Dicinho was doing, like the sandals which were popular among young people, and invites him to go to São Paulo to work together. Dicinho arrived in São Paulo between 1968 and 1969, going on to work with his friend Edinízio in a studio located in a villa on Rua Coronel José Eusébio, a small lane off Rua da Consolação. There, Dicinho was reunited with Waly Salomão, a friend from Jequié, and through him and Edinízio became acquainted with Gal Costa and José Celso Martinez Corrêa. At that time, between 1968 and 1969, [the guerrilla leader] Carlos Marighella was in full swing in the city and was ambushed very near to the studio. During this period, they faced a lot of police searches, arrests and friends who disappeared and returned with marks of torture, asking for help and shelter in the studio. The years in São Paulo are described by Dicinho as very hard, because, besides the financial difficulties in which they lived, the censorship of the military regime was fierce. But in São Paulo, Dicinho built a relationship with Lina and Pietro Bardi, resulting in some exhibitions of the artist in the 1970s. But due to persecution by the authorities, Edinízio and Dicinho fled to the city of Ibirataia in the south of Bahia, in the early 1970s. The most famous works of Dicinho are the covers of the LPs Gal (Gal Costa, 1969) and Cara Coração (Moraes Moreira, 1976); as well as the outfit worn by Jards Macalé in his presentation of the song Gotham City (in partnership with the poet José Carlos Capinam) at the IV International Song Festival, in 1969. The cover of Gal is a representation of Gal Costa and her hair, drawn in Caran D’ache crayon. Her face, painted in dark green, is almost hidden by her hair composed of dark figures with a somber air and strong colors that translate those times well - like a bird of prey that represents how the dictatorship forces acted in a “heavy-handed way”, as Dicinho says. “Dircinho” still does, along with Waly Salomão and Capinam, the cenography of the Gal’s concerts, as

Photo Reproduction

Screening of the film Jéssica Cristopherry (Paula Lice, Ronei Jorge and Rodrigo Luna) at the Cineclube Janela Indiscreta, in Vitória da Conquista, for Cinema Yemanjá.



well as the show Fa-Tal. However, the period is quite troubled; there are many misunderstandings and disagreements that end up separating these artists during these works. Gal contains the track which became famous and characterized the singer at that time: “My name is Gal”, composed by Roberto and Erasmo Carlos, whose lyrics contain a part in which she leaves the band playing while she recites: My name is Gal, I’m 24 years old / I was born in Barra Avenida, Bahia / Every day I dream of someone for me / I believe in God, like ballet, cinema / I admire Caetano, Gil, Roberto, Erasmo Macalé, Paulinho da Viola, Lanny, Rogério Sganzerla, Jorge Ben, Rogério Duprat, Waly, Dircinho, Nando / and the other hardcore pals / And if I ever have someone with enough love to give me / they do not need a surname / For it is love that makes the man The passage is interesting for several reasons. It is noteworthy, however, the description of the people who are somehow linking and forming the artistic, musical and visual medium of the moment that follows the exile of Caetano and Gil, Rogério Duarte’s arrest and Oiticica, Torquato Neto, Mautner and Macalé’s move to London. This “underground” period of Tropicália was characterized by a radical break with the rules and forms of commercializing and expected behavior for artistic productions to circulate in the media of mass communication. And this triggered many conflicts between the artists, that in times separated them, and in others brought them back together.

The artist Dicinho at the opening of the exhibition at the Carlos Costa Pinto Museum | Photo Gillian Villa

There were, besides the Marginália which had begun to organize before the march of exile, a group whose sociability, aesthetic and artistic actions - as well as the origins in Bahia - occupy a place that is considered neither Tropicália or Marginália, but was there between and connecting with these two movements, producing together, intersected with them. The sociabilities that develop around individuals like Rogério Duarte and Dicinho are part of a common fabric in that scenario. Dicinho is considered by Rogério Duarte as the “Agora of Tropicalia”. Just as he says that Rogério was the “Ezra Pound of Tropicalia”. In an interview held on January 9th, 2013, Dicinho says Tropicália - its presence, extensive representation and cultural importance today - is like Krishna or the Hereros, “they do not plan the end.”

Photo Gillian Villa

* PhD Student of the post graduate program in Sociology and Anthropology (PPGSA) of the Federal University of Rio de Janeiro (2014).

The House of Visual Arts hosts the exhibition Chão para a Esteio (A Floor to Esteio), by Johanna Gaschler (São Paulo). The artist investigates the occupation of space, promoting installations consisting either of objects discarded and found at random, or of methods of serial printing.

The film A cidade é uma só? (Adirley Queiroz), is displayed in the Cineclube Espaço Imaginário, in Rio de Contas, also for Cinema Yemanjá. Photo Reproduction

Cycle Biennale in Tunde Kelani, with an exhibition of the film Arugba. Research group in lithography with Renato Fonseca.


July 16th 2014


Photo Gillian Villa

A partnership with students from the Interdisciplinary Baccalaureate (IB) of the Federal University of Bahia (UFBa), directed by Professor Cristiano Figueiró, and students from Berklee College of Music (Boston, USA) led to a workshop sharing research in interdisciplinary production, design of modular synthesizers and interactive music applications. The group was brought by composer and saxophonist Neil Leonard, who is also the artistic director of the Berklee Interdisciplinary Arts Institute (Biai). The workshop’s team performed compositions inspired in the work of Walter Smetak (1913 - 1984), a Swiss musician naturalized in Brazil. The concert, Electroacoustic sculptures, part of the Biennale’s Nocturne program, was staged at ICBA - the theatre of the Goethe-Institut, and included voice, violin percussion, and synthesizers designed and produced by the students.


T I M E L I N E Pedro Marighella starts his project Ensaio Pagodão at the Casa da Música, in Itapuã, an open process of research and artistic production.

Screening of Os monstros (Gustavo Spolidoro) at the Difusão Cineclube Itapetinga, for Cinema Yemanjá. Photo Reproduction

Photo Gillian Villa

Cycle Biennale in Tunde Kelani, with a screening of Saworoide. Photo Reproduction

Gardening workshop with Claudio Pinheiro.

July 17th 2014


A curatorial project in collaboration with artists Eustáquio Neves, Gaio Matos, Giselle Beiguelman, Ícaro Lira, José Rufino, Maria Magdalena Campos-Pons and Neil Leonard, Omar Salomão, Paulo Bruscky, Paulo Nazareth and Rodrigo Matheus. The artists were invited to develop projects with material from the Public Archives of the State of Bahia, the collection of the Anthropological and Ethnographic Museum Estácio de Lima, the Public Library of Barris and the Juracy Magalhães Júnior Library in Itaparica. The exhibition also featured works from S. da Bôa Morte, Juraci Dórea, Juarez Paraíso, Flávio de Barros and Pierre Verger. The interest in discussing the institutional culture of the spaces of memory led the curatorship to articulate the participation of three work groups (WG Libraries, WG Narrators, WG Archivists) formed by archivists, museum experts, researchers, architects and communicators who followed the proposals of artistic occupation of the spaces. Furthermore, the project held the Thursdays at Quinta, a series of open meetings with guests and guided tours of the exhibition, addressing the central issues approached by the artists and WGs.

Imaginary Museum of the Northeast Department Archives and Fiction Section: Psychology of Testimony Arquivo Público [Public Archive] PERIOD 07/17 to 09/5 VISITORS 3192 Since 1980 the Public Archive of the State of Bahia occupies the historic building of Quinta dos Lázaros, built in the 16th century. The collection gathers documents from the colonial period, including judicial, legislative and farming archives and private collections of historical personalities. Photos Alex Oliveira

Exhibition of the films Os três inventores (Michel Ocelot) and O ladrão de para-raios (Paul Grimault) at Cine Sereia, in Salvador, for Cinema Yemanjá.

Opening of the itinerant exhibition No litoral é assim (That’s how it is on the coast), at the Centro de Cultura Amélio Amorim, in Feira de Santana. Photo Leonardo Pastor

Photo Reproduction

Start of the Painting workshops, given by Rener Rama, who received various school groups during the Biennale. Photo Rafael Martins


July 18th 2014


Photo Rafael Martins

The Esteio Gallery receives the artist Paulo Bruscky for the meeting Out of the axis or within the order?, where the artist from Pernambuco aims to discuss themes like the circulation of the artistic object and the state of contemporary art.

Imaginary Museum of the Northeast Department of the Endless Trip Section: Naturalisme Intégral Palacete das Artes / Main house PERIOD 07/19 to 09/6


The Palacete of the Catharino family became a museum to house the works of the French sculpture Auguste Rodin in 2009. Four sculptures make up the permanent collection and can be seen in the middle of the garden of centenary trees and diverse species of the native flora.

The project, which integrates the exposition department of the 3rd Biennial, focuses on the relationship between man and nature from the ideas presented by the critic and curator Pierre Restany in his Manifeste du Naturalisme Intégral (1978), written during his journey (along with the artists Sepp Baendereck and Frans Krajcberg) through the territory of the Brazilian Amazon.


Photo Alfredo Mascarenhas

Opening of the exhibition Agency of Karma and Conciliation, at the Rio Branco Palace, containing curious exchanges documenting particular subjects of dispute.

Photo Gillian Villa

Another edition of Sarau OSBANOMAM; the orchestra plays a selection of Vivaldi works.

Photo Reproduction

Screening of the film Histórias que só existem quando lembradas (Julia Murat) at the Cineclube AFAI, in Itajuípe, for Cinema Yemanjá.

Exhibition of the film Estrada para Ythaca (Guto Parente, Luiz Pretti, Ricardo Pretti e Pedro Diógenes) at the Cineclube Oficina das Artes, in Itaparica.

July 19th 2014


Photo Alfredo Mascarenhas

The Videodance Factory Dynamics of Movement as Flows of Resistance holds, between the 19th and 21st of July, learning activities by the artist Daniela Guimarães, from Minas Gerais. From the exercises of improvisation, the workshop focuses in dances generated for video, where the body creates and edits audiovisual dramas. The entire learning and creative process dialogued with works of videodances from the Mariposa Collection which were donated to FUNCEB and that relate with the curatorial themes of the Biennale.

Photo Tatiana Golsman

The Public Archive of the State of Bahia receives the sound and body performance conversation performed by the cuban artist Maria Magdalena Campos-Pons and by the composer and saxophonist Neil Leonard, created from the experience of the artist in Bahia, and the contact with the people and the documents found in the Archive.

Images from the exhibition based on the Manifesto written by the critic and curator Pierre Restany | Photos Gillian Villa

The film Sudoeste (Eduardo Nunes) is shown at the Cineclube Tela em Transe, in the city of Poções.

Start of the Videodance Factory with Daniela Guimarães, at Xisto Bahia Photo Alfredo Mascarenhas

Photo Reproduction

Screening of the films As Hiper Mulheres (Carlos Fausto, Leonardo Sette e Takumã Kuikuro) and Boi Aruá (Chico Liberato), at the Museu do Objeto Imaginário, in Salvador, for Cinema Yemanjá Research group in metal engraving with Evandro Sybine


July 20th 2014

Louco, Obá, no date | Photo Gillian Villa

CANDOMBLÉ, CAPOEIRA, SAMBA AND MARIJUANA EDWARD MACRAE Anthropologist, author of over forty articles and books on sexuality, social movements and the use of psychoactive substances. FFCH/CETAD/UFBA

Imaginary Museum of the Northeast Department PEBA & Co Section: Tropicalities Palacete das Artes / Contemporary Space PERIOD 07/19 to 09/6


The Contemporary Space was constructed in 2007 with a project designed by Marcelo Ferraz and Francisco Fanucci, from São Paulo, to receive temporary exhibitions. In 2013, it received the name Sala de Arte Contemporânea Mário Cravo Jr.

Sture Johannesson, Revolution Means Revolutionary Consciousness!, poster, 1968 | Photo Gillian Villa

Drug enforcement in Brazil has been, above all, a conscious effort to create mechanisms and justifications for police control of certain sectors of the population, seen at different times as a threat to the dominance of the hegemonic group. This becomes very clear in the history of repression of marijuana use in the mid 20th century, when arguments of a racist and exclusionary nature - that even today cause astonishment by their unabashed explicitness - were raised. During the 1930s a series of measures led to the inclusion of this plant on the list of illegal drugs, commonly used for recreational and therapeutic purposes by large sectors of the population, especially in the north and northeast, which reproduced traditions of African origin. Unsurprisingly, some of the most popular known names for the plant are of African origin; marijuana and cannabis being derived from quimbundo terms. Unlike those who ascribe a cultural indigence to marijuana users, portrayed as devoid of sense and intelligence, we find a rich and diverse culture developed around the use of this plant, expressing great linguistic and poetic richness, as well as gifted with aspects which are socially-integrating and damage-reducing. From newspaper and medical reports from the mid-20th century, we know that, despite their position at the bottom of the social scale, an important share of potheads whose cases were known, were socially integrated and very different from the stereotypes generally held. But the criminalization of this practice made it possible for any member of such popular groups to be automatically considered a suspect, making them vulnerable to countless outrages. Thus, since the middle of last century the fight against marijuana use has served as a pretext for repressive interventions on groups that were at the forefront of demonstrations and social upheavals of that period, such as the port workers, maritime workers, thieves, militants against famine, informal workers affected by urban sanitization operations carried out at free markets, and regulars of bohemia hangouts. During the military dictatorship, it also served to justify the exercise of supervision over the young middle class students forming a cultural opposition. Currently, the political relevance of this issue is clearly evident in the fact that the real war of extermination in progress is being carried out against poor and black youth in our cities, under the eternal justification of a “war on drugs”. For these and other reasons, the agenda of those who care about greater emancipation of the black population in Brazil must perform an urgent reassessment of drug policies, especially those that proscribe the use of marijuana and disqualify this important legacy of popular culture of African and Native American origin. In this aspect, alongside major manifestations like Candomblé, Samba and Capoeira, one can no longer fail to recognize the importance of the cultural resistance developed around the use of marijuana. After all, it’s no wonder that smoking this plant has been considered “something poor and for nutters”. What is necessary is that it no longer qualifies as a reason for repression and shame.

T I M E L I N E Screening of the film África sobre o Sena (Mamadou Sarr and Pauline Vieyra) at the Cineclube Payayá, in Jacobina, for Cinema Yemanjá. Photo Reproduction

Second day of the Videodance Factory, with Daniela Guimarães. Photo Alfredo Mascarenhas

Story-telling with Maju Fiso. Paint at the Biennale with Maninho Abreu. Drawing workshop with Olga Gómez.

July 21st 2014


Visitors observing the work Moça Florida, by Reynolds | Photo Alfredo Mascarenhas


Imaginary Museum of the Northeast Department of the Museologic Cause Section: Psychology of Testimony CUCA - Centro Universitário de Cultura e Arte PERIOD 07/15 to 09/5

The University Center of Culture and Art [CUCA] is the body responsable for the planning, coordination and execution of the cultural strategies and policies of the State University of Feira de Santana. The space holds the Regional Museum of Art, as well as galleries, movie theaters, a theater and various other cultural devices.

In the 1960s there was, in Feira de Santana, no specific space for the visual arts. But it did exist, among local intellectuals, the will to create the Museum of the Cowboy, with the goal to house various aspects of our regional culture – an idea fueled by Eurico Alves and Dival Pitombo. When media tycoon Assis Chateaubriand launched the project of Regional Museums, these intellectuals brought him the proposal. They relied on the northeastern sensitivity of Chateaubriand and also brought along had an illustrious patron: Odorico Tavares, director of the Diários Associados company, in Bahia. Thus the Regional Museum of Feira de Santana was born in 1967. The collection of the Regional Museum originally included pieces connected to the regional culture (today at the Museum Casa do Sertão, at the UEFS) and a significant collection of visual arts. This collection was called the “English collection”, due to the presence of several paintings by notable British artists of the twentieth century. It resulted from the contacts that Assis Chateaubriand maintained in England, focusing on the production of the 1950s and 1960s. In tune with Pop Art, the ‘English’ collection contains works by Alan Davie, Graham Sutherland, John Piper, Neville King, Michael Vaughan, Howard Hodgkin, Louis le Brocquy, Frank Auerbach and Bryan Organ, among others.

FEIRA DE SANTANA FOUNDED: 1832 / POPULATION: 612.000 / CLIMATE: hot semi-arid

Recently, three works (Mulher com Brinco Azul e Branco, by Neville King; Moça Florida, by Raynolds; and Extremities, by Patrick Procktor) participated in an exhibition sponsored by the 3rd Bahia Biennial, in the Gallery Carlo Barbosa, at CUCA. Some works that integrate the collection are still going through restoration, after which the entire collection will be displayed to the public.

Photo Gillian Villa

Visual artist Zuarte Jr. occupies the Esteio with the installation Psycycles in Unflagged Liberty. The work consists of a set of bicycles, old and rusty, gaining rusty wings.

Selma Soares Director of the Centro Universitário de Cultura e Arte

Itinerancy of the Open Mural Action, with Hilda Salomão, at CUCA, in Feira de Santana. Groups of local ceramists came especially to interact with the workshop.

Last day of the Videodance Factory with Daniela Guimarães.

Photo Alfredo Mascarenhas


Photo Rafael Martins


July 22nd 2014

TROPICAL TRANSITS: The Bahia BiennIal at Escola Parque, an experience Movement I

Preparing to move. A meeting point with an exit to many sides. How to move? Where to move?

The expedition began in desire. Students and teachers, and the mixed school community, participating and making the 3rd Bahia Biennial; the Biennale in the teaching-learning processes of the school, interacting, transforming and enhancing knowledge into a kind of informal and sensitive appropriation with the freedom and criticality that contemporary art proposes (and usually causes).

The project Caldeirão Cultural developed by the Escola Parque (Park School) of the Centro Educacional Carneiro Ribeiro/CECR sought mediation with the Biennale. The Biennial sought Escola Parque. Both shared the same desires. The purpose of the Caldeirão is to further the precipitation of art at Escola Parque and at the CECR. 1

Escola Parque was established by Anísio Teixeira in the early 1950s as part of the system which, with Escolas Classes (Classes Schools), formed the Centro Educacional Carneiro Ribeiro/CECR. This educator, intellectual and school manager, in his constant search for a broad method that educates through life and not for life, created this system integrating the Classes Schools and the Park School, where the experiences should approximate as much as possible to the maximum complexity of human and social life.

Links with the memory of the city, the ideas, the arts in Bahia and Brazil as configured in the project of the 3rd Bahia Biennial were presented to the teachers at the beginning of December 2013. Emotion got the best of most of the audience, because they were totally immersed in this memory that sought directions for the development of Bahia. Our physicalities and our everyday activities are steeped in the great modernist dimensions of the building of the Park School, created by the architecture of Diógenes Rebolledo, among the frescoes of Carlos Magano and Jenner Augusto, and the panels of Maria Célia, Mario Cravo, Carybé, Djanirals. Movement II

Possible direction: the Archive and Fiction Project

The invisibility of the Public Archives in the region of Caixa D’Água is curious. It seems that this situation does not apply only to the neighborhood. The vast majority of the residents of the city of Salvador seem to ignore the Public Archives, which keeps much of the information about where the city came from and how it grew.

Archive and Fiction invited neighborhood schools to integrate their “do-making”. Schools sought Archive and Fiction to take part. The project created a spectrum of connective possibilities with the social life and the environment of art, such as the right to narrate from the archive and its surroundings; scientif-

ic racism; processes of annihilation of the popular project; marginalization of black, Indian, Sertão inhabitants, modern violence, among other themes. Expeditions were carried out with the purpose to explore the neighborhood, as well as lectures with the Project Thursdays at Quinta, workshops, recitals and meetings. Eight of Centro Educacional Carneiro Ribeiro schools participated in the visits to art installations, mediated by monitors of the Biennale, which led us to move through the spaces of the Public Archives where the installations were arranged. Thirty-five history and geography teachers developed the project Búzios Rebellion from an immersion in the documents of this historic event, deposited in the Public Archives.

Expeditions and workshops created the transits between Escola Parque and the Biennale. The workshops were mediated by Escola Parque’s Center for Reading/NULEP. Moving away from the classical notion of art where the reaching the beautiful is the goal, this Biennale searched paths and tracks, the crossing of information, the connectivity, and the expanded and little-revealed memories, of processes. In this context, issues such as originality, copying or transcendence seem far from that search. The approximation to events of the everyday is what attracts. The breaking of the classic distancing causes bewilderment and questions among those who go expecting the beautiful. And these questions moved the School, precipitations of art in all directions.

The Carneiro Ribeiro Educational Center in the neighborhood of Caixa d’Agua, Salvador, is a collaboration between Diogenes Rebouças - responsible for the diffusion of modern architecture in Bahia, with notable buildings such as the Grand Hotel da Bahia, the Olympic complex and Fonte Nova stadium (demolished in 2010), Contorno Avenue and Salvador Bus Terminal – and Anísio Teixeira, a central figure in the thinking about education in Brazil, Secretary of Education and Health of the State of Bahia during Otávio Mangabeira’s administration, between 1947 and 1951. Together, they developed the “Plan of School Buildings”, which materialized the ideas developed by Teixeira for a system of integral education, where the Classes school and the Parque school complemented each other in an education based on social life, sports, besides the emphasis in professional training and in creating stimuli for artistic and cultural production. The extensive and diverse functional program enabled Rebouças to explore, in different buildings of the complex, elements of the repertoire of modern Brazilian architecture, at a time of great international projection. There was also the concern to integrate the architectural contributions of important Bahian artists, which led to the achievement of important murals by Carybé, Charles Mangano, Mario Cravo, Maria Célia Amado and Jenner Augusto.

Movement III

From the Arquive of Tropical Memories to the Tropicalities of the MAM Exhibitions

The Next step was the visit to the exhibitions by Juraci Dórea, Juarez Paraíso, Riolan Coutinho and Rogério Duarte, featured artists in this 3rd Biennale. The happiness of the boys and girls to get off the bus, to the smell of the sea, the saltpeter, the experience of the body walking on the uneven stones of the external floor, or on the huge, smooth wooden floor of the large secular and historic mansion that houses the Museum of Modern Art, opening our senses. The exhibitions help to understand the uniqueness and diversity of our tropical Brazil. Oh the Northeast(s), full of inventions and contemporaneity!

1 The artistic-cultural mediation project developed by Escola Parque/EP, extended to the Classes School of the Carneiro Ribeiro Education Center/CECR. Caldeirão Cultural (Cultural Cauldron) develops shared actions with the Museum of Modern Art/MAM in activities aimed at students and teachers since 2010.

Maria Sofia VB Guimarães Researcher, artist, teaches at Escola Parque/CECR

Photo Gillian Villa

Pernambucan poet and film maker Jomard Muniz de Britto takes a table performance to the Palacete das Artes, open to the public, discussing concepts of the exhibition PEBA & CIA, and a reading of his Atentados Poéticos.

Photo Alfredo Mascarenhas

Daniel Santiago, also from Pernambuco, brings to the Bahia Biennial his happening Mingau, at Beco do Mingau, in Dois de Julho quarter. The idea of playing with place names began in 1977 with Rua dos Navegantes (Mariners Street), where the public was invited to navigate the avenue. Aside from this happening, the artist also stages tomorrow the installation-performance Palmeira Noiva (Palm Bride), at Largo do Papagaio, reenacting the amorous meeting point under the tree, very popular until the 1960s.

T I M E L I N E Fanzine workshop, held by Ícaro Lira for students of Escola Parque (Centro Educacional Carneiro Ribeiro). Photo Tatiana Golsman

Photo Alfredo Mascarenhas

Collective exhibition of the films Decididamente Animados, Brincadeiras de crianças at the Cineclube REPROTAI in Alagados, Salvador, for Cinema Yemanjá.

Screening of the film Cléo from 5 to 7, by Agnès Varda, at the Cineclube Janela Indiscreta, in Vitoria da Conquista, for Cinema Yemanjá. Photo Reproduction

Metal engraving research group with Evandro Sybine.

July 23rd 2014



Agency for the Karma and Atonement Palácio Rio Branco [Rio Branco Palace] PERIOD 07/18 to 09/6


The Rio Branco Palace was built in 1549, with mud, and became the seat of the government and the residence of the governer general of Brazil, Thomé de Souza. Since 1986, the building has housed the Memorial of the Republican Governors of Bahia, an arm of the Pedro Calmon Foundation. In the space, works were exhibited, judicial documentation (opposing artists and institutions) and public letters exchanged between the curators of the 3rd Bahia Biennial, in which the differences between the curatorial group are exposed. Yoko Ono, Cleaning Piece III, 1996 | Photo Alfredo Mascarenhas

What do you mean by the word karma? To do, to act, to be. Karma implies, does it not, cause and effect - action based on cause, producing a certain effect; action born out of conditioning, producing further results. So karma implies cause and effect. And are cause and effect static, are cause and effect ever fixed? Does not effect become cause also? So there is no fixed cause or fixed effect. Today is a result of yesterday, is it not? Today is the outcome of yesterday, chronologically as well as psychologically; and today is the cause of tomorrow. So cause is effect, and effect becomes cause - it is one continuous movement; there is no fixed cause or fixed effect. If there were a fixed cause and a fixed effect, there would be specialization, and is not specialization death? Any species that specializes obviously comes to an end. The greatness of man is that he cannot specialize. He may specialize technically, but in structure he cannot specialize. An acorn seed is specialized - it cannot be anything but what it is. But the human being does not end completely. There is the possibility of constant renewal; he is not limited by specialization. As long as we regard the cause, the background, the conditioning, as unrelated to the effect, there must be conflict between thought and the background. So the problem is much more complex than whether to believe in reincarnation or not, because the question is how to act, not whether you believe in reincarnation or in karma. That is absolutely irrelevant. Your action is merely the outcome of certain causes, and that action modifies future action - therefore there is no escape from conditioning. So, to put our problem differently, can action ever bring about freedom from this chain of cause-effect? I have done something in the past; I have had experience, which obviously conditions my response today, and today’s response conditions tomorrow. That is the whole process of karma, cause and effect; and obviously, though it may temporarily give pleasure, such a pro-

cess of cause and effect ultimately leads to pain. That is the real crux of the matter: Can thought be free? Thought, action, that is free does not produce pain, does not bring about conditioning. That is the vital point of this whole question. So, can there be action unrelated to the past? Can there be action not based on idea? Idea is the continuation of yesterday in a modified form, and that continuation will condition tomorrow, which means action based on idea can never be free. As long as action is based on idea, it will inevitably produce further conflict. Can there be action unrelated to the past? Can there be action without the burden of experience, the knowledge of yesterday? As long as action is the outcome of the past, action can never be free, and only in freedom can you discover what is true. What happens is that as the mind is not free, it cannot act; it can only react, and reaction is the basis of our action. Our action is not action but merely the continuation of reaction because it is the outcome of memory, of experience, of yesterday’s response. So, the question is, Can the mind be free from its conditioning? Surely, that is implied in this question of karma and reincarnation. As long as there is continuity of thought, action must be limited; and such action creates opposition, conflict, and karma - the response of the past in conjunction with the present, creating a modified continuity. So, a mind which has continuity, which is based on continuity - can such a mind be free? If it cannot be free, is it possible for continuity to cease? This is a most important question. To discover whether the mind can ever be free from the background implies a tremendous inquiry. Is not the mind based on the background? Is not thought founded upon the past? So, can thought ever free itself from the past? All that thought can do is to come to an end - but obviously not through compulsion, not through effort, not through any form of discipline, control, or subjugation. As an observer,

Screening of the film Fary, a jumenta (Mansour Sora Wade) at the Urubucine, in Salvador, for Cinema Yemanjá.

A showing of the film Safrana ou o direito à palavra (Sidney Sokhona) at Difusão Cineclube, Itapetinga.

Exhibition of the film Sudoeste (Eduardo Nunes) at the cineclube Mário Gusmão, in Cachoeira.

Opening of the Free Courses UFBA/MAM-BA, with the modules Salvador: Entrepeneur Territory (taught by Denise Ribeiro and

see the truth of what it means for thought to come to an end. See the truth, the significance of it, and the false response is removed. That is what we are trying to do in answering this particular question. When there is action not based on idea or on the past, then the mind is silent, absolutely silent. In that silence, action is free from idea. But you will want an answer to your question: whether I believe or not in reincarnation. Do you know, are you any wiser, if I say I believe in it or do not believe in it? I hope you are confused about it. To be satisfied by words of explanation indicates a petty mind, a stupid mind. Examine the whole process of yourself. That examination can take place only in relationship, and to discover the truth in any relationship, there must be a state of constant watchfulness, constant, passive alertness. That will show you the truth, for which you need no confirmation from anybody. As long as thought continues, there can be no reality; as long as thought continues as the yesterday, there must be confusion and conflict. Only when the mind is still, passively watchful, is it possible for the real to be. Colombo, Sri Lanka, January 15, 1950

Tânia Benevides) and The Body and its metaphors – Culture past and presente – Is Everything Northeastern? (by Maria Cecilia de Paula Silva and Miguel Angel Garcia Bordas). Gardening workshop with Cláudio Pinheiro.

Jiddu Krishnamurti, Fourth Talk in Colombo 1949-50

Dimitri Ganzelevitch opens to arranged public visitation his collection of the house-museum Solar Santo Antonio: Imaginary Museum of the Northeast | Department of Universal Knowledge | Section: Psychology of Testimony.


July 24th 2014

Imaginary Museum of the Northeast Department of Universal Knowledge Section: Psychology of Testimony Acervo da Laje [The Laje Collection] PERIOD 06/11 to 09/7


The collection is formed works of art produced in the suburb of Salvador gathered since 2011 by the researcher and resident of São João do Cabrito, José Eduardo Ferreira. Photo Alfredo Mascarenhas

THE RAILWAY SUBURB The historic 3rd Bahia Biennial is coming to an end, an event that has not occurred in the state for 46 years, on account of its interruption by the military dictatorship. With an innovative, decentralized format, covering hundreds of educational activities, exhibitions, workshops, lectures, artistic performances and installations, and with a wide lineup that toured all the areas of Bahia and the city of Salvador, the 3rd Biennial made history, because in addition to all the prominence around, it included in its program several spaces located in the Railway Suburb of Salvador, such as the Centro Cultural Alagados, Movimento de Cultura Popular do Subúrbio, Centro Cultural Plataforma and the Collection of the Laje. Over these one-hundred days the Laje Collection, located in São João do Cabrito, in

Plataforma, was one of the exhibition spaces that opened its doors to the public for five days a week, with the presence of two mediators and a young woman (all residents of the suburb) responsible for the maintenance the work. Prague Printemps, an artwork by Argentinean born, Bahia long-time resident Reinaldo Eckenberger, dialogued with the works of artists from the Railway suburb of Salvador at display in the Collection.

Anyway, as being part of the process does not allow an unbiased assessment, we thank the presence of the 3rd Bahia Biennial in the Railway Suburb of Salvador, and in particular its team of curators, producers, mediators, artists and more than a thousand visitors we received during this period. We thank everyone who contributed to this event that is already registered as a milestone in the recovery of new, future biennales.

The 3rd Bahia Biennial came to make history and we recognize that it enabled a great aesthetic and artistic exchange of knowledge between natives and artists of various nationalities; by being local, it was universal. The actions of the Biennale were added to various cultural initiatives present in the suburban territory and certainly left its contribution here, strengthening the cultural spaces.

José Eduardo Ferreira Santos Professor, researcher and curator of the Laje Collection

Activities at the Laje Collection • Dimitri Ganzelevitch invited the Laje Collection to visit his house-museum Solar Santo Antonio, on the 26th of August. The space also received a visit of cultural producers of the railroad suburb area. • The Laje Collection hosted on August 22 the Workshop Samba de Roda and popular cultures. Held by artist Natureza França and part of the project Laje Talks, the meeting was a celebration of popular culture and folklore, along with teachings about the Roda, and its instruments. • On August 9th, the Laje Collection received the first roaming action Observation Drawing Workshop, given by Olga Gómez. Then, with help from the Escola Popular de Novos Alagados, the Biennale

team set up chairs and materials in the square next to the Collection to receive children and adolescents instigated by the activity.

Salomão – and hiked further to the Laje Collection siege. In addition, participants visited writer Perinho Santana’s Book-House collection.

• The first Laje Talks took place on July 26. The Biennale’s chief curator, Marcelo Rezende, artists Perinho Santana, Ray Bahia and local producers discussed art in the Suburbs, beauty, and the elementary experience.

• On September 6th the public attended the workshop Alegria das Cores (The Bliss of Colours), taught by Ivana Magalhães. Participants learned pontinhoterapia (pinpricktherapy), a practice of painting small ceramic pots which may have therapeutic purposes, stimulating creativity and organization.

• In partnership with the Cultural Foundation of the State of Bahia (FUNCEB), the Biennale held the meeting Doing poetry and fiction in Bahia, at Centro Cultural Plataforma. On the same day, the Plataforma Expedition was held, beginning at Calçada Station with a poetic intervention of phrases by Waly

• The Biennial of Bahia held another edition of Laje Talks on August 30th at the Laje Collection. The theme was Beauty and the Elementary, and the guest, psychologist Miguel Mahfoud.

BAHIA BIENNIAL mourns the death of Bakary Diallo It is with much regret that the 3rd Bahia Biennial mourns the passing of the Malian artist, settled in France, Bakary Diallo, who would participate in the residency at the Sacatar Institute (Itaparica) awarded to him by Videobrasil festival’s last edition. Diallo, who exhibits some works at the Imaginary Museum of the Northeast, in the Gallery 2 of Solar Ferrão, was one of the victims of the Air Algerie plane crash, which fell in Mali - near the border with Burkina Faso – on route to Algeria, on Thursday. The visual artist and film director used elements of everyday life to build synthetic narratives, questioning the effects of violence. Besides the 3rd Bahia Biennial, his works have been displayed in various exhibitions, such as the Biennale of Contemporary African Art - Dak’Art (Senegal, 2012), the 9th African Photography Biennial (Mali, 2011) and the 20th Week of experimental cinema of Madrid (Spain, 2010).

T I M E L I N E The Open Mural Action ends its roaming editions at the Public library of the state of Bahia, in Barris, Salvador. Photo Rafael Martins

Second day of the Free Courses UFBA/MAM-BA.

Photo Rafael Martins

Painting workshop with Rener Rama Metal engraving research group with Evandro Sybine.

July 25th 2014


AMOROUS PLEASURE IN BAHIA ---------- Forwarded message ---------From: Ciné-Tamaris <xxxxxxxxxx@xxxxxxxxxxx> Date: 2014-05-05 7:57 GMT-03:00 Subject: Re: À l´attention de Mme Agnès Varda _ 3ème Biennale de Bahia To: Carmen Palumbo <xxxxxxxxxx@xxxxxxxxxxx>

---------- Forwarded message ---------From: Ciné-Tamaris <xxxxxxxxxx@xxxxxxxxxxx> Date: 2014-05-05 7:57 GMT-03:00 Subject: Re: À l´attention de Mme Agnès Varda _ 3ème Biennale de Bahia To: Carmen Palumbo <xxxxxxxxxx@xxxxxxxxxxx>

Chère Carmen Palumbo,

Dear Carmen Palumbo,

Votre courriel du 2 mai est tout à fait intéressant car vous me donnez beaucoup d’informations sur la scène artistique de Bahia. Je suis contente que la direction de votre Biennale ait l’intention de montrer mes 17 courts métrages (!) et 3 films qui abordent des problèmes très différents. Parce que ces films sont en restauration et que “L’une chante...” est le dernier en cours, il serait sage de le programmer vers septembre.

Your message of May 2nd is very interesting, because you give me lots of information about the art scene in Bahia. I’m glad that the direction of this Biennale intends to show my 17 short films (!) and three films that deal with very different issues. Because the films are being restored and “L’une chante ...” will be the last, it would be wiser to schedule them for September.

Par ailleurs, vous m’invitez très gentiment à l’ouverture du cycle de mes films. Cela me sera impossible, je commence à éviter les longs voyages et je dis souvent que même si c’est sympathique de rencontrer le public cinéphile, les films existent sans leur auteur. J’ai récemment exposé à la Galerie Nathalie Obadia à Paris et j’ai encore une exposition en cours au LACMA à Los Angeles jusqu’au 22 juin. Je regrette de décliner votre invitation, d’autant plus que j’aurais été très heureuse de découvrir Bahia, son musée et sa région (je ne connais du Nordeste que le beau film de Gianni Amico, “Tropici”, de 1967). Agnès Varda

Incidentally, you very kindly invite me to the opening of the cycle dedicated to my films. It will be impossible for me to attend, I have started to avoid long trips and I always say that even though it is always nice to meet with the cinephile audience, the films exist without their author. (...) Recently, I exhibited at the Nathalie Obadia gallery, in Paris, and I still have an exhibition currently at LACMA, in Los Angeles, until 22nd June. I am sorry to refuse your invitation, mainly because I would be very happy to visit Bahia, the museum and its region (what I know of the northeast is only Gianni Amico’s beautiful film Tropici, of 1967). Agnès Varda

PROGRAM JULY 25th Cléo de 5 à 7 Agnès Varda, 90 minutes, France, 1962 JULY 26th One sings, the other doesn’t (L’une Chante, L’autre Pas) Agnès Varda, 120 minutes, France, 1976 Program of shorts 1 • Ô saisons Ô chateaux!, 22 minutes, 1957 • Plaisir D’Amour en Iran, 6 minutes, 1976 • Du Côté de la Côte, 24 minutes, 1958 • Oncle Yanco, 22 minutes, 1967 • Black Panthers, 28 minutes, 1968 • Réponse de Femmes, 8 minutes, 1975 L’une chante, l’autre pas | Photo Reproduction

JULY 27th Les Glaneurs et la Glaneuse Agnès Varda, 82 minutes, France, 2000 JULY 28th Program of shorts 2 • Ydessa, lês ours et etc…, 43 minutes, 2004 • Ulysse, 21 minutes, 1982 • Salut les cubains, 28 minutes, 1962 • Une minute pour une image, 19 minutes, 1983

Cléo de 5 à 7 | Photo Reproduction

Exhibition of the film Mahaleo (César Paes and Marie-Clémence) at the Cineclube AFAI, in Itajuípe, for Cinema Yemanjá. Photo Reproduction

JULY 29th Program of shorts 3 • Les Dites Cariatides, 13 minutes, 1984 • L’Opéra- Mouffe, 16 minutes, 1958 • Elsa la Rose, 20 minutes, 1965 • Le Lion Volatil, 12 minutes, 2003 • T’as de beaux escaliers, tu sais, 3 minutes, 1986 • Les Fiancés du Pont Mac Donald, 5 minutes, 1961 • 7 P., Cuis., S. de B., … À Saisir, 27 minutes, 1984

Closing of the first two modules of the Free Courses UFBA/MAM-BA. Photo Rafael Martins

Photo Reproduction

Start of the cycle Biennale in Varda, at the movie theater Walter da Silveira, with the film Cléo from 5 to 7. The French filmmaker and photographer Agnès Varda’s films take issue with reality in the documentary, feminism and social commentary.


July 26th 2014



The space of the Museum of Modern Art of Bahia (MAM-BA), where the work of North American artist Lawrence Weiner was installed | Photo Ana Clara Araújo

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Studies for the installation of the work, by Alberto Gonçalves

T I M E L I N E Exhibition of the film Fad, Jal (Safi Faye) at the Cineclube Filhos do Sol, in Heliópolis, for Cinema Yemanjá. Photo Reproduction

Photo Reproduction

The cycle Biennial in Varda presents a program of short films and the feature One sings, the other doesn’t by French film maker Agnès Varda at Walter da Silveira theater.

Metal engraving research group with Evandro Sybine.

Photo Rafael Martins

July 27th 2014


Photo Gillian Villa

Launch of Esteio Gallery’s catalog, with music by Samba de Roda de Massarandupió

Screening of the film Os catadores e eu, by Agnès Varda, at the Walter da Silveira theater, for the Cycle Biennale in Varda. Photo Reproduction

Storytelling with Maju Fiso.

Drawing workshop with Olga Gómez.

Photo Rafael Martins

Photo Rafael Martins

Paint at the Biennale with Maninho Abreu.

Photo Rafael Martins


July 28th 2014

TALKING WITH YOUR HISTORY The 12th edition of the courses Talking to your history is one of the lines of development in the Archive and Fiction’s curatorial scope, proposing a series of meetings about the history of the archives, in partnership with the Memory Center of Bahia (CMB / Pedro Calmon Foundation) and having as main subject the production of art and the organization of memory. The project aims to observe and discuss the practices and procedures around the spaces of memory, specifically archives and libraries. Accordingly, the purpose of the meetings is to discuss the architecture of memory, the fictionalization of the archives, the bureaucratic nature of the archives, the oral history, stories and fictions of the spaces of memory in Bahia and the (in)visibility of the Archives. To this end, different institutions were invited to present their collections and also historicize the institution from its original proposal, the initial project, its founders, employees and supporters. Institutions that participated in the meetings: Mosteiro de São Bento / Arquivo Público do Estado da Bahia / Instituto Histórico e Geográfico da Bahia / Fundação Gregório de Mattos / Associação Baiana de Imprensa / Terreiro Ilê Axé Opó Afonjá / Escola Parque / Museu de Arte Moderna da Bahia / Centro de Estudos Afro-orientais / Terreiro Pilão de Prata / Teatro Vila Velha / Fundação Pierre Verger/ Centro de Memória da Bahia /Museu Afro-Brasileiro – UFBA

Jacira Primo Memory Center of Bahia / Pedro Calmon Foundation

Talking with Your History - Between the public and the private - The construction of the memory of Bahia, at the Library of Barris | Photo Alfredo Mascarenhas

WHAT IS SOUL? Fernando Oliva Deputy curator 3rd Bahia Biennial

Blackness moves to the popular masses. Identity problems (black/white) erupt in social and cultural plans through impersonation processes: a white artist, wearing glasses and with the look of a nerd, reveals the desire – and, at once, the very impossibility - to turn into black. The Briton David Blandy presented four of his works within the Imaginary Museum of the Northeast, Department of the Soul, Section Africanities. The videos From the Underground (2001), Hollow Bones (2001), Sons of Slaves (2006) Dock of the Bay (2013), displayed in the Museum of Archaeology and Ethnology at the Federal University of Bahia, debuted in Bahia through this Biennale, opening paths, but also creating frictions in debates about ethnicity and race. This time by way of an international pop culture that certainly pleased the “braus”, the young blacks from the Salvador outskirts, stigmatized by the elites, who in the middle of the past decade have connected with the culture of American soul and, anthropophagically, reinvent it in the peripheries of Salvador. In this sense, the image that defines the production of Blandy in its passage through Bahia is that of the minstrel in the first half of the 19th century, theme of his The White and Black Minstrel: a white performer painted black, or vice versa, releasing and making fun of all the repressed tensions in the transit of these centuries-old ambiguities and repressions.

Photo Gillian Villa

Imaginary Museum of the Northeast Department of Soul Section: Africanities Museum of Archaeology and Ethnology PERIOD 07/28 to 09/5


The Museum of Archeoly and Etnology was created in 1983 and is installed in the old Jesuit School, a construction which dates from the 16th century and today houses the Medicine Faculty of UFBA. The collection was constituted through donations, collections and acquisitions, from the work developed by researchers and intellectuals.


Photo Alfredo Mascarenhas

Opening of the Itinerant exhibition That’s how it is in the coast at Elomar’s Casa dos Carneiros, in Vitória da Conquista.

Workshop Writings in Transit at Escola Parque, program of the department of Archive and Fiction.

Photo Alfredo Mascarenhas

Exhibition of a series of short films by the French filmmaker Agnès Varda at Walter da Silveira thater, for the cycle Biennale in Varda.

Opening of the installation Vazio (Void), by the Library Work Group, at the Public Library of the State of Bahia. Photo Rafael Martins

Photo Reproduction

July 29th 2014



Zu Campos at the Museum of Sacred Art | Photo Gillian Villa

The work of the artist Camila Sposati | Photo Alfredo Mascarenhas

The Museum of Sacred Art of Federal University of Bahia is housed in the Convento f Saint Theresa of Ávila, which was founded by the bare-footed Carmelites in the middle of the 17th century in Salvador, capital of Brazil from 1549 to 1759. In 1660 Portuguese monks of the bare-footed carmelite’s order entered Bahia when they were going to Angola but, because they were requested to by the local inhabitants, the monks decided to stay here. Firstly a small hospice was built in a place near the sea nowadays called Preguiça, which had been donated by the king of Portugal, D. Afonso, the sixth. With time and helped by alms, the Convent was built in a neighboring area in 1667 and its church was opened on October, 15th 1697. Since then the Convent has become one of the biggest monuments of the kind in whole rhe Portuguese world. It was also one of the causes of Salvador’s great development and the occupation of Bahia’s territory. Because the convent served as lodging for the Portuguese troops during the Independence of Bahia until its victory on July, 2nd 1823, the order was expelled from here in 1840. In 1837, however, the Archiepiscopal Seminar was installed in the Convent of Saint Theresa and The Archbishop passed its administration to the lazarist priests. In 1956 the Seminar was moved on to another place and the Convent of Saint Theresa was abandoned and ruined until 1958, when Edgar Santos, the President of the Federal University, decided to house the Museum of Sacred Art there by means of an agreement with the Archdiocese of Salvador. Considered one of the most significant examples of Brazilian 17th century architecture, the Convent of Saint Theresa of

Avila is located in the historical center of Salvador, an area declared mankind’s patrimony by UNESCO in 1985. A brief showcase of the collection Imagery

Religious themes were the primary focus of schulpture in Bahia from the 16th century through the beginning of 19th century. A large portion of the list statues was fashioned from terra cotta, via a technique which was employed until second half of the seventeenth century. The Benedictine monk, Agostinho da Piedade, was one of the few seventeenth century masters of this form who signed his work. Two of his most precious statues, under protection of Art Sacred Museum, are Santa Mestre, from 1642, and Our Lady of Mount Serrat, from 1636. Wooden statues had already appeared in the seventeenth century and Bahian sculpture, or more correctly, Salvadorian, shows the indisputable influence of Lisbon. With Spanish influence, in a very specific renaissance and iconographic style, wooden statues were covered with silver, metal, making them even more important and precious, like Our Lady of Miracles, before whom, according to legend, Father Antonio Vieira, sensed the “spark of intelligence”, Our Lady of Guadalupe, an essentially Spanish saint, follows the same model.

Text extracted from the catalog of the Museum of Sacred Art of the Federal University of Bahia.

Closing of the cycle Biennale in Varda, at Walter da Silveira theater, with a series of shorts. Photo Reproduction

Photo Leonardo Pastor

Opening of the Imaginary museum of the Northeast | Departament of the revolutionary struggle | Section: Ludicals, at the Bahia Nautical Museum, with an exhibition of works by Agnès Varda, Hansen Bahia and Pierre Verger.

Zu Campos is a sculptor and teacher. Before becoming an artist, he was a professional football player and construction worker. He was introduced to the arts working on the tiles in the Convent of Santa Teresa D’Avila, when it was refurbished to become the Museum of Sacred Art (MAS). After the renovation, Zu Campos remained as a mediator in the museum, whose collection is among the most representative of Brazilian baroque. There he began drawing and sculpting. His production led him to live for a period in Rio de Janeiro, and, on returning to Bahia, to appear as a character in two books by Jorge Amado and to be exhibited at the 2nd Bahia Biennial, in 1968. Zu also taught wood sculpting for 25 years at the MAM workshops. At the opening of the Department of Affective Insistence, Section: Immaterials, in the Museum of Sacred Art, the 3rd Biennial invited Zu Campos to mediate the public through the sculptures of the permanent collection, which were still very familiar to him even after a few decades.

Imaginary Museum of the Northeast Department of the Affectionate Insistence Section: Immaterials Museu de Arte Sacra [Sacred Art Museum] PERIOD 07/29 a 09/5


The architectonic complex which houses the Museum of Sacred Art was constructed in 1676 to house the Convent of Santa Teresa D’Ávila. The MAS was created in 1957 from an agreement between UFBA and the Archdiocese of Salvador and its collection contains sculptures, paintings, furniture and tiling from the 16th, 17th, 18th, 19th centuries.

Exhibition of the film Pacific (Marcelo Pedroso de Noronha) at Espaço Imaginário, in Rio de Contas, for Cinema Yemanjá. Research group in Lithography with Renato Fonseca. Photo Reproduction


July 30th 2014

I AM JESUS, WHO IS MY JUDAS? the academic drawing, the abstract drawing the organic drawing the mutation cosmic landscapes astral landscapes intergalactic nativity repenting souls in late night eternal beggars of the meat violence giving birth from the mouth Bahia joseph maria jesus populate Bahia and are all of us on each corner some crosses on each street many crucified toothed gourds shells figs heads ensnared by snakes

Co-creator of the original project for the Bahia Biennial, Paraíso was one of the leading and most active contributors of the 3rd Bahia Biennial. Part of his production was presented at the Bahia Museum of Modern Art, next to Riolan Coutinho’s - also co-director of the first two editions of the Bahia Biennial.

bahia draws the portrait bahia records a reality Bahia erects its time and time is always i am Jesus who is my Judas? and time is on the loose with all its heels mercy conception afflicted there is a blue that drowns what is the aesthetic value of a surface? what statistic measures a skeleton of concrete and stone? Bat man, prince of the seas, spirit I must learn to read the naked that the white of this plaster informs me I must learn to see copy the foot and the head, the trunk the model takes me to wander through the ruins decayed road yet still a road and whatever the point of view there is always another argument morality, religion, reason, the instincts revolvers of fingers before medals I have to nourish myself from my own substance eat my own hunger autophagy and autopsy I have to learn to be only fear confronts only death frees where the fragile of the paper? where the phrase on the paper? I am Jesus who is my Judas? hard flesh, straight line, unbendable backbone basic principle of matter vital pulsion of all living things one hand holds a hand and another hand and another hand and all the hands draw record sculpt register scratch trace write on a wall in a square for the ones who take the ride on buses to see for the ones who ride by car to be life is far beyond this size of mine in the world head trunk and limbs a hand that only reaches one object a step that can only be measured by feet a nudity to copy a landscape to the eyes photo manipulation radiographic application life is to be well beyond my size be we some, be we many, be we all hold this hand that holds a hand and this another hand and this other hand and ...

T I M E L I N E The Gardening Workshop today was about tea. Professor Cláudio Pinheiro showed how to work with some species and offered a tasting of exquisite infusions. Photo Rafael Martins

Juarez Paraíso Science Fiction | Cosmology | Utopia-Distopia Riolan Coutinho Between Systems MAM / Main house / Ground floor PERIOD 07/13 to 09/7


The Bahia Museum of Modern Art was created in 1959 and its first general director was the architect Lina Bo Bardi. The foyer of the Castro Alves Theater housed the MAM-BA until 1963 when the move to the Solar do Unhão took place, a construction which dates from the 17th century.

July 31st 2014


Photo Gillian Villa

The installation Casulo, by Baldomiro Costa, is exhibited in the Flamboyant courtyard of the MAM-BA.

Foto Gillian Villa

Opening of Juraci Dórea’s Sertão | Museums | Archaeology exhibition, at the MAM chapel.

Foto Gillian Villa

Opening of the Imaginary Museum of the Northeast | Departament of Performactivity of gender | Section: Genders, in the basement of the MAM-BA, displaying research works in he interplay of sexuality and its sensorial, political and social implications.

Foto Leonardo Pastor

The opening of the exhibition dedicated to the artists Juarez Paraiso and Riolan Coutinho | Photo Alfredo Mascarenhas

Opening of the exhibition Entre Sistemas (Between Systems), by Riolan Coutinho. “Riolan Coutinho stands out for his exceptional talent and creativity as a designer and painter of modern art in Bahian contexts. As a teacher, he contributed to the pedagogical renewal of the School of Fine Arts and was one of the leading creators and performers of the Bahia Biennial of 1966 and 1968.” (Juarez Paraíso) The work of Riolan Coutinho | Photo Gillian Villa

Screening of the film O quadro (Jean-François Laguionie), at Cine Sereia, in Salvador, for Cinema Yemanjá. Photo Reproduction

Screening of the film Uma Longa Viagem (Julia Murat) at the Cine Mais Saber, in Cairu. Photo Reproduction

Thursdays at Quinta brings the theme of Estácio de Lima Museum, with Marcelo occasion, the Feminist Organization for School) erupted with their intervention

Premiere of the play Jango: a tragedya, written by Glauber Rocha, at the Vila Velha Theater. The first ever mise-en-scène of the piece is directed by Márcio Meirelles.

Foto Rafael Martins

Opening of new modules of the Free Courses MAM-BA/ UFBA, with the subjects Earth work – The body and the voice, given by Maria Fonseca Bazzo and Francisco Antonio Zorzo; and Ex-Votos: A look over the preservation of the imaterial heritage in Bahia, held by Ana Paula Rocha do Bomfim and Ivone Costa.

Scientific Racism: the case Cunha and D. Cici. On the Sound Experiments (UFBA Music Musical Femmenaria.

Painting workshop with Rener Rama. Research group in Lithography with Renato Fonseca.


August 1st 2014

The artist Juraci Dórea in his atelier | Photo Alfredo Mascarenhas

SERTÃO/ MUSEUMS/ Archaeology JURACI DÓREA Integrated the group of artists who participated in the 3rd Bahia Biennial

The chapel of the Solar do Unhão. Evening of July 31st, 2014. The white-washed walls of the century-old building are illuminated. Lina Bo Bardi, the MAM, the sea of Bahia. The exhibition is another page of the 3rd Biennial. We enter. The voice of Edwirges, in the upper part, intertwines with other voices. Among the works, the lumps of the house in which she lived, in Saco Fundo. The poet Antonio Brasileiro, sitting in the shade of an umbuzeiro, focuses on the “memorabilia”: “One day the whole world will be memory / Everything will be memory / People we see that walk on that street, / the gentle or the wise, or the bad, all of them, / all.” Now, the house-museum of Edwirges is memory. In the Journal of One Day, the landscape is also memory. So many houses collapsed. Canudos. General plan. I’m alone, before the Sertão and the sea. Sertão of war. Sea of prophecy. Chance brought the exhibition to the chapel of the Solar do Unhão. Really? Gentleman Marcelo Rezende, do you believe that? Glauber Rocha, one day, linked the Chapel to the Sertão. Scenes from Deus e o diabo na terra do sol were filmed here. There was no museum yet. Like this. Sertão. Sertões. Communicating vessels. Ex-vows. Cattle brand-

ing iron. Totems of cow dung. Sounds of cowbells. Pots. Dowsing? Identity? The northeast of the Sertão and the sea. Northeasts. Will we be, as well, Brazil? We want to be Atlantic. Like IKB and the altar of that church in Bahia. In the Chapel, Yves Klein Blue. Yves Klein and the cows in the Sertão. Gates, banners, shapes and Jacuípe. An altarpiece made of wood, leather and dreams. Letters. Furniture. And those paints and those lands. All Sertão. Junction. Sertãozão. My poetic? The days and nights. The art, an instant, a flash. Making art is deciphering the clouds. Carrying stones. Explain? This present is brutish. Art is a leap in the dark. At the side, the main house, Juarez Paraíso speaks of many things, other things, of that land. Juarez Paraíso, my friend, master of varied paths and of all techniques. The 3rd Biennial has many fireflies and many doors. Expedition Earth: we depart on June 13. Feira de Santana, Santa Bárbara, Serrinha, Araci. In search of lost time. Ana Pato investigates streets and squares. Archives. Corisco went to the Paraíba farm, in 1928. The night comes. Jorro, the people in the square. The next day, the Tucano market. The rain brought abundance: corn, beans, flour and people.

T I M E L I N E Second stage of Shared Process, by Lia Robatto. The project takes place at the TCA and is open to people with artistic training and experience. Photo Alfredo Mascarenhas

Research group in Ceramics – Miniature of popular art with Marlice Almeida. Photo Rafael Martins

Screening of the film Mahaleo (César Paes and Marie-Clémence), at the Cine Mais Saber, in Cairu, for Cinema Yemanjá.

Exhibition of the film Victoire Terminus (Florent de la Tullaye and Renaud Barret) at the Cineclube Oficina das Artes, in Itaparica.

Second Day of the free courses UFBA/MAM-BA with the modules Terraplanagem (Earthwork) – The Body and the Voice and Exvotos: a Look over the Preservation of Bahia’s Immaterial Heritage.

August 2nd 2014

The opening of the exhibition of the artist Juraci Dórea in the Chapel of the Museum of Modern Art of Bahia | Photo Gillian Villa

George Lima records. Lunch at the Kombi. We enter Monte Santo at dusk. The Santa Cruz is lit up. I didn’t think we had the energy to climb. We did it. At the top, the cold wind and the sounds of the city. The moon. In the morning, Dedega came to meet us. Our guide. All paths are transformed. We arrived at Acaru, at the farmhouse that now belongs to him. A small milestone in a place of red mud. The accordion, the tamarind tree, the impromptu picnic. The expedition follows. We found Nezinho, we went to see the Tanque das Pedras. Muquém: Octaviano was born on the farm, Dona Joseja used to pick beans. And Edwirges’s House? Did we find any trace? Also, at Saco Fundo, the landscape had changed. The house of the girl Maria (where is she?). Doors and windows open, the roof in ruins. I identify the umbu tree of Edwirges’ house. The bush spread. The remains of mud bricks. Stones with marks of the old fire and time. The Group meets in silence. The umbu tree is a totem. Ritual in IKB. Vereda, a path in the bushes. The blue of so many auras and mysteries is in the Sertão. A psychomagical action? The Green and the afternoon light surround us. More roads: the village of Santa Rosa. There is no longer the old market. In remembrance,

Screening of the film Estrada Real da Cachaça (Pedro Urano) at the Cineclube Espaço Imaginário, in Rio de Contas, for Cinema Yemanjá. Photo Reproduction


Carta 260789, Carta para Ângela 01, coal and PVA on canvas, 1989 | Photo Gillian Villa

just a photo: Roberval Pereyr and other viewpoints. Evening. Raso da Catarina or Canudos? The home of Dona Joselina is on the high ground. From there, you can see the dam of Cocorobó. Banishment. Ícaro Lira watches. Caetano Dias navigates between blue balls. Plants and plasms new riverbanks. Synesthesia. Urucum, snakeskin, knife. Canudos. The game of life and death. Trance. So. Serra de São José das Itapororocas. Elegy. Manuel Bandeira, Eurico Alves, Paulo Bruscky. Earth, leather, Earth, tank. It rains. The Fonte Nova farm is convenient. Everything is so close. In the hinterlands of Gameleira, Elomar continues to raise goats and make music. The Fourth Royal Academy meets. The Ironwood opens its wings over the dry bush. A plane lands in the caatinga: Lady Theodora gets out. She walks calmly and receives from the Master a crown of flowers from the umbu tree. By the fire, the Cavaleiro das Plumas pulls out a viola. Today, there is no Moon at the Casa dos Carneiros, but the sky is covered with stars. At the end of 100 days, someone asks: is everything Northeast? In the distant landscape, cows moo. The fourth concert for foxes begins.

Juraci Dórea Sertão | Museums | Archaeology MAM / Chapel PERIOD 07/31 to 09/7


The Chapel of the Solar do Unhão was constructed in around 1740, having been consecrated to Nossa Senhora da Conceição. At the same time, the Solar do Unhão also received more refined features, such as the tiles and the walkway which until today give acess to the main house. The Solar do Unhão has held the MAM-BA since 1963.

October 2014

Exhibition of the film Girimunho (Helvécio Marins Jr. and Clarissa Campolina) at the cineclube Tela em Transe, in Poções.

The Cinema Yemanjá is held within the program of the 4th edition of the Solar de Virote, at the cinema-theater Solar Boa Vista. Photo Alfredo Mascarenhas

Research group in metal engraving with Evandro Sybine


August 3rd 2014


Iêda Oliveira, Um Terço para Márcia X, 2014 | Photo Gillian Villa

The theory of gender performativity is a perspective that we deal with in this Department to gather works of artists who have as their main referential the deconstruction of the biological/naturalizing discourse to explain the genders and sexualities. Judith Butler, an American philosopher, weaves a series of ideals which explain how our bodies are results of repeated standards, day after day, with the goal of making subjectivities intelligible; the desires and the bodies. It is interesting to point out that, even before our birth, a set of social rules is put on scene from a differential trait of sex seen on an ultrasound monitor. Given the institutionalization of gender from sex, our existence is already loaded with speeches and standards based on rigid, secular conventions. Fortunately, bodies never conform completely to the standards, and it is these loopholes that generate a gradient of resistance and non-compliance.

Imaginary Museum of the Northeast Department of Gender Performactivity Section: Genders MAM / Underground Gallery PERIOD 07/31 to 09/7


Before housing the MAM-BA, the Solar do Unhão was a sugar mill and had housed installations and a factory of snuff, between the years 1816 and 1926, and a warehouse, in 1928. The tracks to transport goods at the entrance of the underground gallery were preserved from this period.

Listed in this department is a set of artists that, in their work, as opposed to following a script, mock expectations through subversive Poetics. The collected works do not claim fixed sexual identities propagated by the more institutional LGBT movement. They show that it is possible to make policies for sexual and gender difference in a manner distinct from the exaltation of otherness at the expense of an essentialist form. The rules of good conduct, propagated even by the movement of sexual diversity, are put in the shadows to emerge as a more provocative representation – seen, for example, in the drawings of Bia de Medeiros. In Jardin das torturas (Garden of Tortures), Virgínia de Medeiros presents the results of her immersion in the context of a sadomasochist family who lives under an agreement called 24/7, in which they live that experience 24 hours a day, 7 days a week. The rules of the practice of S&M are estheticized by the artist from a real experience recorded through interviews, photographs and diaries – material out of which it stretches to compose a performance. In the action the

artist puts in scene a repertoire of sadomasochistic positions, which show how much the disciplinary power is now reinforced, subverted. Induced by a subversive ideal, Virgínia appears to be in a trance that can’t be understood within a Christian and normative morality. Also, the movie CUCETA – A cultura queer de Solange, tô aberta (Solange Iamopen’s queer culture) provokes the repressive ideals of religious fundamentalism – which is so powerful and widespread today. The funk duo, documented by Claudio Manoel, uses the insult as a creative and deconstructive possibility. “Keep your god away from my body”, the phrase printed on the shirt of Pedro Costa, one of the members of the group, summarizes in one shout the position of insubordination of the ones suffered oppression for centuries by the Church, biology, medicine, justice and the heterosexual nuclear family model. Not to mention the peak scene of the documentary, in which the very same Pedro removes beads from his anus, implying them to be Thai balls that stimulate anal pleasure. Religion is also the motto of Um terço para Marcia X (A rosary for Marcia X), the work of Ieda Oliveira which cites the work of the artist from Rio who designed several penises using catholic prayer beads. Ieda constructs an installation which reconstructs one of Marcia X’s drawings with apples. The rotting of the apples until the end of the exhibition was inevitable and consisted in a curious process for us to think about the falling of religion and masculinity, unshakable and perennial truths. Finally, the works that comprise the Department of the Performativity of Gender use resistance strategies that turn a series of discussions into complex issues, and that still collide with the walls of universities or with the bureaucracies of organizations. In this sense, the experience of the discussion of gender and sexuality in the 3rd Bahia Biennial was conceived not as a reinforcement of old ideas, but as a platform to launch a look to other possible bodies.


Exhibition of the film Doméstica (Gabriel Mascaro) at the Cine Manga Rosa, in Mar Grande/Vera Cruz for Cinema Yemanjá. Photo Reproduction

Storytelling with Maju Fiso.

Photo Rafael Martins

Drawing workshop with Olga Gómez. Painting at the Biennale with Maninho Abreu.

August 4th 2014

Hansen Bahia, untitled, mixed technique, 1972 Photo Leonardo Pastor


Photo Leonardo Pastor

THE MAN AND HIS TIME: Hansen’s Bahia AYRSON HERÁCLITO Chief curator 3rd Bahia Biennial

“Behold that Bahia has this mystery, this greatness without boundaries, this Moonlight oil that oozes through the nights, over the men, nobody can resist it.” Jorge Amado It was eighty-three years ago that Heidegger in his text Sein und Zeit (Being and time, 1962), invites each man to ask the following question: what does ‘be’ mean to man, or “How is ‘being’”? Devoid of this reflection, which is absolutely necessary, man follows a wandering path of being without conscience, without authenticity and alienated. It is undoubtedly not the case of this German-Bahia artist: Hansen Bahia. The time and place built the man Hansen Bahia. Looking for answers to his existence as “a being in the world” he lay in a new crib, heated with the suffered arms of blacks and mulattoes, in a new house: Bahia, where he would be reborn and adopted as a champion for many of his contemporaries. In his new land he found singularities of a people who live between the “monstrous and majestic”, between noble and ignoble, between sensuality and social disorder. He steered his look at the world of the poor and the excluded in order to transmute pain from his past of being a young soldier in Nazi Germany and the pain of our historic ills from the holocaust of slavery. The Bahia of Hansen tells us that the wounds opened by the cruel social inequality that is the Brazilian society should be sealed, but its scars never hidden. And that his art promotes the total visibility of discarded spaces and individuals, condemned to oblivion. His work serves as a catharsis, a purging exercise, a bitter pill, often unpalatable, however purifying. Recording on top of the roughness of the wood of our grotesque reality, Hansen is present and belongs to his time. Materializing his life experiences and relating with the world and with people. Bringing us closer to universal pain and simultaneously crucifying himself on the Calvary of his Via Crucis do Pelourinho in times of fear and misery in Bahia.

Imaginary Museum of the Northeast Department of the Revolutionary Struggle Section: Ludicals Museu Náutico da Bahia [Bahia Nautical Museum] PERIOD 07/28 to 09/7


The Nautical Museum is installed in the Fort of Santo Antônio da Barra, where the Barra Lighthouse also is. The museum reunites a collection of submarine archeological finds, navigation and nautical signaling instruments and ship miniatures.

Bahia of Hansen discusses and investigates themes with a critical horizon; they are prostitutes, fishermen, cowboys, ordinary men and women, and seen in their existential condition. The artist points to readings that demystify the hegemonic images of Bahia, and reminds me of the words of António Risério, quoting Stefan Zweig (a writer who committed suicide in Brazil), which warns us of comparing the city of Salvador with the attitude of an old widowed Queen – “a widowed Queen, grandiose like in Shakespeare’s plays”, adds Risério, “a Queen so successful in her invitations to paradisiacal idealizations, that she generally manages to hide from the eyes that contemplate her and the reality of her misery and social conflicts.” Safeguarding the work of this great artist is a task absolutely necessary for our history, for, besides being a precious cultural heritage, it is an example of competence for all generations of how a creator relates authentically with the world he inhabits. Recalling Jorge Amado: “famous and undisputed, Hansen Bahia left everything behind and left carrying the cross of Christ”.

Between public and private: the construction of memory about Bahia is the theme of the first Talking with your history series, held at the public library of the state of Bahia.

Cineclube Vila, in Salvador, screens the film The Ballad of genesis and lady Jaye (Marie Losier) for Cinema Yemanjá. The city of Heliópolis watches the film Comboio da Canhoca (Orlando Fortunato de Oliveira) at the Cineclube Filhos do Sol, for Cinema Yemanjá. Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Opening of the project Feira de Arte Livre (F.A.L, Free Art Fair), held at the São Joaquim market. The initiative transforms the space into a territory of interventions and exchanges between visitors, stall holders, artists, healers and environmentalists from France and Brazil, under the curatorship of Marc Pottier and Pascal Pique. The interventions synthesized at the F.A.L. run until August 12th.


August 5th 2014

VILA VELHA PERFORMS WITH HISTORY MARCIO MEIRELLES Artistic director of the Vila Velha Theater and founder of the FREE University of Vila Velha Theater. Jango - A Tragedya | Photo Leonardo Pastor

1. The Vila Velha Theater celebrates 50 years An emblematic year as it remembers the 50 years of dictatorship in Brazil and its legacy It reenacts political acts like the Bahia Biennial of art We present at the Biennale the projects universidade LIVRE de teatro Vila Velha 2. The Universidade LIVRE de teatro vila velha is a training program in intervention acting – in the broadest sense of the word act – It has the mission to collect the key to re-enchant audiences with reflection to resume the role of an arena which the theater always had and the dictatorship made a point of eliminating with the dePOLItization of artistic activities the withdrawal of the theater from the life of the polis as a factor in healing the ills of society and the individual the fear of force which oppressed and coerced us during the terrible years and the disregard for the fate of the polis generated by fear they created a castrated theater incapable of reproduction and eros Unable to seduce because it was unable to provide answers We are speaking in a generic sense Groups artists collectives institutions and trends continued to perform their role of needle of the Compass of the lever of change the LIVRE was designed to retrieve answers and especially to ask selves (and itself) a lot of questions 3. as a training process its method is learning by doing everything and anything Acting managing staging producing communicating writing enrolling playing music dancing filming editing transmitting playing spreading To be in contact with the public is paramount for the health of the theater

Reharsal Experiment 2.1 | Foto Alfredo Mascarenhas

Experiment 2.2 | Photo Alfredo Mascarenhas

So the EXPERIMENT was created A process/product or evaluation/product or questioning/product Periodically, the moments and steps taken in LIVRE and our reflection about them are presented to the audience the EXPERIMENTS are in this way a showcase debate seminar open rehearsal provocation test drive of what is being produced mounted built 4. In the 3rd Biennial 3 EXPERIMENTS were presented and the play JANGO - A TRAGEDYA EXPERIMENT 2.1 – THE PARALIZING VISIONS the strike of the military and civil police terrorized the population and prevented de facto that the actors could go to the MAM where the presentation would be We maintained the date and time and communicated that it was going to be on the internet It was the way to resist the terror installed by who should protect us some actors managed to get to Vila Velha on time and on the internet we declared our nonconformity to that situation We kept our commitment to do the EXPERIMENT We read texts by Brecht, Lina Bardi and Shakespeare – Hamlet and Macbeth – that we were working on in the period EXPERIMENT 2.2 – SHAKESPEARE IN LINA the EXPERIMENT which was being prepared for the MAM was held on the stairs of Lina’s texts/manifests by the architect were read rhythmic choreography was made fragments of the trilogy of the coup were presented hamlet macbeth and jango; three tragedies generated by coups d’état

Experiment 2.3 | Photo Gillian Villa

documents from the Brazilian coups were read We turn it into playwriting discussions in facebook posts results of crisis generated by the presentation on the internet Some participants of the LIVRE did not agree that it had taken place without the presence of everyone – one more side-effect of the police strike EXPERIMENT 2.3 – JANGO THE TRAILER in the lobby and penthouse of the theater the Universidade LIVRE de teatro vila velha waited for the the announcing parade of the opening of the biennale welcome songs good omens and fragments of Jango – A TRAGEDYA the Vila welcomed the biennale and announced the spectacle that we had prepared JANGO – A TRAGEDYA to reflect on the 50 years of the theatre of the coup of deus e o diabo na terra do sol We choose to mount the single text of glauber rocha written for theatre in scene jango the coup the exile of the President the possible revolution the causes of failure in the hero’s decision not to spill the blood of innocents in a possible armed conflict that would result maybe in a new cuba, in America the carnavalization ritual and symmetrical life cycle with the death of carmen miranda and of Jango swallowed by the people Unable to provide answers to Brazil death itself was the answer foreshadowing a possible recurrence of the same situation in Brazil we re-enact the sacrifice of jango according to glauber to exorcise the ghost of dictatorship that as hamlet’s father crying vengeance in a country that has gone through it but politicized itself and democratized, creating real possibilities of inclusion and income distribution


Photo Alfredo Mascarenhas

Members of the Tree Academy collect signatures for the Tree Manifesto at the São Joaquim market. The iniciative is part of the project Feira de Arte Livre (F.A.L., Free Art Fair).

The French Pierre Capelle and Michel Boccara hold sessions of Awakening to the tree at the Palacete das Artes – Rodin Bahia. The workshop is also part of the F.A.L. Photo Alfredo Mascarenhas

Exhibition of the film O Quadro (Jean-François Laguionie) at the Cineclube REPROTAI, in Salvador, for Cinema Yemanjá. Photo Reproduction

Research group in lithography, with Renato Fonseca.

August 6th 2014


survives in some societies and in numerous mythological narratives. From North to South, these narratives and practices share one point in common: an active culture of invisible worlds, where the tree plays the role of mediator and pillar. The axis of the world. But, as in the case of the tree, these invisible cultures are threatened, are subject to comparable dangers among themselves, as if, curiously, their fates were connected. If the tree can exist without man, man cannot exist without the tree. If not, then at the price of a significant deterioration of their living conditions, if not the risk of its own extinction. That’s why the future of our species depends on the restoration and preservation of the balances of which the tree is part. Despite the increase of awareness, ecological policies seem doomed to fail. Even though the international community has finally started to recognize that the tree is one of the first solutions to global warming, we still need to reverse the inexorable movement of deforestation and, above all, replant, save, and restore. Trees have been sawn, plundered, over-exploited; annihilated more than ever. What can we do to stop this massacre? How can we multiply reforestation initiatives? Would it not be more important, before anything, to plant the tree that is in us? In other words: to work for the emergence of a new consciousness and a new culture of the tree. The Tree Awakening| Photo Alfredo Mascarenhas

The Awakening to the Tree, with Pierre Capelle, in the Palacete das Artes, is one of the actions of the Free Art Fair. The activity of “Awakening” is a form of meditation in physical contact with trees, presented as an ancestral activity in the book Sociomytho-logies de l’arbre (Sociomytho-logies of the Tree), by Capelle and Michel Boccara.

Exhibition of the documentary about Juraci Dórea Today the theater Walter da Silveira screened the documentary O Imaginário de Juraci Dórea no Sertão: Veredas (The Imaginary of Juraci Dórea in the Sertão: Pathways, Brazil, 2013, 52 mins), by Tuna Espinheira. The film records the 2013 edition of the project Terra, by Dórea, showing the sculptures by the artist placed on paths of the Sertão in Bahia, between Feira de Santana, Monte Santo, Canudos and Raso da Catarina.

Exhibition of the films África Sobre o Sena (Jacques Mélo Kane, Mamadou Sarr, Paulin Soumanou Vieyra); As Estátuas Também Morrem (Chris Marker and Alain Resnais); and Os Panteras Negras (Agnès Varda) for Cinema Yemanjá, in Cachoeira.


The tree is an essential agent to life on Earth. It stabilizes carbon and plays an important role in the air cycle. It constitutes the forest ecosystems and houses biodiversity. The tree is also a fundamental element of culture and human identity. Civilizations, mythologies, crafts and whole economies have developed from an intimate relationship with the tree. However, our tree culture has deteriorated considerably. Partly, due to the urban lifestyle that little by little eats away the fields and the countryside; as well as the last virgin territories of the planet, dramatically threatening native forests and watersheds with rampant deforestation. In the cultural history of humanity, the tree passed from the condition of a living organism, of an alter ego or ally of man to the status of a raw material, an object and landscape development that is commonly exploited in a careless manner. However, the “sustainable” culture of the tree has not disappeared completely. She

Screening of the film Jom (Ababacar Makharam) at the project Difusão Cineclube Itapetinga, for Cinema Yemanjá.

This is the objective of the actions proposed by the Academy of the Tree from the Museum of the Invisible, with Tree Manifesto. They are actions designed to promote everything that can contribute to a new awareness of the tree based on an experimental, trans-disciplinary approach. As if operating a unique junction between our cultures of the tree, as they are experienced in the West, and the cultures of the invisible. To revitalize, reinvent and literally “re-enchant” a culture of the tree, of living things and the environment. An awareness that passes through the signing of a Manifesto launched in Salvador, during the 3rd Bahia Biennial.

The Tree Manifesto is a proposal especially designed for the 3rd Bahia Biennial by the Academy of the Tree, the first department of the Museum of the Invisible created by Pascal Pique, with the release of the book Sociomytho-logies de l’arbre (Sociomytho-logies of the tree), by Pierre Capelle and Michel Boccara, at the end of 2013 at the Palais de Tokyo in Paris, France. The Academy of the Tree is decidedly aimed at contemporary artists, sensitive to various perceptual dimensions and visionaries that can get involved with the contact with the trees, and translate it into their works.

Opening of the Tear do Terreiro at the Castro Alves Theater, a work by the artist Luis Berríos-Negrón.

Research group in ceramics - Miniature of popular art with Marlice Almeida Photo Gillian Villa

Opening of the Imaginary museum of the Northeast | Departament of the Cure | Section: Africas which proposes guided tours around nature and a presentation of the medicinal plants of the terreiro Ilê Axé Opô Afonjá. Photo Alfredo Mascarenhas


August 7th 2014

The seminary of the tree | Photo Isbela Trigo

Within the program of the Free Art Fair, today in the Cabaré dos Novos (Vila Velha theater) the seminar For a new culture of the tree is held. Designed by Franco-Gabonese artist Myriam Mihindou, who stages an onsite performance, the project aims to encourage the public to resume contact with the nature.

FROM THE END TO THE BEGINING ROGÉRIO DUARTE Integrated the group of artists who participated in the 3rd Bahia Biennial

1. Untitled, 1970 I’m a bad poet A bad musician And a bad drawer But as I have needed To not be thinking About anything all the time I cover all kinds of signs As if I wanted to paralyze The sequence of the avalanche

2. Subjects that I liked at the time – Salvador, 1985

Rogério Duarte Genesis | Apocalipse | Resurrection MAM / Main house / First Floor PERIOD 08/8 to 09/7


The architectonic complex of the Solar do Unhão was listed in 1943 by the IPAC [The Cultural and Artistic Heritage Institute], being bought soon after and restored by the Government of the State of Bahia in the 1960s, with a project by Lina Bo Bardi to house the MAM-BA.

Physics mathematisc geometry philosophy poetry music art religion Agronomy Chemistry history theatre language cooking medicine design architecture chess law politics information theory Astrology futurology Kabbalah psychology surgery typography photography Physical Education yoga occultism Demonology hypnotism calligraphy ceramic woodwork cinema jewellery cutting mythology publicity social security pedagogy husbandry rhetoric Pharmacology machining luthier prestidigitation

3. All men should be religious, but each with a single and lonely religion – different. In Nineteen-hundred -in-the-past.

T I M E L I N E Exhibition of the film Futuro do Pretérito: Tropicalismo Now (Ninho Moraes and Francisco Cesar Filho) at the Cineclube Mocamba, in Itabuna and of the film O quadro (Jean-François Laguionie) at the Cineclube Imagens Itinerantes, in Salvador, for Cinema Yemanjá.

Photo Gillian Villa

The project Quintas na Quinta holds one more meeting, this time with the theme of Discussions about Heritage, with the guests Fátima Fróes (FPC), Maria Teresa Mattos and Rita Rosado, from APEB.

Photo Gillian Villa

The Free Courses UFBA/ MAM-BA start another stage, with the themes About bodies, landscapes and sounds: deconstructing stereotypes of the Northeast with fashion and music, chaired by Caroline Barreto and Laila Rosa; and Drought in the Northeast and environmental protection: de(illusion) and social entrepreneurship, held by the professors Auristela Felix and Lielson Antonio de Almeida.

August 8th 2014


Free Courses | Photo Rafael Martins

Moments of the opening of the exhibition dedicated to the artist Rogério Duarte | Photos Alfredo Mascarenhas

4. Extract from The Great Door into Fear (Caderno 1) They will say of me what they said of Christ, of Edson Luís, of Ronaldo, or any other, of Hitler, of Horseface – thank God I didn’t have the same luck. Thank God they substitute us. And they’ll put on a record of Chico Buarque or have a wank, like myself. And who is it that during the thirst doesn’t like a good glass of water? They say: violence breeds violence. That’s why I came back to ask. And what generates the first violence? I came back to say that what hurts the most were the words so old they seemed so new. Cut And across the Guanabara Bay there is no one that is not violent. I now have new hungers in my body and I bring them to share with you. Hunger of pain, the hunger of pleasure. The hunger of God, the hunger of the devil.

5. Poem of youth, undated, untitled. I don’t want to be this way, as I always have been, on the dark path feeling lost, when I arrived a little closer to me Only time untied of the seconds, the space of forgotten boundaries And release the vision of orderly sharpness that immobilizes everything I want love, stripped of flags Purissonances corrupting the hymns

Promoted by the Museum of Modern Art of Bahia (MAM-BA) in partnership with the Federal University of Bahia (UFBA), the second edition of the project Free Courses had as its theme the question “Is everything Northeast?”. Inspired by Euclides da Cunha’s masterwork Os Sertões, the courses were divided into three axes: the natural environment where the action takes place (the Earth), the psychology and culture of the protagonists of the action (the Man), and the conflicts involved (the Struggle). Teachers at UFBA submitted proposals for interdisciplinary mini-courses that would provoke reflection of current issues, analyzed by different areas of knowledge, such as the economy, culture, science, architecture and politics. Classes took place between June 23rd and August 9th August at the public library in the State of Bahia, in the neighborhood of Barris.

The wind shaking the bells and beggars impregnating nuns. For wanting so much there is no more the terror of being thrown in the madness of this hunger that renames the fruits when it eats them Neither of your blood in a colorless glass.

6. Portrait of Brazil, 1970 The Brazil is a patchwork. A set of patterns interrupted. We accept contradictory things that pour from all sides. Our wide space is too narrow to contain so much residue. The indiscriminate cultural garbage that already arrives in a state of decomposition. The precarious synthesis of Le Corbusier and Bauhaus. Architecture once removed from its social function delights-itself in the formalism of Niemeyer, who remains Communist in his spare time. That is, when he is away from the clipboard. Vomit of France and Germany reach us. The modular and the Bauhauses confused in the same sewer where they eliminate their contradictions. The Lemurian sensory emotional state of the Brazilian satisfies itself with the adoration of the shining appearance which hides the prison walls. The lack of real space should be filled by the strongest colors. Catholicism, the obscurantist manufacturer of fetishes, perpetuates itself in the work of the most acclaimed Brazilian artists. The kingdom of emotion materialized from the denial of the spirit of art as a formulation of the universal proposal.

The Cineclube Professor Ralile in Caravelas/Texeira de Freitas screens the film Cuba: Uma Odisseia Africana (Jihan El Tahri), for Cinema Yemanjá. Exhibition of Papel Não Embrulha Brasa (Rithy Panh) at the Cineclube AFAI, in Itajuípe. Second meeting of the activity Shared Process, by the coreographer Lia Robatto.

Luiz Ramos | Photo Gillian Villa

The Esteio receives the installation Reliquaries from Paradise, by Luiz Ramos, in the Casa de Artes Visuais. In his work, the artist uses watercolored-fabric lanterns with embroidered narratives of the landscapes from the Valley of the river Inhambupe. The work was conducted in collaboration with embroiderers from the region.

The Walk of the Stones, with Camila Sposati and Dudu Bertholini, from the Palacete das Artes to the Geological Museum of Bahia. Second day of the modules About bodies, landscapes and sounds: deconstructing stereotypes of the Northeast with fashion and music and Drought in the Northeast and environmental protection: de(i)llusion and social entrepreneurship, of the free courses UFBA/MAM-BA. Research group in Ceramics - Miniature of popular art, with Marlice Almeida.


August 9th 2014

I WAITED FORTY-SIX YEARS FOR THE BIENNALE 1 When a country claps its hands For the artists it has the arts flourish, the world embraces Recognition comes Strong art happy people A happy country, too. 2 The Government does not always have Willingness to support Because they lack public policies To foster the arts And it gets worse If the Government is military 3 In Brazil after the coup theater suffered music entered a hole Visual arts hid Cinema mourned Literature died 4 Journalism ran to the forest Communicate with the bush Publish to the monkeys Write to the foliage Because the city had no Space to report. 5 In the year sixty-six A decent artistic group Thought of an art exhibition The idea went ahead And the first biennial Was an excellent success. 6 With the first biennial There was a warm up The artists motivated Think of another moment And the Government hung up the noose Against the second event. 7 The artists achieved National projection The arts empowered Started giving a signal That it would be much grander The second biennial 8 The year sixty-eight Was marked in history The second biennial

Fought but had no glory Was aborted without a chance To follow its trajectory 9 Now forty-six Years after this impasse Right from the ashes like the Phoenix The world sees that The third biennial is reborn For the honor and glory of the class 10 The third biennial Already woke up asking: -Is everything Northeast? Because We’re still remembering The nefarious trial That was applied to us 11 They confiscated our works Maculated the artist Without justifying anything They called it Communist Interpretation of art Is just a point of view 12 Work is a drop of essence From the mind of the creator The insensitive cannot Have a notion of its value Analyze the dynamics The content and the color 13 The frustration of Bahia Lasted for forty-six years The third biennial Comes to bury misgivings And put a smile on the face Of the good Bahian artists 14 The third biennial Arrived with breath and vigor Has one foot in the capital Another in the countryside Embraces all classes From the craftsman to the doctor 15 She ran away from school They found her in the woods Knowing baraúna Pau-de-colher, pau-de-rato Creek, river and pond Calumbí, unha-de-gato


16 Leather crafts Straw, vine and sisal Limestone and wood All art craft Will be benefited In the third biennial 17 For the sum of values This year also came To show its potential Our Esteio Gallery It brought three rammed earth houses Installed in our midst. 18 The school of fine arts Displays with gallantry Three rammed earth houses Around the gallery I can say that these things You only find in Bahia 19 It was launched in Sítio Novo This majestic idea Simple house, poor place But valuable people There was born the Esteio an exquisite gallery 20 At Esteio gallery All has happened Diverse works of art With fantastic content Photographic exhibitions It is a place to study 21 Valuable speakers Showed their thoughts Marked new stages Gave new segments Esteio continues Providing events. 22 At the beginning of Esteio The difficulty was great Selling porridge at the gates For the community Take a break to chat About that novelty. 23 The great Maxim Malhado Developed, delivered and created This Esteio Gallery And as Esteio it stayed

A mark of sustainability That time has not undercut 24 The inclusion of Esteio In the third biennial Became a historic landmark With national dimension Opens a chapter in the history To make it immortal 25 There are two chapters of Esteio One before and one after The third biennial That with clarity composed Looked at the arts with one eye And now looks at it with two. 26 Esteio was created To add to the state Even in a humble house In a backwards place The world looks for Maxim To say thanks. 27 Esteio has a purpose And it arose in the countryside Install itself in the big city Show its value Gives a culture bath from the squares of Salvador 28 And the third biennial Gives the opportunity Of art from the interior To be shown in the city Where many have the chance To show their ability 29 There will be the story sung The improvising singer The storyteller Conscious Reciter The popular artists That relax the ambiance 30 That it never happens again Government of Generals So that the arts do not suffer The brutal retaliation And nobody put handcuffs on the hands of the Biennial.

31 The creators of the arts Want wings to fly Noble areas to sell Noble space to create Public policies that honor The art, the people and the place. 32 The State has it all Esteio has nothing It came about to do something And doing a lot it does If the State wanted to It could do a lot too. 33 Let’s look for a partnership To climb the slope For the ground of difficulty Is making us tired But the fourth biennial Will overcome the third 34 I do not get tired of thanking Or congratulating The School of Fine Arts And the exemplary commission The MAM and all organization That managed to help. 35 I dedicate to all with zeal A dose of affection It is good to have you Strong on our path And together we say to the world Nobody does anything alone. 36 That this sung story circulates From hand to hand as a letter And that there be no obstacle Between the third and the fourth And the heart of the artists With disgust nobody breaks 37 I can’t imagine Bahia Without museum or cathedral Without beach or the Bonfim Elevator Carnival Without Mercado Modelo And without our Biennial * Bule-Bule is a brazilian musician, improviser, writer and poet. The project I waited 46 years for the Biennale was part of Esteio’s program, created by Maxim Malhado

T I M E L I N E Screening of the film Congo River (Thierry Michel) at the Cineclube Museu do Objeto Imaginário, in Salvador, for Cinema Yemanjá. Photo Alfredo Mascarenhas

The first circle of the project Iluminai os Terreiros (Set the terreiros a-light), by Nuno Ramos, is assembled in the Parque Ecológico Municipal do Vale Encantado, in Salvador.

Photo Leonardo Pastor

The action Galeria 13 na Bienal da Bahia is held at the bar Toalha da Saudade – casa de Batatinha. The reopening takes place in the month that the gallery celebrates 51 years of operation.

Closing of the second and third modules of the Free Courses UFBA/MAM-BA. Research group in metal engraving with Evandro Sybine. The drawing workshop given by Olga Gómez held its first itinerance at the Laje Collection, in Plataforma.

August 10th 2014


Photo Isbela Trigo

As part of the project Free Art Fair (Feira de arte Livre), Maxim Malhado performs his Feira do Rolo at São Joaquim market. The action promotes exchanges of material and immaterial objects between the artists of the project and the general public.


Photo Alfredo Mascarenhas

LARA CARVALHO Coordinator of the Audiovisual Department of the 3rd Bahia Biennial

May 29, 2014, 16:17. Almost an hour before the beat of 33 drums that would mark the first day of the 100 days of the 3rd Bahia Biennial, the audiovisual team was spread over the Solar do Unhao, concentrating on their assignments. Rubão, curly hair tied in a ponytail, strolled through the museum with his Panasonic AG-HVX200AP, filming the final preparations for the opening of the itinerant exhibition That’s how it is in the coast, the participants of the performance Genesis e Genes warming up and the percussion following the voice of Inaicyra Falcão, daughter of Master Didi. Once the videos are recorded, Rubão would come back to our base to download the images and edit the penultimate pill of the day. Running past him, Alfredo drew his camera, recording every moment of the preparation of the various Biennale teams. Between one click and another, he always had a sly smile, as if from someone who was thankful for being on the other side of the lens. Gillian followed patiently the assembling of That’s how it is in the coast, possibly nibbling her lower lip while contemplating her next angle to shoot the team, which was spread all around the main house of the MAM-BA. There, Isbela was sprawled on the floor, touching up the captions written in chalk at the foot of each work. She half raised her head, blew the accumulated dust and quickly returned to work. It was at that moment that I ran into the base of the editorial team, affectionately dubbed the “Shed”, with two lists of works and a box of chalk in hand. I explained, breathlessly, that we needed people to help strengthen

the subtitles and clean the floor of the main house. Bichara, our audiovisual producer and shouting officer, volunteered to help and I ran to the mansion with Hanna in tow. It’s funny to remember all these details, still at the opening of the Biennale, which now seems distant, but this serves to reveal much of the inner workings of the audiovisual team over the 102 days of the Biennale. Relentless, the team members recorded action after action, and besides the entire Biennale program, behind the scenes of it all. Our shared daily routine consisted of opening our emails before we got out of bed to check the program for our coverage of the day. Posted on the wall of the Executive Production bunker one could find the logic behind this obsession: “biennial news – in 15 minutes, everything can change.” Incessantly, our team defied the laws of physics and divided itself between three or even four places at a time. Despite the fatigue that hit each of us, it was the action of seeing the work done and understanding the size of the project that we were part of that gave us strength for the next day. “It’s going to be all right,” we said, every day. And it was. We left Solar do Unhão to go to Cachoeira, Itaparica, Feira de Santana, Vitória da Conquista, Heliópolis, Juazeiro and Alagoinhas. We crossed the city sometimes three or four times a day. Exhibition openings, real and imaginary museums, galleries, parades, educational actions, performances, free (or not) courses, meetings – and sometimes non-meetings, interviews, terreiros, the-

atres, churches, schools and even samba de roda. We were always there, with a camera in hand and some ideas in the head. It would be an understatement to say that a lot has happened since May 29 to now. When you put it in numbers, we produced more than 130 videos (700 minutes of edited material), and more than 20 thousand photos. One month before the opening of the Biennale, we redesigned our audiovisual planning altogether, in order to contemplate the best transcoding of the 3rd Bahia Biennial project in audiovisual productions that were not unconnected to the research activities, pre-production and actions planned around the theme “Is Everything Northeast?”. We adopted a more spontaneous model of audiovisual production, through which we made use of the recordings made by the team to produce short reports on online platforms. The first official record of the Biennale, the opening on May 29th, Prelúdio No. 1, was posted the next day and had more than 40 thousand views in less than 24 hours. I can say with conviction that we all learned a lot in the Biennale; before, during and after. We, the audiovisual team, learned that DVDs can be works of art, as well as objects of accountability; we exercise our creativity in giving the names to the HDs and memory sticks; we have seen all the works in the Biennale video firsthand; we celebrate the successful sending of personal records; we had several relational-therapy sessions with WeTransfer and Flickr, and we learned to take advantage of the moments of rendering the videos to go to the bathroom.

Inauguration of the installation Declaration of Intent, by Lawrence Weiner, at the Galeria 1 (MAM-BA).

Screening of the film Os cowboys são negros (Serge-Henri Moati) at the Cineclube Manga Rosa, in Mar Grande/Vera Cruz, for Cinema Yemanjá. Photo Ana Clara Araújo

The first edition of Portrait in the Patio, led by photographer Rafael Martins, invited the public to have their pictures taken in the Pátio Unhão of the MAM, at sunset. Photo Rafael Martins

Leandro Estevam is the artist/student of the MAM-BA workshops, whose works serve as a base for the mediation of the project Mesas.


August 11th 2014


Photo Ana Clara Araújo

“I chose to make a notebook with suggestions and drawings made with the mind set free. It was a handmade process and I liked the end result, the synthesis. For me it is a privilege” Juraci Dórea The visual identity of the 3rd Bahia Biennial is a synaesthetic representation of the Northeast, created by Bahian artist Juraci Dórea, whose main inspiration is drawn from the Sertão, its popular manifestations and stories. “My work process is on-going. The starting point was to find the image that would bring together the imaginary of the Northeast, creating multiple versions”. Dórea had never imagined designing the visual identity of a biennial, and even less of a Bahia Biennial: “This is a significant moment for Bahia and the Northeast, especially because of the open procedural characteristics with which this biennale is being thought. This is a great moment for the arts”. Dinha Ferrero, Art Director of the 3rd Biennial, was responsible for the application of the visual identity created by Juraci in all the editorial and visual material, and the choice of icons was based on images that printed a counter-discussion to the visual repertoire of the Biennials taking place in Brazil. The idea was to search for a concept in which the people could recognize each other, avoiding the cultural and visual clichés of Bahia. “The work of Juraci is wonderful and important to understand the state of Bahia. The study that he made not only of the brand, but also of the entire visual identity, reflects some of this. We have the book of his creative process, all drawn by hand, since the first line, which will be displayed to the public”. pages of Juraci Dórea’s sketchbook with studies for the visual identity of the Biennale


Photo Leonardo Pastor

New edition of Talking with your history, with the theme The architecture of archivistic organization: practice and procedures, brings representatives of the Historical and Geographical Institute of Bahia, the Gregório de Matos Foundation and the Associated Press of Bahia, with mediation by Fátima Fróes.

The second circle of the project Iluminai os Terreiros (Set the terreiros a-light), by Nuno Ramos, is assembled in the old Aratu cement factory, in Paripe, in Salvador. Within the ruined monumental building, nine posts were lit from dusk to dawn. Photo Marcelo Rezende

August 12th 2014




Simulation of the furniture layout in the main house of the MAM-BA

The vitrine-cavalete is made of just two materials, wood and glass. The other elements of the furniture designed for the 3rd Bahia Biennial - the shelves for books and magazines, as well as the other pieces – were made of only one, wood. Such exiguity was deliberate. The displays and shelves were conceived to be produced in the MAM workshop, or in any other workshop of Bahia, using current manufacturing processes that constitute part of the deep ingrained, ordinary practices in Bahia.

to fabricate the easels of the Museum in the time of its founding. There was, above all, battens and scraps of plywood. The prototypes were made with these leftovers; but suddenly it was needed much more parts than originally planned, for the display proved to be useful for a large number of works to be showcased at the Biennale.

The pieces are what they are: the display is a kind of table or desk and the shelves are like easels for magazines, typical of the street trade of used books.

The vitrine-cavalete was used to display a variety of works, ranging from Juarez Paraíso’s drawings to the posters and original writings of Lina Bo Bardi, as well as leaflets, books, tickets, cards, photographs etc. As Lina would say; not only documents of art, but also everyday objects2, that make the exhibition and the expography a teaching experience.

The design of the furniture came from the compilation of the materials available in the workshops of MAM, just as Bo Bardi did

The pieces of furniture are appropriate for a larger production scale, keeping it, however, in the sphere of manufacturing

through an almost handmade process, suitable for small and medium-sized workshops in Bahia. The design values craftmanship, the craft of woodworking. The unfolding of the work was dynamic in involving different professionals of architecture, carpentry, assembly, curators and assistants, in a process of experimentation.

The architect Carla Zollinger was invited by Marcelo Rezende to design the furniture of the 3rd Bahia Biennial, with the challenge of linking the exhibition pieces to the exhibition brackets designed by Lina Bo Bardi, from her experience in Bahia. 1

BO BARDI, Lina. Exposição didática da escola de Teatro, Diário de Notícias, Salvador, 21st Sept. 1958. Chronicles of art, history, custom, culture of life, No. 3. 2

Vitrine-cavalete is a table loose in space to put the works – and sometimes allow them to be touched, in cases where the glass can be omitted. Thought in the same manner, the other devices designed to support the works are easels, so that the paintings or drawings, or any work, whichever its nature, disposes itself unceremoniously anywhere, like clothes on a wire, a food tray, a newsstand. The shelves and the vitrine-cavalete are part of an expography that comes off the walls to populate the internal spaces, as if they were external spaces. Some pieces are designed in concrete and steel, with a base thought from the use of a shackle, in which a rod is inserted, so that the structure could brave any weather. Despite being loose, the parts interact with the location primarily through the floor. Therefore, the base of the easels plays a fundamental role. It gives the sense of a root, or a stone, which relates and fixes into place. Photo Leonardo Pastor

Photo Leonardo Pastor

Esteio Gallery hosts the meeting Vizinho, Parede-e-Meia e Dejunto, with the Portuguese researcher Maria Ferreira, inviting for a discussion about the relationships between neighbors.

Gina Leite taught the participantes of the Cadastro workshop ImaGina Saias Guarda Chuva how to make skirts out of broken umbrellas.

Closing of the project Free Art Fair.

Photo Alfredo Mascarenhas

Photo Leonardo Pastor

Screening of the film Boi Aruá (Chico Liberato) at the Cineclube Cidade de Plástico, in Salvador, for Cinema Yemanjá. Research group in lithography with Renato Fonseca.


August 13th 2014

Photo Alfredo Mascarenhas

MUCH BEYOND RACE Ayrson Heráclito chief curator 3rd Bahia Biennial

A set of works grouped in an historic space in an emblematic city – Cachoeira da Bahia. Opening on the first day of one of the largest Brazilian feasts – the celebration of the Boa Morte Brotherhood, arguably the longest lasting Afro-Brazilian religious rituals, even included in the official guide of international ethnic tourism (!). In this context, we propose a provocative title: Department of Post Racialism, in the Imaginary Museum of the Northeast, Section: Africas. It is important to think about the power relations beyond the racial, without hiding the daily violence arising from the phenomenon of slavery of the African peoples, which still stains the moral history of humanity.

Imaginary Museum of the Northeast Department of Post-Racialism Section: Africas Espaço Cultural Hansen Bahia PERIOD 08/13 to 09/6


The Cultural Space, next to the House and the Gallery is one of the spaces of the Foundation created in 1976 to look after the legacy and the works of Hansen Bahia. The collection, besides personal objects and furniture, has 12,000 pieces by Hansen Bahia, a thousand by Ilse Hansen, as well as a lot of works signed by other artists, which are part of the personal selection of the german artist.

CACHOEIRA FOUNDED IN: 1531 POPULATION: 34.244 CLIMATE: tropical humid to dry semi-humid

The exhibition proposes a revision of a part of the collection of the well-known “Afro-Brazilian art” in order to speculate the possibility of humanity free from the idea of race, and in the entirety of equal civil rights. A large part of the artists belonging to the exhibitions are black, from Bahia, the Northeast, and Africa, or else, are part of a community of senses that recognize them as such. These choice affirm a political stance against the hegemonic ideologies on Brazilian art. To think of the artistic production that has as a reference the route of the “black Atlantic”, in the 3rd Bahia Biennial, is to recognize the spaces, the languages, the knowledge, the cosmogonies, and all their relevant contribution to the creation of a diverse culture in Brazil.


Photo Alfredo Mascarenhas

Guided walk at the Terreiro Ilê Axé Opô Afonjá. Mrs. Célia Silva, head of the museum Ilé Ohun Lailai, presents plants from the Terreiro telling their stories intertwined with medical and religious references.

Research group on ceramics - Popular Art Miniature with Marlice Almeida.

Photo Rafael Martins

Gardening workshop with Cláudio Pinheiro.

Photo Rafael Martins

August 14th 2014


From the series Revelador H2O2, photograph, 2013, by Alex Oliveira | Photo Alfredo Mascarenhas

The great salon houses the monumental work Códices, by J. Cunha, seminal mural painting in Brazilian art; the fruit of an entire existence linked to art and axé. The artist offers, contributes, and makes a donation; a kind of great offering, absolutely generous to the universe. It makes productive many of the secrets guarded for several reasons in the games and dissimulations of the dynamics that have marked our holocaust of slavery. The pictorial material in such work is composed of beautiful, purely revolutionary and positive energy; it opens the way to other parts of the exhibition. Highights: the mermaid Iemanjá by Louco (Boaventura da Silva Filho); the significant constructions of Rubem Valentim; the masks and totems of Zu Campos, sculptor from Vitória da Conquista, based in Salvador; the hieratic sculptures of one of the great masters of Brazilian art, Agnaldo dos Santos, a mixed race native Indian with African from Itaparica island who learned with masters Francisco Biquiba Dy Lafuente Guarany and Mario Cravo Júnior, in whose studio in Salvador he was also caretaker; and the sculptures of the artist-priest Mestre Didi, son of Mother Senhora and grandson of Mother Aninha. His sculptures are truly visual orikis, emanating a strong purifying and healing feeling. What we can see is that all these creators are usually treated as artists still bound to a specific cultural tradition, a tradition in the static, pejorative sense, still seen as regional and consequently “folksy and primitive”. So much so that the eyes looking over Brazilian art, international and nationally, are reviewing concepts

Screening of the film Deus e o Diabo na Terra do Sol by Glauber Rocha at the MAM-BA’s main house, part of the exhibition dedicated to Rogério Duarte. Photo Reproduction

that diminish the complexities of this production. The set articulates racial issues and their reverberations in social memory. The work of Alex Oliveira, a young photographer and performer born in Jequié, Bahia, is a good example to analyze the contemporary feelings in relation to the issue. His photographs enhance the possibilities of a transitional identity beyond the racial determinant. Many other artists, participants of the exhibition, redefine, or translate in a fluid manner, the ideas of belonging and the complex webs around the imaginary of blackness and miscegenation.

“The sociologist who studies Brazil does not know which systems of concepts to use anymore. All the concepts learned in the European and North American countries do not qualify here. The old mixed with the new. The historical periods entangle each other (...). It would be required, instead of rigid concepts, to discover, in a way, liquid concepts capable of describing fusion phenomena, of interpenetration; notions that would model according to a living reality, in perpetual transformation “. Roger Bastide, excerpt from Brazil, land of contrasts, 1957

Full attendance at the Painting workshop, with Rener Rama.

Photo Rafael Martins

Participants of the Research Group in Lithography meet with professor Renato Fonseca. Photo Rafael Martins


August 15th 2014

Imaginary Museum of the Northeast Department Archives and Fiction Section: Psychology of Testimony Public Library of the State of Bahia (Barris) PERIOD 07/28 to 09/6


The first library of Brazil and of South America was founded in 1829. It possesses a collection of 120,000 books, 600,000 newspapers, including the sections of rare and valuable works, braille, audiovisual and map collection.

The performance by Isaura Tupiniquim at the Inverse Biennial | Photo Lara Carvalho


Project Códices of the series Oculto | Photo Alfredo Mascarenhas

“The religious cult and the literary cult. Culture. And in the fragments of sounds, in the construction of speaking lines, nothing is revealed. Poetry is rhythm. It is mystery, too. A shelf-wall that reveals parts and keeps the whole (the essence) hidden”. Excerpt from the project Códices of the series Oculto by Omar Salomão and Daniel Castanheira

Photo Lara Carvalho

Ediane do Monte brings to the Esteio her exhibition Dishes to be read. The artist presents ceramic techniques in the form of plates. Normally used to eat, the dishes receive phrases inside as linguistic expressions acquiring “unusefulnes”.


A cultural equipment that runs through human history and justifies itself for harbouring registered content in the most various formats aimed to satisfy the anguish of doubt with knowledge: this is the library that Jorge Luis Borges called the universe and which survives by reinventing itself, yet remaining the same.

It emerged as a library aimed at developing cultural actions, going beyond the preservation of books and information services. One begins to think of a library with experiences which overlap those described on paper; a library filled with vivid experiences of the struggle for freedom of expression, human development and cultural manifestations.

The Public Library of the State of Bahia (BPEB) is one of those libraries that invigorates constantly and, in every change, becomes stronger and singular.

This new posture has brought great visibility, not only for the BPEB itself, but to the public library as an institution to support the cultural development of individuals and social groups. In 1998, when its building was re-inaugurated, it hosted the regional meeting of the UNESCO Manifesto on Public Libraries, promoted by the International Federation of Library Institutions (IFLA), which defines the key missions of these libraries “[...] to enable access to all forms of cultural expression of the arts of spectacle [...] “and” [...] fostering intercultural dialogue and cultural diversity [...]”.

Thus, when Colonel Pedro Gomes Ferrão Castello Branco thought of and created the first public library of the country, in 1811, from the ideals of someone who understood the importance of access to books as an essential factor in the generation of knowledge, it became the privileged stage for the intellectual community of the time to meet and, consequently, to the circulation of ideas. Its social metamorphosis bypassed centuries and several houses have accommodated the library, due to disasters or following guidelines of expansion and improvements to the public service, as is the case with the current headquarters located in Barris since 1970. However, the physical changes of the BPEB have not compromised its mission of disseminating cultural and promoting books and reading. A special moment of conjunction between the cultural stimulus and the stimulus of the pleasure of reading was marked by the creation of the art gallery in its corridors in the 1960s, a time characterized by strong cultural and ideological development, with vibrant socio-cultural manifestations around the world, that in Bahia counted with the participation and support of various artists and intellectuals. Its current space, delivered to the public in 1970, on the national day of culture (November 5th), affirms its purpose of portraying itself as a cultural center that offers multiple environments to bring people closer, without social, economic or cultural distinctions.

The journey of the Bahia State Public Library in support of culture was rekindled once again with the 3rd Bahia Biennial, when it was the protagonist of the Inverse Biennial occupation-performance. In this scenario of books, shelving, stairs, lights, silences and words, it was the Public Library of the State of Bahia proposing and providing visitors and patrons access to collections almost forbidden on a night-time tour, when ghosts out of the imaginary collective walk the corridors. At the Inverse Biennial the words exploded from the hands of the artists inside the barrel of the readings. The hall dedicated to research works also hosted an exhibition of emptiness and sounds of nature coming out of the books on the work by Omar Salomão and Daniel Castanheira. An experience lived by all who work here brought curious reports about what it is like being in this space every day for years and years, but above all, it also sparked bouts of happiness in everyone involved. * Director of the Public Library of the State of Bahia

T I M E L I N E Screening of the film Futuro do Pretérito: Tropicalismo Now (Ninho Moraes and Francisco César Filho) at Cineclube Oficina das Artes in Itaparica, for Cinema Yemanjá. The Cine Mais Saber in Cairu screens the film Nisida, Crescer na Prisão (Laura Rastrelli). The audience in Caravelas/Texeira de Freitas watch the film Fary, a Jumenta (Mansour Sora Wade).

The third meeting of the action Shared Process, coordinated by the choreographer Lia Robatto. The itinerant exhibition That’s how it is in the coast moves on to the city of Juazeiro and stays at the Centro de Cultura João Gilberto until August 24th. Ceramic workshop – Popular Art Miniature with Marlice Almeida. The action Portrait in the Patio, headed by the photographer Rafael Martins, makes one edition especially dedicated to the team of the Bahia Biennial.

August 16th 2014



The Museological Coordination of the 3rd Bahia Biennial

The artist Juarez Paraíso in the process of restauring his works | Photo Alfredo Mascarenhas

Project Atelier, which comprises one of the actions developed by the museological board, shows the necessity of interaction between the modern and contemporary artistic production with research methods, documentation and museological conservation. This is an action in partnership with artists, who gave their collection and workspace (sometimes their residences), their artistic conceptions and, according to their production logic, visions of how this collection must be documented and technically reorganized. The actions of the Project Atelier are geared toward the preservation, investigation and communication of cultural/artistic goods. In order to preserve the object and the possibility of the information that it contains – and what qualifies it as a document – the conservation and documentation are the basis for its transformation into a source of scientific research and communication. Thus, we have developed the Project Atelier from the work of contemporary artists and based on the guidelines of museological documentation. The documentation of museological collections is an essential procedure within a museum, representing the collection of information about the objects through the word (textual documentation) and the image (iconographic documentation). It is, at the same time, an information retrieval system capable of transforming the collections into scientific research sources and/ or knowledge transfer agents, which requires the application of concepts and techniques themselves, aside from a few conventions, aiming for the standardization of content and languages. This way, to formulate a museological inventory, a highly technical procedure, it is of great importance to conduct thorough research; the inventory is the first source of information on the object which the researcher of cultural material should resort to. The team had to apply methods of museum documentation, used for the cataloguing and conservation of established museum collections, to organize new collections of contemporary artists. They are artists with varied production techniques and that are still creatively active, so there was also the need for the readjustment of some items in the inventory in order to meet the needs of each atelier and collection worked on. The activities were accompanied by the artists participating in the action, so it was possible to discuss and develop functional action strategies that would be continued by the artist afterwards.

The project included technical evaluations, digitalized cataloguing of the collection (execution of inventory/listing the works), cleaning of the collection and a proposal for the organization of them. The actions were initiated as technical visits so that the artist and museology technicians could interact in order to know and think about the form of organization and documentary registration of the works. Then the works were photographed, measured, analyzed judiciously (observing their conservation status) and cleaned1. This information will appear in the scanned inventory. The works are organized spatially by technique, typology and support (framed or not). The construction process of the inventory model followed the plan already used by the staff of the Museum of Modern Art of Bahia; some items were removed – because of the need to conduct an inventory in a short time and for the easy access and understanding of a non-technical audience – and others added, obeying the peculiarities of the collection. The photographs were inserted on the worksheet to facilitate the visual identification of the works2. In addition to the inventories, reports were produced, with the goal of registering the activities developed in the actions, which includes information on the cataloging, cleaning and packaging processes, and the transport of the works that participated in the Biennale exhibitions. This includes, in addition to the period covered by the action, information about the technicians involved, methodology adopted and the reporting of the actions. Thus, it is possible to observe that Project Atelier is an action that counts on the technical support of the museological team in partnership with the artists involved, in order to make the collection produced – and still in production – organized and accessible to a variety of audiences who wish to know and find out about the rich productions of contemporary art present in the 3rd Bahia Biennial.


Mechanical cleaning process with brushes

The photographs are nested in the archive and are displayed when you pass the cursor over the red label present in the cells


Session of the film Uma Longa Viagem (Lúcia Murat) at the cineclube Tela em Transe, in Poções, for Cinema Yemanjá. Photo Reproduction

The Drawing workshop has its second itinerant action, this time in the Nautical Museum, at Barra lighthouse.

Evandro Sybine holds one more meeting of the Research Group in Metal Engraving. Photo Rafael Martins

Photo Rafael Martins



PERIOD May to July / 2014

TECHNICIANS INVOLVED - Rogério Sousa - Daisy Santos - Priscila Leal METHODOLOGY USED -

Technical evaluation of the space used Selection of the works involved in the 3rd Bahia Biennial Assessment of the collection Organization of the collection and space

DESCRIPTION OF THE ACTIVITY The action started with a joint visit of the museologists, and the curatorial and production team to select the works that would participate in the exhibition of the artist during the biennale. The works were selected by artist and curator, together, and measured and photographed by the museum staff present. At that time, magazine and newspaper cuttings were collected, related to the career of the artist and his production. The material would be used in the assembly of the exhibition. There was also interest on the side of the curatorial team that instruments created and used by the artist for making his work were also catalogued by the Museum team. On the second visit, held only by the Museum team, the works photographed and measured that had not been selected for the exhibition would make up the inventory of the works of the artist. On this occasion, the artist requested the inclusion, by the curatorship, of an unrelated work in the exhibition, Tropicália, since the same, besides having a symbolic title in regards to the production of the artist, formed his abstract production, considered at least very important. The whole collection of works present in the atelier of the artist was listed in an inventory containing the following information: serial number; photography; title; identification; authorship; season/year; dimensions; materials; technique; space reserved for observations. The areas were filled, for a total of thirty-seven (37) works. On the third visit, the Museum team, accompanied by the production, collected the works that would participate in the exhibition held in the Carlos Costa Pinto Museum. The works were packed in the most appropriate way possible, with materials provided by production (bubble wrap, tape etc.) and protective blankets provided by the artist. At the time, some of the artist’s tools were also collected to take part in the exhibition. The works were carried by truck to the Carlos Costa Pinto Museum, where the museum team unpacked the works checking if there was any abrasion or other damage during the journey. No damage was found on any of them. The assembling was also accompanied by the Museum staff.


PERIOD May to July / 2014

TECHNICIANS INVOLVED - Michele Pontes - Priscila Leal - Rogério Sousa

METHODOLOGY USED - Etiennette Bosetto - Priscila Povoas - Daisy Santos


Technical evaluation of the space used Selection of the works involved in the 3rd Bahia Biennial Data sheet of the works involved in the 3rd Bahia Biennial Assessment of the collection Organization of the collection and space

DESCRIPTION OF THE ACTIVITY The action was started with a meeting with the curatorial team, the production team, the artist Rogério Duarte and his son (who is acting as his producer during the Biennale), Diogo Duarte. At this meeting it was determined that the Museum team would do the evaluation of the physical collection at the atelier and divide it into categories, determined by the artist himself, such as: chess, religion, Musicor project etc. At the second meeting, which was attended by the production team, in addition to strengthening the strategies of the action and introduce other museological team members, the atelier had its walls measured due to the need to accommodate the bibliographic collection on the shelves in an organized manner (suggestion of the production to the artist). At a third meeting, we started to assess the collection present in the atelier (made in accordance with the categories set out above). The process was carried out by the team and lasted a week (19th to 23rd/05). The visits were halted due to other demands of the museological team (proximity to the opening date of the Biennale, supervision of the assembly of exhibitions and the collection of works). Subsequently, the artist and his producer traveled, interrupting the process of the assessment of the collection (because both the artist and his producer aided the team in the sorting of the documents/collection). In the next step, after the pause, the activities were resumed (10/07) with a prior meeting between the museology team and producer Diogo Duarte. At this meeting, they agreed on the work to be performed by this team: finish the assessment of the collection, cataloguing, and mechanical cleaning of the material inventoried. In light of resource constraints and restrictions to safeguard this collection, it was agreed with the producer that the Museum work would continue with a focus on cataloging the collection of the artist Rogério Duarte, this being the activity that this team can perform with the personnel and equipment available under the current conditions of Project Atelier. During the thirty-two visits the team proceeded to cataloging and scanning of books, documents, posters, LPs, rocks and chess pieces. The documents were mechanically cleaned and packed in boxes and files organized into the following categories: music, chess, logos, religion, personal documents and handwritten texts, according to the request and guidance of the artist himself. The scanning and photographic record of the selected material of the folders previously organized was carried out. This work resulted in a listing of the physical and digital material.

T I M E L I N E The Earth Anatomic Theatre by Camila Sposati is the stage for the project Archeology of Bahia 01. Juraci Dórea and Pasqualino Magnavita read excerpts of Viva o Povo Brasileiro and O Povo Brasileiro. Photo Alfredo Mascarenhas

Cine Manga Rosa in Mar Grande/Vera Cruz screens the film A Caça ao Leão com Arco (Jean Rouch) for Cinema Yemanjá.

Rina Johnson is the artist/student of the workshops whose work serves as a base for the mediation of the project Tables.

Storytelling with Maju Fiso. Drawing workshop with Olga Gómez. Paint at the Biennale with Maninho Abreu. Portrait in the courtyard, with Rafael Martins.

August 18th 2014


From left to right: the team working in the ateliers of Dicinho, Rogério Duarte and Juarez Paraíso | Photo Museological Team


PERIOD March to September / 2014


Daisy Santos Janaina Ilara Priscila Leal Railda Sampaio Rogério Sousa


Etiennette Bosetto Michele Pontes Priscila Povoas Renata Cardoso


Technical evaluation of the physical space Collection of the works which are part of the 3rd Bahia Biennial Data sheet of the works involved in the 3rd Bahia Biennial Assessment of the collection(First part) Organization of the collection and space (first part) Cataloguing of the books by subject

DESCRIPTION OF THE ACTIVITY The first step performed in the visual artist Juarez Paraíso’s workshop consisted of a technical evaluation by the the Museum Board along with curator Fernando Oliva, from the Biennale. The conditions of the physical space and the works present were observed. Another visit was made with the aim of separating the works participating in the Biennale, reaching a total of 70 units, in addition to a listing of them with basic data (e.g. year, technique, conservation status). Of these 70 works, 45 were measured, listed, packed, transported and stored in the technical reserve of the Museum of Modern Art. They are constituents of different techniques such as woodcut, calabash sculptures, paintings and digital art. The two initial visits were instrumental in predicting the number of trips to the workshop of the artist in order to assess and organize the space and collection. In this first period four visits were made, taking into account the availability of staff. The stipulated period was 40 visits until the beginning of September, but it is important to stress that, due to the demand of other activities of the Bahia Biennial, it was necessary to extend this period. According to the list of selected works, there were initially created classifications related to the technique of each work, so that they were separated and grouped accordingly in the same physical space. In addition to the works selected for the 3rd Bahia Biennial, an inventory was made of all the collection which was in the atelier of the artist, among them engravings, paintings, sculptures, digital art and the molds of his works. This spatial organization of his works in the atelier was also made under his orientation. According to Paraíso, the first room should house his latest works, made with digital manipulation. These digital works were separated, cleaned, measured and photographed, necessary steps for the preparation of the inventory of the collection. In the next space, abstract drawings were placed in different supports, such as Duratex and paper. All works on paper, such as posters, drawings, blueprints and others were grouped and packed. In parallel to the work done with the works of the artist Juarez Paraíso, the organizational work in the office started, performing the assessment of the documents, photographs and library. Four visits were necessary to complete this step. Then we started listing, cleaning and cataloging the material described above by separating it by subject. It took sixteen visits to complete this step. Later, we packed the materials. Documents and photographs were stored within file boxes with foam boards. The books were packed on the shelves according to the subjects. It took five days to finish the job. The material was inadequately stored. Many books were on the ground, overloading the shelves, and subject to moisture. The books suffered a variety of damages: moisture stains, wood-boring insects and silver fischer, with loss of support, and other damage to the support. The documentary material and photographs were also improperly stored, loose and without organization, stored in damaging ways, fastened with rusted and oxidized staples, which caused damage to a lot of the material. Books, newspapers, catalogs and magazines were removed from the ground and a mechanical cleaning was carried out. Later they were organized by subject on the shelves. In the case of documents and photographs there was a mechanical cleaning and then storage in file boxes, following a typological organization. In the case of photographs, an experiment to un-stick them was performed, with steam. The result was quite satisfying.

Typologies of memory spaces is the theme of the third open meeting Talking to your history, mediated by Luiz Freire.

Photo Leonardo Pastor

Photo Alfredo Mascarenhas

The first day of the Week of Art in Series is held, which gathers master craftsmen and artists who passed by the MAM workshops to talk about their productions, the history of the workshops and working in an atelier with the current students. Evandro Sybine, who organized the Week of Art in Series, is currently metal engraving instructor at the Workshops, and conducted the first meeting.

August 19th




PERIOD July to September / 2014


Daisy Santos Etiennette Bosetto Michele Pontes Rogério Sousa

DESCRIPTION OF THE ACTIVITY In July, the MAM team held the first visit to the ceremonial and sacred spaces of Ilê Axé Opô Afonjá terreiro. Accompanied by the curatorial assistant Bianca Góis, the team was received by Maria Célia Pereira, the museologist of the institution, who presented the museum and its facilities. At the entrance, one can notice that the museum is installed in a building below street level, with an access ramp at the entrance. It is a rectangular-shaped room, with a circular wall in the middle, air-conditioned and with a low ceiling. According to the person responsible for the museum, the major problems are: inadequate acclimatization, moisture from the walls in contact with the external area and the cleaning of the collection (which rests on some religious issues of the community). In conversation with them, the MAM team offered the possibility to perform a scanning of the inventory, since the museum’s inventory is only in print. This way, visits were arranged by some of the components of the museum team in order to photograph, measure and identify parts of the collection, transforming this information later into a digital inventory available for consultation, if the museum and future researchers come to need this collection. The action began when the museology team started to scan the collection. The next step of this work was to photograph and measure the pieces. Some of them could not be measured due to religious issues, since the museology team was not allowed to touch the pieces. The museologist responsible received guidelines on how to proceed when the person indicated by the community is to do the work of measurement on these pieces. The result of this work was the scanned and photographed documentation of the collection, being of the utmost importance so that it is in order and in better conditions of registration.

The team working on the collection of Ilé Axé Opô Afonjá

| Photo Museological Team

How do you build an archive that does not exist? By resuming the Biennale project in Bahia, the 3rd Biennial had a structuring mission to create its own archive, until then non-existent. A memory collected from newspaper clippings, oral testimonies and a collection of dispersed documents. The desire to narrate the stories of the first and second editions of the Biennale (1966 and 1968, respectively) was one of the major guidelines of the 2014 edition, resumed in the year in which the country intensifies the reopening of the dictatorship archives, with the truth-seeking commissions, while also happening as the military coup has its 50th anniversary. In this respect, one might risk the hypothesis that, to rethink archives and their uses, it is essential to dedicate ourselves to understand, as proposed by Burton (2005), previous issues – from which material are the archives made? What is the history of the archive itself? How and why were they created? And abandoned? A question put forward for this type of action, which acts on the border between art and history, is whether we would be in the field of art or history. But, does it makes sense, still, this kind of question? Would it not be a new way to tell stories, or better, to “ambush” the archives? However, it is not a matter of rescuing the forgotten memory; on the contrary, it is a case of invoking it, in the present, without fixing it to the past, but updating it and lending new meanings to it. It is in this sprain that we find the model of the action proposed by the 3rd Bahia Biennial for the archives.

Ana Pato

T I M E L I N E In this edition of the Cadastro Workshop, Rafael Martins holds a workshop about mediation, in the MAM-BA’s Sculpture Park. Photo Leonardo Pastor

Yêdamaria is the guest of the second day of the Week of Art in Series, at the MAM workshops. Photo Rafael Martins

Launch of the book Little affective guide to Salvador street food, by Poro, at Esteio Gallery. Photo Leonardo Pastor

Exhibition of the film Boi Aruá (Chico Liberato) at the Cineclube REPROTAI in the Centro Cultural de Alagados, in Salvador, for Cinema Yemanjá.

August 20th 2014


The week of art in series with the artist Antonello L’Abbate | Photo Rafael Martins


Craftmaster of the MAM-BA Workshops

The Workshops of the Museum of Modern Art of Bahia celebrate 35 years in 2015. Throughout its history the space has been through various situations; various ups and downs. Being a space dedicated entirely to the teaching and training in art, I perceive its trait of resistance and in the continuous struggle for survival of a location dedicated to the artist. I owe much of my artistic training to the workshops; they were essential to my decisions and growth as an artist. I see its mission lasting for years: an open space for the artist and especially to all those who wish to understand the construction of a creative process in their adventures of experimentations in the broad field of the Visual Arts. In the first half of 2014, in the months preceding the start of the 3rd Bahia Biennial, I kept in touch with the coordinators of the workshops and the educational section of the Biennale, an already strong cell in the initial planning of the event. Direct contact with Felix Toro and Lica Moniz resulted in the first draft of what could have been an interaction dynamics in the workshops of MAM with their former master craftsmen, distinguished artists who had passed through there, who had taught and influenced generations of artists. But: how to bring these artists in for an action at the Museum? Would it be through a workshop or a chat? Thus, we arrived at our project, which we call the Week of Art in Series, a week gathering several artists who have had some kind of bond with the Museum. The list of artists who

Screening of the film Os dias com ele (Maria Clara Escobar) at the Cineclube Mário Gusmão, in Cachoeira, for Cinema Yemanjá.

Screening of the film A cidade é uma só (Adirley Queirós) at the Cineclube Clã Periférico, in Salvador.

Screening of the film A viagem extraordinária (Eric Lange and Serge Bromberg) at the Cineclube Mocamba, in Itabuna.

Screening of the anthology Decididamente animados and the film O quadro (Jean-François Laguionie) at the Cineclube Imagens Itinerantes, in Salvador.

passed through there was huge, so we opted for those closest to the formation of the initial group of instructors. We promoted one day with each guest artist, who wouldn’t just talk to our audience, the pupils of the workshops, but actively participate in class as an integral part of the engraving atelier. In class, an old mould by the artist in question was rescued and an interaction between this work and the production was made in the collective space. The act of sharing the chalcographic press brings to the register of the current engraving myriad references to the history of our engraving, our school of engraving in Bahia. A few years ago the Museum made a video with testimonials about the workshops, recorded with the masters Renato Fonseca and Florival Oliveira. I noticed in this material what we can define as the prelude to the Week of Art in Series: the rescuing and recording of the memory of the place, with the testimony of those who had been there. Thus, the action would be a continuation of that, seeking to register the participation of guests from the Week of Art in Series, gathering their testimonies and creating a video documentary to mark this moment. All these actions had also intended to trigger a bigger register, in a more regular basis, seeking even more records of testimonials of those who had passed through the history of the Modern Art Museum of Bahia, in the year, 2015, that the Workshops complete 35 years.

Another guided presentation of the medicinal plants in the terreiro Ilê Axé Opô Afonjá.

Research group in ceramics Popular Art Miniature with Marlice Almeida.

An old master of the MAM workshops, Antonello L’Abbate participates in the Week of Art in Series.


August 21st 2014

Three Biennale’s Workshops FELIX TORO Coordinator of the MAM and Biennale workshops

Gardening Workshop During the preparation of the educational program, one of the concerns was to articulate and develop the intelligences and forms of work already existent in the contexts in which the Biennale would insert itself, creating new experiences from this. One of the exemplary cases of this approach was in choosing the Gardening workshop as one of the workshops that would be permanent throughout the Biennale. Cláudio Pinheiro, the instructor, has been the gardener of the MAM for years, but until then had not created a context in which his work process, and the knowledge produced from it, could be shared or constitute an activity of the Museum. Gardening workshop with Claudio Pinheiro | Photo Rafael Martins

The workshop used techniques of transplantation, seedlings, planting and care, around issues such as foods, teas, and power plants. It was attended by hundreds of students throughout the Biennale, and today it integrates the permanent workshops program of the Museum of Modern Art.

Cadastro workshop Cadastro workshop was a situation proposed by the 3rd Bahia Biennial to exchange knowledge and intelligence of various types, in workshops of two hours that could discuss any theme. Any person could register to take the floor and give a workshop. The Cadastro workshop was inspired by the exhibition held in the 1980s Chico Liberato, then director of the MAM-BA, in which anyone could register to exhibit their artwork.

Itinerant events

Meditation workshop with Rafael Martins | Photo Leonardo Pastor

Two permanent workshops made itinerant circuits during the Biennale: the Open Mural action (ceramics) and the Drawing workshop; both started with weekly classes in the MAM workshops and subsequently occupied public spaces in Salvador and in the countryside. In the dynamic of a caravan, Kombis and trucks left MAM taking tables, benches, clay, paper, pencil, buckets, rags, photographer, mediators and teachers to spaces such as the Salvador bus station, Cuca Cultural Center (Feira de Santana), the Laje Collection in Plataforma, the Nautical Museum and Ladeira da Preguiça. The itinerant events always worked with a spontaneous audience, forcing the mediators and teachers to approach one by one the surrounding people to invite them to participate. The off-site events were a form of direct action with the public, immediately inserting participants into the discussions proposed by the Biennale. Drawing workshop with Olga Gómez, at Campo Grande | Photo Rafael Martins

T I M E L I N E Screening of the anthology Decididamente Animados: brincadeiras de crianças and the film Viagem Extraordinária (Eric Lange and Serge Bromberg) at Cine Sereia, in Salvador, for Cinema Yemanjá. Screening of the film Terra em Transe by Glauber Rocha, at the main house of the MAM-BA, part of the exhibition Genesis |Apocalypse |Ressurection, by Rogério Duarte.

Thursdays at Quinta had the theme Land and Terreiro – The relation between religious persecution and real estate speculation, with Ordep Serra (UFBA). Painting workshop with Rener Rama. Márcia Magno was the guest on the fourth day of the Week of Art in Series. Olga Gómez leads the last itinerant action

of the Drawing Workshop, which was held in Campo Grande, next to the Pedro Calmon Foundation Book fair. Em Foco, a public meeting to debate contemporary photography. In this special edition at the Biennale, the theme was Photography and Memory, with mediation by Ana Pato and the guests Anízio de Carvalho, Aristides Alves and Valter Lessa.

August 22nd 2014




First stage | Photo Alfredo Mascarenhas

When Marcelo Rezende invited me to give a statement about my participation in the 1st Bahia Biennial, in 1966, I immediately pointed to the show that I staged then. I was very proud at the time – I was 26 – for having articulated a proposal in which a work of visual art could be represented through bodies in motion. I wanted to show a choreographic composition with objects unknown to dance that works with shapes, colors, and rhythms - common elements to both the visual arts and dance. I made the presentation at the internal courtyard of the Convento do Carmo amidst several works and sculptures of Mário Cravo, Lygia Clark, and many others. At that moment for the arts in Brazil, the body was just starting to be inserted into the visual arts, and I did it the other way around: I inserted the visual arts into dance. When Marcelo was still planning the 3rd Biennial, he asked if I wanted to reenact the show of ‘66. It would not be the case. I even made a study, but it would be very expensive, and I saw that it was another context, another time, so we suspended the idea of re-doing it, but he said he could put together another action with the aim of integrating various languages, doing something looser, freer and relying on more languages, other expressions. I presented a proposal of shared processes. The first step, right in pace with the spirit of the Biennale itself, which was a marathon, took an entire day working with artists from various fields. Choreographers, musicians, composers and instrumentalists, and also professionals in the fields of architecture, literature, poetry, theatre; dancers and actors. Respecting the experience of the majority of the participants, I abstained from inter-

vening, as well as of directing. No, let those beasts organize themselves, let’s see the dialog and what this can lead to. The music in the early hours of work was decisive. The answers came from the musical stimulus and the musicians provoking each other. After assessing the results of that first day, I decided to revert the dynamic. I presented some proposals for images, postures, performances which kickstarted the action, and from there we split up into smaller subgroups. But the principle was to avoid, at first, any commitment to the work, the end result and without attendance, without an audience. I wanted everyone to feel totally free, unattached, without any embarrassment coming from the outside, and this really happened. I used all the basic elements that I had used almost 50 years ago; cloths, rubber bands, paper for us to draw with charcoal, wires; a series of elements that help to compose ideas. And it ended there and I thought it had achieved its purpose of creating a dialogue between artists from various languages. Soon there were articulations among them; they began to arrange group works. I had doubts if I would or wouldn’t do a second part, but some people asked me to continue, so I proposed another dynamic. First: invite fewer chiefs and more Indians. I called many dance students, as well as professionals. The interesting thing is that a lot of professionals and students of theatre appeared, they made half the group, and this second phase was composed of five smaller sessions, once a week.

These workshops allowed me to conduct more, I orientated more. It was a little more educational than a simple free performance, but of course the keynote was total freedom. My conduct was just to create stimulus and to never drive towards some specific aesthetics, or a determined product. We continued with free work, no commitment to a final product, with the result that what was important was the process itself, at that time, without attendance. Whoever came to watch had to participate: for example, there was a professor of philosophy, aesthetics, who did not participate physically, but analyzed the whole time. We had a poet who physically wasn’t feeling comfortable to enter the bodily experiences, but he participated with texts, recreating poetry. There was a choreographer who did not participate physically, but evaluated critically all the work; the others participated in everything.

The whole process was registered in photography and videos. Apart from the sound, we also recorded the evaluations, the conversations that we had.

Screening of the film Lumumba (Raoul Peck) at the Cineclube Museu do Objeto Imaginário, in Salvador, for Cinema Yemanjá.

Fifth day of the Week of Art in Series; Eneida Sanches is the guest artist. Photo Rafael Martins

I always promoted a critical analysis of what we were doing so it didn’t turn into a kind of recreation for adults. I used to make them stop abruptly; they were frustrated because I cut them right at the peak of their improvisations. This is the “pedagogical frustration”, where you stop the mess; we cut it to make a question: what is it? Where does it come from? Where is it going? What does it mean? What weight does it have? How can it be used beneficially?

Photo Reproduction

But the primary target of my project, the ones I really wanted to take place in it, were the visual artists – but, oddly enough, we didn’t have any involved. I think I should reflect if my aspiration is far off any reality, away from the desires or interests of visual artists, or if I did not manage to stimulate it properly. I know that the visual artist is very introverted, works a lot alone, but the poet, the musician and composer are also like that. But there is also a time when he needs to join the group, so the dynamic of each language is sometimes what determines a larger or smaller group involvement. Collective work doesn’t always work. In the 60s and 70s collective work was constant, but now nostalgia is as pointless as attempting to resume the momentum of that era. The point now is to reflect upon today’s multidisciplinarity, and whether it is feasible today or not.

* Lia Robatto is a coreographer, artist and educator. She was part of the group of participating artists of the 1st Bahia Biennial.

Second stage | Photo Alfredo Mascarenhas

Screening of the film Os Residentes (Tiago Mata Machado) at the Cineclube Professor Ralile, in Caravelas/Teixeira de Freitas, for Cinema Yemanjá. The Samba de Roda and Popular Expressions Workshop, held by Natureza França at the Laje Collection. Research group in ceramics – Popular Art ture, with Marlice Almeida.



August 23rd 2014

JODOROWSKY AND THE MEANING OF THE CURE … À propos d’un acte psychomagique Alejandro a besoin de temps pour y penser et surtout de connaitre mieux l’histoire douloureuse de votre pays1 Bien cordialement, Pascale Montandon-Jodorowsky The text is part of the message sent by Pascale, Alejandro Jodorowsky’s wife, when we asked for the pre-scription of a psycho-magical act to overcome the biggest trauma inflicted to the history of Brazilian art: the closure, by the military dictatorship, of the 2nd Bahia Biennial in 1968. It takes little to understand that, in fact, having Alejandro Jodorowsky on the list of the participants of the 3rd Biennial already constituted a psycho-magical act. From the beginning it was clear that the Jodorowskyan thought, panically2 connected to the two-year pro-ject, would have guided us in the solution of the trauma(s) through psycho-magic, defined by Jodorowsky as “a kick in the ass from reality”. Psycho-magic is a form of ultra-advanced therapy which allows one, through creative solutions, actions, performances and reenactments, to speak with the unconsciousness, regarding imagination as a method to approach reality, to experience true freedom, which consists of leaving oneself and crossing the boundaries of our small individual world to create an opening for the universal. From this perspective, psycho-magic acts are: the religious experience of watching the cinematographic symbolism of Jodorowsky in the Walter da Silveira theater; the travels of the Book of psycho-magic actions, which crossed the countryside of Bahia under the protection of the Car3, a symbol of journey and trans-formation; the liturgical chemical mixture of the IKB pigment carried out by Bahian artist Juraci Dórea; the immaterial sensibility of the reliquary proposed in the Church of Pilar; the mystical arrival of the Expedition Earth in Montesanto; the cathartic re-enactment of the 1966 and 1968 Biennials in the São Bento monastery; the proper disposal at sea of the box/sarcophagus that held, at the exhibition of the public archives of Bahia, the skulls of the anthropological museum Estácio de Lima. Speak to the unconscious; integrate the problem to daily life to become aware of it. Die to be reborn again. Bury to plant.

Carmen Palumbo Assistant curator of the 3rd Bahia Biennial 1 “In regards to the psycho-magical act, Alejandro needs time to think and, above all, to know better the painful story of your country. Yours faithfully”. 2 In this case, “panically” comes from ‘Panic’, a (false) post-surrealist movement created by Alejandro Jodorowsky, Fernando Arrabal and Roland Topor, whose objective was to find, through the rupture of codes and the values established by tradition, a profound sincerity in artistic creation, seen as a violent outburst of creative and destructive impulses by human beings.

3 The Car is the VII major arcana of the Tarot of Marseilles, which can also be considered the psycho-magical symbol that allows the passage from one state to another. The Book of psycho-magical actions was created and produced in accordance with the principles of psycho-magic for the itinerant exhibition That’s how it is on the coast, which went from Juazeiro to Vitória da Conquista. Artists, poets and the general public were invited to perform their own psycho-magical acts and write them in this book.

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BIENNALE IN JODOROWSKY AUGUST 23th Constellation Jodorowsky Louis Mouchet, 87 minutes, Switzerland and France, 1994 El Topo Alejandro Jodorowsky, 124 minutes, Mexico, 1970 AUGUST 24th The Holy Mountain Alejandro Jodorowsky, 113 minutes, Mexico, 1973 AUGUST 25th Dune David Lynch, 162 minutes, USA, 1984 Jodorowsky’s Dune Frank Pavich, 90 minutes, USA and France, 2013


Photo Leonardo Pastor

In partnership with the Cultural Foundation of the State of Bahia (Funceb), the Biennale holds the public meeting Making poetry and fiction in Bahia, at the Centro Cultural Plataforma. The day was filled with activities from the Plataforma Expedition, which began at Calçada station, and went towards the Laje Collection. The participants could also visit writer Perinho Santana’s Bookhouse Collection.

Opening of the cycle Biennale in Jodorowsky, with the screening of the films Constelação Jodorowsky, by Louis Mouchet, and El Topo, by Alejandro Jodorowsky. Photo Reproduction

August 24th 2014


Images of the project by the artist Sylvie Blocher carried out for the 3rd Bahia Biennial | Photo Reproduction

BEHIND THE INVISIBLE SYLVIE BLOCHER Integrated the group of artists who participated in the 3rd Bahia Biennial

I arrived at São Joaquim market in Salvador, Bahia, on August 3rd, 2014. Here, herbs for rituals, fruit, eggs of an immaculate white, Ogun, Omolú, Oxalá, Yemanjá, Obaluaiê - the gods of candomble, but also the red devils, painted plaster saints, chickens for offerings, cult objects, fish, pots and pans, fabrics, flowers, meat, necklaces for protection, and music are all for sale... Rituals and food intertwine. Each vendor and their customers form a micro-community. Every morning I installed my temporary filming studio in one of the market alleys

The public of Mar Grande/Vera Cruz watch the films Fary, a Jumenta (Mansour Sora Wade) and Caixa d’Água (Everlane Moraes Santos) at Cineclube Manga Rosa, for Cinema Yemanjá. Photo Reproduction

Screening of the film The Sacred Mountain, by Alejandro Jodorowsky, at the cycle Biennale in Jodorowsky. Storytelling with Maju Fiso. Drawing workshop with Olga Gómez.

which leads to the restrooms. For three days, thanks to two blankets, this precarious place had a certain kind of intimacy. The buzz spread. I was the foreigner who had arrived to swap images. The filming conditions were as follows: arrive with an object chosen from your stall, and pose in front of a tissue background with green and gold patterns. And they arrived carrying their objects like the saints of the Middle Ages carried their symbols. They said they did not want to be portrayed, but wanted only to present themselves to us in all their pride.

The public let their creativity flow in one more day of the action Paint at the Biennale with Maninho Abreu Will Marx is the artist/student whose works serve as the base for the mediation of the Project Tables, held by the mediators of the MAM workshops at the Biennale, Leandro Estevam and Tiago Costa.


August 25th 2014

Photo Alfredo Mascarenhas

The Videodance Factory Dynamics of Movement as Flows of Resistance

T I M E L I N E Terezinha Dumet, artist and professor of EBA/UFBA, was the guest of the sixth day of the Art in Series Week. This edition was held at the School of Fine Arts, where Terezinha printed old plaques and spoke about the artistic process in the MAM workshops.

Unveiling memory through orality and art was the theme of the fourth meeting of Talking with your history.

Photo Rafael Martins

The general meeting of the Mediators of the 3rd Bahia Biennial promoted the exchange of ideas and experiences about the work carried out in each exhibition space. Photo Rafael Martins

August 26th 2014



with me and a chamber orchestra under the conduction of maestro João Omar, followed by the monologue Éclogoas no Deserto (of our own writing), ending with a meal of pirão de jabá.

Dear Knight. When we gladly accepted your invitation for our Casa dos Carneiros to take part in the III Biennial of the state of Bahia, we made it in a spirit of trust and [considering] great distance [between us]; having in our horizon the glow of a light emanating from all of the artists who in a iorbanated way and commandeered by you did not use weights and measures to see such a festivity happen. Well, to this end, on our part (of the Casa dos Carneiros) we dare to make a proposition at the height of the party, namely: 1- The holding of a meeting at the main house of Rio do Gavião, where we congregate with the old epigone cowboys (vaqueiros) from a caste of heroes that were not at the wars of Thebes, but spent their entire lives in the fighting and jousting of the field, having for opponent the scorching sun and the ferocity of the wild cows raised in the Sertão wilderness. There, a hand of prose with the proper version of the dialect into the vernacular, for the sake of the understanding of our guest academics. Afterwards, there would be the crowning of the Warrior Maiden as the fifth member of the IV Royal Academy. And at nightfall, a ball, ending with bowls of tropeiro rice. 2- The next day, at the main house of Casa dos Carneiros there would be a lesson from the Layman’s University, a small concert

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The last day of the cycle Biennale in Jodorowsky presents a special session with the screening of the films Dune, by David Lynch, and Jodorowsky’s Dune, by Frank Pavich.

These events would take place only according to the “communicated budget”, aiming only (also) at the accomplishment of the Feast, since nothing can ever take place without the corporeal presence of such dough. But then, there was a formidable retreat in regard to the costs on the side of the central production of the Biennale. And, in light of this, we also had to pull back greatly on the dreamed proposition, where a complete and festive program drained the Casa dos Carneiros in a night of riding and Eclogues, without cowboys, music, balls and no eatabilities. However, we have not given up and to this end we will proceed, God willing, in spite of knowing (which doesn’t leave us very happy), that all this commitment, of our house, of your house and of all the artists accomplices that in an enormous maieutic we brought to light this premature rose that opens late on this dark night that covers the sky of Bahia, results to be credited to the present Government, which has nothing to do with culture, nor the Biennale. With a fraternal hug, De Elomar Casa dos Carneiros, waning moon, August 2014

Dimitri Ganzelevitch‘s House-Museum Solar Santo Antônio receives the Laje Collection and cultural producers from the Railways Suburb.

The anthology of films Decididamente Animados was screened at the Cineclube da Cidade de Plástico, in Salvador, for Cinema Yemanjá. Research group on Lithography with Renato Fonseca. Photo Leonardo Pastor

Jaison Santos meets with the public for the Linocutting workshop.

Photo Rafael Martins


August 27th 2014


A page from the book created by Célia Silva for the registration of medicinal plants

Imaginary Museum of the Northeast Department of the Cure Section: Africanities Ilê Axé Opô Afonjá PERIOD 08/6 to 09/3


One of the most famous Candoblé terreiros in Bahia, the Ilê Axé Opô Afonjá was founded in 1910 by Mãe Aninha. Listed in 2000 by the IPHAN, it has housed since 1999 the museum Ilê Ohun Lailai (Casa das Coisas Antigas) with ceremonial objects and clothes.

In 2003 I arrived at Ilê Axé Opô Afonjá. And I took over the Museum [Ilé Ohun Lailai] in 2007. I started doing projects, taking pictures. I spoke to Marcelo [Rezende] about having this work with plants since 2008. I started this way, I grabbed a few species and took them home. I would put the leaf, make a herbarium. I got a hundred. I glued a whole Herbarium at home. Then I put it in front of me, dried, and drew it. I started researching the scientific names, popular names and names in Yoruba. There is a scientific name that nobody knows: comigo-ninguém-pode. People only know the popular name, it you write the scientific name people don’t know it. I put the popular name, scientific name, what Orixá it belongs to. Also, I did a little research of my own, like ‘good for diarrhea‘, so I know what that plant does. Then I started researching the names. The important thing is also that sometimes you do research, you want to know the name in Yoruba and can’t find it; you find the name of the researcher, the scientist. Then, I asked myself; ‘and the black man who planted it there? Does it have his name? You don’t see’. There is that side to it too. Otherwise you see the leaves through the blue eyes of Pierre Verger. The idea of working with the Biennale was that people could know the liturgical and therapeutic plants, because in fact it was a sort of forbidden information. But this was an opportunity ... I put liturgical and therapeutic. Liturgical: it is good for [ceremonial] baths, and only for baths. Therapeutic: you take a cough syrup. And there are some that cater for both. And there are some that are good for neither one thing nor the other; they are ornamental, to make the space more beautiful. All of this ain’t it Northeast?

The trail we did as part of the Biennale worked. People came to visit even though there were very few days here at the Terreiro. They are still coming. The opening hours were up to five-thirty. There were people who got there at about six to make the trail. In the dark, how could I do? So, I got the plants, the young shoots, and put them on the porch of the Museum and explained it all right there. Only this way could they take advantage of the trail to get to know not only the plants and the houses, but also be able to enter the Afonjá, because sometimes the public are afraid. Maybe I will make another path to visit the plants. Doing a normal trail, independent of a work with any institution. But it was very important to start with the Biennale. It is as if the Biennale opened my eyes, you know? The people come and have access to visit the leaves. And they wanted to know everything. UFBA came and brought the students to do the trail for research, the Botany students. We did the pilot, it was the first group that made the visit, to see the mistakes, the successes, so we could improve on the trail. And then there was the normal audience. A lot of people from outside of Salvador. They came and left their cards, they left their contact for when I had something more open, a more flexible schedule, because it was only open on Wednesday afternoons. In the old days, I remember, I had a beanstalk to put in water with cotton. Nowadays it is on a computer. You just see the little plants there virtually. The bugs also. Whoever came to do the trail, saw the plants, the houses of the Orixás and the bugs, did not just see the plants, but perceived the terreiro as a whole.


Photo Leonardo Pastor

In partnership with the Pedro Calmon Foundation, the Biennale performs an expedition to the Quinta dos Lázaros cemetery, where the activist Carlos Marighella is buried. The political organization Levante Popular da Juventude walk through the streets of Baixa das Quintas, singing songs and poems by Capinam and Ana Montenegro, as well as verses by Caetano Veloso and a text by Mario Magalhães.

Research group in ceramics – Popular Art Miniature with Marlice Almeida.

Foto Rafael Martins

Gardening workshop with Cláudio Pinheiro.

Photo Rafael Martins

August 28th 2014



Images of the film Lampião, O Rei do Cangaço, by Benjamin Abrahão

Photo Leonardo Pastor

The Biennale proposed to DIMAS (The Audiovisual Division of the Cultural Foundation of the State of Bahia) the curatorship of a showcase of films about the cangaço, running parallel to Archives and Fiction’s program.

Alagoinhas Cultural Centre receives the exhibition That’s how it is on the coast. The itinerant exhibition makes its last stop in the city, after passing through Feira de Santana, Vitória da Conquista and Juazeiro. In parallel, the M.A.P.A – the Movement of Plastic Artists in Alagoinhas - presents the 3rd Art Scene with works by 18 local artists at Casa do Boi Encantado, an early 20th century slaughterhouse converted on the occasion in a Kunsthalle, attached to the Cultural Center.

Thus: Once upon a time in the Northeast: From Cangaço to the Spaghetti Western. More than the appropriation of a classical genre of cinema, the various peripheral Westerns made around the world (Germany, Spain and Italy in particular) not only fed the Hollywood centre, but also generated almost autonomous subgenres. The Cangaço films in Brazil, for example. From the canonical O Cangaceiro by Lima Barreto, to the revolutionary Dragão da Maldade Contra o Santo Guerreiro, by Glauber Rocha - not by chance the two Brazilian films that won awards at major international film festivals (Berlin and Cannes). There is in this trajectory something anthropophagic, that the Italian-Brazilian Viva Cangaceiro, by Giovanni Fago, a spaghetti western filmed at the Abaeté lagoon and the Bahian Sertão, can synthesize like few others. This unusual dialogue serves as a subject and challenge to reconfigure the track of filmographies that are much closer than we often assume. Curator: Adolfo Garcia (Department of Diffusion/Audiovisual Division/Cultural Foundation of Bahia)

Photo Alfredo Mascarenhas

The historian, researcher and professor at Federal University of Bahia’s Department of History, João José Reis, participated in another edition of Thursdays at Quinta. The issue was slave revolts, and more specifically the Malê revolt. Dr. Reis commented on the task of amassing and organizing important documentation related to the subject, which are in the Public Archives of the State of Bahia. “The Malê revolt became, of the slave revolts throughout the Americas – with the exception of Haiti, a real revolution - the one that has produced the largest quantity of documents. We have a great volume of documents about this movement, precisely a result of its vicious repression, which was carried through as a legal experiment. The Provincial Government, following orders from the Imperial Government, found itself obliged to care for all the rituals of a trial. Rituals based on two newly created legal pieces, the Criminal Code of 1830 and the 1832 Process Code. The Criminal Code stipulated that the uprising of slaves was a specific crime and should be punished as such. Certainly, five hundred to six hundred, slaves and free men, participated in the uprising. About seventy died in combat and more than 200 were sentenced.”

Photo Lara Carvalho

Musicúpula presents the musical production of Rogério Duarte The three-dimensional dome set on the first floor of the MAM’s main building turned into a stage for a special performance of Rogério Duarte’s compositions in the midst of the exhibition Genesis | Apocalypse | Resurrection dedicated to the multi-artist, and played by a most notable ensemble of renowned musicians Armandinho Macêdo, Luiz Brasil, Luiz Caldas and Mariella Santiago.

At the first the meeting of Nós, errantes (We, wanderers), Oriana Duarte reads of her five booklets about the performance Plus Ultra, at Esteio Gallery.

Photo Lara Carvalho

Photo Alfredo Mascarenhas

Exhibition of the film Câncer, by Glauber Rocha, at the main house of the MAM-BA, as part of the exhibition dedicated to Rogério Duarte.

The Archivist Work Group (WG) presents the exhibition Memória Suspensa: a capacidade do documento de emocionar (Suspended Memory: the document’s emotionability) at the Parede Gallery assembled in UFBA’s Institute of Information Science. The exhibition is part of the project Archives and Fiction.

Juarez Paraíso closes the Week of Art in Series, bringing various models made of old metals and talking to the public about his work.

Painting workshop with Rener Rama.

Photo Rafael Martins

Photo Rafael Martins


August 29th 2014

Paddling in the dry - Developments of the project Plus Ultra (We, wanderers) BY ORIANA DUARTE AYRSON HERÁCLITO Chief curator 3rd Bahia Biennial

Since 2006 the artist has developed a broad and fluid trajectory in several states of Brazil, in a venture consisting of experiences in various rowing clubs. Recife, Vitória, Belém, Manaus, Brasília, Porto Alegre, Rio de Janeiro and Salvador were the cities rowed, landscapes travelled and experienced from this artistic proposition. Subsequently, the systematization of such an experiment produced, besides a doctorate thesis, the desire to share the writing of an artist, through public readings in various programs or art education institutions. The curatorship of the 3rd Bahia Biennial has enabled the appointment of this new stage of the project with two institutions of higher education: the UFBA’s School of Fine Arts in Salvador, and UFRB’s Center for the arts, humanities and letters, in Cachoeira. Five small books were published by the artist with texts from her thesis, being widely distributed to the public, invited to listen and read a unique writing, in which memory and record triggered a universe of images and gave new meanings to practices experienced by the author. Paddling in the dry, so had Oriana defined her action. The dry here is not at all one that takes us to an unproductive state, ‘running dry’ or punching knives. On the contrary, the atmosphere produced gives back to the different worlds a tide of immeasurable possibilities; the experience in writing about oneself as a tactic to deflagrate creative daydreams.

Two situations I experienced at the Bahia Biennial urged me to inquire about what I’m doing with my life, or rather, how I’m seeing art in life. Both situations are effects of the gaze of the Other during my reading of the booklets Nós, errantes (We, wanderers). This reading is what I’ve been doing lately in terms of performance, it is my way of living and continuing to paddle, or better, exercising the metaphor of rowing, because now the action widens while fighting: paddling in the dry. Well, the first situation was lived in a fright; a fright while being asked about my fatigue after having played for so long – “interpreting tires”. But how to interpret?, I replied. And the silence of the critical eye comes right after the suspension of the conversation, the lack of attention, the denial of a reply. But I didn’t need to hear anything else ... This glimpse into the performance saw me as an interpreter of distant events, outside the experience inscribed in me. But how? I continued to wonder out of zeal for art, out of caring for me. The second situation also came as a shock, but this time not for being asked, but rather to be taken as the agent of a feeling described as “peace”. Yes, it’s worth telling, because this can say a little about what a participation of an artist in a large event can do. About a month after my performance at Esteio Gallery, I received an email from someone who had been there, he says, by mistake, because he was going to another event and they directed him to where I was reading my booklets. Upon arrival, almost at night, he decided to stay there and when listening to me discovered what he wanted to do with his life as a cyclist. To what I understood that yes, he will also stop to wander, by exposing himself to reports through the different looks of the world. Oriana Duarte


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Via Cinema Yemanjá, the public of Caravelas/Teixeira de Freitas watch the film Morro do Céu (Gustavo Spolidoro), at Cineclube Professor Ralile.

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The cycle Once upon a time in the Northeast presents the films O Anjo Daltônico, by Fábio Rocha, Porta de Fogo by Edgard Navarro and Memória do Cangaço by Paulo Gil Soares.

The last meeting of the Shared Process, under the coordination of choreographer Lia Robatto.

Photo Alfredo Mascarenhas

Research group in ceramics – Popular Art Miniature, with Marlice Almeida.

August 30th 2014

Cut the cassava, jump in the Roda Heliópolis, with less than 15,000 inhabitants, is a small town in the northeastern State of Bahia, located 300 km from Salvador.

or after a discussion on cooperatives as a system of work organization in an area of intense production and extraction of honey.

The Biennale arrived in Heliopolis through a partnership with “Filhos do Sol” (Sun’s Children), the first film club to enter the Cinema Yemanjá’s circuit. In the Sun City the Biennale had its official opening blessed by initiative of the parish priest of Santo Antonio chapel, and its official closure counted with a parade of 40 horses, 20 ox carts, forró music and the preparation of cassava at a community flour mill in Serra dos Corrêas.

Until today more than 5 associations have been created and another 2 are in the experimentation phase. The internal regulation of each one is founded on the principle of autarchy.

The “Filhos do sol” Cineclub, more than a film club is a cultural movement originated in the rural village of Massaranduba, in Heliopolis, led by José Pereira, who, in less than 3 years, founded a civil rights association, a film club, a reading group, a rural library, an association of artisans, in addition to providing services to the rural workers union in the region. With his itinerant cinema and the precious collaboration of the community, Zé travels through the settlements around the Sun City, screening productions by local authors and classics, Brazilian and international cinema. In a simple way, he enters homes, churches, gardens, associations, flour mills, schools, creating encounters, discussion, celebration and socializing. Often the film screening is just one of the actions: the screening usually takes place after a joint effort/meeting of the community, such as the construction of a cistern,

One more edition of Laje Talks to discuss Beauty and the elementary experience, with the psychologist Miguel Mahfoud.

From the beginning, it was clear that many things happen under the sun of this little town, whose name, according to legend, was given by a priest who, after a trip to Egypt, came home and saw in this place the beauty of the Valley of Ra, the sun god in Egyptian mythology. But what makes Heliópolis such a surpising example, so to speak, a “case study” of good practices of community service? From the meetings, interviews and talks exchanged, it emerged that one of the main concerns of the community is the preservation of their own independence and the guarantee of their autonomy in relation to pre-constituted, political, and governmental powers. In fact, all of the associations founded so far have refused the intervention by the municipal government or by politicians. To Zé and the others, autonomy is the first condition to ensure the successful outcome of the community work, aiming for the achievement of the common good and not of personal satisfaction. From Heliópolis to ancient Greece the step is not so wide, if we think of the speech of the philosopher Socrates who defined in the farmer’s techne the purest and truest philanthropic activity, and who recognized citi-

Camila Sposati receives the guests Augusto Albuquerque and Gregório Gomes for an afternoon of conversations at her Earth Anatomic Theatre.

Photo Bianca Góis

zenship as the most relevant of the effects of manual activities. It is as saying that the thought of the rural man provides not only “knowledge”, a practical knowledge, but the reflective thinking on the experience of the “doing”, something that has a base in the physical experiment of investigating how an object works. In this sense, the technique is the wisdom of the gesture, the cultural reflex, the memory that resides in the muscle. Culture and nature; without worrying about which came first. And for this wisdom to become common heritage, it is important that there is an atmosphere of “empathy”, as suggested by the sociologist Richard Sennett, which instead of the identification process (“sympathy”) prefers the objectification (“empathy”), allowing individuals to pay attention to the “other” in their own terms, encouraging cooperation. Sennett, like Socrates, like Zé, reaches the same conclusion: a craftsman, a farmer, a cowboy, a man who works with the land and with his own manual abilities is the example of civis, a possible model of citizenship in the Sertão as much as in the urban context. From there, cut the cassava, put yourself on a roda, follow the rhythm of the others; this is an exercise of citizenship.

Carmen Palumbo Assistant curator of the 3rd Bahia Biennial

The cycle Once upon a time in the Northeast screens the film Corisco e Dadá, by Rosemberg Cariry. Photo Reproduction


The Cineclube Filhos do Sol, in Heliópolis, screens the film Jéssica Cristopherry (Paula Lice, Ronei Jorge and Rodrigo Luna), for Cinema Yemanjá. Photo Reproduction


August 31st 2014

THE SYSTEM OF EXCHANGES A considerable part of our morality and our lives themselves are still permeated with this same atmosphere of the gift, where obligation and liberty intermingle. Fortunately, everything is still not wholly categorized in terms of buying and selling. Things still have sentimental as well as venal value, assuming values merely of this kind exist. We possess more than a tradesman morality. There still remain people and classes that keep to the morality of former times, and we almost all observe it, at least at certain times of the year or on certain occasions. The unreciprocated gift still makes the person who has accepted it inferior, particularly when it has been accepted with no thought of returning it. The invitation must be returned, just as ‘courtesies’ must. In that separate existence that constitutes our social life, we ourselves cannot ‘lag behind’, as the expression still goes. We must give back more than we have received. The round of drinks is ever dearer and larger in size. The invitation must be given, and must be accepted. This is still the custom, even in our liberal society. Things sold still have a soul. They are still followed around by their former owner, and they follow him also. One might even say that a whole section of the law, that relating to industrialists and businessmen, is nowadays at odds with morality. The economic prejudices of the people, the producers, arise from their firm determination to follow the thing they have produced, and from the strong feeling they have that their handiwork is resold without their having had any share of the profit. Nowadays the old principles react against the rigour, abstraction, and inhumanity of our legal codes. From this viewpoint it may be said that a whole section of our law that is just emerging, with certain customs, consists of turning back the clock. This reaction against the Roman and Saxon (sic) [Northern?] insensitivity of our system is perfectly healthy and well founded. It took a considerable period of time to acknowledge proprietorship in artistic, literary, and scientific work, beyond the peremptory action of selling the manuscript, the first machine, or the original work of art. In fact, societies are not very interested in recognizing for the heirs of an author or an inventor—a benefactor of humanity—more than certain limited rights over the things created by the one that owns those rights; One likes to assert that they are the product of the collective mind as much as of individual mind. Everyone wishes them to fall into the public domain or join in the general circulation of wealth as quickly as possible. However, the scandal of the additional value acquired by paintings, sculptures, and objects d’art, during the lifetime of their creators or their immediate heirs, inspired the French law of September 1923 that gives to the artist and his inheritors a ‘right of succession’ over the series of additional gains made during the successive sales of their works. (...) But to note the fact is not enough. One must deduce practice from it, and a moral precept. It is not sufficient to say that the law is in the process of ridding itself of a few abstractions such as the distinction between real law and personal law; or that it is intent on adding other rights to the cold-hearted law of sale and payment for services. It must be said that this is a salutary revolution. First of all, we return, as return we must, to habits of ‘aristocratic extravagance’. As is happening in English-speaking countries and so many other contemporary societies, whether made up of savages or the highly civilized, the rich must come back to considering themselves—freely and also by obligation— as the financial guardians of their fellow citizens. Among ancient civilizations, from which ours has sprung, some had a (debtors’) jubilee, others liturgies (of duty) such as choregies and trierarchies, and syussitia (meals in common), and the obligatory expenditure by the aedile and the consular dignitaries. We should return to laws of this kind. Then there must be more care for the individual, his life, his health, his education (which is, moreover, a profitable investment), his family, and their future. There must be more good faith, more sensitivity, more generosity in contracts dealing with the hiring of services, the letting of houses, the sale of vital foodstuffs. And it will indeed be necessary to find a way to limit

Luis Berríos-Negrón at the second edition of the System of Exchanges at the Biennale | Photo Alfredo Mascarenhas

the rewards of speculation and interest. However, the individual must work. He should be forced to rely upon himself rather than upon others. On the other hand, he must defend his interests, both personally and as a member of a group. Over-generosity, or communism, would be as harmful to himself and to society as the egoism of our contemporaries and the individualism of our laws. (...) Thus we can and must return to archaic society and to elements in it. We shall find in this reasons for life and action that are still prevalent in certain societies and numerous social classes: the joy of public giving; the pleasure in generous expenditure on the arts, in hospitality, and in the private and public festival. (...) In so doing, we shall return, I think, to the enduring basis of law, to the very principle of normal social life. We must not desire the citizen to be either too good or too individualist nor too insensitive or too realist. He must have a keen sense of awareness of himself, but also of others, and of social reality (in moral matters is there even any other kind of reality?) He must act by taking into account his own interests, and those of society and its subgroups. This morality is eternal; it is common to the most advanced societies, to those of the immediate future, and to the lowest imaginable forms of society. We touch upon fundamentals. No longer are we talking in legal terms: we are speaking of men and groups of men, because it is they, it is society, it is the feelings of men, in their minds and in flesh and blood that at all times spring into action and that have acted everywhere. (...) Thus, from one extreme of human evolution to the other, there are no two kinds of wisdom. Therefore let us adopt as the principle of our life what has always been a principle of action and will always be so: to emerge from self, to give, freely and obligatorily. We run no risk of disappointment. A fine Maori proverb runs: Ko Maru kai atu Ko Maru kai mai ka ngohe ngohe. “Dá tanto quanto tomas, tudo estará muito bem.” Excerpt from The Gift, Forms and functions of exchange in archaic societies (1925).03.

T I M E L I N E Screening of the film Behind the Invisible, by Sylvie Blocher, at MAM-BA. The artists Caetano Dias, Eliezer Bezerra and Deusi Magalhães take the installation-performance Rabeca Encampment to the countryside of Bahia. The project comprehends six nocturnal encampments in consecutive days, set up in the cities of Juazeiro and Xique-Xique.

Screening of O Dragão da Maldade contra o Santo Guerreiro, by Glauber Rocha, part of the cycle Once upon a time in the Northeast, a partnership between the 3rd Bahia Biennial and DIMAS. Storytelling with Maju Fiso. Drawing workshop with Olga Gómez.

Paint at the biennale with Maninho Abreu. Portrait in the courtyard with Rafael Martins. Tiago Costa is the artist/student of the workshops whose works serve as the base for mediation on the project Tables.

September 1st 2014


IN HER LOVE FOR BAHIA than the ‘spirit of a place’. She called it the ‘popular soul’ and - this was the exhibition’s wager - she tried to convey it less by the objects themselves than by their appearance.12 Their appearance had to be revealed, not just their factual presence shown. In Bo Bardi’s still acute memory, Italian Fascism had both vampirised and exorcised the popular soul. Under the Fascist regime, popular production or craft became ‘irreversibly’ transformed into folklore or kitsch, while genuine popular art was defined by its ‘perfect reversibility’. While a kitsch object was thus defined as a psychic dead end that puts man’s desire to rest, popular art kept the soul alert and ready to look for ever new and transformative ways to shape the world.

Workers carry out the refurbishment work on the chapel of the MAM-BA, one of the spaces of the 3rd Bahia Biennial | Photo Alfredo Mascarenhas

The Bahia exhibition of 1959, conceived by Bo Bardi and Martim Gonçalves, looks retrospectively like a comment on, if not an answer to, the key question of how modern universalism could be reconciled with a local agenda. (And without questioning Hélio Oiticica’s genius, it needs to be said that Bo Bardi pioneered her environmental aesthetics years before Oiticica built his Penetrávels, the labyrinthine environments he began to make in the late 1960s.) The show, according to its own definition, took an anthropological rather than aesthetic view on popular artefacts created in the Brazilian Northeast - a region defined by poverty, a high rate of illiteracy and a mode of production Bo Bardi characterised as ‘pre-crafsmanship’10. In the Northeast, ‘objects of desperate survival’ were basically made out of garbage. One section of the exhibition was devoted to documentary photographs of the Afro-Brazilian religions macumba and candomblé. The photographs (by Pierre Verger and others) were informally mounted on a fragile wooden scaffolding - the material sensibility of which was closer to the consistency of the life depicted on them than to the institutional self-assuredness of, say, ‘Family of Man’, the exhibition Edward Steichen organised at New York’s Museum of Modern Art in 1955. Among the artefacts were almost life-size statuettes of Orisha spirits; musical instruments; patchwork quilts made of reclaimed scraps of leftover cloth; fifós, or oil lamps, built from empty medicine bottles and pieces of tin plates; carrancas, or figureheads, from river boats of the São Francisco; ceramics; mats; hammocks; earthenware pans; pots for drinking water; and so on. ‘I could say that this exhibition reveals above all the creative force of a people who do not give up under the severest conditions,’ summarises Jorge Amado in an account written at that time.

The open exhibition space in Ibirapuera Park, next to the biennial, was primarily structured by a system of freestanding walls, most of them elevated on pedestals in the shape of white cubes. The rather compact walls provided conspicuously solid support for the hand-crafed objects - which were, all in all, either rude or tiny and brittle. While the elevated walls were coloured in different shades, one particular wall was covered with gold leaf as if to mirror the spiritual radiance of the religious sculpture displayed in front of it. The ex-votos, on the other hand, were directly fixed onto a whitewashed brick wall. By drawing on the analogy between the bareness of the wall and the wooden rawness of those sculptures, their stubborn dumpiness was transformed into an almost heroic expression: it embodied resistance against the disenchantment of the world. The whitecube pedestals were scattered all over the space, serving larger-size objects like the carrancas and Orishas as pedestals. A few artificial trees were planted here and there, one adorned with weather vanes, while the entire floor was covered with pitanga leaves. In the background, before the row of Orishas, the exhibition was sealed off by a huge, long curtain. This device, reminiscent of display strategies practised by Lily Reich in the 1920s and 30s, provided the space with an air of privacy while simultaneously underscoring its highly theatrical décor. In short, the language of display spoke many different tongues and thus appealed to a multiplicity of perceptual registers. It spoke less about objects than out of them. The exhibition’s true subject was indeed neither artistic form nor anthropology; it was, as its title suggests, the spirit of a place and its possible transposition. In her love for Bahia, Bo Bardi chose an even more emphatic term for this immaterial entity

Screening of the film Os Residentes (Tiago Mata Machado) at the Cineclube Vila, in Salvador for Cinema Yemanjá.

The third round of the Project Set the Terreiros Alight, by Nuno Ramos, is assembled on the Jaburu Beach on Itaparica island. Posts were lit from dusk to dawn.

The exhibition Once Upon A Time In the Northeast: from Cangaço to the Spaghetti Western screens Mátalo! (Cesare Canevari). Photo Alfredo Mascarenhas

The Bahia exhibition had to fight two enemies. One was folklore. The other was the naïveté of utopian design that had become dominant in Brazil in the 1950s and what this represented: the ludicrous fantasy that an underdeveloped country with feudal structures could be transformed overnight into an industrial society. Presenting the popular soul in action or revealing the reversibility of popular art called for a particular kind of display in which the object’s essentially transitional character would be shown. This aim was achieved by a double operation. On the anthropological level the objects were linked to specific religious or labour practices. The photographs of Pierre Verger, for example, demonstrated their use in ritual. However, the objects were also paraded as being in excess of themselves, or, rather, as transcending any conceptual framework that would fix and guarantee their meaning. This was achieved by dislocating them into a deliberately artificial environment that highlighted their utter strangeness. This particular quality they had to borrow or even extract from modern art’s claim to autonomy - a claim that was excessively stated, even propagated at the nearby biennial. The popular soul was, above all, volatile. Or, as Bo Bardi put it: ‘To carefully search for the cultural bases of a country (whatever they may be: poor, miserable, popular) when they are real, does not mean to preserve the forms and materials, it means to evaluate the original creative possibilities.’

Excerpt from the text originally published by the author in Afterall (UK), in 2011.

Roger M. Buergel is a curator, critic and currently holds the position of director of the Johann Jacobs Museum in Zurich. Among his many exhibition and research projects, Buergel has touched the limits imposed by the art system and its economic, historical and political logic; showing the regime of paradoxes Photo Reproduction and contradictions that sustain it, like in Documenta 12, curated together with Ruth Noack. He took part of the Critical Gravitational Field, an action structure created by the 3rd Bahia Biennial, and presented one of his artistic projects at the exhibition dedicated to Naturalisme Intégral.

Another edition of Talking with your history, with the theme Weaving stories between papers, photographs and museological items, mediated by Jamile Borges.

The workshop Everything with Dicinho starts. Today, the artist shows how to make Copageti, a material developed by him. Photo Gillian Villa


September 2nd 2014

MAM workshops: Do it here, do it now FELIX TORO Coordinator of the MAM and Biennale workshops

Created in 1980, under the management of Chico Liberato, the MAM Workshops were idealized by Juarez Paraíso, restarting part of the original design of the MAM-BA, according to Lina Bo Bardi, who conceived the MAM as a museum-school. Beginning with the idea that the museum should be a place for training, open to the public, and actively present in the life of the city and the state, the MAM Workshops have functioned for 34 years as an open studio offering free courses in various artistic languages. The MAM Workshops acted as a space for production during the Biennale; a place of education and an object of mediation, with a focus on artistic processes and the history of the workshops themselves. The workshops of the 3rd Bahia Biennial were:


- Research Group in Metal Engraving, supervised by Professor Evandro Sybine: on Saturdays, the group met for testing and production sessions.

With up to 4 hours, these workshops took place weekly, constantly inviting the spontaneous public to participate.

Photo Rafael Martins

Photo Rafael Martins

Photo Rafael Martins

- Drawing Workshop, with Professor Olga Gómez: always on Sundays, it worked mainly with geometric shapes followed by elaborate observational drawing. Several students came every week, ensuring that the editions of the workshop had a steady group consisting of beginners and occasional visitors. - Gardening Workshop, with Professor Cláudio Pinheiro, MAM gardener. Pinheiro taught this workshop mainly with school groups, dealing with transplanting; seed planting and specific care for each plant, in editions that had themes such as food, flowers, hardy plants and teas. One of the most regular participants even started a gardening project at the NGO where they work, based on the lessons. - Painting Workshop, with Professor Rener Rama: The classes, originally designed for an adult audience, soon received school groups interested in participating in the workshop. Every Thursday, throughout the Biennale, the meetings began with a theoretical introduction followed by practical elaboration, first individually and then collectively.

Research Groups Teachers of the MAM Workshops gathered groups of students and artists to develop artistic processes, producing works in weekly meetings throughout the Biennale.

Photo Rafael Martins

One-day activities Photo Rafael Martins

Photo Rafael Martins

Photo Rafael Martins

- Collage Workshop with Janete Kislansky: the artist gave a collage workshop for children. With simple materials, such as paper, glue and scissors, the workshop introduced the practicalities of how to transform these elements into theoretical possibilities and solutions for the collages. - Free Studio with Lauren Selden: the artist, an associate professor of Stephen F. Austin State University (USA) built an inflatable artwork in the Flamboyant courtyard at the MAM. The artist and her team - Jaime Heredií, Robert Z. Selden Jr. and Rosy Klueger – participated in the Free Studio at the MAM workshops, a project that offers artists a free space to develop their work at the museum.

Weekly educational program In addition to the workshops, there were also several proposals that took place weekly during the Biennale.

- Research Group in Litography, supervised by Professor Renato Fonseca: artists and students met twice a week at the MAM Workshops, to produce and develop individual research. Photo Rafael Martins

- Research Group in Ceramics Popular Art Miniatures, directed by Professor Marlice Almeida: students developed ceramic work at the MAM workshops, articulating miniatures in the traditional methods of Bahia ceramics and pure geometric forms from molds.

- Portrait in the courtyard, with the photographer Rafael Martins: on Sundays, a little before sunset, an open-air studio was set up in Unhão courtyard at the MAM, where the puPhoto Rafael Martins

T I M E L I N E Today, The exhibition Once upon a time in the Northeast: from the Cangaço to the Western Spaghetti screens Deadlock, by Roland Klick and Lampião, o rei do Cangaço, by Benjamin Abraham. Photo Reproduction

Lithography Research Group with Renato Fonseca.

Photo Rafael Martins

Registration workshop, with the theme of Origami, is held by Daiane Troesch.

Photo Rafael Martins

September 3rd 2014

blic who came to enjoy the view was invited to have their photo taken, which was later posted on the Biennale page. The idea came from the number of people who came to the museum to see the sunset and take pictures of themselves with the view in the background, as a way to integrate this habit into the rest of the Biennale program.

Photo Rafael Martins

- Paint at the Biennale, with Maninho Abreu: the artist, who has already run Paint at the MAM, organized a free painting activity every Sunday, which primarily received a young audience in the Flamboyant courtyard of the MAM.

Photo Rafael Martins

Activities proposed by the mediators of the MAM Workshops for the Biennale

Photo Rafael Martins

Storytelling with Maju Fiso: every Sunday, the mediator Maju Fiso held storytelling sessions, especially with younger audiences, in the Flamboyant patio. Photo Rafael Martins

Photo Rafael Martins

- Linocut Workshop with Jaison Santos: the mediator and artist Jaison Santos gave a single edition of linocutting, a technique similar to woodcutting. The activity was attended by a school group and it was held in the MAM workshops.

- Cadastro workshop, with various organizers: inviting the public to exchange knowledge, the workshop Cadastro occurred throughout the Biennale discussing various topics, no matter how unusual. Peteca, meditation, smoked food and sewing were just some of the subjects offered by the public who signed up to hold the various editions of Cadastro. Each edition brought a unique situation, with a different audience and environment. - The week of Art in Series with Professor Evandro Sybine and guest artists: over seven days engraving teachers of the MAM workshops returned to the space to talk with the public and work with the current group of engraving students. The week of Art in Series was a way to create a situation in which the public was exposed to the important history of engraving in Bahia, as well as getting to know the space and the history of the MAM Workshops. Guests were Yêdamaria, Therezinha Dumet, Michael Walker, Antonello L’Abbate, Márcia Magno, Eneida Sanches and Juarez Paraíso.

Itinerant actions Some workshops of the Biennale toured Salvador and traveled through the interior of the state, expanding the workspace of the MAM Workshops and proposing new situations in different contexts. The dynamics of these workshops was to assemble the basic structure and invite people to participate in the surroundings, usually with a high audience turnout.

- Mesas, a proposal by Leandro Estevam and Tiago Costa: a mediation strategy developed by these two artists and mediators of the 3rd Biennial. Each week a table was organized with works, instruments and metal parts belonging to a student of the workshops, which served as material for a discussion about production and the history of the MAM workshops.

Photo Rafael Martins

Special program

Photo Gillian Villa


Photo Rafael Martins

- The Open Mural Action, with Hilda Salomão: the ceramist held workshops at the MAM and short editions in various public spaces. In these workshops, the audience spontaneously learned to open slabs of clay and made works with free themes on the slabs. Subsequently the plates were cooked, becoming tiles that will form a collective panel.

- The Open Mural Action, with Professor Hilda Salomão, proposed to put creative work on ceramic plates, and it took place in Salvador bus station, in the Morro da Preguiça, in the Cuca Cultural Center (Feira de Santana) and in the State Public Library (Barris). The audiences and experiences were quite varied, as reflected in the works produced, that make up the resulting collective panel of the action. - Drawing Workshop, with Professor Olga Gómez: The workshop traveled to the Laje Collection of Popular Art at Plataforma neighbourhood, to the Nautical Museum at Barra Lighthouse, and to Campo Grande square during the Pedro Calmon Foundation Bookfair.

Photo Rafael Martins

Screening of the film O Quadro (Jean-François Laguionie) at the Cineclube Imagens Itinerantes, in Salvador, via Cinema Yemanjá. Guided tour and presentation of the ceremonial plants in the terreiro Ilê Axé Opô Afonjá.

The Collage Workshop taught by Janet Kislansky takes place. The activity had two stages, one for individual production and another for collective production.

At the workshop Everything with Dicinho, the artist shows how to make Copageti. Photo Gillian Villa

Photo Rafael Martins

Performance-Installation Rabeca Camp continues in the interior of Bahia. The end of the Gardening Workshops with Cláudio Pinheiro.


September 4th 2014

Photo Alfredo Mascarenhas

3rd Millenium Chess From September 4 to 7, the Bahia Biennial brings the first edition of the 3rd Millennium Chess; an extension of the exhibition Genesis| Apocalypse | Resurrection by Rogério Duarte. The program begins with the discussion Chess beyond chess, on Thursday, and continues through to Sunday with the tournament that brings together national and international chess masters, plus simultaneous games in the dark, and the workshop Chess and self-fulfillment, with the international master Christian Toth.

The IKB, by Yves Klein, presented to the public during the closing concert of the 3rd Bahia Biennial | Photo Alfredo Mascarenhas

THE FANTASTIC INSPIRATION Faithful to the purposes of identification with the local community, the Symphonic Orchestra of the State of Bahia (OSBA) could not fail to attend the 3rd Bahia Biennial. This collaboration started in 2013 through meetings between the teams of the orchestra and MAM-BA. In the meetings, the first insertions were defined, focusing on the playful character of the event; the result then being SARAU OSBAnoMAM, which gave the public a unique form of interaction with chamber music. When mixing music with poetry, dance, cultural tips, any and all expressions of high art, the listener naturally opens his and her channels to various sensory stimuli, thus making concert music something light, fun and devoid of the weight of centuries which it naturally carries with it. The fantastic interaction experienced also provided a beneficial exchange where the audience and the orchestra formed one universe, indivisible, as if it were a celebration. The SARAUS, the insertion of the OSBA in the MAM-BA, were the preparation for the grand finale: the insertion of the MAM-BA in the Castro Alves Theater, home of OSBA. The 2nd concert of the Jorge Amado series was entirely designed as part of the celebrations of the 3rd Bahia Biennial. On the program we offered - in musical form - some of the most important items of the Biennale. Its title, as a question: “IS EVERYTHING NORTHEAST” was represented in the music of Ernst Widmer: Symphony OP.139 “Do médio São Francisco”. The Swiss-Brazilian reflected all the colors of the Sertão in the language of classical music, and the result was present within the audience in a unique way, producing immediate identification. Also the Frenchman Olivier Messiaen, with his work L’Ascension led us to the mystical and oriental element. His music was preceded by the prayer to St. Rita of Cascia by Yves Klein, who had his blue ink recreated and shown in front of the orchestra at the concerts.

Photo Alfredo Mascarenhas

The Esteio art gallery ends its activities with the release of the Esteio catalog, which records the entire process including the occupations, collaborations and meetings held in the space. The celebration also counts with the participation of the musicians from the group Samba de Roda de Massarandupió.

The 3rd Bahia Biennial will leave a deep and imperishable mark on the history of the OSBA, an organism which intensely lived each one of its provocations. Salvador, October 14th

Carlos Prazeres Artistic Director of the Symphonic Orchestra of Bahia

T I M E L I N E Screenings of the films Doméstica (Gabriel Mascaro) and Caixa d'Agua: Qui-Lombo é Esse? (Everlane Moraes Santos) at the Cineclube Filhos do Sol, in Heliópolis, for Cinema Yemanjá. The roundtable discussion Chess beyond chess opens the 3rd Millennium Chess Tournament. The action is an extension of the exhibition Genesis | Apocalypse | Resurrection, by Rogério Duarte. Screening of the film A idade da Terra, by Glauber Rocha, at the Museum of Modern Art, as part of the exhibition by Rogério Duarte. The end of the Painting Workshop with Rener Rama.

Photo Alfredo Mascarenhas

How to Preserve Food without a Refrigerator was the theme of the Workshop Registration. Tio Juca, a former professor of Veterinary medicine at UFBA and a former director of the Zoological Park in Salvador, taught participants how to salt meat, and assemble a smoker to smoke fish and meats.

September 5th 2014


The right to a funeral PAULO NAZARETH Integrated the group of artists who participated in the 3rd Bahia Biennial

Of the origin My name, Nazareth. I’m Paulo da Silva. Nazareth is my grandmother, my mother’s mother. Jesus of Nazareth, Borun from the Valley Atu, the sweet river. The history of boruns, which today are known as crenaques (Krenaks), is a long story. What I’m doing is finding a bit of my story, which connects with the story of many other people. A history of forgotten people; anonymous. It is a little of that. Paulo da Silva as many “da Silva”, from the jungle, kaiowá. Of the Ritual Today, what will happen is a bit of an encounter with these spirits, these eguns, these afflicted souls that are there and it is to be something smooth, a conversation, a dialogue, a meeting. It’s what I’ve been doing: an approach that is sometimes silence. I sometimes try to live with other cultures, other ethnicities; this approach can also happen in other lives and other places and what has been happening, in this manner, throughout my work and which has intensified now, here, in this visit to Bahia. During the time I spend here, I think about breaking these boundaries of the city, ethnic boundaries, official borders of one state with another, from one region to another. Saying that someone is from the Southeast and the other is from the Northeast, Bahia, Minas Gerais ... It creates a feud that should not exist. A regional strife, or between states, reflecting the bias that exists in these places, the bias that exists in Sao Paulo, “the city”, the economic mecca, the mecca of South American capitalism. We have in the city of São Paulo the Immigrant Memorial, but there is still no memorial for the peripheral migrant, the migrant from other centers, of northeastern migrants, from the north, Paraguay, Bolivia. This project is called the ‘right to a Funeral’. It is about these bodies, these people who are treated as objects. It is a pejorative objectification, because there are objects, sacred and of a higher realm, leaving the condition of objects, being personified and respected. What happens with these bodies that are objectified is that they lose the condition of subjects to become an object for disposal, but, at the same time, it is a disposal which is in limbo, because they are human bodies and bodies cannot be discarded in just any way, but they also do not receive their right to a funeral. Funerals exist in various types, but where there is the sacred, [the bodies] are given the right of way from one place to another, between what is alive and dead, and that which follows. They are unknown and I think about this relationship with the monuments to the unknown soldiers. But there is, at least here, this monument to the bodies, to the unknown victims, the murdered strangers. In principle, the project followed another path, but what happens is that the spirits gave in another way. They then sent the thing down in another way, because that way is cool, then it is a process, an action with the At

The end of the workshop Everything with Dicinho, with a relational lunch where the artist prepares macrobiotic dishes. Photo Gillian Villa

torney General that these bodies have their right to a funeral. We have to demand this right for us, the forgotten, marginalized, the people who build what we call a country, the Federative Republic of Brazil. We, artists, don not have much knowledge of how these procedures work. The first step is to consult a lawyer, and we are still at the beginning. The desire is to follow the same steps, the same legal process of the families of Corisco, Dadá, Lampião, who managed to rescue their beheaded heads and the right to bury them. Maybe there is a difference, that Lampião was not denying his story, because he was present there and his legend never ceased to haunt. But many are forgotten, here there are two bodies that were embalmed and they just say that they are “an indigenous and a mestizo.” This is generalizing a large number of cultures, peoples, races, an enormous diversity that still exists in this country. We have almost 200 living languages, originated in these lands here. When you ask someone how many languages are spoken in Brazil, we say “Portuguese”. There are people, identities, peoples; ethnic groups that are forgotten, even living, and are deleted. So they say “it is an Indian”; but it is very generic, to be an “Indian.” It is even derogatory. “Indian” is commonly used to swear or offend, they talk about an “Indian program” ... or calling someone “Indian”, who is not behaving properly. We have contact with the Kaiowá, Yanomamo (Yanomamis), which are completely different. And this joins [the history of] the Crenaques. In the beginning of the last century (XX), the old SPI (Indian Protection Service), created by Cândido Rondon on that journey to the west, demarcated indigenous reserves which were practically concentration camps. The lands were considered unoccupied, even with people living in these places, and reserves were created: “You can only stay here, in this place, in your reservation, you cannot leave.” Until then these people were free to move from one side to the other, transiting between Brazil, Uruguay, Paraguay and Argentina, and had a large territory spreading to São Paulo and southern Brazil. They used to claim “oh, these people have no right to the land because they are nomads”. These people travelled through their land. It’s like saying I have no right to property because I travel to São Paulo. This is absurd. The nomadic question is a matter of transit. They are not sedentary people, they circulated and still circulate in the territory they occupied, which belongs to them and that they belong to. For the Kaiowá, you cannot separate the land from the person; they are together, they are directly related. So when moving there, when travelling ... he’s always at home. He does not cease to be part of this land by being in a neighboring village, in tekoha, as they say ... “the holy land”. They do not say “village”, but tekoha, where it is what it is. The place where it is, according to the customs of all times, of the ancestors, where it is as it always was.

Photo Ayrson Heráclito

The Intervention Entre Nós (Between Us) used the ceremonial of dinner as an imageable, discursive device and invites five homeless residents to eat, drink and talk. The purpose of the meeting, held at the Largo dos Aflitos, is to stimulate reflection on human rights and the occupation of public spaces as an exercise in citizenship.

The Headscarf Workshop is held during the exhibition Archive and Fiction at the Public Archives of the State of Bahia.

The second day of the 3rd Millennium Chess Tournament presents the worskhop with (IM) Christian Toth: Chess and Self-fulfillment. Pedro Marighella launches the book Ensaio Pagodão. The publication brings together the experiences of his two-month project.

Reza - closing of the exhibition Archive and Fiction | Photos Isbela Trigo

Photo Tatiana Golsman

Ceramics Research Group – Popular Art Miniature with Marlice Almeida. Calm is the theme of the last Registration Workshop, taught by Lina Pedreira.


September 6th 2014

The installation Casa de caboclo, by Arthur Scovino | Photo Pedro Ivo Trasferetti - São Paulo Biennale Foundation

BAHIA IN IBIRAPUERA In what way is your project close to Bahia no Ibirapuera, held by Lina Bo in 1959, during the 5th São Paulo Biennale?

Photo Alfredo Mascarenhas

Curumins & Cunhantãns | Photo Reproduction

The attic of the Palacete das Artes receives Hipernatureza, a series of documentaries by the filmmaker Regina Jehá. The action is part of the exhibition the Imaginary Museum of the Northeast | Department of the Endless Journey | Section: Naturalisme intégral, which occupies the whole villa. Curumins & Cunhantãs (1981), Pantanal, a última fronteira (1983), Catehe (1994) and Bootstrap (2005) are the works comprised in the session.

Arthur Scovino - My perception of the world changed in 2001 when I first stepped into the Abaeté Lagoon. It was my first spiritual experience and one of a profound relationship with a place, a city. I chose this city to live in seven years ago, and everything I think and do come from Salvador and the things from Bahia. I believe that Lina thought about taking this rapture to Bahia in Ibirapuera. There were the ephemera of life and art in Bahia. Objects of art that promoted relationships with people; the relationship of man with nature, and the energy that comes from it. In this project I bring the spirit of it all. I bring my references, herbs, smells, objects, performance artists and friends, the School of Fine Arts, the Solar do Unhão, the Bahia Biennial. It’s a universal conversation, but which comes from here; the <Church of> Aflitos, the Terreiro de Jesus and all of the Caboclos. In what does this change in perspective (from Salvador to São Paulo) affect the project Casa de Caboclo? Arthur - Since I started attending shows and exhibitions, I have been present, whether in performance or painting. In Bahia, I was already accustomed to people. Relations with the public are born from my experience with the people and the city. I am now experimenting this work for the first time outside of Bahia. Regardless of the context, or the importance of São Paulo or the Biennial; I’m focused on this. I’m still in the first month of the process, of meetings, and I already

feel the changes. São Paulo has a broad view of the concept of ‘Brazilianness’, and the northeast is both near and far at the same time. It’s what I can say for now. There at Abaeté I thanked them and asked for leave to bring the Caboclo dos Aflitos to São Paulo. I noticed here that the essence of this work is in harmony with the universal longings and desires, and not only with Bahia. It is the starting point. Do you believe this journey, from one city to another, implies a reenactment of Casa de Caboclo? How is it the same, yet different, in this journey from one place to another? Arthur - The Casa do Caboclo (dos Aflitos) is in Bahia. This title, Casa de Caboclo, is a metaphor for conducting the work, and emphasizing the presence of the Caboclo there. In fact, there are many Caboclos. I thought of it the moment I left Bahia with this project; when I thought about fusing the references of my childhood home in Rio de Janeiro with the house where I live in the Aflitos. The objects, the things that change place and are exposed and processed every day. I think of our ancestors, the history of the independence of Bahia and Brazil, in our present life marked by beliefs and feelings influenced by this spirit that comes from the forest to communicate with the men of the city. By being out of Bahia, I created an installation with various symbols and objects that trigger these stories and feelings in the form of meetings, rituals, performances. Casa de Caboclo is a work that can be displayed anywhere in the world where it is interesting to discuss the history of miscegenation, faith and Brazilian culture with its conflicts and delights.

T I M E L I N E Screening of Doméstica (Gabriel Mascaro) and Caixa d'Agua: Qui-Lombo é Esse? (Everlane Moraes Santos) in the Cineclube Filhos do Sol, in Heliópolis, for Cinema Yemanjá. Photo Reproduction

The artists Caetano Dias, Eliezer Bezerra and Deusi Magalhães return to Salvador after six days of setting up night camps in the cities of Juazeiro and Xique-xique for the project Rabeca Camp.

The workshop Potinhoterapia takes place, with Ivana Magalhães at the Laje Collection.

The 3rd Millennium Chess Tournament continues at the Sartre COC school, reaching the semifinals. Photo José Eduardo Ferreira

September 7th 2014



Photo Gillian Villa

Photo Gillian Villa

Photo Gillian Villa

Photo Gillian Villa

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Photo Alfredo Mascarenhas

Photo Lara Carvalho

Last edition of the Drawing Workshop, given by Professor Olga G贸mez.

Krikor Sevag Mekhitarian (Grand Master) wins the 3rd Millenium Chess Tournament. Photo Alfredo Mascarenhas

Photo Rafael Martins

The end of Painting at the Biennale, with Maninho Abreu. Jaison Santos is the artist/student of the workshops whose works are the basis for the mediation of the project Mesas (Tables), conducted by the mediators of the MAM Biennale workshops, Leandro Estevam and Tiago Costa.

Jango - Uma Tragedya, a play directed by Mรกrcio Meirelles, with text by Glauber Rocha, integrated the program of the Biennale.

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/ 2014

Photo Leonardo Pastor

Curatorial Proposal Is Everything Northeast?


Forms of Orientalism Africas



High intensity

Ludicals Tropicalities



Naturalisme IntĂŠgral


Psychology of Testimony



MAY 29


I- Introduction This curatorial proposal aims to establish a formal programme of actions for the implementation of the 3rd Bahia Biennial, drawing out the Biennale’s main theme, educational activities, publication policies and artistic experiences of exhibition, performatic and of immaterial nature. As a panoramic exhibition, it is articulated by a system formed by criticism, information and documentation. This body of actions should promote a diversity of readings and interpretations, working, widening and problematizing questions related to the main theme of the Biennale. This will be done through autonomous artistic interventions in constant dialogue with ideas and experiences arising from society at large. The programme proposed by this curatorial project intends to establish working spaces of a transversal nature, absorbing – whenever this meets the needs of the programme – different languages for artistic expressions within the field of visual arts, as well as their different histories and limits, all set within local, Brazilian and universal narratives.

II – Premises The creation of exhibition projects of a large scale is historically linked to the social and political context of late 19th century Europe. Its origins are tightly woven, and determined, by the colonial experience of the continent: the “World Fairs” presented, through organised exhibitions, the “shrinking of the world”1. When the first biennale of history (Biennale of Venice) is organised in 1895, the project had the function of offering a programme that wasn’t merely artistic. Amongst the Biennale’s missions was to illustrate the capabilities of Italian industries, exhibiting the so-called decorative arts, which at the time were of great importance. In 1907 Venice goes international, while keeping the European perspective on artistic developments. During the era of Italian fascism on the 1920s and 1930s, other artistic languages get incorporated, such as theatre, cinema and music – via parallel festivals. The development of the Biennale of Venice is marked by an Italian particularity: fascism promoted its own artistic avant-garde, Futurism, while Nazi Germany repressed European avant-gardes, discrediting them as a degeneration of the Classical period. Either way, it is out of Venice, out of the Italian experience, that the concept of “Biennale” is shaped as involving an ambitious mapping of artistic production at a world scale. Nowadays, there are around 300 organised Biennales in the world, with a great chunk of them being springing at the turn of the century, during the period of world expansion (thanks to the development of new digital technologies) of information and markets; the phenomenon of globalisation. For many nations, cities or regions, Biennales – historically used, when there is no other explicit definition, to refer to visual arts – has been one of the faster ways to gain space in the critical, political, artistic and even tourist global scenes. In Brazil, there are currently different events of an expositional nature that are named “biennale”, but only two of these projects have achieved a real articulation with the national and international artistic scene: São Paulo Biennial, the second oldest in the world (created in 1951), and the Mercosul Biennial (established in 1997). However, this classical history, this attempt at crafting a genealogy of the Biennales (and consequently of big-scale exhibition projects), hides another narrative, a not so official one. If the model created in Venice materialises an immersion into the history of the modern arts, it got deconstructed in Havana in 1984. Cuba, by organising a “Third World Biennale”, put under the limelight not only an artistic production largely ignored by European and North American events. The Biennales of Havana presented narratives that differed from those of official histories and art markets, placing itself as a definitive model for art Biennales and for contemporary art. Under this perspective,

(1) Sloterdijk, Peter. Im Weltinnenraum des Kapitals, Suhrkamp, Berlin. 2005.



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the projects for the Biennales of Bahia of 1966 and 1968 are closely related to the Havana experience, in the same way that the São Paulo Biennale originated in the Italian experience.

III – Bahia Biennales (strategies and functions) “In 1951, in the opening text of the catalogue of the I Biennale of the Museum of Modern Art of São Paulo, Lourival Gomes Machado, artistic director of the museum, wrote: ‘By its own definition, the Biennale should perform two main tasks: placing modern art in Brazil not in a simple confrontation, but in close contact with the art of the rest of the world, while aiming to put São Paulo at the centre of the world artistic scene’. The upbeat tone of the piece, with a rhetoric full of hope, the commitment and involvement with a time of reconstruction after the terrible episodes of the II World War, might sound to our ears as a prophecy, the launching of an utopia that fifty-eight years later might have carved its own place: São Paulo turned into an international arts centre, a cosmopolitan city, a reference point in the globalised arts scene, while Brazil turned into a point of attraction for artists, curators, gallerists and international collectors. Brazilian artists consolidated their presence at debates around the production of a visual contemporary scene. It is clear, therefore, that the objectives were achieved, and the task that the Biennale set for itself in 1951 seems to be over.”2 The aforementioned text is part of the curatorial proposal of the 28th Biennale of São Paulo – Em Vivo Contato (In Close Contact) (2008) – that intended to think the history of biennales in general and of the São Paulo biennale in particular, taking into account the limits of the project launched in the 1950s; this text serves as a brief contextualisation of the intentions and desires materialised at the dawn of the Brazilian modernisation era, reaching its peak during the government of Juscelino Kubitschek (1956-1961), with the construction of Brasília. This contextualisation also help us to understand the Biennales of Bahia as a field of counter-discourse: if the Biennale of São Paulo identifies itself in its origins as a receiving “international arts centre”, the Bahian experience aims to create a different strategy: set itself as an emitting field, privileging art, artists and Brazilian thought, counteracting the dominant discourses of any local or international centre. This movement resulted in an attempt at thinking, imagining and problematizing the universal out of a Bahian experience and a regional (North-Northeast) perspective: “The Brazilian project: accessing the outside, integrating the marginal, filling in the empty spaces. Multiplying the centres or the economic and cultural hubs. After the reductionist critique, cannibal, anthropofagic, that takes us back to zero, to nothing, we take the Marcusian jump, a prospective step. The Brazilian problem is not the nothingness of culturally saturated countries or the objectification of affluent societies, but of everything that is yet to be done, resolved, transformed. The Bahia Biennial is a reflection on the Brazilian emptiness. It is a proposal for cultural integration (…). The second Bahia Biennial will be even more relevant, because it will have to establish itself as the most important collective art show in Brazil after the Biennale of São Paulo, making more specific its influence in the Brazilian cultural context. If the Biennale of São Paulo represents the art of fullness, the Bahia Biennial is in charge of reflecting on emptiness. As the process of entering the outside is underway, with the void filled in, the two biennales will finally stop being two opposing and contradictory poles.”3

IV – The 3rd Bahia Biennial The political and cultural context (national and international) of the two decades after the drafting of the biennales projects in Brazil – 1950s and 1960s – might help us understand these two types of narratives, circumscribing its potentialities and its limits.

(2) Mesquita, Ivo. Curatorial project. 28th São Paulo Biennale “Em vivo contato”. Fundação Bienal, São Paulo, 2008. (3) Morais, Frederico. O vazio, a construção, o salto: Bienal da Bahia. Revista GAM/17. Catalogue of the 2nd Bahia Biennial. Guanabara, 1968.

For this curatorial project, the return of the Bahia Biennial in 2014 (after a 45 year hiatus) means revisiting the memories not only of intellectuals, artists, audience and all the rest of the people involved in the first two editions. It also means revisiting the intentions of the original project: its role in establishing an alternative field, a counter-discourse able to create, promote and establish alternative ways for research, proposals, educational projects and policies related to the arts that would allow them to fulfil their potential, without having to search for their legitimacy in other national and international centres. In the search for this conceptual consistency, this project proposes a 3rd Bahia Biennial, and not a 1st one, therefore not ignoring its own history. However, this curatorial project also accepts the need to update the original aims of the first two editions out of the current context in Brazil and the rest of the world; a context in which the concept of centre and periphery are in a process of redefinition. There is no “centre” as it was the case in the past decades, but different narratives that come together or oppose dominant discourses in the history of art and of culture in local, national and universal scales. This results in an International Biennale, created out of a Bahian and Brazilian gaze. The theme of this curatorial proposal, and of the structures devised for its implementation, are set within the attempt to reconstruct the ideas and ideals of the early Bahian Biennales and the need for its vigorous updating. The search for metanoia is central in both the original demands of the Bahia Biennial and its current ones, a radical change of perspective, a mental shift that will provoke a new understanding of reality, undergoing an internal metamorphic process so as to modify its outer side. V – Thematic Perspective (3


Bahia Biennial)

The 3rd Bahia Biennial takes place within a historical context that has set the North-eastern region of Brazil in the economic spotlight, a position unknown throughout the 20th century. In the first trimester of 2013 (an actual and isolated fact), the Northeast was responsible for sustaining the growth of Brazil’s economy. This is the most recent example of the region’s new place. During the process underwent in the past two decades, the relations between the Northeast and the rest of Brazilian regions, with local cultures and global conditions, has undergone a gradual process of reconstruction. In this scenario, historical power relations were altered. The geographic and historical Northeast faces a Northeast alive in a certain Brazilian (and, in a certain way, worldwide) imagery about the region. This imagery is built on, and contaminated by, ideological projections, cultural distortions, class politics, geographic determinism and folkloric notions, supported by all sorts of images, even television and cinematographic ones. When facing this Northeast shaped inasmuch by actual facts as it is by the imagination, what narrative(s) can the Northeast offer about itself arising out of the Bahian experience? Bahia is officially part of the Northeast region since 1959, with the creation of Sudene (Superintendence for Northeast Development) – a result of 1958 big draught and the resulting increase in population migrating out of the region – under the government of Juscelino Kubitschek; the Sudene, was created on economic and political grounds, based on research undertaken by economist Celso Furtado. At that moment the Brazilian State finds itself in the position of establishing what is, and what is not, the Northeast. Is Everything Northeast? is the question formulated by the 3rd Bahia Biennial. This question is set as a platform and central theme to be developed through different expression channels, artistic actions and educational programmes. Is Everything Northeast? enquires about the constitutive processes of the cultural and historical experience of the Northeast out of the Bahian experience and its dialogue with Brazil and the world in general, discusses the durability or failure of concepts such as regionalism, determinism, and the physical and mental dwelling of territories. With Is Everything Northeast? we aim to craft an

archaeology of beliefs, ideas and fantasies, utopias and rituals, orders and commands, sensibilities, politics, perception and reactions that ended up defining, within Brazilian culture, what the Northeast is, or, in many instances, what it should be. Summing up, the question, as a central theme, could be presented out of a definition formulated by artist Juarez Paraíso: “The Northeast as a human experience”.

VI – Formulating the question (3rd Bahia Biennial) Thus, Is everything Northeast? is the main question behind the curatorial project, its central concept that runs through all of its actions, exhibitions, projects and meetings of the 3rd Bahia Biennial. The question implies an approximation to the cultural and artistic production of the region, in is most varied perspectives: the Northeast as a geographical condition, historical construction, and a potent piece of the imaginary. Identifying and navigating the possibilities of the different and varied Northeasts (in Brazil and the rest of the world), implies taking account, understanding and working with the place and space that Bahia occupies within these very same relationships. This curatorial process aligns itself with the main aim behind the two other editions of the Bahia Biennial: instead of being historically and artistically read by the “Other”, it is the local experience, thought universally, that reads this “Other”. Is everything Northeast? is therefore the main idea regulating the 3rd Bahia Biennial. The public formulation (how this concept will be communicated to artists and wider society) allows for several possibilities: Is everything Northeast? A universal Northeast? Is the Northeast the world? Everyone is Northeast? Amongst these possibilities, this curatorial project supports the use of the original model Is everything Northeast?, believing it to be a formulation that is more clearly aligned with the choices and curatorial processes explained in this document.

VII – Thematic structure Out of the central theme (Is everything Northeast?), the project defines in the following way the thematic structure (i.e. sub-themes to be executed in the exhibition format, performances or installations) to be worked curatorially by the 3rd Bahia Biennial through its curatorial structure: Immaterial – Identity constructions, explorations of reality and its unfolding and conceptual processes on the apprehension of reality. Tropicalities – Archaeology of sensorial experiences out of specific climatic conditions. This thematic development is also developed in research that explores the tropical as imaginary, and not merely as a climatic region. Ludicals – Development of processes that involve a “philosophy of playfulness”; that is, the understanding of playful activities, choreographic and bodily activities as a possible way for creating realities, understandings and an immaterial archive for collective memory. Forms of Orientalism – Researching the processes of construction of the imaginary out of the experience of the Northeast. Naturalisme Intégral – Relations with natural and nature. “The integral naturalism is allergic to any kind of power or metaphor of power. The only power it recognises is the purifying and cathartic power of the imagination at the service of the sensitivity, and never the abusive power of society. Integral naturalism is not metaphoric. It does not

MAY 29


translate any willingness of power, but rather a different state of sensitivity, a wider openness of conscience (…) Naturalism conceived this way implies not only in a stronger disciplining of perception, but also in a more human openness. At the end of the day, nature is that way, overcoming us within the perception of its own duration. However, in the time-space frame of the life of a human, nature is the measure for its conscience and sensitivity.”4 Psychology of Testimony – Development of actions and research on archives, not only public, but also personal and family ones, with the aim of sketching micro-narratives on the pieces that compose collective memory. “In a normal testimonial, that is, that mixes facts with fiction, there is nothing more imprecise than material details; everything happens as if most humans walk around with their eyes half closed in the midst of the outside world (…) Thus, thanks to the psychology of the testimonial, we can clean up, with the most able hand, the image of the past from the mistakes that hide it.”5 Genders – Relations and research in the field of sexuality, and its sensorial, political and social implications. Africas – Development of projects that promote artistic, aesthetic, historical and social readings on the African continent, in its most varied conditions and perspectives, not limited to sub-Saharan Africa.

VIII – Curatorial structures The 3rd Bahia Biennial, through its different sectors, must offer the city, state and public a programme of events distributed throughout the hundred days of activities of the Biennale. This programme can be divided into exhibitions, film cycles, talks, meetings, artistic actions and a wide variety of educational activities. This programme is organised around specific structures, linked to the main theme, and using different solutions and languages that will contribute to develop in a coherent way the curatorial project:

a) Museum structure – Imaginary Museum of the Northeast In its unfinished and final work “Passages” (1927-1940), Walter Benjamin shows a refined reading of history and culture when analysing the origins and forms of the museum as an invention, focusing on 19th century Europe, Paris, and the remnants of the Enlightenment project of the 18th century, and how they still had an effect on the early 20th century. For Benjamin, museums are quite clearly “dream- and wish-image of the collective”. The museum is a fiction because is encapsulates the idea of a space in which there is the illusion of order and control of what is, in effect, incoherent choices determined by the cultural, social and power context. The museum is, therefore, a licence of the imagination, a political parody that has, at least ever since the works of artist Marcel Broodthaers, a curatorial and artistic tool. In Broodthaers, “a normal museum and its representatives put on scene a certain kind of truth. Talking about this museum is like talking about the conditions for that truth. There is some truth in lies.”6 It is out of this viewpoint that the Imaginary Museum of the Northeast will be created and will be open throughout the whole period of the Biennale. This project will open up possibilities for a whole series of other exhibitions of all sorts of types and intensities. An exhibition can be arranged with two or two thousand pieces. The field of research and readings of artistic productions (and cultural movements) can be shown in its most varied ways, with projects organised in any city or space. The collection of the Imaginary Museum of the Northeast will include objects, personal archives, artworks of any artistic expression, publications, handcrafts, oral memory, and any oth-

(4) Restany, Pierre. Manifeste du naturalisme intégral. Paris, 1978. (5) Bloch, Marc. Réflexions d’un historien sur le fausses nouvelles de la guerre. Paris, 1921. (6) Broodthaers, Marcel. Collected Writings. Ediciones Poligrafa, Spain 2013.



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er kind of product. Its function is to create different exhibitions that could, in a non-hierarchical way, go beyond the production of the various Northeasts and ideas about the Northeast, in different forms, names and formats, aiming to put into close contact local and international artistic production. The sections of this museum should be on show throughout the city and other regions of the State. There will be thematic exhibitions, taking place in a variety of spaces, developed out of sections and departments established by the museum itself. The museum will have its own visual identity and set of publications, functioning as a de facto museum, even though imaginary, during the whole duration of the 3rd Bahia Biennial. It will be the imaginary museum of the Northeast, not of works produced in the northeast. Therefore, any type of artistic or cultural production from all over the world will have a place within it. The museum sections will be articulated around the structure of the book “Rebellion in the Backlands” (“Os Sertões”) by Euclides da Cunha, based on the alleged experiences of the author in Canudos: the contact with that “other” Brazil. In the case of the imaginary museum, this perspective is oriented towards “Other Brazils/Other Worlds”, and the museum’s departments should provide thematic guidance to its visitors. We list some possible sections and departments for the project: * Imaginary Museum of the Northeast Department of African Relations Section: The struggle * Imaginary Museum of the Northeast Department of feminist studies Section: The man, the struggle * Imaginary Museum of the Northeast Department of Birds Section: The Earth * Imaginary Museum of the Northeast Department of colours Section: Mankind * Imaginary Museum of the Northeast Department of climate Section: The struggle * Imaginary Museum of the Northeast Department of integral naturalism Section: The Earth, the Man, the struggle * Imaginary Museum of the Northeast Department of vegetal racism Section: The Earth As with any other museum, a whole programme of events and educational meetings will be arranged on each and any of the Imaginary Museum of the Northeast sections.

a.2) Imaginary Museum of the Northeast (Special Rooms) – This department of the Imaginary Museum of the Northeast functions as a space for historical or dissertation research nuclei on specific authors and artists. Retrospective exhibitions (in any format) will also function as special rooms of the imaginary museum. This curatorial project initially proposes three projects for the format: * Imaginary Museum of the Northeast Department of modern orientation (Lina Bo and Diógenes Rebouças) Section: Special Room * Imaginary Museum of the Northeast Department of modern psychedelia Section: Special Room * Imaginary Museum of the Northeast Department of musical issues Section: Temporary uses

b) Particular structures – This nucleus aims to work with specific artistic projects, especially commissioned for the 3rd Bahia Biennial. c) High intensity structures – These structures will integrate the educational project of the 3rd Bahia Biennial, with regards to meetings, talks and seminars. A programme spreading throughout the hundred-day duration of the Biennale will be organised. Instead of offering a programme of an extensive character (a seminar over a few days or weeks), there will be on offer a diversity of intensive activities: a four-hour long seminar, an action that takes over 24 hours, performances that fit within the educational nature of the project. Some of these events will also be included in some sections of the Imaginary Museum of the Northeast. d) Relational structures – This curatorial project aims to develop work and artistic projects out of actions of a public nature, linking art and urban intervention to projects idealised alongside groups or specific communities during the Bahia Biennial. The structural relations also project the Biennale out onto the street and everyday experiences. e) Nocturnal Structures – Developing a series of activities, using different formats and languages, taking place during night time for the whole duration of the 3rd Bahia Biennial. f) Climatic Structures – Developing a series of projects set within the field of sensorial climatic experiences, taken both in its real and imaginary conditions. g) Reenacting structures – This nucleus works with the concept of rerun, recapture, restaging. The objective is to recreate the conditions in which past projects, that did not achieve their full potential, were executed. The concept of rerun does not imply imitation; it goes beyond that, aiming to create forms and strategies to deal with empty spaces, with things that are forever lost and that only remain in the collective memory. This project proposes the re-enacting of three events: i. Exhibition of the 1st and 2nd Biennales of Bahia (1968) – After a first edition, the second edition of the Bahia Biennial was closed after some clashes with the military regime. This implied effectively ending the Biennale project in Bahia, with the second exhibition never opening to the public. ii. Bahia at Ibirapuera – A project Lina Bo created in 1950s São Paulo, aiming to introduce the potentiality of Bahian culture and experience in the Southeast. This project will take place in São Paulo, as a centre of the 3rd Bahia Biennial in that city. iii. Registration Exhibition – Idealised by Chico Liberato during his time as a director of the MAM-BA, in the 1980s. An exhibition project open to everyone, with artists and works going on show after a registration process. Here, the original idea behind the project is what is re-enacted, and not its content.

IX - Educational projects The educational policy of the 3 Bahia Biennial includes the insertion of specific projects within programmes that are already established by the State Government of Bahia (such as those organised by the Anísio Teixeira Institute, or the Parque School), as well as non-governmental organisations with or without public funds. Some strategies will be drafted to promote actions alongside teachers, students and communities, with the use of specific editorial materials. Amongst the objectives of this educational nucleus are: rd

projects and proposals implemented during the Biennale. Educational materials should focus mainly on (but not in a limiting way) thinkers that developed research and programmes out of the Brazilian experience, such as Paulo Freire, Anísio Teixeira, Celso Furtado, Florestan Fernandes, Gilberto Freyre, Darcy Ribeiro, Milton Santos or Eduardo Viveiros de Castro, amongst others.

X – Organisation Each and every structure, nucleus and section will be under the responsibility of one or more curators, responsible for implementing the project, always in accordance to the original curatorial project. The general organisational structure will be as follows:

* General Director (chief-curator(s)) * Executive Director (executive production) * Finances Director (treasury) * Technical Director (preparation) * Editorial Director (editorial products in any media) * Educational Director (educational programme) * Director of Communication * Curatorial group (co-curators)– The processes lead by co-curators should follow this format: Structures of re-enactment: Curator(s): x, y Artists: x, y, z, t Languages and media used: x, v, t NB: the co-curators (to be invited by the general director) will be free to propose names, projects and artworks to be included in each nucleus, all of which must be discussed with the general direction and obtain its approval. This organisational procedure has the aim of maintaining the conceptual coherence of the project and respecting the established budget.

XI – Exhibition spaces This project aims using a wide array of spaces on offer by the State of Bahia or non-governmental cultural spaces willing to enter into a collaborative agreement. The project also has the objective of using private spaces, such as homes or commercial spaces, for curatorial and artistic purposes always within the programme herein described. Amongst these spaces we can find:


State Public Library of Barris


State Cultural Centres


Parque School


Carmo Space

a) Training around 200 helpers to work during the whole Biennale.


Jequitaia Space

b) Creating pedagogic material to be used in educational activities with students.


Foyer of TCA

c) Creating a set of dialogues and interfaces in specific programmes developed alongside the communities that receive the

g. ICBA h.

Institute of Cocoa – CEPLAC

MAY 29



Abaeté’s Lagoon (House of Music)


Museum of Water


Museum of Art of Bahia (MAB)


Geological Museum


Marine Museum (Barra’s Lighthouse)


Technological Museum (Pituaçu)


Art’s Mansion


Aclamação’s Palace


Public Parks


Planetarium (Feira de Santana)


Ferrão’s grounds



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Free courses – “How to be happy in the 21st century” is the first of the free courses organised by the MAM in collaboration with the Federal University of Bahia. Following established models such as the University of encompassing knowledge” (France), and the Free University (Germany), the course sets to reflect, on a scientific way, on the context in which humanity finds itself in this new century. What is the contemporary experience? Lecturers from different fields will offer specialised courses in their own disciplines with the aim of bringing closer the general public to a possible answer. These courses will be open to the general public, with its activities starting in August 2013. Contorno Magazine – Monthly publication that aims to publicise the ideas developed by the Bahia Biennial and the Museum of Modern Art of Bahia. The magazine’s content, based on essays, interviews, profiles and artistic projects, helps to document the processes involved in the crafting of the project for the 3rd Bahia Biennial. The first number of the magazine will be launched in October.

t. UFBA u. UFRB v.

Hansen Foundation (Cachoeira)

XII – Artistic Residencies The 3rd Bahia Biennial will initially have six programmes of artistic residency, in a collaborative project alongside Sacatar Foundation. Artists will be invited to develop projects specifically for the Biennale, staying in Bahia for a three-month period.

XIII – Publications, products and visual identity This curatorial project aims to create a visual logo for the 3rd Bahia Biennial, as well as developing guidelines for its use. This logo will be used in every official printed material of the Biennale: general catalogue, events guide, participating artists, map of the Biennale, as well as cards and posters. These materials should help document and inform the public on every action of the Biennale.

XIV – MAM-BA/Bahia Biennial 2014 The 3rd Bahia Biennial has developed, alongside the Museum of Modern Art of Bahia, several activities in preparation for the biennale. These activities will still be undergoing throughout the whole period of the Biennale, even going beyond it, serving as ongoing planning for the development of forthcoming editions of the event. The museum’s direction should be in charge of expanding the already existing activities, as well as crafting new projects for educational and debate actions. Some of the existing actions are: MAM Discusses curatorial processes – The Museum of Modern Art of Bahia will open a public call for selecting junior curator candidates for a programme of research and curatorial development. The selected proposals will be developed under the supervision of the Centre of Curatorial Research of MAM. This programme is financed by Funarte, with funds obtained through a public call in August 2013. MAM Discusses the Biennale – A fortnightly event organised by the museum since March 2013, the project aims to debate public research on the history of Bahian art and culture, as well as its links with the history of the Biennales and their overall models. The meetings are scheduled to take place until the end of this year. MAM Discusses the circuit and art system – Programme of debates on the artistic, social and economic processes involved in artistic production and its economic and symbolic circulation.

Museum of Modern Art of Bahia (MAM-BA) The Director August 2013

LIST OF PARTICIPANTS (A to Z) 1. Abbas Kiarostami 2. Abraham Palatnik 3. Adalberto da Palma 4. Ademir França 5. Adenor Gondim 6. Adrian Cowell 7. Adriana Pacheco dos Santos 8. Adriana Souza 9. Agamenon de Abreu 10. Agnaldo dos Santos 11. Agnès Varda 12. Alagbês “Oritálaiyè – Encruzilhadas do Mundo” 13. Alba Liberato 14. Aldemir Martins 15. Ale Mônaco 16. Alejandro Jodorowsky 17. Alex Andrade 18. Alex Oliveira 19. Alexandre Carvalho 20. Alexia Riner 21. Alice Schmidt 22. Alighiero Boetti 23. Alisson Silva 24. Almandrade 25. Ana Cristina Cesar 26. Ana Fraga 27. Ana Rita Queiroz Ferraz 28. Ana Verana 29. Anísio de Carvalho 30. Ana Luisa Lima 31. Anna Paula da Silva 32. Antonello L’Abbate 33. Antônio Brasileiro 34. Antonio Santos 35. Aristides Alves 36. Arlete Cruz 37. Arno Schmidt 38. Arquivo Turner/Xavier Vatin 39. Arthur Scovino 40. Artur Esdras 41. Babalu 42. Bakary Diallo 43. Baldomiro Costa 44. Bernardo Oliveira 45. Ceguêra de Nó 46. Bárbara Alessandra 47. Barry Flanagan 48. Bauer Sá 49. Beatriz Franco 50. Beatriz Lemos 51. Benjamin Abrahão 52. Bernard Venet 53. Beto de Massarandupió 54. Bia Medeiros 55. Bianca Portugal 56. Bloco de Hoje a Oito 57. Bruno Munari 58. Bule-Bule 59. Caetano Dias 60. Camila Antero 61. Camila Sposati 62. Capitão Ramon Diego 63. Carla Brandão Zollinger 64. Carlos Mélo 65. Carlos Martiel 66. César Romero 67. Charbel-joseph H. Boutros 68. Chico Liberato 69. Chico Dantas 70. Clara Domingas

71. Claudio Manoel 72. Cláudio Marques 73. Cláudio Pinheiro 74. Claudio Costa 75. Cris Ananda 76. Cristiana Tejo 77. Cristina Martins 78. Daiane Troesch 79. Dalton Harts 80. Daniel Buren 81. Daniel Castanheira 82. Daniel Lisboa 83. Daniel Marins 84. Daniel Santiago 85. Daniela Azevedo 86. Daniela Guimarães 87. Danilo Lima 88. Danniel Ferraz 89. Darcy Ribeiro 90. David Blandy 91. Dennis Oppenheim 92. Di Cavalcanti 93. Diana Valverde 94. Dicinho 95. Diego Mauro 96. Dilson Midlej 97. Dimitri Ganzelevitch 98. Documentação Simões 99. Dona Cici 100. Durval Muniz de Albuquerque Júnior 101. Eckenberger 102. Edgard Navarro 103. Edgard Oliva 104. Ediane do Monte 105. Edinízio Ribeiro Primo 106. Edivaldo Bolagi 107. Eduardo Witzel 108. Efrain Almeida 109. Elias Santos 110. Elomar Figueira Mello 111. Emanoel Araújo 112. Enderson Araujo 113. Eneida Sanches 114. Etsedron 115. Eustáquio Neves 116. Evandro Sybine 117. Fabiana Dultra Britto 118. Fabiane Beneti 119. Fátima Pombo 120. Fernando Guerreiro 121. Fernando Pontes 122. Flávia Pedroso 123. Flávio de Barros 124. Florencia Langarica 125. Florival Oliveira 126. Fluxus 127. Francine Jallageas 128. Francisco Teixeira 129. Frans Krajcberg 130. Franz Erhard Walther 131. Fundação Terra Mirim 132. Gabriel Vieira 133. Gaio Matos 134. Galeria 13 135. Gary Kuehn 136. Genaro de Carvalho 137. George 138. Ger van Elk 139. Geraldo Simões 140. Gerardo Mosquera

141. Gerry Schum 142. Gerson Nascimento 143. GIA 144. Gianni Piacentino 145. Gilbert & George 146. Gilberto Tourinho 147. Gilberto Zorio 148. Gilmar Feitosa 149. Gilson Barbosa 150. Gilson Rodrigues 151. Gino de Dominicis 152. Giovanni Anselmo 153. Giselle Beiguelman 154. Giulio Paolini 155. Glauber Rocha 156. Goli Guerreiro 157. Grupo Feminista de Experimentos Sonoros da Escola de Música da UFBA 158. Grupo Posição 159. Guilherme May 160. Gustavo Carvalho 161. Guto Lacaz 162. Hamish Fulton 163. Hansen Bahia 164. Harald Szeemann 165. Harry Laus 166. Hélio Oiticica 167. Heloisa França 168. Hilda Baqueiro 169. Hilda Salomão 170. Humberto Aquino Rocha 171. Ian Wilson 172. Iara Cerqueira 173. Ícaro Lira 174. Ícaro Vilaça 175. Ieda Oliveira 176. Inaicyra Falcão 177. Ingmar Bergman 178. Irlan Tripoli 179. Isa Trigo 180. Isabela Silveira 181. Isaura Tupiniquim 182. Itaberaba Sulz Lyra 183. Ivo Foguete 184. J. Cunha 185. Jaci Menezes 186. Jaciara Cruz Acassio 187. Jaime Fygura 188. Jamile Menezes 189. Jan Dibbets 190. Jan Katalah 191. Janaina Conceição 192. Janete Kislansky 193. Janilda Ferreira Abreu 194. Jason Lim 195. Jean-François Lyotard 196. Jerusa Pires 197. João Dannemann 198. João José Reis 199. José de Jesus Bisbo 200. José Hage Carvalhinho 201. João Omar de Carvalho Mello 202. Joaquim Lino 203. Johanna Gaschler 204. Jomard Muniz de Britto 205. Jonathan Monk 206. José Antônio Saja (Ramos Neves dos Santos) 207. José Diego 208. José Eduardo Ferreira Santos 209. José Rufino

MAY 29


210. José Umberto Dias 211. Joseph Beuys 212. Juarez Paraíso 213. Juca Ferreira 214. Juraci Dórea 215. Justino Marinho 216. Karen Silva 217. Kaysha Kutner 218. Keith Sonnier 219. Kelvin Marinho 220. Klaus Rinke 221. Kota Ndumbi (Valdete Ramo Brito dos Santos) 222. Laura Castro 223. Lauren McAdams Selden 224. Lawrence Weiner 225. Lênio Braga 226. Leonardo Alencar 227. Leonardo Villa-Forte 228. Levante Popular da Juventude 229. Lia Cunha 230. Lia Robatto 231. Lilian Graça 232. Lina Bo Bardi 233. Lina Pedreira 234. Lisette Lagnado 235. Liv Drummond 236. Llano 237. Louco (Boaventura de Silva Filho) 238. Lucas Sargentelli 239. Luciano Figueiredo 240. Luis Berríos-Negrón 241. Luis Paulo Neiva 242. Luisa Mota 243. Luiz Ramos 244. Luiz Jasmin 245. Lygia Clark 246. Mam’etu N’udiakalunga (Robenilda Nascimento dos Santos) 247. Maninho Abreu 248. Manoel Silvestre Friques 249. Marcelo Cunha 250. Marcelo Faria 251. Marcia Abreu 252. Márcia Magno 253. Márcio Lima 254. Marcio Meirelles 255. Marco Antonio Lima 256. Marco Aurélio Damasceno 257. Marcondes Dourado 258. Marcos Lopes 259. Marepe 260. Maria Adair 261. Maria Antonieta Tourinho 262. Maria Celeste de Almeida Wanner 263. Maria Célia Pereira da Silva (Terreiro de Mãe Stella) 264. Maria Magdalena Campos-Pons 265. Mariete Barbosa 266. Marília Moreira Cavalcante 267. Marinus Boezem 268. Mario Cravo Neto 269. Mario Merz 270. Marta Argolo 271. Martha Araújo 272. Martinho Patrício 273. Maurício Lourenço 274. Maxim Malhado 275. Mestre Ambrósio Córdula 276. Mestre Didi 277. Michael Heizer

278. Michael Walker 279. Michelle Mattiuzzi 280. Milena Travassos 281. Mitta Lux 282. Mônica Hoff 283. Monique Evelle 284. Movimento Nosso Bairro é 2 de Julho 285. Myriam Mihindou 286. Nádia Taquary 287. Naia Alban 288. Nanci Novais 289. Nathana Cavalcanti 290. Naziha Mestaoui 291. Negro Davi 292. Nehle Franke 293. Neil Leonard 294. Neville King 295. Nino Cais 296. Nuno Ramos 297. Olga Gómez 298. Omar Salomão 299. Ordep Serra 300. Oriana Duarte 301. Orlando Pinho 302. OSBA 303. Paraíba da Viola 304. Pascal Pique 305. Pasquale de Chirico 306. Pasqualino Magnavita 307. Patricia Almeida 308. Patrick Proctor 309. Paula Borghi 310. Paula Carneiro 311. Paulo Bittenca 312. Paulo Bruscky 313. Paulo Meira 314. Paulo Miyada 315. Paulo Nazareth 316. Paulo Pereira 317. Pedro Filho Amorim 318. Pedro França 319. Pedro Marighella 320. Pedro Archanjo 321. Perinho Santana 322. Pier Paolo Calzolari 323. Piero Gilardi 324. Pierre Capelle 325. Pierre Restany 326. Pierre Verger 327. Poro 328. Ramiro Bernabó 329. Raynolds 330. Regina Costa 331. Regina Jehá 332. Reinaldo Costa 333. Reiner Ruthenbeck 334. Renato Fonseca 335. Renato da Silveira 336. Rener Rama 337. Rex Schindler 338. Richard Long 339. Richard Serra 340. Riolan Coutinho 341. Robert Barry 342. Robert Smithson 343. Roberto Dias 344. Robinson Roberto 345. Rodrigo Matheus 346. Roger Buergel 347. Rogéria Maciel

348. 349. 350. 351. 352. 353. 354. 355. 356. 357. 358. 359. 360. 361. 362. 363. 364. 365. 366. 367. 368. 369. 370. 371. 372. 373. 374. 375. 376. 377. 378. 379. 380. 381. 382. 383. 384. 385. 386. 387. 388. 389. 390. 391. 392. 393. 394. 395. 396. 397. 398. 399. 400. 401. 402. 403. 404. 405. 406. 407. 408. 409. 410. 411. 412. 413. 414.



/ 2014

Rogério Duarte Rubem Valentim S. da Bôa Morte Samba de Roda de Massarandupió Sandro Pimentel Sante Scaldaferri Sepp Baendereck Sergio Camargo Sergio Guerra Seu Abade do Quebra-Queixo Seu Carlos dos Cataventos Seu Queiroz Siron Franco Sofia Caesar Solange Maria de Souza Moura Solange, Tô aberta Sonia Castro Sonia Rangel Stanley Brouwn Stella do Monte Almeida Sture Johannesson Sute Mwgongo (Augusto Cezar Santos da Silva) Sylvie Blocher Taata Muendaze (Evandro Barreto dos Santos) Tata Mutá Imê Tecco Ribeiro Terezinha Dumet Tetine (Bruno Verner e Eliete Mejorado) Thiago Martins de Melo Thomas Farkas Thomaz Loureiro Tiago Ribeiro Tio Juca Tobi Maier Tonico Portela Torquato Neto Tracy Collins Tuti Minervino Tuzé de Abreu – Alberto José Simões de Abreu Uibitu Smetak Ulrich Rückriem Universidade LIVRE de Teatro Vila Velha Vadim Zakharov Val Cavalcanti Valerie O’Hara Vânia Leite Leal Machado Vauluizo Bezerra Vieira Andrade Viga Gordilho Virginia de Medeiros Vítor Rios Vitória Shanti Wagner Lacerda Walter de Maria Walter Smetak Waly Salomão Washington Drummond Washington Queiroz Willyams Martins Yêda Maria Yoko Ono Yuri Smetak Yves Klein Zé de Rocha Zé Sergio Gabrielli Zu Campos Zuarte Júnior


Imaginary Museum of the Northeast Department of the insertion of an Act onto a System of Rules Section: Immaterials

Abraham Palatnik Chess Set, object, 1979 [private collection Fernando and Camila Abdalla Ana Cristina Cesar Extract of O Livro, contained in the volume Pasta rosa - inéditos e dispersos Glauber Rocha O Pátio, film, 1959 Ingmar Bergman O Sétimo Selo, film still, 1957 Maxim Malhado Tabuleiro, wood object with ceramic, 2014 [Galeria Paulo Darzé Collection] Paulo Bruscky Marcel Duchamp x Rrose Sélavy, object, 2010 Paulo Meira Épico Culinário, film, 2012 Rogério Duarte Xadrezen, object, no date

Arquivo Público do Estado da Bahia Imaginary Museum of the Northeast Department Archives and Fiction Section: Psychology of Testimony

Artistic projects especially made for the exhibition Archives and Fiction Alex Oliveira Ensaio Póstumo, photograph, 2014

Imagens de Depois do Além, digital photograph on cotton paper, 2014 Memórias Corrompidas, post cards, 2014 Perguntas às Pedras, posters and flyposters, 2014 Ícaro Lira DESTERRO, book, 2014

Arte Classificada, Paisagem Sonora e Arte Paisagem, work published in the newspaper A Tarde, in the diverse - announcements section, July 19th and 20th, 2014 Paulo Nazareth Passaporte Negro, drawing, copy, 2014 From the series Panfletos para a Bahia, offset/newspaper page, 2014

Expedição Etnográfica de Ficção, trip from Salvador to Canudos, 2014

Antropologia do Negro 01, Black and White video, 2014

Cidade Partida - Controle Social e Isolamento, installation (diverse materials), 2014 [actions with workshops, expeditions, guided tours, conversations and social media]

Antropologia do Negro 02, Black and White video, 2014

Antropologia do cangaceiro: concepção e organização, 2014 [collection of the Museu Antropológico e Etnográfico Estácio de Lima] Ícaro Lira and Paulo Nazareth Máscaras Mortuárias, photography, 2014 José Rufino Pulsatio, metal furniture, 2014 Jus abutendi 1, lead sheet over a portrait of Nina Rodrigues [Vieira de Campos, no date], 2014 Jus abutendi 2, lead sheet over a portrait of Oscar Freire [Vieira de Campos, no date], 2014 Jus abutendi 3, lead sheet over a portrait of Virgílio Damásio [Vieira de Campos, no data], 2014

REZA (PRAYER), Black and white video, 2014 URN, wood, cal and skulls, 2014 Scar, bullet and band-aid, 2014 Rodrigo Matheus Amparo Refletido, pieces of mirror over scaffolding, 2014 Intervalo, plastic recepient, rainwater and aquatic plants, 2014 Works that were part of the exhibition Archives and Fiction Benjamin Abrahão Lampião, o rei do cangaço, film, 1936-1937 Di Cavalcanti Baiana, oil painting, no date

Maria Magdalena Campos-Pons & Neil Leonard Talking a Situ/Acted, sound and body performance,2014

Flávio De Barros Guerra de Canudos, photographs, 1897

Portrait in Bahia, sound installation, 2014

Juarez Paraíso Violência, photo design, 1985

Omar Salomão Influxo, from the series Oculto, a book worn at sea, 2014 Oculto, from the series Oculto, handwritten book, various techniques, 2014

Juraci Dórea Ecce Homo 10, coal painting, 1994

Refluxo, from the series Oculto, modified iron barbecue, iron objects, sound, incense, 2014

Pierre Verger Objects from afro-brazilian cults, Instituto Histórico Geográfico da Bahia, 1946-1951

Ferramentas de Oxossi, sculptures, 2014

Paulo Bruscky Conceitos, painted and printed phrases, 2014

Document photograph, part published in the magazine O Cruzeiro, 1951

Gaio Matos Platôs, site specific sculpture, 2014

Marcel WC, photograph, 1988

Giselle Beiguelman Beleza Convulsiva Tropical, site specific multimedia installation (Moss Graffiti, audiobook and prints), 2014

Mije 2, photograph, Itaparica-BA, 2014 Arte Classificada, Paisagem Sonora e Arte Paisagem, work published in the newspaper Correio da Bahia in the diverse – others - announcements section, July 18th 2014

Eustáquio Neves Jogos e Costumes, books by artists, 2014

Artista Higienizado, photograph,2014

Objects of afro-brasilian cults, Museu da Polícia, Rio de Janeiro, 1946-1951

S. da Bôa Morte Se Oriente, iron sculpture, 2014 The exhibition Archives and Fiction was organized with pieces, documents and furniture from the Museu Antropológico e Etnográfico Estácio de Lima and from the Public Archives of the State of Bahia

MAY 29



The Laje collection Imaginary Museum of the Northeast Department of Universal Knowledge Section: Psychology of Testimony Works collected by José Eduardo Ferreira Reinaldo Eckenberger Primavera Praga, montage, porcelain, no date

Eckenberger Imaginary Museum of the Northeast Department of the Encounter Section: Forms of Orientalism Collection of works by Reinaldo Eckenberger Jonathan Monk Somewhere Soon, cotton, silkscreen and cardboard box, 2010 [40 copy edition + 6 artist proofs]

Hilda Salomão Imaginary Museum of the Northeast Department of Time Section: Psychology of Testimony Collection of works by Hilda and the Salomão family Bruno Munari Travel Sculpture, paper card, no data

Biblioteca Juracy Magalhães Jr. [Itaparica]

Imaginary Museum of the Northeast Department Archives and Fiction Section: Psychology of Testimony

Paulo Bruscky Conceitos, painted and printed phrases, 2014 Paulo Bruscky Rá(u)dio Arte, on-air library program Biblioteca Juracy Magalhães Jr., Itaparica, 2014 [Rádio Tupinambá FM 87,9]

Biblioteca Pública do Estado da Bahia Imaginary Museum of the Northeast Department Archives and Fiction Section: Psychology of Testimony

Omar Salomão and Daniel Castanheira Códices, from the series Oculto, cables, blank books,loud speakers, sensors, sea water, sound recordings made in Itaparica, metal shelves, 2014 Paulo Bruscky Silêncios, photograph, 2014

Centro Cultural Hansen Bahia Imaginary Museum of the Northeast Department of Post-Racialism (religiosity, belonging, corporeity) Section: Africas

Agnaldo dos Santos Oxóssi caçador, wood sculpture, no date [MAM-BA collection] Cabeça de bicho, wood sculpture, no data [MAM-BA collection]



/ 2014

tex, 1975 [MAM-BA collection] GIA Untitled, installation, 2012-2014 [recordings of the journey made by the environmental interference group in the city of Cachoeira] Hansen Bahia Panteras negras, mixed technique, no date [Fundação Hansen Bahia collection] Iuri Sarmiento Untitled, installation, 1999 [MAM-BA collection] J. Cunha Códices, acrylic painting, 2014 [collection archive of the artist] Justino Marinho Cotidiano 1, mixed technique, 2012 Cotidiano 2, mixed technique, 2012

Alex Oliveira From the series Revelador H202, photograph, 2013

Cotidiano 3, mixed technique, 2012

Antônio Manoel Untitled, photograph, no date [MAMBA collection]Caetano Dias Cabeças, cast iron sculpture, 2005 [MAM-BA collection]

Louco BSF Sereia, wood sculpture, no date [Fundação Hansen Bahia collection]

Edgard Oliva From the series A grande arca, photograph on a backlight, 2001 [nativity scene by Luzinete Feitosa – Bonito/BA and Amália Olímpia S. Damasceno – Andaraí/BA]

Cotidiano 4, mixed technique, 2012

Marcio Lima Untitled, photograph, 2004 [MAM-BA collection] Marco Aurélio Damasceno Capoeira-luz, photograph (triptych), 2014

Edsoleda Santos Duas Iabás, lithography, 1983 [MAMBA collection]

Martinho Patrício Untitled, object (triptych), 1998 [MAM-BA collection]

Efrain de Almeida Untitled, wood sculpture, 1995 [MAMBA collection]

Mestre Didi Igi Ejô Atu èye (tree, serpent and bird), sculpture, 1995 [MAM-BA collection]

Luzia, wood sculpture, 1995 [MAM-BA collection] Elias Santos Esboços da série As vozes do Ancestral, installation, 2014 [documentation of artistic processes, dust containment box, models / collection archive of the artist] Emanoel Araújo Untitled, woodcut, 1956 [MAM-BA collection] Emma Vale Procissão de N. Sra. Da Conceição e do Sr. Dos Navegantes, oil on euca-

Iwing-igi (the spirit of the tree), sculpture, 1994 [MAM-BA collection] Nadia Taquary Oró, installation, 2014 Paulo Pereira Untitled, Untitled, Untitled, wood sculptures, 1998 [MAM-BA collection] Pedro Archanjo From the series Mulheres de Cuba, photograph, 2014 [collection archive of the artist]

Regina Costa Conversa Fiada. Parte I – Ele é ela. Parte II – Nós, digital print on cloth, 2014 Rubem Valentim Emblema, relief carving on painted wood, 1985 [Galeria Paulo Darzé collection] Marca, wood sculpture, 1980 [Galeria Paulo Darzé collection] Untitled, painted wood sculpture, 1980 [Galeria Paulo Darzé collection] Sandro Pimentel Proteção na bandeja and Um beijo, installation, 2004-2014 Sonia Castro Gravura IV, Miss em page, wood carving, 1966 [MAM-BA collection] Tonico Portela Springs, installation, 2007 [MAM-BA collection] Viga Gordilho Caixas de Afeto, pigment, gold, glassfiber and memories, 2003-2014 Yêdamaria Untitled, gouache on paper, 1978 [MAM-BA collection] Zu Campos Tótem I, Tótem II, Tótem III, wood sculptures, 1999 [collection archive of the artist] Documentation Diaspora Memories - photographs and recordings of Lorenzo Turner in Bahia (1940/1941), research carried out by professor Xavier Vatin (UFRB/ Universidade Federal do Recôncavo da Bahia) [Turner archive]

Marepe Caatinga, ready-made installation, 2012

Mário Simões O jogo, wood and thimble, 1997

Neville King Mulher com Brinco Azul e Branco, oil painting, no date

Maxim Malhado Convites e documentos, no date

Patrick Procktor Extremities, oil painting, no date

Imaginary Museum of the Northeast Department of the Museological Cause Section: Psychology of Testimony

David Blandy Dock of the Bay, video, 2013 From the Underground, video, 2001 Hollow Bones, video, 2001

Registro da Feira de Artes de 1997 Untitled, box with matches, 1995 Untitled, pastel, 1994/95

Reynolds Moça Florida, oil painting, no date Sergio Camargo Relevo nº 20, relief carving on wood, 1964

Rogéria Maciel Untitled, metal engraving, 1999 Seu Pedro Untitled, wooden engraving, 2014

Documentation Photos, newspapers, Record book written by D. Antônia, act of the founding of MRA

Sr. Davi 5 vassouras, 2014

Free Art Fair

Documentation Historical images and of the Esteio process at the 3rd Bahia Biennial

Sylvie Blocher Por detrás do Invisível (Behind the invisible), video, 2014

Esteio Gallery Memorial

Caetano Dias Untitled, photography, 2014 Eduardo Boaventura Untitled, wood sculpture, 2012 Floriano dos Santos Untitled, painting on cardboard, 1997 Untitled, painting on cardboard, 1997


Gambiarra, installation, 2014

Untitled, painting on cardboard, 1997 Iuri Sarmento Untitled, acrylic painting, 1990 Justino Marinho Untitled, acrylic painting, 2001

Sons of Slaves, video, 2006

Luiz Ramos Untitled, waterpainting, 1990

Gaio Matos Untitled, bone and gouache, 2014

Marcelo Reis Untitled, photograph, 1997

External Area

S. da Bôa Morte Se Oriente, iron sculpture, 2014 Maxim Malhado Homenagem a Lícia e Jorge Malhado, e aos irmãos, no date Lanternas da primeira exposição da Esteio, installation, no date Untitled, installation, 1999 Símbolo Esteio, no date Ramiro Bernabó Untitled, ceramic sculptures, no date Poro Pequeno Guia Afetivo da Comida de Rua de Salvador, book, 2014

Casa da Palavra

Ediane do Monte Pratos Para Serem Lidos, installation, 2014 Tuti Minervino Um curta doce, video, 2013/2014 Zuarte Júnior Liberdade desbandeirada, installation, 2014

Casa das Artes Visuais

Johanna Gaschler Chão para a Esteio, installation, 2014

MAY 29


Luiz Ramos Luminárias, installation, 2014 Tecco Ribeiro Em Fio, clay sculpture, 2014


Imaginary Museum of the Northeast Department of the Immaterial Zones Section: Psychology of Testimony

Harald Szeemann [curatorship] Live in Your Head – When Attitudes Become Form, catalog, March, 1969 Ian Wilson Can something be “made” Clear? A discussion to be held at the John Weber Gallery, 420 West Broodway, N.Y. on Thursday, 25th may, 1972, ephemeral, 1972 [Bulletin 59, Art & Project] Jean François Lyotard [curatorship] Les Immatériaux, March, 1985 Robert Barry All the things I know but of which I am not at the moment thinking, vinyl sculpture on wall, 1969

Arno Schmidt Goethe und Einer seiner Bewunderer (Goethe and one of his admirers), sound installation [transcription: Tobi Maier and Omar Salomão. Voice: Nehle Franke]

Vadim Zakharov Carrots teach the Pastor to think Above Rome, installation about the documentation of the action, 2007 [from the series The Rome Actions]

Bernard Venet Bonjour Monsieur Venet, ephemeral, 1964

Documentation Quilombo Helvécia, photographs, book of acts and a letter

Gerry Schum (diretor) Land Art. Fernsehausstellung I, video, 1968/69 Participating artists: Richard Long, Barry Flanagan, Dennis Oppenheim, Marinus Boezem, Robert Smithson, Jan Dibbets, Walter de Maria, Michael Heizer [Stedelijk Museum collection, Amsterdam] Identifications. Fernsehausstellung II, video, 1970 Participating artists: Joseph Beuys, Klaus Rinke, Ulrich Rückriem, Reiner Ruthenbeck, Gary Kuehn, Klaus Rinke, Richard Serra, Keith Sonnier, Franz Erhard Walther, Lawrence Weiner, Daniel Buren, Hamish Fulton, Gilbert & George, Stanley Brouwn, Ger van Elk, Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Gino de Dominicis, Mario Merz, Gilberto Zorio [Stedelijk Museum collection, Amsterdam] Gianni Piacentino Campeonato italiano de temporary action, 1971 driven by Torreli, who artist Piacentino as a

sidecar 1971, [motorbike carries the passenger]

Guto Lacaz Contas Anacíclicas, book by the artist, 2003 Happening & Fluxus Catalog, October, 1970


/ 2014

From the Underground, video, 2001 Hollow Bones, video, 2001 Sons of Slaves, video, 2006

Arno and Alice Schmidt 92 Photographs (decades 19301970) [courtesy of the Arno Schmidt Stiftung, Germany]

Ger van Elk The Symmetry of Diplomacy, ephemeral, 1973 [Bulletin 65, Art & Project]


Church of the Pilar

Imaginary Museum of the Northeast Department of Grace Section: Immaterials

Charbel-joseph H. Boutros Lágrimas separadas, a teardrop from the right eye of the artist, glass, plastic, tear fluid, 2014 Mestre Ambrósio Córdula Representation of Saint Rita of Cascia, wood, glass and paint, 2014 Yves Klein IKB (International Klein Blue), deep blue created by the French artist Yves Klein, Hexadecimal triplet: RGB, CMYN, HSV, glass, 1954/2014 Le dépassement de la problématique de l’art, book by the artist, 1959

MAM - Chapel Juraci Dórea

Sertão | Museums | Archeology Caetano Dias Sinestesia, video, 2014 Juraci Dórea A Feira, video, 1976 Cancela 02, wood, leather and PVA, 1983 Cancela 03, wood, leather and PVA, 1983 Carta 260789, Carta para Ângela 01, coal and PVA painting, 1989 Carta 310.709, Carta para Ângela 02, coal and PVA painting, 1989 Concerto para raposas e violoncelo, wood, stainless steel and cow dung, 2014 Diálogo com Yves Klein 1, leather and pigment IKB, 2014 Diálogo com Yves Klein 2, wood, stone and pigment IKB, 2014 Estandartes do Jacuípe XII, leather, rope, metal and wood, 1978 Estandartes do Jacuípe XIV, leather, índia ink, metal and wood, 1979 Estandartes do Jacuípe XXI, leather, índia ink, metal and wood, 1980 Estandartes do Jacuípe XXIX, leather, índia ink, metal and wood, 1982 Estandartes do Jacuípe XXXI, leather, índia ink, metal and wood, 1982 Estandartes do Jacuípe XL, leather, índia ink, metal and wood, 1984 Ex-votos, ceramic, 1988 Expedição Terra, installation, stone, cloth, mud and adobe, 2014 [adobe taken from the house of Edvirges, in the village of Saco Fundo, after its demolition] Exposição da Volta da Pedra, video, 1984

Prayer to Saint Rita of Cascia, sound installation, 1961

Fonte, object in ceramic and wood, 2014

Museu de Arqueologia e Etnologia da UFBA [MAE]

Marca da 3ª Bienal da Bahia, leather marked with a branding iron, 2014

Imaginary Museum of the Northeast Department of Soul Section: Africanities

David Blandy Dock of the Bay, video, 2013

Identidade visual da 3ª Bienal da Bahia, marker, wood and metal, 2014 [wood extracted according to the teachings of the Lunário Perpétuo]

Monte Santo, video, 1976 Noites no Sertão II, painting, coal and PVA on leather, 1979 Projeto Terra, object of metal and wood, 2014

Projeto Terra: Mural da Casa de Edwirges, video, 1984 Projeto Terra: Os Couros, video, 1984 / 1985

Humberto Rocha Juarez Paraíso, Black and White photography, 1972

Projeto Terra: Escultura da Fonte Nova (Feira de Santana), photograph, 1989

O Grito de Juarez Paraíso, Black and White photography, 1972

Projeto Terra: Escultura da Tapera (São Gonçalo dos Campos), photograph, 1982

Cavalo e touro, drawing, quill on paper, no date Cavalos I, drawing, quill on paper, no date Conversando, metal engraving, 1961 Duas mulheres com pássaros, drawing, marker pen and indian ink on paper, no date

Projeto Terra: Escultura de Canudos (Canudos), photograph, 1984

Juarez Paraíso From the series Astronautas, woodcut, 1968

Projeto Terra: Escultura de Utinga (Xique-Xique), photograph, 1989

From the series Cristo, woodcut with na applied image, 1974

Fantasia, drawing, quill on paper, no date

Projeto Terra: Escultura do Tanque Novo (São Gonçalo dos Campos), photograph, 1988

From the series Organicidade, woodcut, 1962

Ilustração, metal engraving, 1961

Projeto Terra: Exposição do Acaru, photograph, 1985 Projeto Terra: Exposição do São Pedro (Monte Santo), photograph, 1985 Projeto Terra: Mural da casa de Edwirges, photograph, 1984 [the house of Edvirges, near the village Saco Fundo, Monte Santo, Bahia, demolished after the death of Edvirges. The Terra Expedition rescued an adobe which belonged to this house] Untitled, 2014 Série Terra III – 1º ato: o homem | 2º ato: o Sonho | 3º ato: o Homem, wood, leather and PVA, 1981 Série Terra IV, wood, leather and PVA, 1981

From the series Paisagem Cósmica, drawing, quill on paper, 1962 Fruto proibido, sculpture, calabash, polyester putty and fiberglass, 1981

Liberdade é preciso, sculpture, calabash, polyester resin and fiberglass, 1980

Rosto, drawing, quill on paper, no date

Sou Jesus, poster, gouache and indian ink, 1971 Totem 2, sculpture, calabash, shells, polyester putty and fiberglass, 1986

Untitled, bico-de-pena, no date

Untitled, metal engraving, etching and aquatint, no date

Triângulo com chocalhos, object, wood, metal and nylon threads, 1980 Vasos comunicantes, various materials, 2014 Documentation Album with photographs from the 1980s, the Bienal de La Havana file, Biennale of Venice file, Bienal de São Paulo file, Solar do Unhão file, Eurico Alves file, Museum Regional file and publications of the Projeto Terra [Juraci Dórea archive] Residual of the 50th Terra Expedition, 2014 Residual of the work exhibited at the 43rd Venice Biennial, leather, 1988 Selection of books from the library of the artist

MAM – Main house groundfloor Juarez Paraíso

Science fiction | Cosmology | Utopia-Dystopia

Untitled, painting, oil on canvas, no data * With the exeption of the last work listed, all the works belong to the collection of Elisabeth Maria Roters Coutinho

Triplicidade, metal engraving, etching and aquatint, 1971

Teréns 2, installation, wood, recycled paper from a bag of cement, PVA, cloth and metal, 1978

Terra, video, 1982

Mulher com pomba e chapéu, drawing, oil pastel on paper, 1981 Mulher recostada, drawing, indian ink and paint brush on paper, no date

Untitled, infogravura, 1995 [Juraci Dórea collection]

Terra de Fonte Nova, interpretation, 2014

Minotauro, drawing, marker pen and indian ink on paper, no date

História em quadrinho, drawing, quill and colour pencil, 1973

Série Terra VI, wood, leather and PVA, 1981

Terra de Canudos, interpretation, 2014

Duas mulheres, drawing, indian ink and paint brush on paper, no date

Untitled, metal engraving, no date

MAM – Main house 1st floor Rogério Duarte

Genesis | Apocalypse | Resurrection

Untitled, metal engraving, no date

Glauber Rocha A Idade da Terra, film, 1980

Untitled, woodcut, 1959

Câncer, film, 1972

Untitled, woodcut, no date

Terra em Transe, film, 1967 Deus e o Diabo na Terra do Sol, film, 1964

Thomas Farkas Caravana Farkas 4: Paraíso, Juarez, video, 1971 Documentation Science-Fiction Session / formative Period: copies of the magazines Flash Gordon and Metal Hurlant, clips of the films Dune (1984) and Cosmos (1980) Utopia-Dystopia session, projects of the public works which are currently destroyed or deteriorated Collection of science-fiction books from the private collection of Juarez Paraíso

Riolan Coutinho

Manuel Raeder, Mariana Castillo Deball, Sophie von Olfers, Rogério Duarte Marginália, 1st edition, book Narlan Matos, Mariana Rosa and Rogério Duarte Tropicaos, book Rogério Duarte A Canção do Divino Mestre, book [translation, introduction and notes by Rogério Duarte] Album cover, Brasil [João Gilberto, Caetano Veloso, Gilberto Gil, Maria Bethânia], 1981 Album cover, Cantar [Gal Costa], 1974

Between Systems

Album cover, Refazenda [Gilberto Gil], 1975

Riolan Coutinho Abstrato, painting, oil on canvas, 1964

Book cover, Cristianismo Hoje, written in collaboration with: Thomas Cardo-

Book cover, A Doença Mental, by Marcel Eck

MAY 29


nell, Henrique C. de Lima Vaz, Herbert de Souza, Luiz Alberto Gómez de Souza, União Nacional dos Estudantes Book cover, Folias Brejeiras, by José Simão Book cover, Paris sob o Terror 17931794, by Stanley Loomis Neodésica, sculpture, no date O Gitagovinda de Jagadeva, A Cantiga de Negro Amor, book [translation by Rogério Duarte] Poster A Grande Cidade, film by Cacá Diegues, 1966 Poster A Idade da Terra, film by Glauber Rocha, 1980 Poster A Opinião Pública, film by Arnaldo Jabor, 1967 Poster Cara a Cara, film by Julio Bressane, 1967 Poster Meteorango Kid – O Herói Intergaláctico, film by André Luiz Oliveira, 1969 Poster of the Museum of modern art of Bahia, 1960-2000

Baldomiro Costa Casulo, installation, 2014 Bia Medeiros XXTA Síntese, Mulher pitaya, XXTA e peitos, Peitos vermelhos, Para Marcia X. Pitaya, India ink and pencil on paper, 2014 Claudio Manoel & Solange Tô aberta CUCETA – A cultura queer de Solange, tô aberta, video, 2010 Ieda Oliveira Um terço para Marcia X, installation, 2014 Marcia Abreu From the series Menstros, installation, 2003 Marcondes Dourado Erotismo, video-installation, 2005 Milena Travassos Preparando-se para imergir, installation, 2005 [MAM-BA collection]

Rogério Duarte e Aldo Luiz Album cover, Gilberto Gil ao vivo [Gilberto Gil], 1974

Vauluizo Bezerra Sangue e chocolate, video-installation, 2014

Rogério Duarte, Antônio Dias, Drew Zingg Album cover, Gilberto Gil [Gilberto Gil], 1985

Virginia de Medeiros Jardim das torturas, video, 2013-2014

Rogério Duarte, Caetano Veloso e João Castrioto Album cover, Qualquer Coisa [Caetano Veloso], 1975

MAM - Sala Rubem Valentim

Genesis, Apocalypse, Ressurrection; video with archives of Rogério Duarte Photos from the personal archive of Rogério Duarte, manuscripts, sheet music, chess pieces created by Rogério Duarte, a stone from the collection Objetos Não Identificados, album cover O Povo Canta (Centro Popular de Cultura)

Alba Liberato TOPANOPANO, collage and knitting on cloth, 2014 Hilda Salomão Mulher Nordestina, ceramic, modelled by hand and potter’s wheel, clay and porcelain enamel, 2014 Joaquim Lino From the series O Sacrifício, photograph on cotton paper, 2013

Selection of the videographic research carried out by Daniel Cortes, videos Este é o lugar da precisão, video filmed in Santa Inês, 2014 [filming and editing by Isbela Trigo]

MAM - Gallery 1 Lawrence Weiner Declaration of Intent, installation, 1968

MAM – Underground Gallery

Imaginary Museum of the Northeast Department of Performactivity of Gender Section: Genders


/ 2014

Almandrade Brasil 1964, wood, stainless steel and rubber, 1978 É, cardboard, paper, polystyrene, glass containers, plastic and pubic hair, 1992 Mural para lamentações, painted wood and plastic, 1993 Untitled (Model for public sculpture), cardboard, 2014 Untitled (Model for public sculpture), cardboard, 2014 Untitled (model, no scale), painted wood, 1989 Untitled, painted wood, 1993 Untitled, wood, sponge and PVC tubes, 1998

Rogério Duarte reciting Gita Govinda, open audio

Documentation Genesis, Apocalypse, Resurrection; magazines, manuscripts, croquis and studies by Rogério Duarte


Monastery de São Bento The Reenactment

Tensão e equilíbrio, PVC laminate and elastic, 1999 Ana Verana Untitled, water colour on paper, 2012 Arthur Scovino Caboquismo, installation with personal objects of the artist about wood niche shelves, 2014 Charbel-joseph H. Boutros Separated tears, a tear drop from the left eye of the artist, glass, plastic, tear fluid, 2014 Charbel-joseph H. Boutros Each day under its own sun, pages from a Lebanese calendar, Itaparica sun, 2014 [throughout the month of April, each day of a Lebanese calendar was exposed to the sun of the island of Itaparica, from sunrise to sunset] Daniel Lisboa O Fim do Homem Cordial, video, 2004 Statement by the artist Leonardo Alencar, who participated in the 2nd Bahia Biennial, video, audio, 2014 Phrase about the iron bar: “Duas forças em oposição, a partir do movimento de tração, colaboram para sustentar a cúpula desta construção” “Two opposed vectors, from the movement of their traction, collaborate to sustain the dome of this construction” Gaio Matos Fábricas, wood and book, 2004 Mercadinhos, cardboard, 2005 Genaro de Carvalho Untitled, tapestry, no date [César Romero collection]

Immitation (souvenir) of a sculpture from the series Bichos, by Lygia Clark, commercialized by the Clark Art Center, 2014 Juarez Paraíso Homem-Tubo, polyester Resin and fiberglass, 1981 Imagem em slide and vestígio de obra pública, mural of the Agriculture Department in Bahia Administrative Center (CAB) [originally built in 1971, today it is found in an advanced state of deterioration] Lênio Braga A Curra, oil on wood, 1967 Entrada de Cristo em Salvador, oil on canvas, 1962 [MAM-BA collection] Lia Cunha 1091 (1968), lithography, lead, 2012 Mortuary masks of members of Lampião’s gang, end of the 1930s (Maria Bonita, Lampião, Corisco, Canjica, Maria de Azulão, Azulão, Zabelê) [collection of the Museu Antropológico e Etnográfico Estácio de Lima] Pasquale de Chirico Escultura e túmulo do poeta Castro Alves, 1922 [seen from behind the window] Plaque, homage to a 2nd Bahia Biennial (1968) mediator, political prisoner, missing, marble, 2014 Plaques recalling missing artworks in 1968, during the 2nd Bahia Biennial (1968), marble, 2014 Poster, 1st Bahia Biennial (1966), graphic Project by Emanoel Araújo and Sonia Castro Poster, 2nd Bahia Biennial (1968), graphic Project by Humberto Aquino Rocha Pedro Marighella Gélédé Muquirana, fibre, automotive painting and wool, 2012 Pierre Verger Vaudou, Port-au-Prince, Haiti, photograph, 1948 [Fundação Pierre Verger collection] Rex Schindler Bahia, Por Exemplo, video, 1970 [music by Walter Smetak] Rodrigo Matheus Untitled, installation, 2014 [built from white wood bases, used regularly to exhibit sacred pieces of São Bento Monastery]

Sante Scaldaferri Luxúria (part of Tríptico da Tentação), encaustic painting on canvas, 1981 [collection of the São Bento Monastery] Usura (part of Tríptico da Tentação), encaustic painting on Canvas, 1981 [collection of the São Bento Monastery] Siron Franco Cavalo de Tróia, oil painting on canvas, 1968 [acquisition prize at the 2nd Bahia Biennial– Marcos Koenigkan collection] Tetine (Eliete Mejorado and Bruno Verner) Profane Cow Study IV, video, 2008 [reenactment of the song Vaca Profana in the interpretation by Gal Costa]

homily proffered on March 8th, 1977 Documentation Documentation 1st and 2nd Bahia Biennials (1966/1968) Section Forms of Violence [videos related to the Revolt of the buzu, the conflict of the Quilombo dos Macacos, Occupation Saramandaia, the PM (military police) strike and the Invasion of UFBA] Section Lênio Braga (reproduction of the work Monalisa & Moneyleague, 1966; documentation, photographs of the time, drawings and personal objects of the artist) Sequence of slides with news about the First and 2nd Bahia Biennials, published in the 1960s.

Thiago Martins de Melo A Sodomia da Brancura na Capelinha do Coronel, acrylic painting on canvas, 2011 [Paulo Kuczynski Escritório de Arte collection]

Collection and furniture of the São Bento Monastery Ambão, jacaranda, 18th century

Tuti Minervino Maria vai com as outras, installation, 2009

Cristo de Roca, 18th century

Urna cinerária indígena, recipient for the ashes of the dead, ceramic, Coribe (BA), Valentin Calderón collection, no date [Museu de Antropologia e Etnologia – UFBA collection] Zé de Rocha Isso é um cachimbo, Indian ink and chalk on cardboard, 2009 Audios Reading of Mario Cravo’s public letter, by Arthur Scovino; reading of the response Esclarecimento ao Povo Baiano, by Renato da Silveira; reading of a text by Juarez Paraíso about the 2nd Bahia Biennial, by Ana Verana): installation in cabinets, jacaranda and talha tremida, 17th century [collection of the São Bento Monastery] Text Human Rights, Abbot Dom Timóteo Amoroso Anastácio, pronounced on March 8th, 1977, read by the artist Juarez Paraíso on May 21st, 2014

Cadeira abacial, jacaranda, 17th century Ex-voto do milagre de Nossa Senhora dos Remédios a Agostinho Pereira da Silva; oil painting on canvas, 1745 Imagem de São Sebastião, donated to the Benedictine monks by the Jesuits in 1580; gold plated wood and polychrome, 16th century Lápide (Gravestone, 1938), reminds us of the Dutch invasion of São Bento Monastery in 1624 Santa Escolástica e São Bento, polychrome wood, 17th century castiçal, 19th century

Carlos Costa Pinto Museum

Imaginary Museum of the Northeast Department At Full Steam Section: Tropicalities

Dicinho Abstração 1, three-dimensional painting, no date Bloco Vermelho, sculpture, 1993 Borboletas, sculpture, 1993

Texts Carta de Mário Cravo, his resignation of the state board of culture, published in the newspaper A Tarde, 5/10/1968

Album cover, 1969 [Gal Costa], no date

Carta-resposta Esclarecimento ao Povo Baiano, written by Renato da Silveira, published in A Tarde, October 1968

Capoeiristas, sculpture, 1993

Rehearsal Five years among the whites, Lina Bo Bardi, 1967 Reproduction of a debate on social webs, 2014 Extract of Human Rights, abbot Dom Timóteo Amoroso Anastácio, based on the

Album cover, Cara e coração [Moraes Moreira], no date Album cover, Raposa velha, no date Spatulas, rolling pins and tools invented by Dicinho Macaco, painting on a sculpture, no date Mulher deitada, painting on a sculpture, no date Mulher Grávida, painting on a sculpture, no date

MAY 29


Números, three-dimensional painting, no date O beijo, three-dimensional painting, no date Oxaguian, sculpture, 1993 Series Máscaras, painting on a sculpture, no date Trocou os pés pelas mãos, sculpture, no date Tropicália, three-dimensional painting, no date Yin-Yang, three-dimensional painting, no date Dicinho and Capinan Amarga que nem jiló, visual poetry, no date Edinízio Ribeiro Primo Estudo de azulejo, drawing, no date Cabaças, oil painting on canvas, 1972 Estudos de cores, no date Experimento tendo como referencial as manchas do método Rorschach, 1974 Homem na lua. Homem na guerra, oil painting on canvas, 1966 Lagartixa, ballpoint pen on paper, no date Mulher grávida, oil painting on wood, 1966 Pássaro cantando azul, painting on handmade paper, no date Untitled, oil painting on plastic material 1971 Série de gravuras florais sem título, 1975 Series Frutos de mi terra, marker pen and graphite on paper Series Leão alado, ballpoint pen on paper, no date Album cover, Índia [Gal Costa], no date Album cover, Expresso 2222 [Gilberto Gil], no date Album cover, Drama [Maria Bethânia], no date Furniture from the 1960s [Galeria Roberto Alban collection] Pieces of porcelain from the Company of the Indies [Museu Carlos Costa Pinto collection] Gramophone with LPs by Gal Costa and Maria Bethânia Photos Excerpts of the film Phono 73 which shows figurines made by Edinízio Ribeiro Primo for Maria Bethânia and Caetano Veloso Dicinho dancing chez Lina Bo and Pietro Maria Bardi, photograph, no date Dicinho and Edinízio pose for a



/ 2014

fashion feature on O Cruzeiro weekly, photograph, 1968

Impressões de Vida, book [César Romero collection]

Dicinho poses for the Arp campaign, photograph, no date

Journal Absurde [1949-1959], book [César Romero collection]

Edinízio Ribeiro Primo at his studio, series of photographs, no date [artist’s Family collection]

O Santo Mágico, book [César Romero collection]

Edinízio Ribeiro Primo performing happenings at Jequié’s market, series of photographs, no date [artist’s Family collection] Edinízio sitting on a tractor tyre, photograph, no date [artist’s family collection]

Os Papéis do Coronel, book [César Romero collection] Sentinela do Nada, book [César Romero collection] Tempo e Andanças, book [César Romero collection] Harry Laus by César Romero, video loop

Museu de Arte Sacra (Sacred Art Museum)

Imaginary Museum of the Northeast Department of the Affective Insistence Section: Immaterials

Camila Sposati Maquetes dos teatros anatômicos da Terra em Darvaza, São Paulo, Mirny, Pádua, Itaparica e Guatemala, sculpture, August, 2014 César Romero Faixa Emblemática com paisagem, acrylic painting on canvas, no date From the series Tamboretes de Festa de Largo da Bahia, acrylic on canvas, the 1980s From the series Tamboretes de Festa de Largo da Bahia, photograph, the 1980s From the series Tamboretes de Festa de Largo da Bahia, photograph, the 1980s Untitled, embroidery, no date Untitled, Irish lace, no date [César Romero collection] Untitled, Irish lace, no date [César Romero collection] Untitled, photograph, no date Urdidura, mixed technique, 2011 Guto Lacaz Saravá, 2014 [kinetic spiral for the Lacerda Elevator, a Project for the near future/a modelling and 3D animation by Dan Palatnik] Harry Laus Artes plásticas, book [César Romero collection] Bis, re-edition of Os incoerentes e Ao Juiz dos Inocentes, book [César Romero collection] Caixa d’Aço, book [César Romero collection] De Como Ser, book [César Romero collection] Diários: Espaço de Presença e de Ausência de Harry, book [César Romero collection]

Ian Wilson Circle on the floor, installation, a chalk circle drawn on the ground, 1968 Luis Berríos-Negrón Studies for Tear do Terreiro, drawing on paper, 2014 Ruth Laus A Décima Carta: Laus Apenas, book [César Romero collection] Tuti Minervino Este trabalho não tive, slide projection, 2014 Zé de Rocha Fim da Linha, embroidery on cloth, 2013 Documentation [acervo Cesar Romero] Letter and boigraphy of Harry Laus, photographs, personal photos O Estado (daily), Florianópolis, December 25th, 1983 [section: books interview with Harry Laus] Postal Harry Laus, Monologue of approval [César Romero collection] Images of César Romero and Harry Laus

Museu Náutico

Imaginary Museum of the Northeast Department of the Revolutionary Struggle Section: Ludicals

Agnès Varda Black Panthers - Huey, video, 1968 Hansen Bahia Untitled, mixed technique, 1972 [Fundação Hansen Bahia collection]

Pierre Verger Negro S.A., photograph, no date [Fundação Pierre Verger collection]

Palacete das Artes Sala Contemporânea

Imaginary Museum of the Northeast Department PEBA & Co Section: Tropicalities Almandrade Objetos sem título, Almandrade wine, 1979 Poema, visual poem, 1975 [Galeria Roberto Alban collection] Untitled, visual poem, 1974 [Galeria Roberto Alban collection] Untitled, visual poem, 1975 [Galeria Roberto Alban collection] Untitled, visual poem, 1975 [Galeria Roberto Alban collection] Anízio de Carvalho Photographies of tropicalists Gal Costa, Caetano Veloso, Gilberto Gil and Maria Bethânia, 1970-1979 [collection of the artist and of the Fundação Cultural do Estado da Bahia] Arthur Scovino Musa cabocla, drawing, 2014 Babalu Dragão amarelo, acrylic painting on canvas, no date Gamela cardume, no date Gamela I, no date Jardim das delícias, no date Ônibus, no date Ponto de ônibus na Boca do Rio, no date Rio laranja, acrylic painting on canvas, no date Serpente que come o sol, acrylic painting on canvas, no date *All items belong to the collection of the artist’s family

Alfabetos, visual poem, no date Documentação Circuito Aberto de Performance em Rede, project recused by the 15th Salon of the Museum of Modern Art Documentos civis que registram a passagem do artista pela Bahia Tabela poética dos números íntimos, from the series Alfabetos, visual poem, no date Dicinho Guerra e paz, three-dimensional painting, no date Edgard Navarro O rei do cagaço, video, 1977 Edinízio Ribeiro Primo Briga de galos, painting, no date Galo, engraving, no date Marieta, engraving, no date *Collection of the artist’s family Gilson Barbosa Untitled, oil painting on canvas, 1973 Untitled, oil painting on canvas, 1978

Gilson Rodrigues Bananeiras, acrylic painting on canvas, 1990 *Collection of the artist’s family Grupo Posição Remendó, interactive installation from 1981 reassembled in 2014 [Sônia Rangel collection] Jomard Muniz de Britto Atentados poéticos, texts, 2011-2014 Mito e contramito da família pernambucanobaiana, video, 1974 O palhaço degolado, video, 1977 Toques, video, 1975 Uma experiência didática – o corpo humano, video, 1974 José Umberto Dias and Robinson Roberto Brabeza, video, 1978

Claudio Costa Filme Arcabouço, 2013 [documentation from the series Rotas geopoéticas, carried out for 12 years in the countryside of Maranhão]

Louco BSF Obá, wood sculpture, no date [collection of the artist’s family]

Discurso Político, from the series

Marepe Museu, from the series Instituições Portáteis, installation, 2014 Galeria, from the series Instituições Portáteis, installation, 2014 Maria Adair Terra brasiliana com dança das varetas de pau-brasil, installation, 2014 Martha Araújo Records of the series Hábito/ Habitantes, 1984-1986 Paulo Bruscky Jayme Fygura em Salvador, photograph and text, 2006 Ramiro Bernabó Conjunto de esculturas de jardim, ceramics, 2008 Escadeiras, wood sculpture, 2009 Rena, wood sculpture, 2013

*Collection of the artist’s family

Chico Dantas O executor, video, 2014

Daniel Santiago Cafunés em potencial, from the series Alfabetos, visual poem, no date

Márcia Magno Engravings from the series Janelas, Arraias installation, 2014

Luiz Jasmin Cover of the LP Recital na Boite Barroca, by Maria Bethânia, 1968; Cover of 45 single by Gal Costa, 1968

Renato da Silveira Untitled, oil painting on canvas, 1975 [MAM-BA collection] Sonia Rangel Panel and book from the series Olho desarmado, 2006 Model and book from the series Casa tempo, 1998 Sture Johannesson Revolution Means Revolutionary Consciousness!, poster, 1968 [transport tube of the work coming from Sweden] Torquato Neto Arco artefato, visual poem, 1969 [Paulo Bruscky collection] Artesmanhas, visual poem, no date [Paulo Bruscky collection] Inimigo/Medo n. 1, visual poem, no date [Paulo Bruscky collection] Ódio, visual poem,1971 [Paulo Bruscky collection] Os últimos dias de Paupéria, book, 1973 Tuti Minervino Cada qual no seu canto, object, 2013 Tchau, Brasil! Passar bem, object, 2012 Um terno carinho, object, 2013

MAY 29


Vauluizo Bezerra Rio Bang Bang, acrylic painting on canvas, 1998 [Rita Camara collection] Waly Salomão Word-highlight - FA - TAL -, in ambience by Luciano Figueiredo and Óscar Ramos for Gal Costa’s concert, Gal a Todo Vapor, 1971 Word-highlight VIOLETO, in ambiance by Luciano Figueiredo and Óscar Ramos for Gal Costa’s concert, Gal a Todo Vapor, 1971 Willyams Martins Cartaz ladrão de grafite, voile material and polyester resin on a mural, 2007 From the series Peles do Cárcere, voile material and polyester resin on a mural, 2013 [Galeria Roberto Alban collection] Zu Campos São Cachacim, object, 2014 Documentation Documentation with books written by Jomard Muniz de Britto; post cards to the curators of the 3rd Bahia Biennial; photocopies of the texts produced by the artist; photograph with the poem-process Es USted libre?; stills from the film O palhaço degolado Documentation of the journey by Hélio Oiticica in Recife; photographs with Hélio Oiticica, Almandrade, Paulo Bruscky and Daniel Santiago, 1979; Hélio Oiticica poses in a photograph for the sleeve notes of the LP A peleja do diabo com o dono do céu, by Zé Ramalho; LP Legal, cover designed by Hélio Oiticica [Paulo Bruscky collection] Documentation related to the group Posição, formed in 1979 by Carlos Petrovich, Chico Diabo, Eckenberger, Sonia Rangel and Zélia Maria Documentation about the artist Gilson Barbosa [collection of the artist’s family]

Main house Imaginary Museum of the Northeast Department of the Endless Trip Section: Naturalisme Intégral Abbas Kiarostami Five, Dedicated to Ozu, video, 2003 Abraham Palatnik [private collection of Fernando and Camila Abdalla] Jungle Zoo [moose, elephant, jaguar], Polyester resin, no date Water Creatures [snail, whale, polar bear, penguin, seal], polyester resin, no date Birds [bird, peacock], polyester resin, no date Home & Farm [sheep, donkey, cock, cat], polyester resin, no date

Owls [owl], polyester resin, no date Miniatures [giraffe, camel, duck, chicken, chick, dinosaur, alligator], polyester resin, no date Adrian Cowell O coração da floresta, from A Destruição do índio, video, 1961 [collection PUC- GO] A tribo que se esconde do homem, from Os últimos exploradores - os irmãos, video, 1970 [collection PUC- GO] Tempestades na Amazônia, from A década da destruição, video, 1984 [collection PUC- GO] Aldemir Martins Pássaro, metal engraving, Indian ink and water colour, 1955 [MAM-BA collection] Galo, metal engraving, no date [MAMBA collection] Fireguns belonging to Lampião’s gang, no date [collection of the Museu Antropológico e Etnográfico Estácio de Lima] Continuous Art of the Etsedron O Rei da força e do conhecimento, caapi, 2014 Book of medicinal plants of the Terreiro Ilê Axé Opô Afonjá Carlos Mélo Emissão, video loop, 2014 [voice Renata Sorrah] Livro Rio, book object, 2014 [made by André Lenz] Post card sent by Hélio Oiticica to Paulo Bruscky in July 1979 [Paulo Bruscky collection] Chico Liberato Veja-se, installation, 2014 Dicinho Cangura, relief carving, celulose pulp, plaster and pigments, no date Baobá, sculpture, celulose pulp, plaster and pigments, no date Florival Oliveira Untitled, jacarandá, 2014 Frans Krajcberg Untitled, wood sculptures, no date [private collection and Paulo Darzé Galeria de Arte collection] Geraldo Simões Diários e fotos de caçadas, 1965 to 1972 [private collection]



/ 2014

Gerson Nascimento Untitled, hand-painted shirts, no date Giulio Paolini Ennesima, book by artist, 1975 [100 copies published / private collection] Juraci Dórea Galos, drawing, coal on eucatex, 2012 Leonardo Alencar Untitled, painting, oil painting on canvas, no date [private collection of César Romero] Lina Bo Bardi’s expographic furniture, no date [MAM-BA collection] Piero Gilardi Tronchetto, expanded polyurethane and paint, 2000 [private collection] Pierre Restany, Sepp Baendereck, Frans Krajcberg Viagem ao Rio Negro, video, 1978 [Domus collection] Pierre Verger Hemingway, photograph, Cuba, 1957 [Fundação Pierre Verger collection] Saut d’eau, photograph, Haiti, 1948 [Fundação Pierre Verger collection] Reinaldo Eckenberger Botânica, from the series Botas, assembly, no date Regina Jehá Catehe, video, 1994 Curumins & Cunhatãs, video, 1981 Pantanal: a última fronteira, video, 1983 Bootstrap, film, 2005 Roger Buergel Untitled, watercolours, 2008 Sepp Baendereck Memento Mori, graphite on paper, 1985 Dantesca, graphite on paper, 1986 Piriform funeral Urn with operculum – Aratu tradition, unknown author, smooth ceramic, no data [collection of the Museu de Antropologia e Etnologia – UFBA] Documentation Fotografias de Darcy Ribeiro: Darcy Ribeiro with face paint, Mato Grosso, 1947; Berta Ribeiro with face paint, Mato Grosso, 1947; Xamã Kadiwéu next to a child, Mato Grosso, 1948; a priest with a helper, Mato

Grosso, 1948; Darcy Ribeiro with the Kadiwéu indians, Mato Grosso, 1947 [collection Museu do Índio] Display with documentation on the Voyage to the Rio Negro, 1978 [private collection]

Rio Branco Palace

Agency of Karma and Conciliation Yoko Ono Cleaning piece III, instruction, 1996 Documentation The Lawsuit of Juarez Paraíso against the Evangelical Apostolical Church Renascer em Cristo The lawsuit of Fátima Pombo against São Paulo Biennial Foundation Public letters of the dissidence between the curators and ex-assistant curators of the 3rd Bahia Biennial

Solar Ferrão Galeria 1

Imaginary Museum of the Northeast Department of the Marquetry of Unstable Fictions Section: Forms of Orientalism Alex Oliveira From the series Ritos de Passagem, photograph, 2011-2014

Vieira Andrade e Gustavo I.I.I. - Inventário de incrustações imagéticas, tomo I: Atlânticos, capítulo II: Ajuntó, object, photograph and text, 2014 [work carried out during the artistic residence of the 3rd Bahia Biennial, at the Sacatar institute]

Galeria 2

Adenor Gondim Cãos de Jacobina, photograph, 2011 Aristides Alves From the series Outros, photographs, 1994 Bakary Diallo Taa bolo, video, 2013 Bauer Sá White shoe, Ama, Olhos de Xangô, Lelicana, photographs, 2007-2009 Eneida Sanches and Tracy Collins I’m not from here, installation, 2014 Mario Cravo Neto Gato/Capoeira, video, 1979 [collection of the artist’s family] Representation of the Colonizers, Ewe, Benin/Togo, sculpture, 20th century [the Claudio Masella collection of African Art – Solar Ferrão-Dimus]

Itinerant actions

Beatriz Franco São Paulo_mas poderia ser qualquer lugar, photograph and text, 2014

That’s how it is on the coast

Evandro Sybine O grande duelo, woodcut, stamp and ink, 2010-2014

Alejandro Jodorowsky, Bianca Portugal and Evandro Sybine Caderno para ações psicomágicas, paper and wood, 2014 [private collection]

Fernando Pontes Seis de dezembro, photographs taken with a 2 megapixel cell phone camera, 2013

Desconhecido Cabeça de ex-voto, wood sculpture, no date [Lina Bo Bardi popular art collection - Solar Ferrão - Dimus]

Milena Travassos Encarnado, installation, 2014 [work carried out during the artistic residence of the 3rd Bahia Biennial, at the Sacatar institute]

Dicinho Cabra, polichrome wood, no date

Nino Cais Cidade das pedras, collage, 2014

Ednízio Ribeiro Primo Pássaro e peixes, silkscreen, no date [private collection]

Paulo Nazareth From the series Cadernos de África, paper, pen, pencil, 2013

Ian Wilson Circle on the floor, installation, a chalk circle drawn on the ground, 1968

Ícaro Lira Expedição Etnográfica de Ficção Canudos-BA, installation, rocks, cardboard and cloth, 2014 Joaquim Lino Investigação feminina e o flerte com a morte, photograph, 2011 [private collection] Jomard Muniz de Brito Mito e contramito da família pernambucobaiana, video, 1974 Juraci Dórea Terra, video, 1982 Luis Berríos-Negrón The invisible machine, wood sculpture, 2014 Marepe Cabra da lata, metal, 2010 Paulo Nazareth Antropologia do Negro..., paper print and video, 2014 Yoko Ono Cleaning piece III, instruction, 1996 Zé de Rocha Bed Box, cardboard, plastic and metal, 2010

MAY 29




/ 2014

Films on the CINEMA YEMANJÁ circuit Films screened on the circuit of CINECLUBS:

The ballad of genesis and Lady Jane Marie Losier, 72 mins, France, 2011

Port’ et la Fille des Eaux, JeanFrançois La- guionie, 12 mins, 1974

Toute la mémoire du monde Alain Resnais, 22 mins, France, 1956

Le papier ne peut pas envelopper la braise Rithy Panh, 86 mins, France, 2006

Coeur de Secours, Piotr Kamler, 9 mins, 1973

L’année dérnière à Marienbad) Alain Resnais, 93 mins, Germany, Austria, France and Italy, 1961

Victoire Terminus Florent de la Tullaye and Renaud Barret, 80 mins, France, 2007

Decidedly animated, ah! Love... (Résulement Animés, ah! L´amour...)

Jéssica Christopherry Paula Lice, Ronei Jorge and Rodrigo Luna, 52 mins, Brazil, 2011


Os dias com ele Maria Clara Escobar, 105 mins, Brazil, 2013 Doméstica Gabriel Mascaro, 76 mins, Brazil, 2012 Histórias que só existem quando lembradas Julia Murat, 98 mins, Brazil, 2011 Uma longa viagem Julia Murat, 97 mins, Brazil, 2011 A cidade é uma só? Adirley Queirós, 73 mins, Brazil, 2012 Morro do Céu Gustavo Spolidoro, 70 mins, Brazil, 2009 Estrada Real da Cachaça Pedro Urano, 98 mins, Brazil, 2009 Varda, tous les courts Agnès Varda, France Ô saisons Ô chateaux!, 22 mins, 1957 Plaisir D’Amour en Iran, 6 mins, 1976 Du Côté de la Côte, 24 mins, 1958

Le voyage extraordinaire Eric Lange and Serge Bromberg, 65 mins, Brazil, 2011 Decidedly Animated - Childishness (Résolument Animés – Enfantillages) France 7 tonnes 2, Nicolas Deveaux, 3 mins, 2004) The Rain dance, Vijaya Kumar Arumugam, 8 mins, 2006 L’Harmonie cosmique, Jean-Marc Rohart, 6 mins, 2005 Même les pigeons vont au paradis, Samuel Tourneux, 9 mins, 2007 Papillon, Zhi Yi Zhang, 3 mins, 2005 Entre deux miettes, Sylvain Ollier, 5 mins, 2005 Migration assistée, Pauline Pinson, 5 mins, 2006 Les Château des autres, Pierre -Luc Granjon, 6 mins, 2003 La Queue de la souris, Benjamin Renner, 5 mins, 2007

Oncle Yanco, 22 mins, 1967

Pamplemousse, Coralie Van Rietschoten, 7 mins, 2003

Black Panthers, 28 mins, 1968

Premier voyage, Grégoire Sivan, 10 mins, 2007

Réponse de Femmes, 8 mins, 1975 Ydessa, lês ours et etc…, 43 mins, 2004 Ulysse, 21 mins, 1982 Salut les cubains, 28 mins, 1962 Une minute pour une image, 19 mins, 1983 Les Dites Cariatides, 13 mins, 1984 L’Opéra- Mouffe, 16 mins, 1958 Elsa la Rose, 20 mins, 1965 Le Lion Volatil, 12 mins, 2003 T’as de beaux escaliers, tu sais, 3 mins, 1986 Les Fiancés du Pont Mac Donald, 5 mins, 1961 7 P., Cuis., S. de B., … À Saisir, 27 mins, 1984

La Saint Festin, Anne-Laure Daffis and Léo Marchand, 15 mins, 2007 Vampz, Adrien Barbier, 4 mins, 2005 Versus, François Caffiaux, Romain Noel and Thomas Salas, 6 mins, 2005 Decidedly animated, from shorts to longs (Résulement Animés – Du court au long) France


Le Voleur de Paratonnerres, Paul Grimault, 10 mins, 1944 Le Petit Cirque de Toutes Les Couleurs, Jacques-Rémy Girerd, 7 mins, 1986 Les Escargots, René Laloux, 11 mins, 1965 Les Trois inventeurs, Michel Ocelot, 13 mins, 1980

TSF Ça Va Ça Va, Sylvain Chomet and Philippe Le- clerc, 3 mins, 1980


La Belle Au Bois D’or, Louis Clichy, 3 mins, 2001 Le Papillon, Antoine Antin and Jenny Rakotomamonjy, 4 mins, 2002 Eletvonal, Tomek Ducki, 6 mins, 2006 La Chute De L’Ange, Geoffroy Barbel-Massin, 5 mins, 2005 Calypso Is Like So, Bruno Collet, 7 mins, 2003 Le Dos Au Mur, Bruno Collet, 8 mins, 2001 En tus Brazos, François-Xavier Goby, Édouard Jouret and Matthieu Landour, 5 mins, 2006 A Quoi Ça Sert L’Amour?, Louis Clichy, 3 mins, 2003 Silhouettes, Vincent Courbis-Poucet, Rémi Despret and Jean-David Solon, 6 mins, 2006 Signes de Vie, Arnaud Demuynck, 10 mins, 2004 Une Histoire Vertébrale, Jéremy Clapin, 9 mins, 2004

Le quadre Jean-François Laguionie, 76 mins, Belgium, France, Switzerland, 2011 Mahaleo César Paes and Marie-Clémence, 100 mins, France, 2005 Estrada para Ythaca Guto Parente, Luiz Pretti, Ricardo Pretti and Pedro Diógenes, 69 mins, Brazil, 2010 Esse amor que nos consome Allan Ribeiro, 80 mins, Brazil, 2012 Doce Amianto Guto Parente and Uirá dos Reis, 70 mins, Brazil, 2013 A fuga da mulher gorila Felipe Bragança and Marina Meliande, 82 mins, Brazil, 2009 Os monstros Gustavo Spolidoro, 70 mins, Brazil, 2009

Os residentes Tiago Mata Machado, 120 mins, Brazil, 2010 Boi Aruá Chico Liberato, 85 mins, Brazil, 1984

As hiper mulheres Carlos Fausto, Leonardo Sette and Takumã Kuikuro, 80 mins, Brazil, 2011

Cuba une odyssée africaine Jihan El Tahri, 190 mins, France, 2007

Nénette Nicolas Philibert, 70 mins, France, 2010

Le retour d’un aventurier Moustapha Alassane, 34 mins, France, 1966

Guerre et paix dans le potager Jean-Yves Collet, 104 mins, France, 2006

Les cow-boys sont noirs Serge-Henri Moati, 15 mins, France, 1966

Au-delá de l’infini Werner Herzog, 77 mins, Germany, Austria, France and Great Britain, 2006 Viva Riva! Djo Munga, 94 mins, Belgium and France, 2010 Domitilla Zeb Ejiro, 94 mins, Nigeria, 1996 Congo River Thierry Michel, 120 mins, France, 2006 Barakat! Djamila Sahraoui, 94 mins, France, 2006 Lumumba Raoul Peck, 116 mins, Germany, Belgium and France, 2000 Jom Ababacar Makharam, 76 mins, France and Senegal, 1981 Fad, Jal Safi Faye, 113 mins, France and Senegal, 1979

Les statues meurent aussi Alain Resnais e Chris Marker, 29 mins, France, 1953 Fary l’anesse Mansour Sora Wade, 21 mins, France and Senegal, 1989 Sudoeste Eduardo Nunes, 100 mins, Brazil, 2012

Saworoide Tunde Kelani, 105 mins, Nigeria, 1999

Films screened in the cycle BIENNIAL IN AGNÈS VARDA: Cléo de 5 à 7 Agnès Varda, 90 mins, France, 1962

Nisida, grandir en prison Laura Rastrelli, 100 mins, France, 2006

Varda, tous les courts Agnès Varda, France

Pacific Marcelo Pedroso de Noronha, 72 mins, Brazil, 2009

Les glaneurs et la glaneuse Agnès Varda, 82 mins, France, 2000

Futuro do pretérito: Tropicalismo now Ninho Moraes and Francisco César Filho, 76 mins, Brazil, 2012 Terras Maya da Rin, 75 mins, Brazil, 2009

La chasse au lion à l´arc Jean Rouch, 80 mins, France, 1965

1978, cidade submersa Caetano Dias, 16 mins, Brazil, 2010

Afrique sur Seine Mamadou Sarr and Pauline Vieyra, 21 minutos, France and Senegal, 1957

Oxalá Caetano Dias, 3 mins 50 seconds, Brazil, 2007

Les princes noirs de Saint Germaindes-Prés Ben Diogaye Beye, 14 minutos, France and Senegal, 1975

Águas Caetano Dias, 6 mins 45 seconds, Brazil, 2010

Caixa d’Água: qui-lombo é esse? Everlane Moraes Santos, 12 mins, Brazil, 2012

Arugba Tunde Kelani, 95 mins, Nigeria, 2008

L’une chante, l’autre pas Agnès Varda, 120 mins, France, 1976

Bicho geográfico Caetano Dias, 14 mins, Brazil, 2010

Comboio da Canhoca Orlando Fortunato, 90 mins, Angola, 1989

Maami Tunde Kelani, 92 mins Nigeria, 2011

Girimunho Helvécio Marins Jr. and Clarissa Campolina, 90 mins, Brazil, 2011

Safrana ou le droit à la parole Sidney Sokhona, 121 mins, France and Mauritania, 1978

Paris c’est joli Inoussa Ousseini, 23 mins, France and Senegal, 1974

Films screened in the cycle BIENNIAL IN TUNDE KELANI:

Zilomag Caetano Dias, 3 mins 06 seconds, Brazil, 2005 Canto doce, pequeno Labirinto Caetano Dias, 18 mins and 27 seconds, Brazil, 2006

Films screened in the cycle BIENNIAL IN JODOROWSKY: Constellation Jodorowsky Louis Mouchet, 87 mins, Switzerland and France, 1994 El Topo Alejandro Jodorowsky, 124 mins, Mexico, 1970 The holy mountain Alejandro Jodorowsky, 113 mins, Mexico, 1973 Dune David Lynch, 162 mins, USA, 1984 Jodorowsky’s Dune Frank Pavich, 90 mins, USA and France, 2013

MAY 29




/ 2014



Jaques Wagner

PINTORES / PAINTERS Ademir Ferreira dos Santos / Antonio Jorge Ferreira / Cid Eduardo Ferreira


Marcos Antônio da Silva / Reinaldo Pereira da Silva


Antônio Albino Canelas Rubim

Jorge Bispo dos Santos / José de Assis Alecrim




Elisabete Gándara Rosa



Andrea Campodonico

Rafael Rêgo


Cristiane Moreira / Sandra Cristina de Jesus







Marcelo Rezende

Ana Pato


Ayrson Heráclito


Lucas Lima


Alejandra Muñoz


Fernando Oliva

Carolina Morena / Igor Solares

Rafael Martins

ASSISTENTES DE CURADORIA / ASSISTANT CURATORS Anderson Cunha / Bianca Góis Barbosa / Carmen Palumbo / Carol Almeida / Daniel Sabóia / Giltanei Amorim / Laura Castro / Liane Heckert / Tiago Sant’Ana



PESQUISADORAS / RESEARCHERS Andreia Fabia Santos / Gabriela Fracassi de Oliveira / Mabell Fontes Silva / Paula Milena Lima / Rita Maria Fonseca Chaves / Samille Soares


Luciana Moniz

CONSULTORIA PEDAGÓGICA/ Pedagogical Consultant Isa Trigo / Marcelo Faria / Priscila Lolata





Lopez e Vidal


Thiago Pilloni



Laize Reis



Luciana Pires Leila Cardoso / Lyana Perez

SUPERVISÃO PEDAGÓGICA DO MUSEU IMAGINÁRIO DO NORDESTE - FORMAS DE EDUCAÇÃO / Pedagogical Supervision of the Imaginary Museum of the Northeast - Forms of Education Helena Magon




PESQUISADORAS / RESEARCHERS Ana Rizek / Clara Domingas / Janaína Chavier

Viviane Abreu


Fernanda Franco /

Daniel Bastos


Fernanda Félix


Daiane Oliveira



Fernanda Borges / Gei

PRODUÇÃO DE MONTAGEM / ASSEMBLY PRODUCTION Fátima Passos / Guilherme Barsan / Marta Luna / Paulo Tosta / Vinícius Liberato TÉCNICOS DE MONTAGEM / ASSEMBLY TECHNICIANS

Agnaldo Santos / Jairo Morais

EQUIPE DE APOIO / SUPPORT TEAM Edy / Elcian Gabriel / Fernando Borges / Garlei Souza / Igor Albert Sampaio / Lazaro Luis Soares Sena / Marcus Vinicius de Carvalho Pereira / Melquesalém do Sacramento Santos / Sergio Luis Laurentino PRODUÇÃO DE MOBILIÁRIO / FURNITURE PRODUCTION Barsan / Marcus Vinicius de Carvalho Pereira

Gei Correia Rios / Guilherme

RELAÇÕES PÚBLICAS / Public Relations

Ítala Herta

MEDIADORES CULTURAIS 3ª BIENAL DA BAHIA-MAM-BA / MEDIATORS FOR THE 3rd BAHIA BIENNIAL Àlex Santos Cardoso / Amanda Vila Kruschewsky / Ana Beatriz Henriques Brandão / Ana Elisa Improta / Ana Paula Fiúza / Ana Paula Nobre / Ana Rachel Schimiti / Andreia Oliveira / Bernardo Santos / Camila Santos da Silva / Camila Souza / Carolina Albuquerque / Caroline Silva Souza / Daiana Soares / Daniel Almeida / Daniel Souza Lemos / Diana Paiva / Douglas Saturnino / Ednaldo Gonçalves Junior / Eliane Silveira Garcia / Eva Souza Trochsler / Evanny Dantas / Fernando Santos da Silva / Francisco Folle Beraldo / Gabriela Guedes Maia / Geisiane Cordeiro Ferreira / Gustavo Salgado Leal / Helaine Ornelas / Iandira Neves Barros / Isabela Santana / Jaison Santos da Conceição / James Barbosa Souza / Jéssica Maria Cordeiro / Jonatas Lopes / José Augusto Estrela Cordeiro / Jozias Almeida Cedraz / Karoline Santana Tavares / Laila Silva Fagundes / Laura Cardoso / Layla Gomes Angelim Silva / Leandro Estevam / Letícia da Silva Almeida / Liliane Souza / Lucas Pereira / Luciana Pimentel / Marcia Julieta Souza / Marcleia Santiago do Amor Divino / Maria Célia Pereira da Silva / Maria Lúcia Santos / Maria Terezinha Passo Noblat / Marisa Zulma / Michelle Pontes / Misma Ariane Dórea / Naasson Oliveira / Naira Rezende de Oliveira / Núbia Pinheiro / Patrícia Martins / Rafael Vasconcelos / Raquel Cardoso / Rebecca França / Rodrigo David / Romário Silva / Rose Souza Trochsler / Roseli Costa Rocha / Rosemary Fontes Bastos / Tâmara Lira / Tarciana Paim Ribeiro / Telma Lívia Costa / Thassya Luz / Tiago Costa Moreira / Ulisses Junior / Verônica Macedo / Virgínia Tertuliano / Wagner Oliveira / Yasmim Nogueira COORDENAÇÃO E PESQUISA DAS OFICINAS DO MAM E DA BIENAL / RESEARCH AND COORDINATION OF MAM-BA’S AND BIENNALE’S WORKSHOPS Felix White Toro PROFESSORES DAS OFICINAS DO MAM-BA / WORKSHOP TEACHERS Claúdio Pinheiro / Evandro Sybine / Hilda Salomão / Marlice Almeida / Olga Goméz / Renato Fonseca / Rener Rama PROJETO PINTE NO MAM / Pinte no MAM project

Maninho Abreu


Ana Cláudia Muniz /

Jamile Souza






SUPERVISÃO DOS MONITORES DE ACERVO / COLLECTION MONITORING MANAGEMENT Diogo Vasconcelos / Eduardo Moleiro / Emile Ribeiro / Erasto Lopes / Jackson Queiroz / José Mário de Jesus / Robson José de Jesus / Ricardo Santos / Sílvio Sérgio Silva


Alberto Gonçalves / Ana Clara Araújo


Andréa Lemos


Hanna Nolasco Lara Carvalho

Tais Bichara



Alfredo Mascarenhas / Gillian Villa / Leonardo


Herbert Gomes Cátia

Antonio Moreno [Cia. de Comunicação]


ASSISTENTES DE PRODUÇÃO DE BIBLIOTECA / LIBRARY ASSISTANTS Aldemiro Rodrigues Brandão / Fábio Vasquez / Nadiene Lopes / Raimundo Figueiredo


MAPA ESTILIZADO DO ESTADO DA BAHIA / Stylized map of the state of Bahia Obra de / work by Clara Domingas (Técnica mista / mixed media / stencil e / and urucum)


Antonio Moreira / Ramon Maciel

Claudio Pinheiro de Almeida





Rogério Sousa

PESQUISA MUSEOLÓGICA / MUSEOLOGICAL RESEARCH Daisy Santos / Etiennette Bosetto / Janaína Ilara / Priscila Leal / Priscila Povoas / Renata Cardoso

Fernando Nascimento

Antônio Mascarenhas



Dércio Santana Moreira

Antonieta Pontes


Gess Alencar / Marcos William /


Vera Lucia Rodrigues


Anne Pinto

Blenda Tourinho


MONITORES DE ACERVO / COLLECTION MONITORING Alda Sousa / Ana Caroline Reis / Andréa de Jesus / Áurea Santiago / Carmen Sena Celeste Melo / Edirlene Souza / Edmundo Galdino / Elioma Lima / Fabiana Vitório / Flávia Pedoroso / Giselle Almeida / Heloísa França / Ivonaide Costa / Ivonete Encarnação / Irlan Tripoli / Jamile Menezes / Lílian Balbino / Luiz Henrique Cruz / Luan Santos / Jaílson Queiroz / Jaqueline Sales / João Carlos Borges / Joilton Conceição / José Passos Jr. / Kátia Ribeiro / Luiz Augusto Sacramento / Márcio Ferreira / Maria Heloísa Lima / Maria Mel Santos / Maurício Mota / Nilton Cavalcanti / Paula Alves / Poliana Duarte / Rebeca Fonseca / Suelene Bonfim / Suria Seixas / Taiane Rosário / Tamires Carvalho / Valdeíldes Santos / Uildemberg Cardeal



Alberto Ribeiro / Rafael

Valdete Moreira



Maria Lúcia Lyrio


Antonio Lourenço de Jesus

Alex Ferreira / Francisco Vitório / José

Ângela Maria Pereira

TÉCNICOS DE LIMPEZA / CLEANERS Agnaldo José dos Santos / Arão de Paula Santos / Cleonice Reis Cerqueira / Crovis Alves Gama Jr. / Emanuel Rubens Oliveira / Estela Maria Santos / Jailson Souza Conceição / Jussara Reis Souza / Raimundo Jose dos Santos / Simarley de Jesus Dias / Sueli Conceição / Vera Lúcia Ferreira

Tânia Cristina Resurreição

IMPRINT DIREÇÃO EDITORIAL / Editorial Director Marcelo Rezende

EDITORA ASSISTENTE / Editor Assistant Talyta Singer

EDITOR-CHEFE / Editor-In-Chief Eduardo Simantob

PESQUISA DE IMAGEM / Photo Editors Ana Clara Araújo / Hanna Nolasco / Liane Heckert / Talyta Singer

DIREÇÃO DE ARTE / Art Director Dinha Ferrero

REPORTAGEM / Reporter Cátia Milena Albuquerque

DESIGNERS / Designers Alberto Gonçalves / Ana Clara Araújo

REDATORES / Copywriters Blenda Tourinho / Marcos William

EDITORA / Editor Hanna Nolasco

REDATORES ASSISTENTES / Interns Gess Alencar / Thuanne Silva

MAY 29




/ 2014

Acknowledgements The producers and the entire group responsible for the materialization of the 3rd Bahia Biennial would like to thank all the ones involved in the project, all of those who, in the most diverse ways, contributed to make all of the Biennale’s actions a reality. THE GOVERNMENT OF THE STATE OF BAHIA THE CULTURE DEPARTMENT OF THE STATE OF BAHIA THE BAHIA INSTITUTE OF ARTISTIC AND CULTURAL HERITAGE THE MUSEUMS BOARD (DIMUS) Special thanks to all the collaborating institutions and companies: 18º Batalhão de Polícia Militar do Estado da Bahia A Tarde ACBEU Acervo da Laje Armazém Cenográfico Arno Schmidt Stiftung Arquivo Histórico Municipal Arquivo Público do Estado da Bahia Arte Digital Brasil Baluart Projetos Culturais Biblioteca Juracy Magalhães Jr. (Itaparica) Biblioteca Pública do Estado da Bahia Caixa Econômica Federal - Caixa Cultural Canal Eventos Casa da Música Casa dos Carneiros Centro Cultural Plataforma Centro de Cultura Alagoinhas Centro de Cultura Amélio Amorim (Feira de Santana) Centro de Cultura João Gilberto (Juazeiro) Centro Educacional Carneiro Ribeiro Escola Parque Centro Universitário de Cultura e Arte – CUCA (Feira de Santana) Cine Mais Saber (Cairu) Cine Manga Rosa (Mar Grande) Cine Sereia Cineclube AFAI (Itajuípe) Cineclube CDP – Cidade de Plástico (Ocupação Guerreira Zeferina) Cineclube Payayá – Associação da Ação Social e Preservação das Águas, Fauna e Flora da Chapada Norte (Jacobina) Cineclube Clã Periférico – Bairro da Paz Cineclube do Imaginário Cineclube Filhos do Sol (Heliópolis) Cineclube Imagens Itinerantes Cineclube Mário Gusmão (Cachoeira) Cineclube Oficina das Artes (Itaparica) Cineclube Professor Ralile (Caravelas/ Teixeira de Freitas) Cineclube REPROTAI Cineclube Tela em transe (Poções) Cineclube Urubucine Cineclube Vila  Cinemateca da Embaixada da França - Institut Français Cipó Comunicação Interativa Comando Geral da Polícia Militar da Bahia Coordenação De Literatura – FUNCEB Departamento de Polícia Técnica do Estado da Bahia (SSP/BA) Desenbahia Difusão Cineclube Itapetinga (Itapetinga) Diretoria de Espaços Culturais da Secult Domus Embaixada da França no Brasil Escola de Belas Artes da UFBA Espaço Cultural Pierre Verger Espaço Imaginário (Rio de Contas) Faculdade de Arquitetura da UFBA Faculdade de Educação da UFBA Faculdade de Filosofia e Ciências Humanas - Museologia (FFCH/UFBA) Fundação Casa dos Carneiros Fundação Cultural Do Estado Da Bahia (FUNCEB)

Fundação Gregório De Matos Fundação Hansen Bahia Fundação Instituto Sacatar Fundação Pedro Calmon Fundação Pierre Verger Gensa Gráfica GeoEng ICBA / Goethe-Institut Salvador Igreja do Santíssimo Sacramento do Pilar Igreja dos Aflitos Instituto de Ciências da Informação (ICI/UFBA) Instituto Italiano de Cultura do Rio de Janeiro IPAC (Instituto do Patrimônio Artístico e Cultural) Iplotagem Comunicação Visual Levante Popular da Juventude Lopez&Vidal Advogados Mills Engenharia Mocamba – Centro de Agroecologia e Educação da Mata Atlântica (Itabuna) Mosteiro de São Bento Museu Afro-Brasileiro da UFBA Museu Carlos Costa Pinto Museu Casa Do Sertão Museu de Arqueologia e Etnologia da UFBA (MAE) Museu de Arte Moderna da Bahia Museu de Arte Sacra Museu Náutico da Bahia Orquestra Sinfônica Da Bahia (OSBA) Palacete das Artes Palácio Rio Branco Prefeitura de Itaparica Prefeitura Municipal De Vera Cruz Proext UFBA Reitoria Da Universidade Federal Da Bahia Sangalo Advogados Secretaria de Cultura do Governo do Estado da Bahia Secretaria de Segurança Pública do Estado da Bahia Solar Café Solar Ferrão Stedelijk Museum Teatro Castro Alves Teatro Jorge Amado Teatro Vila Velha Terreiro Ilê Axé Opô Afonjá Terreiro Santa Bárbara / Nação Ketu TVE/Irdeb União dos Cineclubes Universidade Católica de Salvador (UCSAL) Universidade Estadual da Bahia (UNEB) Vitrine Filmes

Some nominal thanks: Adolfo Gomes Adriana Sousa Silva Adriel Figueiredo Alessandra Paulitti Alex Baradel Alex Esquivel Alícia Duhá Lose Angela Elisabeth Lühning Antônio Marcos Passos Arlete Cruz Augusta Cortial Augusto Albuquerque Bárbara A. Leal Saldanha Bárbara Alessandra Carlos Etchevarne Carmen Paternostro Carol Santana Celeste Puissant Celso Coelho Claudio Luiz Pereira Comunidade de Massaranduba Comunidade de Serra dos Correias Comunidade de Tijuco Cristiana Fernandes Dalva Tavares Dênia Gonçalves

Dimitri Ganzelevitch Dom Abade Emanoel D’Able do Amaral Dom Anselmo Rodrigues Dom João Batista Edwin Neves Elcimar Pereira da Boa Morte Emilae Sena Enderson Araujo Enéida Lima Eric Pereira Fátima Froes Felipe Tadeu Diniz Fidelis Tavares Frederico Mendonça Gedean Ribeiro Nascimento Gilsmara Moura Giovanni de Azevedo Graça Teixeira Itaberaba Sulz Lyra Ivana Lins Ivo Foguete Jaci Maria Ferraz Menezes Jaciara Cruz Acassio Jacira Primo Jaine Oliveira Jamile Menezes Janilda Ferreira Abreu Jaqueline Lima Jefferson Borges João José Reis Jorge Pithon Aguiar José Raimundo Carvalho José Roberto José Sergio de Carvalho Josete Batista Kênia Silva Leandro Cunha Lourenço Gimenes Luis Paulo Neiva Mãe Sarita Maria Sergio Mara Lúcia Carrett de Vasconcelos Marcelo Cunha Marcelo Maia Tilkian Marcio Meirelles Marcondes Dourado Marcos Benjamin Marcos Brazil Marcos Dutra Marcos Santos Maria Cristina Santos Maria Eugenia Boaventura Maria Teresa Matos Mariete Barbosa Maurício Barbosa Maurício Ferreira Miguel Carminatti Milena Britto Monique Evelle Nadjaí Araújo Negro Davi Nehle Franke Neuza Farias Ordep Serra Pasqualino Magnavita Paulo Costa Lima Paulo de Oliveira Neto, Paulo Rogério Perinho Regina Jehá Ribeiro Dias dos Santos Rita Rosado Rômulo Cravo Rose Lima Rubens Ribeiro Gonçalves da Silva Ruth Marcellino da Motta Silveira Sergio Guerra Solange Farkas Suki Guimarães Taís Rocha Taylor Van Horne Tuca Pinheiro Tuzé de Abreu Ualex Bispo Urania Catarina

Arena Fonte Nova



Av . Jo







Terminal da Lapa

Terminal Barroquinha



te d

Praça da Sé






Campo Grande

Praça Castro Alves

Praça Cairu MAM


Exhibition spaces of the 3rd Bahia Biennial’s first season Artwork: Clara Domingas (Mixed media: stencil and urucum)

MAY 29




/ 2014



ira d

itória or da V


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Profile for MAM Bahia

Journal of 100 Days  

Journal of 100 Days  

Profile for bahiamam

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