29th Bienal de São Paulo (2010) - Catalogue

The Importance of the Bienal de SĂŁo Paulo to Brazil

The Bienal de SĂŁo Paulo, the 29th edition of which will take place between September 25 and December 12 this year, plays a central role in the development of Brazilian art. Its impact, however, transcends the strictly cultural realm. Functioning as an instrument for education and social inclusion and serving as a catalyst for the production and consumption of cultural goods, the Bienal is an important catalyzer to the creative economy and a symbol of the modernity not only of our city, but of the nation as a whole.

Created in 1951, the Bienal de SĂŁo Paulo, inspired upon its Venetian counterpart, was the second mega-exhibition of contemporary art in the world and the first in the southern hemisphere. Serving as a link between Brazil and the international scene, the Bienal has been fulfilling this function of promoting cultural interchange ever since, stimulating the local artistic circuit and showcasing Brazilian art abroad. Its impact over the last 60 years has been extremely positive, attracting, and continuing to attract, the major international artists of the post-war world. The quality and scope of our artistic output have grown immensely and our artists have garnered international projection. The Bienal has earned prestige beyond our borders and is accompanied with great interest by the artistic community worldwide.

In a nation where only 10% of the population has ever visited a museum or gallery, the Bienal, with its monumental scale underscored

by Oscar Niemeyer's pavilion in the heart of Ibirapuera Park, is an important mechanism for providing access to art. Every two years, the event brings thousands of visitors into contact with contemporary artistic production. This encounter, capable of generating disparate feelings, from absolute pleasure to complete indignation, invariably leads the public to reflect on art and its role in society, thus expanding its horizons. It is in this sense that this year's Bienal is anchored in the idea of the inseparability of art and politics.

Believing in art's power to educate, the Bienal de São Paulo maintains a pioneering presence in the educational field. For the 2010 edition, we celebrated partnerships with the State and Municipal Education Secretariats of São Paulo and other authorities in nearby cities and towns, as well as with innumerable private teaching institutions and NGOs, with a view to training 35 thousand educators to work with the Bienal as a theme in their class work, followed by visits to the pavilion. In all, we hope to receive some 400 thousand visitors on guided tours, making the Bienal one of the biggest and widest-ranging educational programs ever implemented within the field of the arts.

As the economic impact of the Bienal is difficult to gauge, it is seldom discussed, but certainly should not be underestimated. Artistic production is one of the activities with the highest aggregate value in the economy. Works of art materialize intellectual capital. The more value works by our artists acquire, the more wealth is generated in the country. And this wealth ends up being distributed among all those involved in the art world – artists, galleries, auction houses, cultural institutions, schools, etc. Furthermore, the art circuit is a major incentive for tourism.

On that ground, though the Bienal is essentially focused on art, one cannot forget its impact on education, citizenship and the economy. The incisive support the event receives from the Ministry of Culture, as well as from São Paulo City Hall, company sponsors and civil society derive from precisely this understanding of the range of its impact. A strong and representative Bienal is in the interests of society as a whole, insofar as it enables our city to position itself among the world's major contemporary art hubs, generating wealth, progress and material and symbolic benefit for all.

Heitor Martins President of the Fundação Bienal de São Paulo

Being home to one of the main events in the global contemporary art world, one entering its 60th year in 2011, is no small matter. A standout on the post-war art scene that mediated the internationalization of modern and contemporary art, it ensured the delectation of a vast public with the creations emerging in the new West. Even today, the Bienal de SĂŁo Paulo is a point of reference in the history of 20th-century art, plotted on an arc that swings from the Biennale di Venezia to the Documenta in Kassel. In tandem with these two other great periodical exhibitions, it interweaves a global network of curators and concepts that engages public opinion in debate on the meaning and actuality of a contemporary tradition.

In this 29th edition it will be important to redefine the scale and importance of the event. The Bienal continues with its mission of providing a platform for knowledge exchange, creative economy and the fostering of global networks, as well as research into artistic concepts and production. If this platform serves as the locus for interchange among various generations and traditions, whilst exercising functions that are crucial to the development of the visual arts and Brazilian cultural economy, it deserves to rank as a priority in public policy, especially in this cycle of internationalization in which we presently find ourselves.

The Ministry of Culture recognizes in this new management a horizon of endeavor that ensures the role of the Bienal as the main point of connection between Brazilian and world art.

We are experiencing a new phase in the professionalization and organization of this kind of undertaking. We hope that our initiatives collaborate with Brazilian society and the art milieu in doing justice to our art, which is one of the nation's most striking cultural contributions to the contemporary world.

Juca Ferreira Minister of Culture

More than manufacturing cars known for their quality and beauty of design, Fiat's commitment to Brazil and Brazilians is expressed in a range of social actions, which include reinforcing social wellbeing and fostering education, art and culture – permanent axes in our activities.

Our sponsorship of the 29th Bienal de São Paulo sits within this frame, as it deals with an initiative that is a reference on the international contemporary art scene and that pursues the goal of broadening the opportunities for reflection on, and the questioning of, the human condition through artistic manifestation. Like the Bienal de São Paulo, Fiat understands the need to celebrate artistic production and affirm our responsibility to life and society.

Fiat Automóveis

Itaú has always believed in the transformative power of cultural activity, and that is why we are sponsoring this 29th edition of the Bienal. Our action in the cultural sphere has assumed various forms: the formation of one of the most important art collections in the country, with ongoing programs and actions developed by the Itaú Cultural Institute, as well as the ItaúBrazil Platform, which, in 2009, celebrated the fiftieth anniversary of the musical career of Roberto Carlos and supported such events as Flip (International Literary Festival of Paraty), the Joinville Dance Festival and the Curitiba Theater Festival.

In this context, our support of the 29th Bienal de São Paulo is aligned with one of the bank's core beliefs: that diversity and plurality of viewpoints and discourses inspire people to see the world as in constant progress.

Itaú Unibanco

Fundação Bienal de São Paulo Founder Francisco Matarazzo Sobrinho (1898–1977) Chairman Emeritus

COUNCIL Honorary Board Oscar P. Landmann † Chairman Honorary Board Members composed by former Presidents Alex Periscinoto Carlos Bratke Celso Neves † Edemar Cid Ferreira Jorge Eduardo Stockler Jorge Wilheim Julio Landmann Luiz Diederichsen Villares Luiz Fernando Rodrigues Alves † Maria Rodrigues Alves † Manoel Francisco Pires da Costa Oscar P. Landmann † Roberto Muylaert Management Board Elizabeth Machado · President Alfredo Egydio Setubal · Vice-President Lifetime Members Alex Periscinoto Benedito José Soares de Mello Pati Ernst Guenther Lipkau Giannandrea Matarazzo Gilberto Chateaubriand Hélène Matarazzo Julio Landmann Miguel Alves Pereira Jorge Wilheim Manoel Ferraz Whitaker Salles Pedro Franco Piva Roberto Duailibi Roberto Pinto de Souza Rubens José Mattos Cunha Lima Thomaz Farkas

Members Adolpho Leirner Alberto Emmanuel Whitaker Alfredo Egydio Setubal Aluizio Rebello de Araujo Álvaro Augusto Vidigal Angelo Andrea Matarazzo Antonio Bias Bueno Guillon Antonio Bonchristiano Antonio Henrique Cunha Bueno Beatriz Pimenta Camargo Beno Suchodolski Cacilda Teixeira da Costa Carlos Alberto Frederico Carlos Bratke Carlos Francisco Bandeira Lins Carlos Jereissati Cesar Giobbi Claudio Thomas Lobo Sonder Decio Tozzi Elizabeth Machado Emanoel Alves de Araújo Evelyn Ioschpe Fábio Magalhães Fernando Greiber Fersen Lamas Lembranho Gian Carlo Gasperini Gustavo Halbreich Jackson Schneider Jean-Marc Robert Nogueira Baptista Etlin Jens Olesen Jorge Gerdau Johannpeter José Olympio da Veiga Pereira Marcelo Mattos Araújo Marcos Arbaitman Maria Ignez Corrêa da Costa Barbosa Marisa Moreira Salles Nizan Guanaes Paulo Sérgio Coutinho Galvão Pedro Aranha Corrêa do Lago Pedro Paulo de Sena Madureira Roberto Muylaert Rubens Murillo Marques Susana Leirner Steinbruch Tito Enrique da Silva Neto

Audit Board Manoel Ferraz Whitaker Salles Carlos Francisco Bandeira Lins Tito Enrique da Silva Neto Substitutes Pedro Aranha Corrêa do Lago Carlos Alberto Frederico Gustavo Halbreich

board of directors Executive Board Heitor Martins · President Eduardo Vassimon · 1st Vice-President Justo Werlang · 2nd Vice-President Directors Jorge Fergie Lucas Melo Luis Terepins Miguel Chaia Pedro Barbosa Salo Kibrit Representative Directors Ambassador Celso Amorim Minister of Foreign Affairs Juca Ferreira Minister of Culture João Sayad State Secretary of Culture Carlos Augusto Calil City Secretary of Culture

Chant I · Poem II

The island no one found because we all knew it.

Even to the eye it had a clear geography.

Even at this sea's end any island could be found, even without sea and without end, even without land and without me.

Even without ships and without bearings, even without waves and sands, there is always a cup of sea for a man to sail in.

Not even found and not seen neither described nor journey, departures are ventured, but never happen.

Close we never become me and the wandering island.

Roving land, uncertain sky, world never discovered.

Traces of cannibals, signs of sky and sargasso, here a world hidden, moans in a lost shell.

Wind rose on forehead, shallow tide, mist, pearls, low Sundays.

And this sailboat without sails!

At last: island of beaches.

Would you want other findings besides these high winds so sad, such joys?

Orpheus' Invention · Jorge de Lima

C A S Y A o W ã L s A

S R I de A F E R O E D NA CA L H A · RI enal T i N B IM G V L A H S: DO A T 9 R N

2 RATO

CU

Z E N TI R MA S U CH

NA R · FE

N I L I A S O E T U A G E O S S L O A J F T N O A A A W A P C S EG U S O C lo IR D KO HA

u C a A p o · MO

S A RI

L A J VA R A

YU · AJ R HA A TM A R · SA

Editorial note

This catalogue contains information about the 159 artists whose works will be exhibited throughout the Ciccillo Matarazzo Pavilion and grounds between September 25 and December 12, 2010, as well as reflections on the curatorial, educational and exhibition design projects that combine as a single body to lend shape to this 29th Bienal de SĂŁo Paulo. In tandem with the visual and written descriptions of these works, this publication also contains a selection of literary texts and excerpts of the most varied kinds, a counterweight that underscores or tensions the issues and themes suggested by the artists and that affirms the importance this edition of the event places upon the faculty of imagination as an indissociable aspect of critical thought.

In addition to installations, videos, drawings, sculptures, paintings, photographs and engravings, six of the artistic contributions featured here are also terreiros, spaces that will be used over the course of the event to host performances, dances, readings, music concerts, plays, film screenings, and any other expressions artists may avail of in order to create or speak of artistic interventions, besides debates and interviews about art and other themes of contemporary life. Given the dynamic nature of the terreiros and their open-ended programs, not all of those who will be performing or presenting work in these spaces could be listed or named in these pages, though each is very much a participant in the 29th Bienal de SĂŁo Paulo. We therefore decided to give due credit to the artists and thinkers featured in the terreiros in a second publication, one that, complete with an extensive photographic record of the exhibition, will complement and add further weight to the content presented herein.

Contents

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There is always a cup of sea to sail in Agnaldo Farias & Moacir dos Anjos 30

Artists & terreiros

402

A place to breathe Stela Barbieri

412

On the construction of an archipelago Marta BogĂŠa

422

Capacete Project Helmut Batista

426

Works in exhibition

438

Image credits

440

Bibliographic credits and references

Artists

368

Adrian Piper

210

Carlos Zilio

206

Grupo Rex

94

Aernout Mik

66

Chantal Akerman

108

Gustav Metzger

281

Ai Weiwei

192

Chen Chieh-jen

140

Guy de Cointet

240

Albano Afonso

182

Chim Pom

234

Guy Veloso

40

Alberto Greco

397

Cildo Meireles

328

Harun Farocki

286

Alessandra Sanguinetti

83

Cinthia Marcelle

260

Hélio Oiticica

64

Alfredo Jaar

130

Claudia Joskowicz

212

Henrique Oliveira

72

Alice Miceli

186

Claudio Perna

176

High Red Center

68

Allan Sekula

306

Daniel Senise

312

Isa Genzken

114

Allora & Calzadilla

60

David Claerbout

133

Jacobo Borges

298

Amar Kanwar

386

David Cury

138

James Coleman

232

Amelia Toledo

90

David Goldblatt

36

Jean-Luc Godard

356

Ana Gallardo

288

David Lamelas

228

Jeremy Deller & Grizedale Arts

236

Andrea Büttner

80

David Maljković

392

Jimmie Durham

124

Andrea Geyer

81

Deimantas Narkevičius

238

Joachim Koester

100

Andrew Esiebo

136

Dora García

294

Jonas Mekas

324

Anna Maria Maiolino

290

Douglas Gordon

227

Jonathas de Andrade

320

Anri Sala

390

Eduardo Coimbra

256

José Leonilson

184

Antonieta Sosa

350

Eduardo Navarro

258

José Spaniol

378

Antonio Dias

254

Efrain Almeida

398

Joseph Kosuth

110

Antonio Manuel

296

Emily Jacir

230

Juliana Stein

170

Antonio Vega Macotela

329

Enrique Ježik

374

Julie Ault and Martin Beck

98

Apichatpong Weerasethakul

274

Ernesto Neto

188

Karina Skvirsky Aguilera

369

Archigram Group

82

Fernando Lindote

116

Kboco & Roberto Loeb

177

Artur Barrio

244

Filipa César

123

Kendell Geers

270

Artur Żmijewski

319

Fiona Tan

357

Kiluanji Kia Henda

353

CADA – Colectivo Acciones de Arte

202

Flávio de Carvalho

266

Kimathi Donkor

86

Cao Fei

336

Francis Alÿs

102

Kutluğ Ataman

180

Carlos Bunga

226

Gabriel Acevedo Velarde

146

Livio Tragtenberg

330

Carlos Garaicoa

150

Gil Vicente

58

Luiz Zerbini

214

Carlos Teixeira

376

Graziela Kunsch

169

Lygia Pape

198

Carlos Vergara

152

Grupo de Artistas de Vanguardia

332

Manfred Pernice

terreiros

284

Manon de Boer

334

Qiu Anxiong

339

Far away, right here

316

Marcelo Silveira

292

Raqs Media Colective

161

I am the street

76

Marcius Galan

132

Roberto Jacoby

273

Remembrance and oblivion

128

Maria Lusitano

308

Rochelle Costi

115

Said, unsaid, not to be said

221

Maria Thereza Alves

158

Rodrigo Andrade

213

The other, the same

340

Marilá Dardot & Fabio Morais

196

Ronald Duarte

43

The skin of the invisible

352

Mario Garcia Torres

55

Rosângela Rennó

360

Marta Minujín

51

Runa Islam

347

Mateo López

145

Samuel Beckett

104

Matheus Rocha Pitta

262

Sandra Gamarra

246

Miguel Angel Rojas

96

Sara Ramo

252

Miguel Rio Branco

224

Simon Fujiwara

366

Milton Machado

78

Sophie Ristelhueber

144

Mira Schendel

52

Steve McQueen

388

Monir Shahroudy Farmanfarmaian

142

Sue Tompkins

156

Moshekwa Langa

372

Superstudio

248

Nan Goldin

304

Susan Philipsz

300

Nancy Spero

54

Tacita Dean

126

Nástio Mosquito / Bofa da Cara

322

Tamar Guimarães

318

Nelson Leirner

154

Tatiana Blass

302

Nnenna Okore

34

Tatiana Trouvé

200

NS Harsha

197

Tea Pavillion

380

Nuno Ramos

44

Tobias Putrih

190

Oscar Bony

162

UNStudio

384

Oswaldo Goeldi

268

Wendelien van Oldenborgh

194

Otobong Nkanga

32

Wilfredo Prieto

92

The Otolith Group

272

Yael Bartana

362

Palle Nielsen

139

Yoel Diaz Vázquez

38

Paulo Bruscky

396

Yonamine

191

Pedro Barateiro

74

Yto Barrada

174

Pedro Costa

242

Zanele Muholi

147

Pixação SP

88

Zarina Bhimji

There is always a cup of sea to sail in Agnaldo Farias & Moacir dos Anjos

The exhibition and the institution While the Bienal de São Paulo is one of the oldest and most relevant institutions in the world devoted to contemporary art, its own particular context has allowed it to retain an experimental character, alternative to the more consolidated centers of diffusion in Europe and North America. With the needle of the compass pointing straight at South America, the Bienal's propositions branch into diverse geographical spaces, from the closest-by to the farthest away. And as it takes place in Brazil, a nation where there is, as yet, no rigid institutional compartmentalization to brace the art field, it is an event that radiates out of the restricted circle of artistic production into the ampler domains of culture and politics.

Every two years it falls to a multidisciplinary team coordinated by one or more curators to renew this importance and affirm, from the most varied perspectives, the role an art exhibition of its kind and size should play simultaneously in the Brazilian and international contexts. This was the first challenge the 29th Bienal de São Paulo had to assume and tackle: to organize an exhibition that is indispensable to the time and space in which it exists. This commitment to the reality that surrounds it does

not imply, in any way, the subordination of its project to motivations or strategies alien to artistic creation. Quite the contrary, in fact, as it is this insistence on the irreducible nature of art to other ambits of life that guides this edition of the Bienal, as only this singular character can grant it the power to change the order of things in the world, thereby investing it with a truly public dimension.

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A concept The 29th Bienal de São Paulo is organized around a discursive platform that, without impinging upon the varied meanings of each artistic project it contains, suggests a precise curatorial viewpoint. One core aspect of this platform is the recognition of the ambiguous character art assumed the moment it was released from the role of merely representing what was already there and known. On the one hand, art is that which, in its own peculiar way, upsets the usual coordinates for sensorial experience of the world. On the other, in virtue of possessing this power to disrupt, art is capable of reconfiguring themes and attitudes inscribable in spaces of cohabitation and exchange. In this sense, it truly is impossible to dissociate art from politics.1 It is precisely the amalgamation of these two dimensions that simultaneously assures the unique place of art in the symbolic organization of life and its capacity to clarify and rework the forms by which the world is structured.

The choice of this organizing principle for the curatorial project is justified for two main reasons: firstly, because we live in a conflict-ridden world where paradigms of sociability are ceaselessly questioned, and in which art affirms itself as a privileged medium for the apprehension and simultaneous reinvention of reality; and, secondly, because this movement of approximation between art and politics has been so extensive in recent decades, it has once again become necessary to highlight the singularity of the former in relation to the latter, as the two are sometimes

1 For more on the relationship between art and politics as defended here, see Jacques Rancière, “Politics of Aesthetics.” In Aesthetics and Its Discontents. Cambridge: Polity Press, 2009.

confused to the point of annulling all distinction. However, there is no hint of nostalgia here for the idea of a supposedly autonomous art, removed from the ordinary world in which we live. Quite the opposite, in fact, insofar as this motivation reflects the conviction that it is only by affirming its unparalleled nature that art can make a real difference in everyday life.

It is in this sense that the title of the exhibition, “There is always a cup of sea to sail in” – taken from Invenção de Orfeu,2 the masterwork by the poet Jorge de Lima – , encapsulates exactly what this edition of the Bienal de São Paulo hopes to achieve, namely, to affirm that the utopian dimension to art is contained within art itself, not outside or beyond it; to affirm the value of poetic intuition in the face of a “tamed thought” that emancipates nothing, though it permeates political parties and even formal educational institutions. It is in this “cup of sea”, in this close infinite that artists insist on engendering, that the power to press ahead actually lies, despite everything else, as the poet says, “even without ships and bearings / even without waves and sands.” As a forum for the reverberation of this commitment in sundry other forms, the exhibition will put its visitors in contact with ways of thinking and inhabiting the world beyond the consensuses that organize it and keep it small, so small that not everything or everyone can fit. The 29th Bienal will put its visitors in touch with the politics of art.

As such, the 29th Bienal de São Paulo aims to be at once a celebration of artistic production and an affirmation of its responsibility before life; to be, simultaneously, a dismantling of meanings and a generation of knowledge found nowhere else; to involve the public in the sensible experience woven by the web of works exhibited here, and in their capacity to critically reflect the world in which they are inserted. For all of this it aims to offer examples of how art weaves politics into itself. Politics that should not be confused with parliamentary practice or social activism – even if legitimate alliances between art and these domains can and do occur – , but rather one that is capable of challenging

2 Jorge de Lima, Invenção de Orfeu. São Paulo: Record, 2005; 1st edition 1952.

the established ways of understanding the world by articulating discursive opacity and intelligibility.

In this context, artistic practices and works that showcase already conceived ideas do not fall within the field of interest prescribed by the curatorial project for this 29th Bienal de São Paulo. And the reason for this is that they are incapable of producing a purposeful or critical reaction on the part of the audience, merely confirming ideas already shared as to which stances are expressly “right” or “wrong” in the face of conflict situations.

For the 29th Bienal de São Paulo, art truly does politics when it produces knowledge that destabilizes long-entrenched certainties as opposed to generating a sense of safety and comfort; or when it leads those touched by it to unlearn politics as it is conventionally understood. In this sense, the exhibition assumes that a relationship between art and politics ought to be thought out speculatively, where the formulation of precise questions stands for more than offering diffuse answers. This is the measure of its responsibility and ambition.

A time The 29th Bienal de São Paulo eschews two frequently adopted models for presenting contemporary art. First, that which is solely concerned with the hasty demands of the market and the spectacle, and the search for the supposedly new; and, second, the strict museological model that inscribes artistic production within an official and seamless historical narrative. If the first model severs the articulations between the art produced in the present and the production that preceded it, the second diminishes the uncertainties and risks that nourish and characterize the condition of contemporary life.

Rather than privilege the new or, alternatively, only the established, the exhibition will articulate works made at different times in order to affirm temporal ties that evince, from the conceptual platform here defined, the continuities that run

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through the artistic creation of the last few decades. The important point is that, whether brand new or decades old, the art brought together at the 29th Bienal has the symbolic power to open chinks of various sizes and durations in the consensuses that ground our understanding of the ideas and things that organize the world.

As such, the temporality of relevance to the curatorial project for the 29th Bienal de São Paulo is that which pertains to the experiment; in other words, that which locates artistic production not in the continuous and homogeneous time of the already known, but in that fractured, porous, and urgent time in which invention takes place. In the context of a world riddled with doubts about its immediate future, the project therefore assumes the need to return to the idea of art, beyond its particular forms of existence, as “the experimental exercise of freedom,” an expression used by the critic Mario Pedrosa when reflecting upon the Brazilian art of the 1960s.

A territory By inviting 159 artists from all over the world, the 29th Bienal de São Paulo maintains the tradition of internationalization established since the first editions of the event. However, this does not imply any thrall to the obsession so visible in exhibitions over the last twenty years of focusing extensively on the other and the distant, a task fated to insufficiency and failure, even at events of similar amplitude. Recognizing this unbreachable limit, it resists the temptation to take the territorial origin of the artists as an absolute criterion of selection. The strategy is to place greater emphasis on the symbolic place and time from which the curatorial discourse derives – namely, Brazil and a time of rapid global geopolitical reorganization – than on the actual quantity of voices called upon to endorse it. This gives the Bienal certain inclinations that are different to those of other exhibitions that may have been organized around a similar principle, but from a different

position in the world. This also means conceiving and organizing the exhibition politically; in other words, understanding it as an apparatus that critically portrays the world of today through artistic production and its organization within the exhibition space.

One strategy for achieving that goal is to feature a significant number of works by Brazilian artists produced since the 1930s, including many that are not normally associated with the hegemonic idea of what political art is or with the period in which this category is seen to have been current in the country. Distributed throughout the exhibition, these works suggest a narrative of Brazilian modern and contemporary art that is in tune with the conceptual platform of the 29th Bienal de São Paulo, allowing for an ampler understanding of the critical art produced in the country, one that does not pretermit the different forms of social organization that preceded and succeeded the military regime in Brazil (1964 – 1985). The critical art of which one speaks here is more than just a backlash against a restrictive situation, but is actually capable of broadening, or at least of problematizing – out of itself and with a range of formal procedures – the repertoire of positions, movements and discourses that a collectivity embraces and shares at any given moment.

It is important to clarify that this strategy is by no means an attempt to underscore particularities or supposed national identitary traits, a meaningless aim in the context of incessant exchange that characterizes contemporaneity. Rather it is a case of suggesting a possible understanding of the political character of art by positing the modern and contemporary art produced in Brazil as a kind of example or model. Despite the degree of arbitrariness this certainly involves, it is justified not only by the fact that the exhibition is organized in and from Brazil, but also by a longstanding condition and recent fact associated with the nation. The condition concerns the existence in Brazilian culture of spaces that continuously ritualize the breaking of established norms and the subversion of given hierarchies, whether on the level of the profane, as in carnival, or the sacred, such as umbanda and candomblé temples. The justifying fact referred

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to above, in turn, is the growing status Brazil has earned over the last decade as a major player in international politics and the global economy, inverting expectations that prevailed until recently as to the position the country could or should occupy in these fields. Without intending to affirm any sort of causal relationship between this condition and that fact, on the one hand, and the capacity of Brazilian art to evoke the politics of art underscored here, on the other, it is reasonable to defend, amid the confluence of movements that constantly put consensus to the test, the centrality this artistic production assumes within the curatorial project for the 29th Bienal de São Paulo.

This strategy is deepened and expanded through the inclusion of a series of experimental works and projects produced in Latin America in recent decades that evince the existence in the region of an artistic output that, though long repressed in traditional narratives commonly considered “political” art – either because it was not seen as engaged enough, in the sense of pamphleteering, or, on the contrary, because it was approached purely as activism – , can be fully inscribed in the context of a politics of art. In this sense, the “historic” works featured in the exhibition are not presented as a mere “archive” to be paraded before a gaze that, even without prior knowledge of the work, would already know how to decipher it without error. In the 29th Bienal de São Paulo, these works fulfill the role of invoking a past that will enable our torpid contemporary sensibility to understand art as a forum in which politics is fully exercised.

From the exhibition's enunciative locus – Brazil and its geographical neighbors – the 29th Bienal de São Paulo suggests nonlinear associations with art produced in the contexts of other countries from the geopolitical “south” undergoing the same rapid transformation, be they from Africa, the region formerly known as Eastern Europe, or, to a lesser extent, from the Middle East or Asia. Through the works of so many artists who were born, live, or laid hybrid roots in these countries, the exhibition promotes, critiques, and echoes these changes, as only art can,

suggesting a constellation of articulated processes of rupture with notions of localization in the world.

One sign of this dismantling of borders and affirmation of differences is the way artists from or based in the political “south” call into question what is commonly referred to as the “international language” of art, constituted by a set of themes and symbolic inventions largely associated with movements begun in Europe or North America (pop art, minimalism, conceptualism, among others) and more often than not opaque to the output from other parts of the world. If the “international” nature of this language were first and foremost the result of the power of its enunciators to impose specific artistic repertoires and procedures, as if possessed of an undisputed global character, artists from subordinate elsewheres (including exile and Diaspora) have striven to fill the very channels in which this hegemony is still demanded (chiefly art exhibitions and publications) with expressive elements that belong to other places and circumstances, thus scuppering whatever pretensions that language had toward universality. In making these insertions, it is not a matter of attempting to deny the centrality of the lexicon and syntax that gave shape to the international art language for production made in the most varied places, but rather to contradict its pretension toward natural symbolic construction and ample validity. In other words, it is all about “provincializing” that language, exposing it as the fruit of particular traditions that were once dominant and forcing it, at the same time, to adapt to a time and a place in which this hegemony is contested.3 Curatorially reproducing this conflictual relationship with “international” art is another strategy employed by the 29th Bienal de São Paulo in voicing its discourse from the “south” and affirming itself as a political exhibition. However, this entails no value judgment on the works presented here. The intention is rather to avail of this approximation between celebrated works from the European/North American tradition and works by artists representing non-hegemonic traditions to produce, through simple proximity, meanings that are unfamiliar for both. Beyond

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3 On the concept of “provincialization,” see Dipesh Chakrabarty, Provincializing Europe. Postcolonial Thought and Historical Difference. Princeton, New Jersey: Princeton University Press, 2000.

this strategy, many other artists from that “dominant” tradition will be present in this exhibition. Though different in many respects, what unites them and makes them fundamental to the 29th Bienal de São Paulo is the capacity of their work to resist being molded or tamed by the creative conventions of which they avail and the sharp critical sense they share concerning the place they occupy in the world.

Terreiros If the selection of works and their articulation in the exhibition space are decisive in declaring the political nature of the 29th Bienal de São Paulo, likewise fundamental to affirming this focus is the activation of a critical relationship on the part of the audience in relation to the exhibition and the space that hosts it. After all, it would be contradictory to organize a show focused on the relationship between art and politics that was exclusively based around works that invite contemplation, even if simply looking can sometimes be an act of emancipation.4 With this ambition and purpose in mind, six spaces were constructed with the dual function of serving as way stations of rest and reflection – thus setting a certain rhythm for the exhibition – and as venues for a range of activities, such as roundtable discussions, lectures and debates, film and video screenings, performances by artists, actors, and dancers, popular and classical music shows, and readings of poetry and fiction.

Six venues, six terreiros designed by architects and artists, reminiscent of the squares, patios, parks, terraces, temples, yards, and outdoor and indoor spaces in which people the length and breadth of Brazil congregate to dance, sing, play, cry, discuss their fates and endure the tides that pull them off-course, as well as – and especially – to practice the various rites that make up the nation's hybrid religiosity. While these terreiros hark back to Portugal, a prime example being the Terreiro do Paço in Lisbon, created in 1511 and home for centuries to the Royal Palace, they

4 See Jacques Rancière, “The Emancipated Spectator.” In The Emancipated Spectator.

London: Verso, 2009.

transformed, over time, in both idea and place that transverse the Brazilian culture and become one of its hallmarks. The terreiros have an especially strong connection to Brazil's mestizo communities, which have used them for the most diverse ends, endowing them with meaning and filling them with special purpose. It is no accident that the terreiro was the cradle of the samba schools and that the composer Assis Valente, in his classic samba Brasil pandeiro, declared: “Brasil, esquentai vossos pandeiros / iluminai os terreiros / que nĂłs queremos sambar!â€? (Brazil, warm up your tambourines / light up your terreiros / because we want to dance to samba!).

Transposed and adapted to an exhibition environment, the terreiros serve as meeting places, soapboxes, auditoriums, venues for debate, communion, and doubt, echoing the power of politics as an act of creating what is not given, or was never even imagined possible. Six terreiros corresponding to the six questions posed by the works exhibited here; six axes designated by the poetic word, the word that is not easily spoken, that retains a share of opacity in a world permeated by purportedly crystalline and unequivocal speech. These are:

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A pele do invisível [The skin of the invisible] – a terreiro dedicated to images, with continuous screenings of films produced in diverse systems. Though regarded as ineffable, an effect of their wispy and epithelial material, images are powerful and say a lot about a large portion of a world seen only in lateral adumbrations.

Dito, não dito, interdito [Said, unsaid, not to be said] – the terreiro of the spoken and sung word, located outside the Bienal building, and named after little Dito, a character in Guimarães Rosa's Campo geral.

Eu sou a rua [I am the street] – a terreiro born of the chronicle of João do Rio, famous for having contributed to the elevation of this literary genre, this space is designed as a podium for debates on the contemporary city, this palimpsest that builds upon ruins.

O outro, o mesmo [The other, the same] – the terreiro that emulates Jorge Luis Borges' particular way of understanding the existence of one as being ineluctably rooted in the other.

Dedicated to performances based upon the desire for self-representation and the representation of the objects of a desired, albeit enigmatic, alterity.

Lembrança e esquecimento [Remembrance and oblivion] – a terreiro dedicated to all that is remembered and forgotten in a society. On one hand, we have social memory expressed in monuments and school curriculums, and, on the other, its omission and suppression, the obliteration of memory. A place for rest, for daydreams, in which to filter through the bevy of information.

Longe daqui, aqui mesmo [Far away, right here] – the terreiro of utopias and dystopias, of proposals for the transformation of the world or its representation, which are practically the same thing.

Named after the playwright Antonio Bivar's homonymous work.

Thanks to the architecture and programs of the terreiros, to be put to incidental and spontaneous use by the visiting public, specific questions can be affirmed and discussed from a range of different viewpoints. It is in the terreiros that close encounters between the different artistic languages can become clearer, and perhaps blur the bounds that make them distinct. More than just the venues for a collection of events, the terreiros are places where the words and movements of bodies trigger doubts, allowing to emerge that which is unknown but at the same time so urgently needed. An indispensible element of the 29th Bienal de SĂŁo Paulo, the terreiros evince the deep and multiple presence of art in life, and the need to celebrate it as political practice.

Between a cup of sea and a piece of ground, the artistic gesture feeds the imagination and makes fantasy thrive, this place that, in the words of Dante, “rains inside� and that, duly reinvigorated, can beget new worlds.

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Over time, the river turned into the place of what for me were the deepest mysteries. The waters flowed over the most intricate curves, continuing on its way and forming dark pools that went all the way to the sea; those waters never came back. When it rained and there was a storm, the river would resound and

its rumbling could even be heard in our home. It was a furious and extremely rapid river that swept up everything in its path.

Some time later, I managed to get closer and swim in its waters; it was called the Lily River, although I've never seen a single lily along its banks. It was this river that offered me an image I will

never forget: it was Saint John's Day, a holiday where people in the countryside have the habit of bathing in the river. The ancient baptism ceremony turned into a party for swimmers. I was walking along the river bank beside my grandmother and the other cousins my age when I saw more than thirty men in

the water, completely naked. All of the local youths were there, jumping and splashing around in the water.

Before the night falls ¡ Reinaldo Arenas

Wilfredo Prieto Sancti Spíritus, Cuba, 1978. Lives in Havana, Cuba and Madrid, Spain. Wilfredo Prieto toys with the repositioning, minimal intervention, or camouflaging of objects, reinforcing their contrasts and characteristics in order to activate their implicit symbolic content. His work presupposes an economy of resources so as to generate maximum effect and is also essentialist in its use of impactful images that ensure rapid and effective legibility. Apolítico is an urban intervention situated outside the Ciccillo Matarazzo Pavilion that consists of poles bearing the flags of various

Man is different from me and you. What thinks is never what it thinks about; and since the first is a form with voice, the latter takes on all forms and all voices. So, no one is a man, Monsieur Teste least of all.

Neither was he a philosopher, nor anything of that kind, nor even a writer; and for that reason he thought a great deal – for the more one writes, the less one thinks.

He was continually adding to something I knew nothing

different nationalities with their colors faded into scales of gray. Hung from pre-existing poles, the flags recall the imposing international history and heritage of the building, first as the Industrial Pavilion and later, after 1953, as the venue for the Bienal de São Paulo. The grayscale of the flags dulls but does not entirely eliminate the differences between the respective countries, thus denouncing a false neutrality. Through the irony of its attempt at chromatic agreement, the conjunct ends up sustaining the cultural and political irreducibility of peoples.

about: perhaps he was making his method of conceiving faster and faster, perhaps he was devoting himself to the abundance of solitary invention. In either case, he remains the most satisfactory being I have met – that is, the only individual who endures in my mind.

Consequently, he was neither good nor bad nor stupid, nor cynical nor otherwise; he did nothing but choose: this is the ability to make of a moment and oneself of a pleasing group.

Apolítico

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[Apolitical] · 2001 installation view, Bienal Havana (2001)

He had given himself an advantage over everyone else: that of having a useful idea of himself; and another Monsieur Teste went into each of his thoughts – a well-known figure, simplified, compatible with the real at every point… In short, he had replaced the vague notion of the self that falsifies all reckonings and slyly involves us in our own speculations – who are trapped in them – by a definite imaginary being, a well-defined or trained Self, precise as an instrument, sensitive as an animal, and

adaptable to everything – like man.

So Teste, in the armor of his own image, knew at every moment his weakness and his strength. For him the world was composed, first, of everything he knew, and of what was his – and this no longer counted; then, in another self, of all the rest; and this reminder either could or could not be acquired, constructed, transformed. He wasted no time with the impossible or the easy.

Tatiana Trouvé Cosenza, Italy, 1968. Lives and works in Paris, France.

Tatiana Trouvé is best known for her interventions, and architectonic and sculptural constructions that materially and psychologically explore, confuse, and invert interior and exterior, movement and stasis. She creates new environmental realities through this enigmatic correlation, reconstructing and reconfiguring the whole space in which her works are installed. Precise and rigorous, 350 Points towards Infinity redefines an area in which hundreds of pendulums hang diagonally from the ceiling, as if stopped

One evening he replied to me: “My friend, the infinite no longer amounts to much – it's a matter of writing. The universe exists only on paper .

No idea can express it. None of the senses can show it. It can be said and that's all”.

“But science,” I said, “tries…”

in mid-swing, just before touching the ground (which is equipped with hidden magnets). In this work, artificially suspended time simulates a profoundly and strangely dormant space. The forest of pendulums in arrested movement forms a mental landscape infused with the conjecture of impending collision.

“Science! There are only scientists, my friend, and they're scientists only at certain moments. They are men… groping… with their bad nights, their upset stomachs, or an excellent lucid afternoon. Do you know the first hypothesis of all science, the idea indispensable to every scientist? It's this: the world is almost unknown. This is a fact. Yet we often think the contrary: there are

350 Points towards Infinity 2009 view and detail of the installation at Migros Museum, Zurich (2009)

moments when everything seems clear, when all is fulfilled and there is no more science – or if you prefer, science is complete.

But at other times, nothing is clear, there are only gaps, acts of faith, uncertainties; nothing to be seen but scraps and irreducible objects, on every hand.

Monsieur Teste · Paul Valéry

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Jean-Luc Godard Paris, France, 1930. Lives and works in Rolle, Switzerland.

From advertising films to film criticism, from comedies to film essays, the work of Jean-Luc Godard spans numerous fields of audiovisual production. His philosophical and political formation occurred, above all, during and through this practice, whether in his fiction films, which convey the aspirations, frustrations, and ideals of the Parisian youth; the political letters of the Dziga Vertov Group videos; or the monumental reading of the 20th century in the audiovisual collage Histoire(s) du CinĂŠma. All of this ripened a provoca-

tive set of ideas and intricate modes of thought reproduced through concatenated sounds and images. The video Je vous salue, Sarajevo articulates some of Godard's thoughts on history and politics, presenting art as the exception to culture's rule, one that can be composed, painted, or lived, but which has the capacity to counter the norms that define the cultural sphere. Based on a single photo of Sarajevo, the editing constructs a succession of frames and scenes accompanied by a voice-over in which Godard suggests that there is no distinction between artistic production and political struggle.

Je vous salue, Sarajevo [Hail, Sarajevo] · 1993 frames

In a sense, fear is the daughter of God, redeemed on Good Friday night.

She's not beautiful, mocked, cursed and disowned by all. But don't get it wrong. She watches over all mortal agony, she intercedes for mankind. For there's a rule and an exception. Culture is the rule, and art is the exception. Everybody speaks the rule: cigarette, computer, T-shirt, TV, tourism, war. Nobody speaks the exception. It isn't spoken, it's written: Flaubert, Dostoyevski. It's composed: Gershwin, Mozart. It's painted: Cézanne, Vermeer. It's filmed: Antonioni, Vigo. Or it's lived, and then it's the art of living: Srebrenica, Mostar, Sarajevo. The rule is to want the death of the exception.

So the rule for Cultural Europe is to organize the death of the art of living, which still flourishes.

When it's time to close the book, I'll have no regrets. I've seen so many people live so badly, and so many die so well.

Hail, Sarajevo · Jean-Luc Godard

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Paulo Bruscky Recife, Brazil, 1949. Lives and works in Recife. Paulo Bruscky has been practicing experimentalism since the 60s, through visual poetry, photography, video and cinema, as well as through an exchange of postcards, performance and urban intervention. He uses a variety of supports in reproducing graphic signs, including the fax machine, photocopier, printing press and ink stamp. He also combines his routine as a civil servant with the development of artistic projects, having found therein ways of reacting to the bureaucracy, the lack of an institutional environment for art in his hometown and

the repression during the dictatorship years. Paulo Bruscky's work records the little provocations with which he confronts the audience of the city, with all the strangeness and surprise proper to the artistic act through which he was able, on numerous occasions, to modify the everyday, or at least put it to the test. In 1978, Bruscky marched through the streets wearing sandwich boards on which he had written the questions “O que é arte? Para que serve?”. In 1973, for the film Arte/pare, he stopped the traffic on a bridge in Recife using a flimsy red satin ribbon. The artist also carried out innumerable poetic insertions/subversions in newspapers, in the form of classified adverts.

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MOUTH:… out… into this world… this world… tiny little thing… before its time… in a godfor–… what?… girl?… yes… tiny little girl… into this… out into this… before her time… godforsaken hole called… called… no matter… parents unknown… unheard of… he having vanished… thin air… no sooner buttoned up his breeches… she similarly… eight months later… almost to the tick… so no love… spared that… no love such as normally vented on the… speechless infant… in the home… no… nor indeed for that

matter any of any kind… no love of any kind… at any subsequent stage… so typical affair… nothing of any note till coming up to sixty when–… what?… seventy?… good God!… coming up to seventy… wandering in a field… looking aimlessly for cowslips… to make a ball… a few steps then stop… stare into space… then on… a few more… stop and stare again… so on… drifting around… when suddenly… gradually… all went out… all that early April morning light… and she found herself in the –… what?… who?… no!…

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[What is art? What is it for?] · 1978 action documentation

[Art/stop] · 1973 frames

O que é arte? Para que serve?

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Arte/pare

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she!… [Pause and movement 1.]… found herself in the dark… and if not exactly… insentient… insentient… for she could still hear the buzzing… so-called… in the ears… and a ray of light came and went… came and went… such as the moon might cast… drifting… in and out of cloud… but so dulled… feeling… feeling so dulled… she did not know… what position she was in… imagine!… what position she was in!… whether standing… or sitting… but the brain–… what?… kneeling?… yes… whether

standing… or sitting… or kneeling… but the brain–… what?… lying?… yes… whether standing… or sitting… or kneeling… or lying… but the brain still… still… in a way… for her first thought was… oh long after… sudden flash… brought up as she had been to believe… with the other waifs… in a merciful…

Not I · Samuel Beckett

Alberto Greco Buenos Aires, Argentina, 1931 – Barcelona, Spain, 1965.

Alberto Greco was a controversial protagonist of the intellectual ruptures that occurred in Argentina throughout the 1960s, a time in which the vanguard movements adhered to informalism as an artistic procedure that legitimized irreverent gestuality and the incorporation of ephemeral materials.

This method was radicalized in the works of Alberto Greco in his search for some equivalence between the domains of art and daily life. The artist frequently works with nothing besides his own interactions with the passers-by and

residents of a given place, especially in the Vivo dito pieces, begun in 1962 and performed during his wanderings in various cities and towns. In Vivo dito, Greco strolled through streets, squares, and plazas picking out elements which he then signed as if they were works of his own authorship.

With minimal resources and reliant upon the complicity of the local population, the pieces were recorded by friends and locals, who would follow him and take pictures of the action. Between the subtlety of the artistic gesture and the theatricality of the public scene, Greco transforms the simple act of pointing at something that has called his attention into a procedure that demarks and underscores a work of art.

They say that there is a whale in the shallow water, beaching

us a lament / With its beautiful soprano voice. / We will learn

itself. / Let's go see it. / We will see if our small and disordered

that slippery-skinned animals / Are, when all is said and done,

soul / Can resist the imposition of its dark tons. / We will see

alone. / We will see the agitated desperation of its huge tail /

how it cries, showing its blundering flippers / That cannot offer us

That slaps against the sand, that wants to push it / Into deeper,

a flower / Between their fingers. / We will ask it, instead, to sing

navigable waters, where it can be at peace / With itself. / And if

Vivo dito 1963 action documentation

it has floated off with the high tide and is no longer there? / Then we'll sit on the beach contemplating the sea. / The metaphor of the desolate sea / Can replace the metaphor of the whale. // The whale (a metaphor for the unmarried) · José Watanabe

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terreiro

a pele do invisível the skin of the invisible

somewhere i have never travelled, gladly beyond any experience, your eyes have their silence: in your most frail gesture are things which enclose me, or which i cannot touch because they are too near your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as spring opens (touching skilfully, mysteriously) her first rose or if your wish be to close me, i and my life will shut very beautifully, suddenly, as when the heart of this flower imagines the snow carefully everywhere descending; nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the color of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens; only something in me understands the voice of your eyes is deeper than all roses) nobody, not even the rain, has such small hands somewhere i have never travelled · e. e. cummings

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Tobias Putrih Kranj, Slovenia, 1972. Lives and works in Cambridge, England, and New York, USA. At the shifting frontiers between the visual arts and architecture, Tobias Putrih's structures can be built to fulfill architectonic programs, stand as works of art in their own right or serve as display supports for other works. This confluence of references means that, in all cases, his structures evoke the memory of 20th-century modernity, whether in their allusion to constructivist projects and the ephemeral structures of the 1960s, or through their contrast with the pure geometry

that cemented modern architecture. This spatial experimentation is strengthened by its relationship with cinema and its devices – essential hallmarks of the same modernity to which his forms refer. In the terreiro A pele do invisível, Putrih encases a video projection area within a wood and cardboard modular structure whose format is inspired by the columns in Oscar Niemeyer's Alvorada Palace. In addition to this tribute to Brasilia, the artist opts to cover over the clear, resplendent supports of the palace with an intricate skin that reiterates and boycotts the lightness of the conjunct, turning what was once an object of distant contemplation into a protective cask.

A pele do invisível / Alvorada [The skin of the invisible / Alvodara] ¡ 2010 production images and model of the terreiro

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A flash of lightning Briefly ignites the darkness: Heron screeching the night The screech of the night Rips white through the dark In a flash of lightning Lightening · Bashô

Runa Islam Dhaka, Bangladesh, 1970. Lives and works in London, England. Runa Islam studies vanguard texts and films in order to revisit the experimental practice of cinematographic production. From this discursive platform, the artist travels through time and the history of cinema to explore an explicitly analogical and unabashedly outdated visuality, armed only with old picture-making equipment, such as 8 and 16 mm cameras. The profusion of symbols and techniques of the past discernable in her work causes a certain nostalgia, but, more importantly, begets new images and writings

in which the precision of language experiments is confused with the evocation of emotions and symbolic atmospheres.

This Much Is Uncertain is a set on the small island of Stromboli, off the north coast of Sicily. With images carefully devised out of the illusion of coincidence between the texture of the volcanic sand and the fragility of the halide silver grains in the processed film. Runa Islam produces a work that is immersive and visual, based on the suggestive potential of the moving image, even if it is only the subtle movement of the particles in the film pellicle itself.

This Much Is Uncertain

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2009 – 2010 1 · still 2 · frames

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Steve McQueen London, England, 1969. Lives and works in London and Amsterdam, Netherlands. Steve McQueen's videos and films do not narrate any definite facts, but rather provide the spectator with elements for the imagined construction of stories. His career reveals a clear fracturing of conventional codes when it comes to stringing filmed images together, preferring to subvert the expected rhythm and force a slower adherence to each single frame. Instead of an accelerated succession of images, the artist simply suggests lines of thought which the viewer could begin and

When the procession came opposite to Alice, they all stopped and looked at her, and the Queen said, severely, “Who is this?” She said it to the Knave of Hearts, who only bowed and smiled in reply.

“Idiot!” said the Queen, tossing her head impatiently; and, turning to Alice, she went on: “What's your name, child?”

“My name is Alice, so please your Majesty,” said Alice very politely; but she added, to herself, “Why, they're only a pack of

complete in various ways, or simply abandon and leave in suspension. Another core element in his films is the fact that they are exhibited in such a way as promotes the audience's immersion in the projection environment, creating a near-contiguity between the virtual and supposedly real. In Static, Steve McQueen films the Statue of Liberty in New York at close range from a helicopter, exhaustively investigating each detail. By showing an overexposed symbol in such an unusual manner, the artist hints at a demolition of the stable meanings in the universal iconographic repertoire.

cards, after all. I needn't be afraid of them!”

“And who are these?” said the Queen, pointing to the three gardeners who were lying round the rose-tree; for, you see, as they were lying on their faces, and the pattern on their backs was the same as the rest of the pack, she could not tell whether they were gardeners, or soldiers, or courtiers, or three of her own children.

Static

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2009 frames

“How should I know?” said Alice, surprised at her own courage. “It's not business of mine.”

The Queen turned crimson with fury, and after glaring at her for a moment like a wild beast, began screaming “Off with her head! Off with –” “Nonsense!” said Alice, very loudly and decidedly, and the Queen was silent.

The King laid his hand upon her arm, and timidly said “Consider, my dear: she is only a child!”

The Queen turned angrily away from him, and said to the Knave “Turn them over!”

The Knave did so, very carefully, with one foot.

“Get up!” said the Queen in a shrill, loud voice, and the three gardeners instantly jumped up, and began bowing to the

Tacita Dean Canterbury, England, 1965. Lives and works in Berlin, Germany. Tacita Dean is a trained painter, but her work also branches into drawing, objects and ample audiovisual experimentation, especially in 16 mm film. The artist benefits from the expressiveness and temporal displacement afforded by analogical media, using fixed-position cameras with few cuts. Living witnesses to history enthrall her, as does unveiling the inner machinations of cinema and the sea. Teignmouth Electron was the name of the ship in which the adventurer Donald Crowhurst set off on

a round-the-world sea race in 1968, never to return. It is also the title of the film in which Dean recounts this episode in a single frame that visually maps the skeletal hull of his trimaran, shipwrecked on a distant shore. Teignmouth Electron is also a book, in which the artist creates a collage of literary references to Crowhurst's voyage. In the film, the narrative seems to remain incomplete, ending with a plane flying through the sky. Among the floating vestiges, amid everything that dreams of the traveler's past could not confirm, Dean insists on inciting promises.

Teignmouth Electron 1999 frame

King, the Queen, the royal children, and everybody else.

“Leave off that!” screamed the Queen. “You make me giddy.” And then, turning to the rose tree, she went on “What have you been doing here?”

“May it please your Majesty,” said Two, in a very humble tone, going down on one knee as he spoke, “we are trying –” “I see!” said the Queen, who had meanwhile been

examining the roses. “Off with their heads!” and the procession moved on, three of the soldiers remaining behind to execute the unfortunate gardeners, who ran to Alice for protection.

“You shan't be beheaded!” said Alice, and she put them into a large flower-pot that stood near. The three soldiers wandered about for a minute or two, looking for them, and then quietly marched off after the others.

Rosângela Rennó Belo Horizonte, Brazil, 1962. Lives and works in Rio de Janeiro, Brazil. The expressive medium used by Rosângela Rennó is almost always photography, though she rarely actually photographs. She prefers to draw from an inventory of existing images, investigating their possible and tenuous meanings. Through this procedure, her intention is to unveil the ethic that commands the production and use of these images. Her main strategy is to present the photographs she collects, in different places and for different reasons, in such a manner as to bewilder the viewer. In Matéria de

poesia the artist superposes blown up slides picked up by chance and classified as per their tonalities, which attest to the datedness of the support. These pictures strike connections between places, people and facts that would otherwise never have any contiguity. In Menos-valia, an auction to be conducted by professional auctioneers inside the Bienal, some seventy items bought in a second-hand store and restored by the artist will be sent back into circulation. These are all objects that produce analogical images, such as cameras, lanterns and projectors, which, through Rennó's intervention and within the value system of the arts, receive a new lease of life.

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“Are their heads off?” shouted the Queen.

“Their heads are gone, if it please your Majesty!” the soldiers shouted in reply.

“That's right!” shouted the Queen. “Can you play croquet?”

The soldiers were silent, and looked at Alice, as the question was evidently meant for her.

“Yes!” shouted Alice.

“Come on then!” roared the Queen, and Alice joined the procession, wondering very much what would happen next.

Alice's Adventures in Wonderland · Lewis Carrol

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Menos-valia [leilão] [Surminus value [auction]] · 2010 installation view at Museo Universitario Arte Contemporáneo – MUAC, Mexico City

O que é bom para o lixo é bom para a poesia. from the series Matéria de poesia (Para Manoel de Barros) [What is good for garbage is good for poetry. from the series Matter of poetry (for Manoel de Barros)] · 2010

O que é bom para o lixo é bom para a poesia.

Manoel de Barros. Do poema “Matéria de poesia”, do livro homônimo (Rio de Janeiro: Record, 2001, 5a edição) p. 14.

Matéria de Poesia (para Manoel de Barros)

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Luiz Zerbini SĂŁo Paulo, Brazil, 1959. Lives and works in Rio de Janeiro, Brazil. In the manner of the naturalist painters who travelled in Brazil during the 18th and 19th centuries, depicting what they saw, Luiz Zerbini has a special interest in nature, in its vitality, exuberance, and most discreet details. However, unlike those painters, he inserts himself within that nature, imitating it, and blending landscape and self-portrait. From hyper-figuration to abstraction, from painting to installation, steeped in solar chromatisms, Zerbini's work has been progressively honed and expanded into environments.

Mirror images, silhouettes, and geometric patterns creating optical illusions involve and reproduce the viewer in sensorial and contemplative structures. Over the last thirty years dedicated to representing the world out of scrutinous observation, the artist has devised an unpredictable and enigmatic way of capturing the visible. Inferninho is a closed environment the exterior of which is covered in reflective black paint. Inside, a glittery mesh registers the presence of the visitor in colorful, unstable reflections, while the noise emitted by the changeable digital image, amplified by the artist, provides the sound.

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Inferninho

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[Little hell] · 2010 1 · technical drawing 2 · conceptual drawing

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David Claerbout Kortrijk, Belgium, 1969. Lives and works in Antwerp, Belgium. The experience of time is a structural element in Claerbout's work, conveyed through the systematic association of the instantaneous image of photography and the construction, in video, of slow, inert, and suggestive narratives. The Algiers' Sections of a Happy Moment presents a group of youngsters feeding seagulls circling over the penthouse of a building in Algeria. In this animated work, each frame reveals different perspectives and details, multiple adumbrations of the same frozen moment.

In Claerbout's work, intuited feelings and thoughts come to fruition solely in the viewer's imagination, fuelling the emergence of new stories and temporalities. Sunrise documents the silent work and concentration of a woman who, arriving by bike at a luxurious modernist house at dawn, has to clean and tidy all the rooms before daybreak without turning on a single light, so as not to disturb her employers' sleep. When she finishes her work and cycles off down a bucolic street, the first rays of daylight begin to appear to the sound of Rachmaninoff's Vocalise, filling the darkness and silence that have hitherto dominated the narrative.

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In the lazy afternoon a thought of love / Is sweet like a thought

friend, / Hoping that god will stir our will / With the erosion of

of death / When mermaids wander on the waves / When doves

feelings, the conveyance of the idea / That spins from one world

coo on the roof / And ships arrive, with no invitations to travel, /

to another: anguished //

Bringing provisions for the children of the earthquake. / The air is transfigured by mortal signs / We will remain here, nocturnal

Study # 1 · Murilo Mendes

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The Algiers' Sections of a Happy Moment 2008 frames

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Sunrise

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2009 frames

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From that first visit until he died six years later, Johnny Seven Moons dropped in on Jake about every two months, and while Jake enjoyed his usually silent companionship, he relished the rare utterance. Seven Moons, whether out of a reverence or distrust for language, never said much, but when he did, he always said something. Jake could remember a few in particular.

Once, as they’d watched the sun go down over the ocean, Seven Moons had said with the sweet weariness of constant marvel,

”You know. I’ve seen 30,000 sunsets, and no two that I can remember have ever been the same. What more can we possibly want?”

Another time, he’d swept his hand across the landscape, and said, “Yarrrg, you white men did a lot to take it from us, but nothing to deserve it. You desire to tame everything, but if you just stand still and feel for a moment you would know how everything yearns to be wild.” He spat. “And all these people with

Alfredo Jaar Santiago, Chile, 1956. Lives and works in New York, USA. Alfredo Jaar problematizes the relationship between social traumas, such as wars, genocides and famine, and the strategies that could be adopted to represent them. The artist denounces the global information mechanisms that document and disseminate these traumas worldwide, claiming in his work a discussion on the ethics and politics of the image. On a visit to Rwanda soon after the 1994 genocide, Alfred Jaar went to the Ntarama church near the capital, Kigali, where four hundred refugees of the Tutsi mi-

fences, fences, fences. Isn’t the whole point to keep nothing in and nothing out? But I know you understand this Jake, for you have no fences, and devote your life to making whiskey and keeping still, and those are noble activities, worthy of a man’s spirit.”

The statement had haunted Jake when Tiny started building fences. But when Tiny had turned his hunt for Lockjaw into an obsessive ritual, what haunted Jake to his core were the last words he remembered Seven Moons saying to him.

nority, including men, women and children, were ambushed and massacred. While researching his Rwanda Project, the artist met Gutete Emerita, a woman who witnessed in loco the slaying of her husband and two sons, an event indelibly marked upon her eyes. In The Eyes of Gutete Emerita, Alfredo Jaar piles a million slides (roughly the number of Rwandan victims by the year 2000) into a heap on a light table. Each slide contains a framed closeup of Emerita's eyes. The document focuses on the pain etched into the gaze of the survivor, rather than making a spectacle of the horror and carnage it once witnessed.

Jake had walked out the ridge with him to say goodbye, and just before they’d parted Seven Moons had pointed at some fresh pig rooting and flashed a stupendous smile: “Ah, there we see hope – the domestic gone wild. Pigs are so lovely. Their bodies are made to hold up the sky. I wouldn’t mind being a pig sometime ... a big ol’ crazy boar. That would be great.”

Granddaddy Jake couldn’t get it out of his mind, so he finally told Tiny what he thought might be the case, that Lockjaw

The Eyes of Gutete Emerita 1995 installation view at the National Gallery of Australia, Canberra (1996)

was the re embodied spirit of Johnny Seven Moons, and that maybe he should think about that before he got too fixed on killing him.

Tiny adamantly shook his head. “It’s not true, Granddaddy”, he replied, almost pleading, “when people die, they’re gone.

Gone. And that’s all.”

Fup · Jim Dodge

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Chantal Akerman Brussels, Belgium, 1950. Lives and works in Paris, France.

With a particular familiarity with cinematographic language, paying keen attention to detail and carefully choosing the distance she keeps from her characters, Akerman structures her works in lateral movements and continuous travelling shots, combined with long still sequences. Her films explore diverse aspects of the human condition of contemporary life through pared down narrative structures, possessed of formal rigor but not dramaturgical emphasis.

The experimental documentary D'Est, originally shot in

16 mm film, was later reworked as a multimedia installation – D'est, au bord de la fiction. Filmed at the beginning of the 1990s, D'Est records a trip through Germany and Russia as the Soviet bloc began to crumble. In the manner of a travel log, the film sifts through layers of history and peruses an agglomeration of fleeting faces, bodies and sounds, presenting a fragmentary portrayal of the life of a population in changing, precarious times. D'Est is the first film in what came to be a series of explorations on such themes as borders, limits, displacements and the sense of belonging to a given place.

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[From the East, bordering on fiction] ¡ 1995 installation view at Kunsthalle Wien, Vienna (2009)

[From the East] ¡ 1993 frames

D'est, au bord de la fiction

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D'est

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Allan Sekula Erie, USA, 1951. Lives and works in Los Angeles, USA. Little inclined toward emotive or monumental images, Allan Sekula, who works mainly with documental photography, prefers to portray class differences and working conditions, drawing out the invisibilities that lurk within post-industrialist capitalism. One of his recurrent themes is heavy international shipping, a system that is fundamental to the circulation of consumer goods in the globalized world. Based on Sebastian Brant's 1494 satire about a ship that goes in search of Fool's Paradise, the installation Ship of Fools

documents the voyage of the Global mariner – an old, banged-up cargo vessel recovered and converted into a touring exhibition on working conditions at sea. The ship circumnavigated the globe, calling in at ports wherever invited to do so by the local shipping unions. Allan Sekula represents this journey in photographs, video, slides and objects that speculate on the future and the present of the workers virtually articulated by the Quixotesque itinerary of this old cargo ship, which takes on the shipping industry with its own weapons. In the Bienal, this project unfolds in a visit by Sekula to the harbour of Santos – one of the stops of Global mariner – and the recording of its side-scenes.

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He didn’t tell Tiny. After thinking on it for three afternoons, mulling it with that slow, voluptuous thoroughness that is a reward of the still life, Jake reaffirmed his neutrality. He wouldn’t tell Tiny anything about Lockjaw, and he wouldn’t tell Lockjaw anything about Tiny. That decided, he turned his attention to other pressing matters, like teaching Fup to fly.

He’d been sitting on the porch one afternoon letting his mind wander as usual, taking a sip now and then, pouring a little

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into Fup’s saucer, when he’d suddenly realized he was already getting bored with immortality. He needed a task, a task that would not only challenge his wisdom, but enlarge it: he needed to teach something he didn’t know. A pupil, fortunately, was near at hand. Reaching down and stroking her sleek neck, he said coaxingly, “Fup, I think you should learn to fly. It’d do wonders for your social life. Hell, maybe you could pick up a husband—or at least zoom off for a quickie in the cattails with some emeraldheaded

Ship of Fools

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1999 – 2010 1–2 · Crew Portrait (Novorossisk) 3–5 · Engine Room Eyes 6 · Russian Visitors (Novorossisk) 7 · Ship Lesson (Durban) 8 · installation views at the Museum van

Hedendaagse Kunst Antwerpen – M HKA, Antwerp (2010)

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stud. Tiny and I have talked some about getting you a mate, but the truth of it is I ain’t got an ounce of pimp in me… and anyway it would be an insult to your good looks.”

Fup · Jim Dodge

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Alice Miceli Rio de Janeiro, Brazil, 1980. Lives and works in Berlin, Germany. Research into modes of producing residual images of events from memory and history pervades the work of Alice Miceli. In order to capture impalpable and invisible elements, the artist develops processes that technically rework the stages of image capture and projection, employing photographic and videographic supports, materials, and equipment, and drawing from a knowledge base that spans everything from physics and mathematics to history. Her Projeto Chernobyl investigates the effects of the explosion

of a nuclear plant near the Ukrainian town of Pripyat on April 26, 1986. The most serious accident in nuclear history, the blast produced an immense radioactive cloud that continues to cause death and threaten health across the region even today. The idea behind Projeto Chernobyl is to translate the invisible energy unleashed by the accident into images captured on film sensitive to gamma rays as opposed to the spectrum of light visible to the human eye. The time of the radioactive fallout in the region meets with that of Alice Miceli's travels in the Chernobyl Exclusion Zone. The installation presents the negatives that were burned by exposure to the radiation.

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It is safe to say that for the majority of mankind the superiority of geography over geometry lies in the appeal of its figures.

It may be an effect of the incorrigible frivolity inherent in human nature, but most of us will agree that a map is more fascinating to look at than a figure in a treatise on conic sections-at any rate for the simple minds which are all the equipment of the majority of the dwellers on this earth. No doubt a trigonometrical survey may be a romantic undertaking, striding over deserts and leaping

over valleys never before trodden by the foot of civilized man; but its accurate operations can never have for us the fascination of the first hazardous steps of a venturesome, often lonely, explorer jotting down by the Iight of his camp fire the thoughts, the impressions, and the toil of his day.

For a long time yet a few suggestive words grappling with things seen will have the advantage over a long array of precise, no doubt interesting, and even profitable figures. The earth is

Projeto Chernobyl

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[Chernobyl Project] · 2007 – 2010 1–3 · project notebook · 2008 4 · production emails, conduct rules at the 5

exclusion zone by Christine Frenzel · 2009 5 · self-portrait at the Chernobyl exclusion zone, Belarus · 2009

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a stage, and though it may be an advantage, even to the right comprehension of the play, to know its exact configuration, it is the drama ofhuman endeavour that will be the thing, with a ruling passion expressed by outward action marching perhaps blindly to success or failure, which themselves are often undistinguishable from each other at first.

Of all the sciences, geography finds its origin in action, and what is more, in adventurous action of the kind that appeals to

sedentary people who like to dream of arduous adventure in the manner of prisoners dreaming behind bars of all the hardships and hazards of liberty dear to the heart of man. […]

From that point of view geography is the most blameless of sciences. Its fabulous phase never aimed at cheating simple mortals (who are a multitude) out of their peace of mind or their money. At the most it has enticed some of them away from their homes; to death may be, now and then to a little disputed glory, not

Yto Barrada Paris, France, 1971. Lives and works in Tangier, Morocco and Paris. Yto Barrada was drawn to an artistic career during university, while doing fieldwork in Tangier. In order to be able to express herself with regard to that city, an ancient gateway between Europe and Africa and a zone of cohabitation between the Arab and Western worlds, Barrada opted for the subjectivity of artistic practice over the objectivity of scientific research. Her photographic portrait of Tangier evokes the daily ecstasy and anxiety of a local population in transit. It presents the city as a place where

seldom to contumely, never to high fortune. The greatest of them all, who has presented modern geography with a new world to work upon, was at one time loaded with chains and thrown into prison.

Columbus remains a pathetic figure, not a sufferer in the cause of geography, but a victim of the imperfections of jealous human hearts, accepting his fate with resignation. Among explorers he appears lofty in his troubles and like a man of a kingly nature. His contribution to the knowledge of the earth was certainly royal.

the violence and discomfort of waiting contrasts with the hope, the dream and the chance of making the crossing over to Europe. In A modest proposal, Barrada selects the palm tree, ubiquitous in the Moroccan landscape and the nation's main symbol as a tropical tourist destination, to develop a series of twelve anti-marketing posters.

Through these graphic pieces, the artist hopes to oppose, before international public opinion, the exoticism and selffolklorization of the local population, intent on economically exploiting the country by billing it as a subservient paradise.

And if the discovery of America was the occasion of the greatest outburst of reckless cruelty and greed known to history we may say this at least for it, that the gold of Mexico and Peru, unlike the gold of alchemists, was really there, palpable, yet, as ever, the most elusive of the Fata Morgana that lure men away from their homes, as a moment of reflection will convince any one.

For nothing is more certain than that there will never be enough gold to go round, as the Conquistadores found out by experience.

A modest proposal

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2010

[…]

I have no doubt that star-gazing is a fine occupation, for it leads you within the borders of the unattainable. But map-gazing, to which l became addicted so early brings the problems of the great spaces of the earth into stimulating and directing contact with sane curiosity and gives an honest precision to one's imaginative faculty. And the honest maps of the nineteenth century nourished in me a passionate interest in the truth of geographical

facts and a desire for precise knowledge which was extended later to other subjects.

About Geography and some explorers · Joseph Conrad

Marcius Galan Indianapolis, USA, 1972. Lives and works in São Paulo, Brazil. At first sight, the plastic result of Marcius Galan's work raises reflections about sculpture, geometry and space.

However, the artist acquired these notions through informality, from the traps that a category or even a form of representation can contain within itself. Irony and illusion tend to characterize his works, which, though made in substantial materials, such as cast concrete, iron, glass and wood, suggest movement, fleetingness and even imminence. In Ponto em escala real, Galan makes literal the representation of

a place on the map of the city. He multiplies its perimeter from the stated scale of 1 to 130 thousand and concludes that, obeying these proportions, the marked area would cover a radius of 130 m, of which he constructs in concrete the “lowermost” section of 30 m2. A similar obedience to scale used in mapmaking is applied by the artist in Entre, a set of eight microphotographs of border zones and conflict flashpoints across the world. Enlarged thousands of times, the images of these borders acquire topographical features lost in ink and paper, becoming interstices that can only be inhabited in the imagination.

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[In between] · 2010

[Dot in real scale] · 2010 project

Entre

Ponto em escala real

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Sophie Ristelhueber Paris, France, 1949. Lives and works in Paris. Ristelhueber accompanies news coverage of civil and international wars.

She gathers cuttings and photos from newspaper articles, and reflects on each conflict before physically going to the conflict zone. The artist does not travel as a war correspondent: she has an obsession for traces, scars, and erosions that connect recent destruction with the dilated temporality of the territory. Her news comes in the rhythm of tectonic movements and historical events, making these occurrences manifest as accidents “naturalized� by geologi-

cal time, which bears witness to the process that covers over the ruins of century-long conflicts. In WB, Ristelhueber traveled to the West Bank, where she searched for less explicit marks left by the conflict, and the separation of Jews and Palestinians by the building of a dividing wall in 2004. She photographed barriers erected by the Israeli army to block the circulation of Palestinian vehicles: constructions made of piles of stones, partially overgrown with grass, that interrupt the traffic and integrate into the region's roadscape. Printed on wallpaper, the photographs, like the theme they portray, infiltrate the exhibition hall with unlikely spaces and perspectives.

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It upsets me to find the gate to the farm open. I think of the entrances to the condominium, and for a moment that wide open gate is more impenetrable. I feel that, when I walk through the gateway, I won't be going in somewhere, but I'll be leaving every other place behind. Now I can see the whole valley and its boundaries, even so, it's as if the valley enclosed the world and now I was off into the outside. After this stupid hesitation, I realise that's just what I want. I step on the farmland and, to feel

secure, decide to shut the gate behind me. Except it's stuck in the ground, encrusted and embedded in dry mud. When I left the farm for the last time five years ago, I must have left the gate open and nobody ever came close to it.

For five years I abandoned and forgot all this. Perhaps the inertia of the farm in my mind, rather than the long drought, accounts for this harsh light and the flat landscape. After overcoming the gate, I'm not sure of my way in. Maybe the breach is

WB

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the night rising up from the bottom of the valley. The sun's still on the mountain tops, while night climbs up the slopes like crude oil.

I sit down on the round stone where I sat when I was small, when I used to think that night first filled up the valley, than overflowed into earth and heaven.

Turbulence · Chico Buarque

David Maljković Rijeka, Croatia, 1973. Lives and works in Zagreb, Croatia.

Constructed out of the collapse of the communist regime and the break-up of the former Yugoslavia, the work of David Maljković deals with representations of the future based on 20th-century Utopian designs. As raw material for his work he takes the residual images of these promised futures: product prototypes, texts, model buildings, sometimes shown as ruins, sometimes as the settings of absurd scenes. Despite dealing with notions of disillusionment and the loss of collective memory (in those very places

where a collective future had been projected), Maljković rejects all forms of nostalgia and assumes an unequivocally critical tone. Scene for a New Heritage Trilogy is a series of essays set in a monumental building in Petrova Gora, Croatia, built in honor of the victims of the Second World War. Each of the videos depicts relationships between figures of the future who come across the building and adopt it as a pilgrimage site, watchtower and place to pass the time. Instead of creating scenes of belonging and identity, Maljković explores a sequence of lapses of syntax and losses of meaning between what might have been and what may still come to pass.

Scene for New Heritage Trilogy

1 · Scene for New Heritage 1 · 2004

2004 – 2006 frames

3 · Scene for New Heritage 3 · 2006

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Joseph Joubert was born in Montignac in 1754 and died seventy years later. He never wrote a book. He only prepared himself to write one, single-mindedly searching for the right conditions.

Then he forgot this purpose as well.

In his search for the right conditions to write a book, Joubert discovered a delightful place where he could digress and end up not writing a book at all. He almost put down roots during his

2 · Scene for New Heritage 2 · 2006

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search. And the point is, as Blanchot says, what he was searching for, the source of all writing, that space where he could write, that light which ought to be circumscribed in space, demanded of him and confirmed in him dispositions which made him unsuitable for any ordinary literary work or distracted him from the same.

In this respect Joubert was one of the first totally modern writers, preferring the centre to the sphere, sacrificing results in

Deimantas Narkevičius Utena, Lithuania, 1964. Lives and works in Vilnius, Lithuania. Narkevičius' production is essentially filmic, though with occasional forays into the fields of sculpture, photography, and installation, as well as criticism and curatorship. Eastern Europe is the setting of choice for the artist's films, which convey the politically turbulent experience of the collective recent history of his home country, Lithuania. His laconic films use documental material such as images, records, memoirs, and first-hand accounts in order to compose and reconstruct biographies. Invented,

adulterated, or embellished, these apparently realist narratives reveal how inclined we are, and how easy it is, to falsify and mythologize history through mechanisms that synthesize past experience and incorporate it in fantastical terms. The Dud Effect is set in a former Soviet military base in Lithuania, where nuclear missiles were trained on the West during the Cold War. Evgeny Terentiev, a former soldier and protagonist of the film, recalls, demonstrates, and reenacts, with rigor and precision, the command sequence required for nuclear launch; a potentially globally catastrophic command that went ungiven, despite its historical imminence.

The Dud Effect 2008 frames

order to discover their conditions, and not writing in order to add one book to another, but to seize control of the point from which all books seemed to him to originate, which, once attained, would exempt him from writing them.

However, it is still curious that Joubert should not have written a book, since he was, from very early on, only attracted by and interested in what was being written. From a very young

age he had been drawn to the world of books that were going to be written.

Bartleby & Co · Enrique Vila-Matas

Fernando Lindote Santana do Livramento, Brazil, 1960. Lives and works in Florianรณpolis, Brazil. Fernando Lindote's research is dedicated to means of expression. The artist also uses the public and urban scale as a laboratory, developing hybrid works that use fusion to problematize the physical condition and nature of his supports. His work posits his own body, the primary source and instrument of all expression, as a recurring problem to be investigated through its gestures and capacity to transform the world. Cosmorelief is an installation that unfolds in video, sculpture, drawing

and painting, and which congregates new works alongside iconographic repertoires from earlier phases. The work crosses and superposes organic structures that allude to the body with and upon representations of elements from mechanical bases, generating images that are, to an extent, fantastical. Wordplay and linguistic acceptations based on the title of the work, with its references to topographical relief and emotional/physical relief, define this passage in its allusions to the formation of the cosmos.

Cosmorelief 2010 study of the texture of the wall

Cinthia Marcelle Belo Horizonte, Brazil, 1974. Lives and works in Belo Horizonte. Continuous shots and aerial views are recurrent strategies in the work of Cinthia Marcelle. Through these devices, the artist can take a distanced look at the rules and recurrences of the world; at all that repeats itself to the point of becoming almost imperceptible; at the layers that accumulate in a dark body of memory. In the place of effective erasures, the artist legitimizes and interprets leavers of vestiges and traces. Sobre este mesmo mundo is an installation that results from the act of erasure. Beneath a long blackboard, drifts of

chalk dust denounce the fact that something was one day expressed there. In the white smudge on the blackboard, we can still make out versions, sayings and landscapes that have been left behind. By appropriating the symbols of formal education, the work subverts the school doctrine and reserves for the artist the right to productively and imaginatively experience “unlearning”. In the video Buraco negro, two characters out of shot dialogue through puffs and sneezes before a piece of that same chalk. The dialogues inspire visual diagrams in white on black that, shared in a small room behind the blackboard, keep the inscription of acts of speech and reply in history open and free of hierarchies.

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[Black hole] · coauthorship Tiago Mata Machado · 2008 frames

[This same world over] · 2009

Buraco negro

Sobre este mesmo mundo

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There was a crime. But there were also the lovers. Lovers and their happy ends have been on my mind all night long. As into the sunset we sail. An unhappy inversion. It occurs to me that I have not travelled so very far after all, since I wrote my little play. Or rather, I've made a huge digression and doubled back to my starting place. It is only in this last version that my lovers end well, standing side by side on a South London pavement as I walk away. All the preceding drafts were pitiless. But now I can

no longer think what purpose would be served if, say, I tried to persuade my reader, by direct or indirect means, that Robbie Turner died of septicaemia at Bray Dunes on 1 June 1940, or that Cecilia was killed in September of the same year by the bomb that destroyed Balham Underground station. That I never saw them in that year. That my walk across London ended at the church on Clapham Common, and that a cowardly Briony limped back to the hospital, unable to confront her recently bereaved

sister. That the letters the lovers wrote are in the archives of the War Museum. How could that constitute an ending? What sense or hope or satisfaction could a reader draw from such an account? Who would want to believe that they never met again, never fulfilled their love? Who would want to believe that, except in the service of the bleakest realism? I couldn't do it to them.

I'm too old, too frightened, too much in love with the shred of life

I have remaining. I face an incoming tide of forgetting, and then oblivion. I no longer possess the courage of my pessimism. [...]

The problem these fifty-nine years has been this: how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to, or be reconciled with, or

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that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.

Atonement · Ian McEwan

Cao Fei Guangzhou, China, 1978. Lives and works in Beijing, China.

Cao Fei's installations and multimedia devices reflect the chaos provoked by the breakneck pace of recent changes in Chinese society. China Tracy, Cao Fei's avatar on Second Life, a parallel online universe, designed RMB City, an experimental model for the construction of a Utopia based on a caricatural and fantasy synthesis of the contradictions of contemporary Chinese cities.

Combining traditional Oriental symbols and aesthetics with futuristic architectonic speculations, the new metropolis

is designed as the hybrid result of a combination of the communist, socialist, and capitalist ideologies. The dizzying pace of territorial and urbanistic development that has defined recent Chinese policy is transposed into Second Life through an invitation to investors to purchase virtual buildings that house venues for the activities and events open to its users. In the exhibition, those with no connection with the online universe can view Cao Fei's design and proposal through screen captures taken during a tour of RMB City.

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RMB City

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1· RMB City: A Second Life City Planning

2007 2 · RMB City Opera · 2010

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Zarina Bhimji Mbarara, Uganda, 1963. Lives and works in London, England. Using varied platforms, Bhimji creates works that dissect institutional and power relations. From 2003 to 2007, the artist thoroughly mapped the unofficial history of English exploration in places like India, Tanzania and other regions in East Africa, and developed a series of works from this research. Alternating between open shots and closeups, the video Waiting presents a sisal processing plant, focusing on details and exalting poetics and allegories.

Cold and almost monochrome, the images were captured

with great plastic precision, unlike the audio, which mixes background noise with incidental and enigmatic sounds.

The film hardly features people at all, and on the rare occasions that they do appear, their faces are never shown, and their functions at work can only be inferred from the blurred movements of their bodies. Through this apparently abandoned but still partially and precariously functioning plant, where leftover fabric clutters the roof, floor and walls, sometimes even blending in with the cobwebs and grime, the artist offers a portrait of decadence and an aesthetics of abandonment and solitude.

Waiting

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2007 frames

Beat it, I said to him, you cop, you lousy pig, beat it, I detest the flunkies of order and the cockchafers of hope. Beat it, evil grigri, you bedbug of a petty monk. Then I turned toward paradises lost for him and his kin, calmer than the face of a woman telling lies, and there, rocked by the flux of a never exhausted thought I nourished the wind, I unlaced the monsters and heard rise, from the other side of disaster, a river of turtledoves and savanna clover which I carry forever in my depths height-deep as the twentieth

floor of the most arrogant houses and as a guard against the putrefying force of crepuscular surroundings, surveyed night and day by a cursed venereal sun.

At the end of wee hours burgeoning with frail coves the hungry Antilles, the Antilles pitted with smallpox, the Antilles dynamited by alcohol, stranded in the mud of this bay, in the dust of this town sinisterly stranded.

At the end of wee hours, the extreme, deceptive desolate

David Goldblatt Randfontein, South Africa, 1930. Lives and works in Johannesburg, South Africa. Son of exiled Lithuanian Jews, David Goldblatt started taking photographs on the spur of his experience in South Africa during Apartheid. Part of an ethnic and religious minority, the artist sought to photograph the life of the nation in a manner that could present its complexities without necessarily aestheticizing the violence and misery. Eschewing photographic resources that in any way distance the image from the original atmosphere of the situation portrayed, and documenting the geopolitical relations

that shaped the social structures of the country, his lens is trained on people, environments, and values that have been severely pummeled by a harsh reality but somehow survived. In the Time of AIDS is a series of photographs by Goldblatt on South African landscapes where the red ribbon of the struggle against the virus is recurrently seen, albeit in discreet, precarious, and easily missable forms.

This series of landscapes challenges the viewer to find this recurrent symbol in the image, while perhaps realizing in the process just how hidden but indelibly marked AIDS has become in the South-African geography.

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bedsore on the wound of the waters; the martyrs who do not bear witness; the flowers of blood that fade and scatter in the empty wind like the screeches of babbling parrots; an aged life mendaciously smiling, its lips opened by vacated agonies; an aged poverty rotting under the sun, silently: an aged silence bursting with tepid pustules, the awful futility of our raison d'être.

At the end of wee hours, on this very fragile earth thickness exceeded in a humiliating way by its grandiose future – the

volcanoes will explode, the naked water will bear away the ripe sun stains and nothing will be left but a tepid bubbling pecked at by sea birds – the beach of dreams and the insane awakenings.

Notebook of a Return to My Native Land · Aimé Cesare

In the Time of AIDS

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series 1 · Smid Street, Middelburg, Eastern Cape.

24 November 2004 · 2004 2 · Entrance to Lategan's Truck Inn,

Laingsburg. Western Cape. 14 November 2004 · 2004 3 · The entrance to Lwandle, Strand,

Western Cape. 9 October 2005 · 2005 4 · At Kevin Kwanele's Takwaito Barber, 4

Lansdowne Road. Khayelitsha, Cape Town. 16 May 2007 · 2007

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The Otolith Group Anjalika Sagar, Kodwo Eshun, and Richard Couzins.

London, England, since 2000. The Otolith Group is an artistic collective that takes its name from the otolith, a structure within the inner ear that determines our sense of direction, gravity, and balance. This collaborative, integrated, and transcultural research group works mostly from family and autobiographical archives whilst artistically exploring film, installation, sound, and text in commenting on global geopolitics, migratory processes, and the human condition. The group also exists as an international plat-

form for curatorship, programming, and production, and for theoretical reflection on contemporary artistic practices in general and the moving image in particular. Nervus Rerum is a film-essay that uses sound, image, and text to explore the scarred landscape of the daily and architectural experience of life in the Palestinian refugee camp in Jenin. The film follows the inhabitants as they wander down dead-end streets, exploring their movements in long, nonnarrative sequences juxtaposed with spoken excerpts from Fernando Pessoa's The Book of Disquiet and from Prisoner of Love, by Jean Genet.

Nervus Rerum

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This movie sucks, you know. I mean, I don't want to influence your opinion. Do what you want, I guess it seems strange for me to say these things because after all I'm sitting here too, waiting for the screening to begin. But I just watch it because I work over there, across the street, and sometimes you just get tired of sitting there watching the traffic, one bus, two buses, a drunk, the little girl with her dog. You can say that it's never the same, that the little girl isn't the same, or if she is it'll be the ribbon in her

hair that's a different color, the dog will have a different stink, her mother who'll be walking beside her this time squeezing her hand so hard that the girl will be on the verge of tears. I'm not going to argue, but with me it's like this: it's Always the same thing. The other day the brakes went out on a van that came careening down the street, scraping against cars, got to the curve down there and boom, plowed into the store owned by those Chinese, smashed up the display window, the Chinese, the store, everything. You're

Aernout Mik Groningen, Netherlands, 1962. Lives and works in Amsterdam, Netherlands. The videos of Aernout Mik explore the disconcertment and discomfort that one experiences when witnessing an unknown ritual or when no longer identifying with people around. With characters acting out sequences of illogical and somewhat bizarre actions, Mik tests the viewers' capacity to recognize themselves in the motivations of the actors, thus provoking the public to position itself as part of a social machine full of arbitrariness and automatic gestures. His latest work, Communitas, records

going to say, there've been variations. Could be – but deep down nothing changes, it's all just a repeat, as if I'd already imagined it all before. They say that everything's written, right? This movie here sucks, but it's what there is to do. I sit there, I get tired, so I have to get up, go to the door, talk to the ticket vendor. But the ticket vendor always talks about the same stuff, his wife who's got some sort of cancer, his daughter who won't study, his brother-inlaw who had an accident and lives like a vegetable now. I look him

the occupation of the Cultural Palace in Warsaw by a heterogeneous group of native Poles and Vietnamese immigrants. Revolutionary in aspect, but without any specific demands, the group organizes the prototype of a democratic society inside this microcosm. Oscillating between anxiety and euphoria, the members gather assiduously and at length, gradually occupying the official functions of the different sectors of the building and momentarily assuming for themselves these positions of authority in a work replete with subtle references to utopian life projects.

in the eye but I think about other things, it's an automatic voice that keeps replying, oh yeah, uh-huh, you're right. So I get tired, I yawn, he asks me if I wouldn't like to go in. I've seen this movie seventeen times. I come in, I choose a different seat, I stretch my legs, I wait for the movie to start. I like it at this point, with the theater empty, this low light that's like a candle, the screen that sits there doing nothing as if it were getting ready to give you a scare. I've seen this movie seventeen times, so you can imagine

Communitas 2010 still: Palace of Culture and Science, Warsaw

what it's like to be sitting out there. The drunkard. The little girl.

Her dog that lifts its leg and smiles, that horrible happiness of a peeing dog… Hey, look at that, they've turned out the lights, it's going to start. This movie sucks, you know. But don't worry, I'll tell you when to shut your eyes.

This Movie · Chico Mattoso

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Sara Ramo Madrid, Spain, 1975. Lives and works in Belo Horizonte, Brazil. Sara Ramo deflagrates fiction in the everyday life.

Through given, conventional elements that are largely routine, such as furniture and household objects, the artist creates imaginary worlds in which disorder, suspense and doubt reign supreme. Despite the potential dangers, the spaces in which the works take place trigger a delicate beauty and inebriate for their fantastical and playful atmosphere. In the fixed frame video A banda dos sete, a group of musicians walks in single file round a wall-like structure while play-

ing a marching tune. With each lap, one of the musicians disappears behind the construction. With his physical disappearance, the sound of his instrument is likewise subtracted from the composition. Over the course of the tune, the whole band drops off one by one, only to reappear in random combinations and for no apparent reason. Hiding from view the inner workings of the thing experienced, the behind-the-scenes of the forms of collective life, Ramo evokes poetical subversion in favor of distrust and creativity.

Educated to perceive the flight from the rule and to speculate on what causes it to happen, the audience viewing the artist's work returns to its routine; never the same again.

muddled muddled / the muddled / hand of the wind / against

sired by the universe has been dreaming from its belly / blue /

the wall / dull / less less / less than dull / less than supple and

the cat / blue / the cock / blue / the colt / blue / your bung

stable less than a well and a wall: less than a hole / dull / more than dull / bright / like water? like a feather? bright more than bright right: nothing at all / and all / (or nearly all) / a creature

Dirty Poem ¡ Ferreira Gullar

A banda dos sete (título provisório) [The band of seven (working title)] · 2010 project

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Apichatpong Weerasethakul Bangkok, Thailand, 1970. Lives and works in Chiang Mai, Thailand. Apichatpong Weerasethakul is an architect by trade, but it was in the audiovisual field – both art and cinema – that he found his constructive forms. For Weerasethakul, light is an expressive means through which one can weave proficuous fictions into the fabric of reality.

Through imagination and the recreation of environments, and with the help of fragmentary editing, the artist subverts the collective unconscious and switches over into memory.

His work breaks with comfortable narrative linearity and

conventions and organizes themes that expose the frontiers between the rural and the urban, as well as the approximation with the prosaic and the popular in Thailand. In Phantoms of Nabua, the artist films a group of youths from the Nabua region as they play soccer at night with a football in flames. A film projected onto a screen in the background shows flashes of lightning, which also occur in the real environment. The artist makes all these luminous sources contrast and stand out. Through improvised dialogue and the overlapping of distinct times in the film, the artist creates allegories of human experience, as he feeds off from the context.

And, before moving on, a few words about the prophet. After yesterday's 3-to-1, he's been promoted and rehabilitated. Last year, he almost got it, almost. But this year his time has finally come. He said that Fluminense would be champion and the team is weaving an epic fabric, the loveliest and most well-deserved anyone could ever imagine. Since yesterday, the prophet has

Phantoms of Nabua

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been able to parade about on the serving tray with an apple in his mouth, just like a suckling pig.

Of course major victories are not improvised, nor do they depend upon circumstantial factors. Six thousand years ago it was written that yesterday Joaquinzinho would sink the first goal and, immediately thereafter, Jorginho and GĂ­lson Nunes would

hit the nets at Bangu head on. Our trophy, then, is fate sixty centuries in the making. But it is obvious, on the other hand, that this fate has to be kept moist, that it has to be lubricated by the sweat of man. There were moments during the struggle in which Fluminense fought so hard that the team's sweat became thick and elastic like that of horses.

Andrew Esiebo Lagos, Nigeria, 1978. Lives and works in Ibadan, Nigeria.

Andrew Esiebo pursues photographic projects that combine a documental approach with aesthetic references to contemporary fiction cinema photography. His work does not strive for pure observation or distance from the theme, but rather a reciprocal dependence between creation and genuine involvement with the context. At the same time, he devises atmospheres, palettes of color, and marked, saturated perspectives, creating compositions the evocations of which oscillate between the cinematographic and commer-

What's beautiful, pleasant and sublime about the championship is that the battle takes place on and off the field. At times, in addition to the adversary, the referee and the linesmen, even the imponderable would join forces against us. For example: my fraternal friend Armando Nogueira. One day, or night, I'm not sure, my colleague had a vision worthy of Joan of Arc. Before his

cial. In God Is Alive, Esiebo documents the dynamic of the various religious camps situated along the Lagos-Ibadan expressway in Nigeria, where huge congregations gather for the feast day of the Holy Spirit. The artist examines the ritual codes and excesses practiced there, and the commercial strategies these gatherings have hijacked. In Redeem Christian Church of God, the nocturnal Pentecostal services at which the faithful believe to find the solution to their spiritual and social problems are characterized by praise giving, prayer, and trance. They also constitute a chance to line the church's coffers with direct donations and other monetary pledges made by the congregation.

eyes, Fluminense appeared with a flashlight* in its hand. The very next day, Armando, who is a fashion designer and a Flaubert of soccer, proffered this historic sentence: “Fluminense is the flashlight of the great” and then: “Fluminense has no ensemble, nor does it have individual values.” Nothing, therefore.

Character of the week · Nelson Rodrigues

God Is Alive 2006

* In Brazilian soccer jargon, “flashlight� (lanterninha) is the word used to refer to the team that is in last place in the classification of a given league

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Kutluğ Ataman Istanbul, Turkey, 1961. Lives and works in London, England.

Kutluğ Ataman develops films and video installations exploring all aspects of his media: from the film length to the amount of projections, passing by the choice of devices and by the variation of narrative approaches. Coherent in its diversity, his work combines strategies in an inventive way, resulting in unique solutions completely compromised to the subject of interest and, at the same time, to the audience's experience. At the other end of the moving image

production process, his camera focuses on individuals with intricate subjectivities that somehow perform their own selves and experiment with a subtle form of theatricality – having Kutluğ's varied audiovisual strategies as a transient mirror to look into. In Beggars, the artist spotlights the theatricality that he identifies in the act of begging.

Throughout the research process of this work, Ataman noted that at the streets of Istanbul the beggars poses appears to be based on Turkish melodrama movies and TV series and made a portrait of those character in scene, capturing their elaborate movement for the spectator.

My first Arabic lesson consisted of little excursions into the veiled and secluded nooks and crannies of the Parisian, rooms and cubicles lit dimly by skylights: the dead spaces of architecture.

Those little rooms scared me, and I didn't understand why my initial contact with the language should consist of visiting them.

After opening the doors and turning on the lights, Emilie would point to an object and slowly articulate a word that seemed to burst in her throat; the syllables, jumbled at first, soon sounded

Beggars

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distinct enough that I could repeat them several times. Not a single object escaped this nominative quest, from store merchandise to personal possessions: porcelain melting pots, pillows embroidered with arabesques, dainty crystal flasks containing camphor and benjamin, leather sandals, chandeliers made from milky glass orbs, Spanish fans, bolts of cloth, and a collection of perfume bottles forming a caravan of smells from musk to amber that I breathed in as I repeated the correct name for

each. After our pilgrimage through the rooms and showcases in the store, we would sit down at the living-room table, and Emilie wrote down each world I'd learned, indicating whether each letter appeared near the beginning, middle, or end of the alphabet.

Then I copied it all, straining to write from right to left, forming each letter innumerable times, filling page after page of ruled paper. At afternoon's end, I'd run to show Father my work, which he would correct while Emilie disappeared into the room next to

Matheus Rocha Pitta Tiradentes, Brazil, 1980. Lives and works in Rio de Janeiro, Brazil. The mysteries hidden in the laneways and out-ofthe-way corners of cities attract the attention of Matheus Rocha Pitta. His photographic eye tends to be seduced by that which no longer appears in the shop window, or in family conversations, on public agendas or in public policies. The artist focuses on the socially outcast and, aggrandizing its plasticity, returns to it a certain appreciation. Provisional Heritage is the result of an incursion into an old factory on the outskirts of London, on the site of

a soon-to-be department store. Guided by the caretaker, Rocha Pitta records an inventory of stocked up merchandise. Televisions gather dust, stacks of tires stand like obstacles in the gardens, crates full of canned tomato soup and coffee jars remain unopened, long past their sell-by dates. The artist is intrigued by the obsolescence of spaces and objects that, whether for economic, ideological or cultural reasons, did not merit a place in the productive cycle of society. Through his individual resistance, occasionally reinforced by a small group, Rocha Pitta undertakes symbolic requalifications, accelerates wear and lends fresh life to the what is left behind.

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his, which was hers alone to enter. Emilie's teaching followed no method, order, or sequence. Somewhere along my haphazard apprenticeship I began to get a notion, perhaps intuitively, of the contour of the “alifebata�, until finally the backbone of the new language was revealed: the lunar and solar letters, the subtleties of grammar and phonetics that glittered in each object exposed in the showcases or hidden away in the shadowy rooms. I spent five or six years practicing this diaphanous game halfway between

pronunciation and orthography, sifting and distinguishing sounds, painstakingly gaining the hand control to represent them on paper, as if the pencil point where a chisel artfully furrowing a slab of marble that would little by little become populated by minuscule writhing and spiraling creatures who aspired to the form of snails, gouges, scimitars, and one lonely beast that, when brought into contact with the back of the teeth, the tongue could thrust out in a sudden spasm from between half-open lips: a Phoenician fish.

Provisional Heritage

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2010 installation 1 · Sem título [Untitled] 2 · Fonte [Fountain] 3 · Sem título [Untitled]

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From the time I was small I inhabited one language in school and on the streets and another at the Parisian. Sometimes it felt as if I were living two distinct lives. I knew I'd been elected Interlocutor Number One among Emilie's children: because I was first? because that meant I was closer to her memories, to the ancestral world where everything or almost everything revolved around Tripoli, mountains, cedars, fig trees and vines, sheep, Junieh, and Ebrin? But that's not what was

perplexing; what really intrigued me was Mama's solitary excursion after we finished our lessons. Invariably she'd disappear into the room that fascinated me for the mere fact of its being an inviolable space, inaccessible even to Father, who closed his eyes completely to her comings and goings from that hideaway, loaded down with stuff, piles of papers covered with words and expressions we'd studied on Saturday afternoons. It was only when we moved to the new house that this sanctuary of secrets

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was dismantled. Moving brings revelations and leaves mysteries; on the way from one space to another something is revealed and even the contents of a secret document may become public.

Emilie placed the things from her secret room in the locked trunk and carried it herself the entire two city blocks to the new house.

I followed at a distance. Whenever she paused to rest along the way, I hid behind a tree. She would never have forgiven me if she had discovered me watching every step of the way to make sure

she didn't stumble and fall, dropping her world onto the sidewalk.

The minute she arrived safely at the new house I began wondering, Where would she hide that weighty thing full of ancient secrets and inaccessible belongings?

The Tree of the Seventh Heaven ¡ Milton Hatoum

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Gustav Metzger Nuremberg, Germany, 1926. Lives and works in London, England. Gustav Metzger is a pivotal figure in the relationship between creation and destruction in contemporary art, and a founder and activist of the so-called self-destructive art. His work was groundbreaking in the use of industrial materials and found objects, and framed within environmental and ecological concerns, besides a criticism of consumer society. In 1977 he began an artistic strike that lasted until 1980, during which he refused to make, exhibit, or sell any art. Metzger, who has witnessed some of the

most calamitous events in 20th-century history, has succeeded in producing an art that transforms his subjective experience into a deep reflection upon humanity. Historic Photographs is a series of photographic enlargements that captures some of the more catastrophic moments of the 20th century, exhibited behind false walls or curtains or under canvas sheets on the floor. These devices create an obstacle and oblige the viewers to submit themselves to an uncomfortable situation of exposure in order to satisfy a curiosity that leads to an encounter with the Holocaust, the Vietnam War, the Arab/Israeli conflict, terrorism, or environmental destruction.

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The day and the night are linked / by pleasure / and by the wave of the air. / Life and death are linked by the flowers / and by the future tunnels. / God and the devil are linked by man // Antielegies n 1 · Murilo Mendes

Historic Photographs

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series · 1996 / 2010 1 · To Crawl Into – Anschluss, Vienna,

March 1938 · installation view at the Musée Departemental d'Art Contemporain de Rochechouart (2010) 2 · To Walk Into. Massacre on the Mount, Jerusalem, 8 October 1990 · installation view at Zacheta National Gallery of Art, Warsaw (2007)

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Antonio Manuel Avelãs de Caminho, Portugal, 1947. Lives and works in Rio de Janeiro, Brazil. Antonio Manuel mirrors the urban reality in Brazil, assuming a binding sociopolitical commitment. In the mid-1960s, through subtle actions and responses to the repression the nation was experiencing under the dictatorship, his work was in a constant state of alert and construction, buoyed by a libertarian approach and an ambition to import the real into the field of art, thus reconfiguring it as raw material for new concepts. In his flans, Antonio Manuel takes newspaper templates and experiments with

them graphically, generating operations of erasure, denunciation, and subversion of this medium. By interfering in the newspaper space, the artist explores the social fact as an artistic object and inverts the hierarchies between official discourse and private speech. The same occurs in Repressão outra vez – eis o saldo, in which the visual and textual information printed in red and black, covered with black cloths, need to be unveiled if the viewer is to behold in them a reconfigured reality. Semi-ótica, a series of mug shots and police records of supposedly dead criminals, reveals the ambiguity inherent in Brazilian urbanity, to which the artist refers with a contrasting affection.

1. At night I wake up bathed in sweat with a cough that pinches my throat. My bedroom is very small. It is full of archangels.

2. I know: I have loved too much. I have filled too many bodies, I have used many orange skies. I should be exterminated.

3. The white bodies, the whitest among them, have robbed

me of heat, the fat have moved away from me. Now I am cold.

They cover me with many beds, I suffocate.

4. I suspect they will want to fumigate me with incense. My bedroom is inundated with holy water. They say I suffer from gout – from holy water. And this is fatal.

5. My beloveds bring me a cup of lime in the hands that I

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have kissed. The bill for the orange skies, the bodies and everything else arrives. I cannot pay.

6. Better to die. – I lie back. I close my eyes. The archangels applaud.

Vision on White · Bertolt Brecht

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Repressão outra vez – eis o saldo

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As armas do diálogo [The weapons of dialogue] · 1968

[Repression once again – here's the balance] · 1968

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[The image of violence] · 1968

Sem censura

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A imagem da violência

[No censorship] · 1968 3

Dura assassina [Hard killer] · 1968

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Allora & Calzadilla Jennifer Allora, Philadelphia, USA, 1974; Guillermo Calzadilla, Havana, Cuba, 1971. Live and work in Cambridge, USA and San Juan, Puerto Rico. Begun in 1995, the collaborative work of Allora & Calzadilla articulates research and essays alert to the complexity of territorial divisions and disputes in the contemporary world, as well as the power relations, cultures, and rules involved. The duo produces videos, photography, urban interventions, and installations, many of them sound based, which reproduce, displace, or satirize elements of politics and history. In A Movement without Development, the walls

A Movement without Development 2010 reference image

of a sector of the exhibition space in the Bienal building form meter-wide corridors travelled by members of a small orchestra playing Ravel's celebrated piece Bolero. The queue of musicians comprises a mobile and audible design, a human line that appears and disappears depending on the pace of their march among the open spaces and the narrow passages that they cross intermittently. The main characteristics of this composition are its constant rhythm and repetitive melody, in a single crescendo that returns to the beginning just as it would reach its climax. This orchestral tissue will inhabit the interior of the exhibition, transforming the static atmosphere with its mobile presence whilst simultaneously dilating space and time.

Terreiro

DITO,NÃODITO,INTERDITO said, unsaid, not to be said

On the way back, when he was at his saddest and most despondent, he began to remember one of those things Dito sometimes said: “Other people have a sort of bloodhound inside them, but they themselves don't know it. It's this dog-like thing inside them that's always sniffing out and seeing if we're soft inside, if we're dirty or bad, or wrong… They themselves don't know it. But then they get like a need to treat us bad…” “But, then, Dito, we're the ones to blame for everything that happens to us?!” “Yes.” Dito would speak, and then forget what he himself had said; he was like other people.

But Miguilim never forgot. Ah, Dito should never have died!

Manuelzão e Miguilim · João Guimarães Rosa

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Kboco & Roberto Loeb Goi창nia, Brazil, 1978; S찾o Paulo, Brazil, 1941. Live and work in S찾o Paulo. Kboco developed his graphic repertoire of colors and ordered, sinuous and modular organic forms while producing graffiti murals in urban contexts. He expands this same repertoire onto book pages, clothing, walls, floors and corners of the exhibition hall. His partnership with the architect Roberto Loeb began when this impulse went beyond covering existing surfaces to creating his own volumes and circulation/living spaces. For the architect, used to articulating such complex programs as factories

and parks in an efficient and attractive manner, the challenge was to reinvent his practice in order to compose form, plasticity and program in one go, and in a way that leaves it all open to surprises. Canabibi, the terreiro Dito, n찾o dito, interdito expands the surface contact between the Bienal Pavilion and the greenery of Ibirapuera Park. The work covers the steps and patio of the building with a conjunct consisting of a portal, stands and rostrum dedicated to acts of free and amplified expression. The wooden structure designed by Loeb to integrate the surrounding nature with the temporary construction is painted over by Kboco with totemic motifs.

Dito, nĂŁo dito, interdito / Canabibi

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[Said, unsaid, not to be said / Canabibi] 2010 1 ¡ project 2 ¡ terreiro model

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Miguilim looked. He just couldn't believe it! Everything was brightness, everything was beautiful and different, things, trees, people's faces. He saw little grains of sand, the skin of the earth, the smaller pebbles, the little ants walking along the ground farther off. And he got dizzy. Here, there, my God, so many things, everything… The man had taken the glasses back off of him, and Miguilim was still pointing, talking, describing what everything was like as he'd seen it.

Mother was somewhat startled; but the man said that that was the way it happened, just that Miguilim would also have to wear glasses from then on. The man drank coffee with them. He was Doctor José Lourenço, from Curvelo. He could do anything. Miguilim's heart was racing so fast it was out of rhythm, he needed to go inside and tell Rosa, Maria Pretinha, Mãetina. Chica came running after him, making fun: “Miguilim, you're shortsighted…” And he shot back: “Little missy…”

Manuelzão e Miguilim · João Guimarães Rosa

Kendell Geers Johannesburg, South Africa, 1968. Lives and works in London, England and Brussels, Belgium. Kendell Geers was a political exile from South Africa. He returned to Johannesburg at the end of Apartheid and, some years later, moved definitively to Belgium. Rupture from the context of his origins feeds his sarcastic work in terms of the historical narratives and perversities it conceals. The legitimized “versions” of facts are something the artist prefers to call “lies,” fictions that merely represent the dominant face in a power play. Kendell Geers, whose name and date of birth were

Monument to the F-Word 2010

changed to suit the invented identity by which he is now known, freely manipulates terrorism, vandalism, protest, hostility, coercion, and violence present in the world through mechanisms of control and protest to devise beautiful and intriguing forms. ”Fuck” is the key word, a provocation the artist uses in Monument to the F-Word. By placing it in given contexts, using repetition, inversion, or typographical, dimensional, or material exploration, Geers creates impediments to its decodification and legibility. As in other works of his authorship, in this specific project Geers once again freezes in time the voice of the nonconformists and the threats with which they confront the established order.

Andrea Geyer Freiburg, Germany, 1971. Lives and works in New York, USA. Andrea Geyer's work draws upon the communicative and narrative potential of art to structure – at least provisionally – fields of political argumentation and historiographical practice. Fictional scenes, operations of translation, articulations with theory and historical information combine in carefully developed presentations in which every detail reiterates or tensions an aspect of the artist's theme and the place she is speaking from. In Criminal Case 40/61: Reverb, Geyer presents a reenactment of the

trial of Adolf Eichmann, the German officer known as the “executioner in chief” of the Third Reich, the only man ever to be sentenced to death by the Israeli state. The trial, which was widely covered by the media, became an opportunity to purge the perversity of the Nazi regime and test the limits of such notions as justice, truth and sovereignty in the post-Auschwitz world. The installation, which consists of synchronized monitors positioned in a circle, presents six characters, all played by the same actor, who engage in a dramatic debate, the content of which is largely taken from trial transcripts, magazine articles and Hannah Arendt's coverage of the case.

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Criminal Case 40/61: Reverb

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2009 1 · frame from Accused 2 · frame from Defense 3 · frame from Judge 4 · frame from Prosecution 5 · frame from Reporter 6 · frame from Audience

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Nástio Mosquito / Bofa da Cara Luanda, Angola, 1981. Lives and works in Luanda. The work of Nástio Mosquito neither recognizes nor observes limits between different artistic fields. Using music, performance, video and even approaches as yet not clearly classified, the artist translates, in a sense, the condition of living in a country under construction after a period of war. Another striking characteristic of his work is its capacity to transform the often harsh content of the everyday into situations laced with humor, irony and mockery. The animation My African Mind is a video montage that uses archive material on

the history of the African continent, from the beginning of the 20th century to today, in order to map, with heady doses of irony, its stereotypes, conflicts, disasters and achievements. The accelerated pace of the images recalls the language of the cartoon or video clip, while the histrionic voice serves as a counterpoint to what is shown, provoking disjointed or emphasized meanings. Articulating graphic and sound elements, the work reaffirms the open and fertile relationship that Nástio Mosquito maintains with the various different forms of registering today's world.

This poem does not intend to be a jubilant / juggle / or even

intended to be lyrical / cynical / political hymnal // it wants to

three somersaults // it looks to be light birth cum / from my

be a cow stumble grandpa / brain myth devouring this head of

head into your pain // this poem does not intend to be / a

yours // this poem wants to be heard doing / meaning language

spoken portrait of life // it looks to be scream yell bah / tearing

there in your ear // bleeding complete from ass to chaos //

stupor out of flesh / this poem is not intended to be epic / ethic / remedy for epileptics // it's intended to be a kick in the face / punch in the balls blow tough decision // this poem is not

Poem of outrage · Chacal

My African Mind 2009 frames

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Maria Lusitano Lisbon, Portugal, 1971. Lives and works in Sweden. The work of Maria Lusitano results from an incessant process of accumulation and editing of information about historical facts. It is a counter-narrative that contemplates not only the dominant discourses, but also the very mechanisms of writing and situating actions and figures on a time line. The artist makes film essays in which she creates her own versions of past events, mixing discursive forms, sources and references; breaching the hierarchies of speech and proposing new protagonisms. The War Correspondent tells part of the

life story of William Russell, purportedly the first ever war correspondent, who covered the Crimean War in the Balkans between 1854 and 1856. With studio sound effects and animated sequences of photos and newspaper pictures from the day, as well as excerpts from cartoons and films, a female voice over narrates Russell's relationship with warlike journalism and its ethical and aesthetic implications in the face of a fledgling 19th-century audience. In its capacities as a vehicle for information and ideological socialization and as historical record, the newspaper is the platform for the film, which alternates moments of aestheticization and fictionalization with others of raw documental objectivity.

The War Correspondent

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The first crime occurred at the Hôtel du Nord – that high prism that dominates the estuary whose waters are the colors of the desert. To this tower (which most manifestly unites the hateful whiteness of a sanatorium, the numbered divisibility of a prison, and the general appearance of a bawdy house) on the third day of December came the delegate from Podolsk to the Third Talmudic Congress, Doctor Marcel Yarmolinsky, a man of gray beard and grey eyes. We shall never know whether the Hôtel du Nord

Claudia Joskowicz Santa Cruz de La Sierra, Bolivia, 1968. Lives and works in New York, USA. The video work of Claudia Joskowicz deals with basic elements of cinematographic language. She may choose to compose a series of films exploring to the maximum a single camera movement, such as the zoom or travelling functions, or to revisit the theme of reenactment, a staple of silent film, in which news or battle scenes are recreated in the studio with a view to simultaneously informing and entertaining the public. With these resources, Joskowicz reproduces events in versions that associate

pleased him: he accepted it with the ancient resignation which had allowed him to endure three years of war in the Carpathians and three thousand years of oppression and pogroms. He was given a sleeping room on the floor R, in front of the suite which the Tetrarch of Galilee occupied not without some splendor. Yarmolinsky supped, postponed until the following day an investigation of the unknown city, arranged upon a cupboard his many books and his few possessions, and before midnight turned

political and cultural values. In the video Round and Round and Consumed by Fire, the artist works with the 1969 film Butch Cassidy and the Sundance Kid, reenacting in a single, slow and circular panoramic shot the moment in which the North-American outlaws are corralled by the Bolivian police. Moving the camera to capture a near-inert scene, the work creates a state of anxiety that results from the narrative gaps and decelerated pace, revealing how, even in the absence of explicit actions, the very time of the video itself still engenders a narrative development which recommences just as the anti-heroes are about to be killed.

off the light. (Thus declared the Tetrarch's chauffeur, who splept in an adjoining room.) In the fourth, at 11:03 A.M., there was a telephone call for him from the editor of the Yiddische Zeitung; Doctor Yarmolinsky did not reply; he was found in his room, his face already a little dark, and his body, almost nude, beneath a large anachronistic cape. He was lying not so far from the door which gave onto the corridor; a deep stab wound had split open his breast. In the same room, a couple of hours later, in the midst

Round and Round and Consumed by Fire

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of journalists, photographers, and police, Commisioner Treviranus and Lönnrot were discussing the problem with equanimity.

“There's no need to look for a Chimera, or a cat with three legs,” Treviranus was saying as he brandished an imperious cigar.

“We all know that the Tetrach of Galilee is the possessor of the finest sapphires in the world. Someone, intending to steal them, came in here by mistake. Yarmolinsky got up; the robber had to kill him. What do you think?”

“It's possible, but not interesting,” Lönnrot answered. You will reply that reality hasn't the slightest need to be of interest. And I'll answer you that reality may avoid the obligation to be interesting, but that hypotheses may not. In the hypothesis you have postulated, chance intervenes largely. Here lies a dead rabbi; I should prefer a purely rabbinical explanation; not the imaginary mischances of an imaginary robber.”

Treviranus answered ill-humoredly:

Roberto Jacoby Buenos Aires, Argentina, 1944. Lives and works in Buenos Aires. The 1960s avant-gardist Roberto Jacoby has developed an interdisciplinary and markedly political career, whether through poetics or engagement. He was part of the generation of artists and intellectuals connected with the Instituto Torcuato Di Tella, co-publisher of the Primer Manifiesto de Arte de los Medios, a participant in the action Tucumán Arde, lyricist for the rock group Virus and creator of various performances, events, happenings and what he calls counterhappenings. Used to conceptualisms, the

artist appropriates social structures and demands the inclusion of the transformative power of art in all new accords and norms of everyday life. In El alma nunca piensa sin imagen, Jacoby invites Argentinean artists to collectively produce T-shirts, badges, posters, pamphlets and souvenirs for a hypothetical political campaign to be promoted at the Bienal. These elements are assembled along a small dais that will be used throughout the exhibition for the delivery of speeches and hosting of debates. In this Brazilian presidential election year, the work becomes an opportunity for reflection, albeit indirect and fictional, on the forms of party political propaganda.

El alma nunca piensa sin imagen [The soul never thinks without image] · 2010 reference image

“I am not interested in rabbinical explanations; I am interested in the capture of the man who stabbed this unkown person.”

“Not so unknown,” corrected Lönnrot. “Here are his complete works.” He indicated a line of tall volumes: A Vindication of the Cabala; An Examination of the philosophy of Robert Fludd; a literal translation of the Sepher Yezirah; a Biography of the Baal Shem; a History of the Sect of the Hasidim; a monograph (in German) on the Tetragrammaton; another, on the

divine nomenclature of the Pentateuch. The Commissioner gazed at them with suspicion, almost with revulsion. Then he fell to laughing.

“I'm only a poor Christian,” he replied. “Carry off all these moth-eaten classics if you like; I haven't got time to lose in Jewish superstitions.”

“Maybe this crime belongs to the history of Jewish superstitions,” murmured Lönnrot.

Jacobo Borges Caracas, Venezuela, 1931. Lives and works in Caracas and New York, USA. To celebrate the four-hundredth anniversary of the city of Caracas, Borges directed a multimedia project that took the form of a collaborative performance (“total action”, as he calls it) that brought together actors, writers, filmmakers, and musicians. Imagen de Caracas takes as its protagonist the modern Venezuelan capital of the 1960s.

The viewer should be incorporated into the spectacle, not only through immersion in the scenic device itself, but integrated with it in some more active form. Through a

“Like Christianity,” the editor of the Yiddische Zeitung dared to put in. He was myope, an atheist, and very timid.

No one answered him. One of the agents had found inserted in the small typewriter a piece of paper on which was written the following inconclusive sentence. [...]

Death and the Compass · Jorge Luis Borges

digression on social inequality and political history, Jacobo Borges wanted the city and its inhabitants to verbalize a deep awareness of the moment they were living through.

Located on a one-acre site, Imagen de Caracas used eight 35 mm film projectors and forty-five 40 mm slide projectors, forty-six speakers and twenty large and mobile boxes, on which the images were projected, fragmented and overlapped. The project was closed down by the city hall soon after opening, for being considered a “critical view”. It caused a wave of protests by the artist and some workers who went to live on the streets in a permanent demonstration, for which they were arrested almost every day.

Imagen de Caracas [Image of Caracas] · 1967

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Lönnrot avoided Scharlach's eyes. He was looking at the trees and the sky divided into rhombs of turbid yellow, green and red.

He felt a little cold, and felt, too, an impersonal, almost anonymous sadness. It was already night; from the dusty garden arose the useless cry of a bird. For the last time, Lönnrot considered the problem of symmetrical and periodic death. ”In your labyrinth there are three lines too many,” he said at last. “I know of a Greek labyrinth which is a single straight line.

Along this line so many philosophers have lost themselves that a mere detective might well do so too. Scharlach, when, in some other incarnation you hunt me, feign to commit (or do commit) a crime at A, then a second crime at B, eight kilometers from A, then a third crime at C, four kilometers from A and B, halfway en route between the two. Wait for me later at D, two kilometers from A and C, halfway, once again, between both. Kill me at D, as you are now going to kill me at Triste-le-Roy.”

Dora García Valladolid, Spain, 1965. Lives and works in Brussels, Belgium and Barcelona, Spain. Dora García produces simple narrative structures with fictional elements and references to a given context. However, unlike a playwright or script writer, the artist only develops her argument up to the point where the actors go on stage, from there on in the development is open, depending on interactions with non-actors, personal accounts, and transcriptions of conversations and gestures. This openness in the development of the narrative situates her actions, videos and installations in a grey

zone between performatic and everyday behavior, between theater and real life, madness and reason. In The Deviant Majority, Dora García investigates the San Giovanni hospital (former psychiatric institution in Trieste), a success story in the treatment of mental illnesses that was an emblem for many of the political notions behind anti-psychiatry, a movement that was influential worldwide during the 1970s. The artist uses the Trieste investigation and dialogue with anti-psychiatry experiments and testimony in Brazil to propose a new script.

The Deviant Majority 2010 frames

“The next time I kill you,” said Scharlach, “I promise you the labyrinth made of the single straight line which is invisible and everlasting.” He stepped back a few paces. Then, very carefully, he fired.

Death and the Compass · Jorge Luis Borges

Franco Rotelli: And from all this, which I have recounted 500 times already, what is what specifically interest you?

Well, I can immediately tell you something: what you want to do is perfectly possible, I see no problem in it; but I must tell you as well that there is something in it that I don't like and that is completely unconvincing: nowadays we witness a permanent nostalgic revival of the seventies, and this I find extremely uninteresting. This romantic vision of the early seventies is a wrong vision. It is simply not true that in the seventies important things were done. In my opinion, the important things were done after the seventies. And therefore I think that this heroic vision of the seventies is a dangerous way to reconstruct history. I refer here especially to the psychiatric experience. They say it was a utopic moment, that Basaglia was a saint; and this for me is an excruciating trivialization of reality. I have been working in Trieste from 1971 on, I have participated in all and every activity happening here in the seventies; but I cannot recognize this mediatic version emphasizing the seventies. So if you want my opinion, my opinion is that Trieste's worth is about the services that it has been able to construct in the last 30 years, the organization that supports these services, the concrete, practical, real demonstration that things are possible, that it is possible to create a credible, rigorous alternative to the psychiatric hospital, something that no country, absolutely no country in Europe has done. Many countries in Europe have managed to do an attenuation of the psychiatric hospital, but none has managed to suppress it totally.

Trieste could. And this all happened in the eighties, not in the seventies. It did not happen with Scabia and it did not happen with Marco Cavallo; it has been done working each day in a network of services, real and practical. And this is the importance of Trieste. […]

Basaglia worked against ideologies, and not to create a new ideology. The mediatic story is a choreography of reality, it is not reality. It's the contrary of reality, is a falsification of reality. The peculiarity of Trieste was the change of things, really; and this change was not even tried by the other contemporary radical movements in Europe. Of course one can read published conversations between Laing, Cooper, Guattari and Basaglia; but if one reads what they say, then one realizes that they did not agree in one single point. Yes, they spoke together, but we really spoke with everyone, with anyone, we are still speaking with anyone. We spoke with the Communist party. We have spoken with the newspaper L'Unitá, the newspaper of the institutional Left.

We spoke with the Trade Unionists. We spoke with right-wing psychiatrists, with all political and parliamentary parties, with the provincial administration of that time that was demochristian. We spoke with everybody. But all the seventies radical movements did not have any intention to really change any structure and they had zero capacity to change anything; they wanted to change all or nothing, and therefore they changed nothing. It is true that

at that time in Italy there was a strong political awareness, a political movement, and a will for radical reform. But there is a big difference. What happened in Italy was the capacity of certain intellectuals to play a part in a general social change and give it a meaningful direction. And they wanted to change a concrete institution, not an abstract change, but a concrete change of a concrete institution. It was not an intellectual movement, but a political movement. There is nothing, nothing in common between the Trieste story and the avant-garde visions of some European intellectuals. Ideology is the falsification of reality. Basaglia tried to understand what was happening. The mental hospital was an ideology. Basaglia said: “”this is an ideology, which tries to hide a reality, saying that someone can be cured here, saying that the hospital is a necessity, saying that there is an illness and a doctor to treat this illness. But I don't see any doctor and I very much doubt that there is any illness to be treated here, and certainly no one is being cured. This is ideology; I don't believe in this pseudoscience””; this is what Basaglia said. And he said too, the mental hospital is made just for poor people. Therefore there is a class problem here. And this is not my ideology, this is what I see. And this class vision, you don't find it in Cooper, you don't find in Guattari, and you don't find it in any of the other so-called anti-psychiatry movements. […]

But the real problem now is to maintain the 180 Law and to maintain, specially, its credibility, and the credibility of services that are a real alternative to the mental hospital. This is the real thing, and its relation to the events happening in the seventies is virtually none. And the image given by the media of this is of a real ideological and stereotyped quality. […]

Yes, if you want, there was a community among radical positions of the 70's, a community that manifested itself in the general wish of subverting power relationships and notions of difference and marginality. But it is not characteristic of Trieste and of what happened in Trieste. Radical movements, they appeared everywhere in the world; but there is something specific, characteristic, that happened only, exclusively in Trieste. I don't think you have to come all the way here to discover general connexions among radical movements. You have to look for the specifics of Trieste. And what is unique in Trieste is the subversions in power relations, the very, very important modifications in power relations that were made concrete in the closing the psychiatric hospital. These subversions and modifications were mainly about the medical power being de-centralized, atomized. And this is reality, no fantasy.

An interview with Franco Rotelli by Dora García.

James Coleman Ballaghaderreen, Ireland, 1941. Lives and works in Dublin, Ireland and Paris, France. A pioneer in the use of slidetapes, sequences of slides synchronized with cassette tapes, Coleman's work since the mid-1960s has questioned the way discourses are imposed and expressed through the image. The lapses and arbitrariness inherent in his process of signification are unveiled and reenacted by the artist through such references as photojournalism and the soap opera, demonstrating how even the most descriptive photo captions transform the perspective from which one reads

and constructs the image. In 1991, Coleman photographed a scene inspired by a journalistic engraving of the battle of Ball Run (1861), mirroring its 19th-century stereoscopic composition. In 2005, in what constituted the second stage of Ligne de foi, he reformulated the theme by using video and reenacting, in long static shots, not only the combat, but artistic creation itself, referencing and representing the earlier work. What passes on the screen evokes the practice, relatively common during the American Civil War, of organizing tours of the battlefield to reenact, photograph, and publicize scenes of the slaughter.

Ligne de foi [Line of faith] · 1991 – 2005 still

Yoel Diaz Vázquez Havana, Cuba, 1973. Lives and works in Berlin, Germany.

Yoel Diaz Vázquez's work explores the way the contradictions in the world are rendered subjective in different contexts. In La torre del ruído, Vázquez invites rappers from the underground scene in Havana to speak their mind about life in present-day Cuba through sung interventions filmed in domestic settings. The resulting discourses are invariably critical and express the thoughts of an ample cross-section of the Cuban youth. The footage is shown on dozens of monitors piled up in the form of a tower, each

showing the intervention of one rapper. When approaching the installation environment, the sounds and images from the TVs strike the visitor as something of a cacophony.

Getting closer to the tower, his or her attention automatically funnels to a smaller number of stimuli, which stand out from the others. Eventually, the viewer's concentration may be whittled down to a single monitor, allowing the song of that particular rapper to prevail over the rest. In its physical configuration, the work is a metaphor for the conflict between a public context, in which discourse is reduced to mere noise, and a more private situation, where people can speak and be heard.

La torre del ruído [The tower of noise] · 2006 – 2010 frames

Guy de Cointet Paris, France, 1934 – Los Angeles, USA, 1983. For Guy de Cointet, words and images are part of the same enigma.

With stints in painting and drawing, the dramatist essentially worked between 1950 and 1970, oscillating between uses of language, sometimes as form, sometimes as message. The work Guy de Cointet produced and shared did not evoke any direct understandings, usually skirting the bounds of the experimental, the strange, the uncertain, of content open to reactions and interpretations. In pieces like Two Drawings or Tell Me, both left without a climax

or clear denouement, actresses close to Guy de Cointet proffered a collage of data and references in reaction to a strikingly geometric and plastic stage setting and costumery. His scripts would combine alternate lines from Edgar Allan Poe and Jorge Luis Borges, caricatures from Mexican soap operas, and references to fashion styles and trendy design, mixed with the exotic atmosphere of literary works by Raymond Roussel. This only apparently spontaneous mix resulted in a huge literary collage set to stage, brought to life and deciphered with each opportunity for utterance.

Tell Me 1979 still of staging

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Sue Tompkins Leighton Buzzard, England, 1971. Lives and works in Glasgow, Scotland. The works of Sue Tompkins include collages and sculptures made from cutouts from fashion magazines and assemblages of unusual objects and written pointers. The idiosyncratic relations she promotes among different categories of things frequently give rise to collaborative performances, as well as installations and short films.

However, much of her work results from text exercises read aloud and from musical recordings. She is the former vocalist of the band Life without Buildings, whose lyrics range from

the emotive and personal to musical and artistic citations.

Tompkins incorporates and transforms fragments of popular music, borrowed texts, and banal expressions in songs and personal narratives, largely poetic, intense, and funny. The rhythmic effects are dictated by controlled breathing, movements and pauses, as well as the unexpected and systematic alternacy of her repertoire of references. The Hallo Welcome to Keith Street is based on a set of drawings exhibited on the wall of the Bienal building. These multiple sheets of paper with small graphic signs and color impressions provide the platform for a public presentation in which the artist translates form and word into gesture and song.

slowly write / a first letter / write / in the surroundings built / by

tides; / slowly impress / your first / gaze / upon the wet gallop

hurricanes; / slowly measure / the first untrained / bird / that

/ of the animals; slowly / ask for more / and more and / more //

scratches / the stage curtain / open / over the gales; / slowly impose / the wrist / that best / will bleed / on the knife / of the

Flowers of moreness  ¡  Ana Cristina Cesar

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2010 reference image: installation register at Frankfurter Kunstverein (2007)

2010 reference image: Fashions of Outer Hope and Inner Style (2009) performance register

Untitled

Hallo, Welcome to Keith Street

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Mira Schendel Zurich, Switzerland, 1919 – São Paulo, Brazil, 1988. Mira Schendel emigrated from Europe to Brazil after the Second World War and, from 1950 to 1980, produced a profusion of drawings of her intimate and solitary relationship with writing. Language in a savage state was always her raw material: foreign, open, unruly, recombinant, though treated with extreme delicateness and parsimony. Throughout her life the artist made over two thousand monotypes on Japanese rice paper. Like the notes of some fleeting and incomplete reasoning, her works unfold in long series in

which legibility is not always clear or singular; the alphabet can be employed both as image and as text. In her Objetos gráficos, works derived from the monotypes but exhibited off the wall, like sculptural volumes trapped in space by almost imperceptible nylon strings, the variation of possible meanings for Schendel's script acquires a new dimension when viewed from both front and back. Given the chance, the translucence of the fine paper and richness of the written layers harbor and suggest an untold number of possibilities to the gaze.

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Sem título (monotipia) [Untitled (monotype)] · 1964 – 1965

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Samuel Beckett Dublin, Ireland, 1906–Paris, France 1989. The work of the writer and playwright Samuel Beckett renders a severe critique of a modernity centered upon the domains of reason and transparency, language and the intellect. His novels, plays, and poems do not use language to convey concepts or tell stories, but rather strive to coax an autonomous and bodily dimension out of the written and spoken word.

His experience of World War II and his participation in the French resistance were decisive for Beckett, who composed, between 1945 and 1953, the trilogy Malone Dies,

Molloy, and The Unnamable. Written in English and French, with substantial differences between the respective versions, the works declare an interest in the impossibility of translation and the impasses between languages. From the 1950s on, his experiments with language saw Beckett produce new works and adaptations for radio, TV, and cinema.

Not I is a video version of the play of the same name. It focuses on a mouth in an entirely blackened face, spewing a frenetic monologue in uninterrupted flow, which, though articulate, never acquires any genuine sense.

Divorced from the intellect, speech becomes a brute act of the body, and the mouth, a simple organ of emission.

Not I 1972 frame

The word is father of the saints / the word is mother of the saints

there are shadow words that awaken in sparking rage / there

/ with the word racer snake we can cross a river / peopled by

are Shango words / sometimes I steal a swim on the back of a

caimans / sometimes I draw a word on the ground / with a

dolphin words //

refreshing word one can cross the desert / in a single journey / there are oar words to fend off the sharks / there are iguana words / there are subtle words these are walking stick words /

Macumba word · Aimé Cesaire

Livio Tragtenberg São Paulo, Brazil, 1961. Lives and works in São Paulo. A self-taught composer and decomposer, given the manner in which he makes use of sounds and instruments, Livio Tragtenberg's work rubs shoulders with popular music, contemporary music, and jazz, simultaneously and without hierarchy. He composes for orchestras, vocal and instrumental groups, operas, cinema, video, theater, and dance.

Instead of structuring musical groups as conventional symphonic orchestras, which favor uniformity of performances, Livio departs from the singular identity of each musician

in forming a rich and dissonant cultural blend. Particularities, details, or typical little gestures acquire importance in constituting his sonorous discourse. In O Gabinete do Dr. Estranho, a musician in a cage erected in the exhibition site receives digital audio and visual files from different sources. He then converses with the visitors and mixes snippets from the donated files for informal presentations at the exhibition.

O Gabinete do Dr. Estranho [Dr. Strange's Cabinet] · 2010 reference image

Because he did not believe in what could not be explained he creased his brows as if that would help to thread the needle.

What was he waiting for with his hand at the ready? Well, he had an experience, he had a pencil and a piece of paper, he had the intention and the desire – no one ever had more than that. And still it was the loneliest thing he had ever done. And he could not do it that way, and not being able to do it had taken on the

grandeur of A Prohibition.

And only when he thought about breaking the Prohibition did he retreat, opposing again the immaterial resistance to a hard instinct, cautious again, as if there was a word that said what a man is… That missing word which sustained him nonetheless. That nonetheless was he. That nonetheless was the thing that would die only because the man had died. That nonetheless

Pixação SP São Paulo, Brazil, since the 1980s. Documentation by Choque Photos, Cripta Djan, and Rafael Pixobomb. Pixação in São Paulo (written with an x to distinguish it from the more politically bent pichação [spelt with ch], also very present in the city) is a visual manifestation produced on walls and buildings that expresses a worldview that does not fit within the precepts that govern and limit urban life. Pixação speaks of something that would otherwise remain unseen and that, were it not for its apparently ciphered writing, would probably not be said. As something considered by its practitioners to be

simultaneously art and political comment, to include pixação in the institutional space of the Bienal as a mere graphic expression, mimicking its presence in the streets, would be to deprive it of its originality and transgressive power, which is why we have chosen instead to feature it in photographs, videos, and tag collections. If these documental strategies are a poor substitute for pixação itself, which can only truly exist in the urban space it disputes, they do nonetheless help us understand and activate its complex physical and symbolic inscriptions in São Paulo, while underlining the fact that the institutional field is never capable of housing or fully understanding all the possible manifestations of art.

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was his own energy and the way he breathed. The word that was the action and intention of a man. And which he not only could not babble, but somewhere in himself did not even want to…

With vital prudence he kept it safe inside himself. And by only imagining that he could say it he closed himself up in austerity, insurmountable, as if he had already risked himself too far.

Susceptible all of a sudden he had fallen into that sacred zone a

man will not let a woman touch, but where two men at dusk will sometimes sit in silence on the stoop. Within that solitary zone the choice would be to let himself be touched by humility and debasement – or shelter the integrity of a man who does not speak or act. He had fallen into the thirst that had always made something personal out of his life. And which had made the act of “doing”, giving himself perhaps, the one impossible action. A

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Zicas stan

Sem título

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2007 documentation

[Untiled] · 2008 documentation

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ANTBOYS duda

CRIPTA djan 2008 documentation

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SURRA rudá > SEM MEDO juca > COMA wil 2007 documentation

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coward before his own greatness, he balked.

With no word to write Martim meanwhile resisted the temptation of imagining what would happen to him if his strength might be stronger than his prudence. “And if I suddenly had the strength?” he asked himself. But he could not fool himself; whatever he wrote would only be something he had written because he could not write “the other thing”. Even within his own

ability what he would say would simply come from the impossibility of saying something else. The Prohibition was that much deeper… Martim had surprised himself.

Obviously that man had ended up by falling into a depth that he had always sensibly avoided.

And the choice became deeper yet; either keep the sacred zone intact and live off it, or betray it by what he certainly would

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come to do, and it would be simply this: the unreachable, like one who could not drink the water of the river except by filling up the hollow of his own hands – but it would not be the silent waters of a river; it would not be the frigid movement, or the delicate greed with which water tortures stones; nor would it be the thing a man is in the afternoon beside the river after he has had a woman. It would be the hollow of his own hands. He would rather have the

silence intact then. Because little can be drunk; and one lives off what is left abandoned.”

The apple in the dark · Clarice Lispector

Gil Vicente Recife, Brazil, 1958. Lives and works in Recife. The work of Gil Vicente translates a sense of uneasiness about the prevailing modes of political representation, expressing deep disillusion as to the possibility of change through formally constituted leadership and warning of a sapping of patience that has often led others to violent confrontation. In his work, Gil Vicente does not look to confuse art and crime, but rather to substitute the crime as act with the creation of its explicit image. In Inimigos, a series of life-size realist drawings in charcoal on paper, the artist

assumes the role of the assassin of political leaders who, presiding over different geographic domains, hold distinct if not conflicting world views. Gil Vicente's drawings depict him just as he is about to shoot or knife to death such illustrious “victims” as President Lula da Silva, former President Fernando Henrique Cardoso, Pope Benedict XVI, and Queen Elizabeth II, among others, sometimes face to face, sometimes from behind. The ample spectrum of the ideological persuasions of those portrayed suggests that what is in play is not so much the affirmation of a specific cause, but the symbolic repudiation of all forms of institutionalized power.

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“of the men I know, the sharpest tongue”

[…] I insult the bourgeois – miserable! / The unstomachable

bourgeois! To the horse-drawn carriage bourgeois! / Swiss

beans with bacon, the master of traditions! / Be gone those

bakery! Living death to Adriano! / “Oh, my daughter, what shall I

who make algorithms of the tomorrows! / Will it be sunny? Will

give you for your birthday?” / “A necklace….” “One thousand five

it rain? Pack of Harlequins! / But to the rain of the rose garden /

hundred!!!” / “But we're dying of hunger! […]

Ecstasy will forever be sunny! / Death to fat! / Death to cerebral adiposities! / Death to the monthly bourgeois! / To the cinema

Ode to the bourgeois · Mário de Andrade

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Suíte safada [Shameless Suite] · 2007 – 2010

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Autoretrato III matando Elizabeth II from the series Inimigos

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[Self-Portrait III - Killing Elizabeth II from the series Enemies] · 2005

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Grupo de Artistas de Vanguardia Rosario and Buenos Aires, Argentina, 1968. A paradigm of artistic revolutionary action, Tucumán Arde was a project run by a collective of Argentinean artists. It was born from the insurrection against the Tucumán Operation launched by the dictator Juan Carlos Onganía, who encouraged a privatization policy that finished with many of the small cane-growing plantations in the Tucumán region, causing rampant unemployment and deteriorated living conditions.

The artists visited Tucumán, made contact with local unions and cultural organizations, gathered documents and pro-

duced images of the abandoned plantations and factories, as well as of the local nouveau riche. As a result, the group organized the 1st Biennial of Vanguard Art, an exhibition/protest that took place at the union headquarters in Rosario before moving on to Buenos Aires, where it was censored and closed only hours after opening. Newspaper clippings on the walls, films, and audio material documented the injustices suffered in the region. The floor of the entrance was covered with the names of the new plantation owners, denouncing their connections with the regime. The over three thousand guests at the inauguration were served coffee with no sugar.

Tucumán Arde Archive 1968 – 2007 photographs of posters and Rosario exhibition

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Tatiana Blass São Paulo, Brazil, 1979. Lives and works in São Paulo. Since she began exhibiting paintings, sculptures and installations in the late 1990s, Tatiana Blass has problematized the notion of spectacle. Her paintings of near-empty stages are a paradigmatic case, as are her recent installations, in which sculptures of molded paraffin melt and deform under the glare of spotlights. Metade da fala no chão – Piano surdo is part of a series in progress in which the artist acts upon musical instruments. At the Bienal, liquid wax is poured over the strings of a grand piano as it is played. A video

THE DEAD MAN · I

records the rapid transformation from liquid to solid matter as the notes of the piano tumble out of tune and are finally silenced. The instrument petrified as sculpture ratifies its own and irreversible silence. Like a temporal cycle that announces all of its stages, the installation mimics the listed acts by which life becomes a monument. Something that, in opposition to life, loses its movement: echoed sound, the voice, its wanderings and the possibilities of its issuer. The piano is a metaphor for the infinite promise of music. Not once Tatiana Blass is finished with it.

hands / From which hung insistent / A hollow gesture. / At night

The rain washed / The people from the dead man / And washed

the man / Was buried / At the root of a wall / With his clothes on

the dead man / With his crooked physiognomy / And with his

his body. / And in the garden of this / Victorious dead man / The

dead man's feet / That dragged a dry river / And his dead man's

rain watered / Enormous violets / And some fertile snails… //

Metade da fala no chão – Piano surdo

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[Half of the speech on the ground – Deaf Piano] · 2010 still

THE DEAD MAN · II

/ Is no more comfortable than a dead man in a port. / See what

See this dead man, how he used up his secrets one by one. /

comfort: / Never again will he use his fingers to grab at girls… /

Seated like a doctor / See what respect he nurtures for silence…

What a dead man! //

/ What a dead man! / A piano sleeping at the bottom of a well The dead man I and The dead man II · Manoel de Barros

Moshekwa Langa Bakenberg, South Africa, 1975. Lives and works in Amsterdam, Netherlands. The work of Moshekwa Langa accumulates modes of thought, perceptions and objects that reflect not only personal history, but also involvement in such issues as politics, art and culture. The artist experiments with confluences between these spheres and transforms them into a poetic, as in True Confessions: My Life as a Disco Queen, a video that takes the artist himself as its theme. For Moshekwa Langa, the most powerful thing about his art is its capacity to encourage a change of

attitude and topple prejudice. However, this path toward transformation is not so freely delivered to the viewer.

Perception of the content and slippery visualities of Langa's work open to the visitors the possibility of creating a narrative of their own, with a host of destinations and meanings.

In the series Untitled, the photographs present a silence, a place of experience, where some action or activity has already taken place, and where the invitation to continue the story is left hanging in the air. The work stimulates a sense of belonging, of immersion and interconnection between multiple cultures.

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Untitled

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series · 2005 / 2006 1 · Ka ntle [Outside] 2 · Gartene [Curtains] 3 · Ka ntle [Outside] 4 · Panka [Bench] 5 · Mmetse [Rug]

There we are, side by side, on the salt-colored sand, among people who have also lost children or watches, their youth or opportunities, their courage or their teeth, their parents or money, their trust or their arm, or their flame, or the root goods, or their identity, or their job, or their sanity, or their direction, or their strength, or their life, there we are sniffing out a dead man.

Lost and Found · Osman Lins

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Rodrigo Andrade São Paulo, Brazil, 1962. Lives and works in São Paulo. The work of Rodrigo Andrade deals with the founding mystery of painting, the formation of illusionistic images through matter. Back in the 1980s, his painting reflected the generational interest in pictorial investigation that articulated gestural emphasis with an iconography taken from mass culture. In the 1990s, gesture and image were gradually subtracted to leave thick monochromatic blocks of saturated color with peculiar geometry, demanding their own material, concrete and objectual dimension. In the 2000s,

these colored blocks gained autonomy and left the canvas for direct application upon the wall. The absurd dimension of this contamination of space became a film, Uma noite no escritório, written and directed by the artist, in which his color blocks invade bodies, walls and objects. In the series Matéria noturna, a set of large-scale paintings of dark scenes perfurated with colorful and vibrant specks of light, Rodrigo Andrade re-disciplines his autonomous blocks of color, corralling them back into the limits of the canvas. Occasionally he makes them parts of figurative scenes, as with the glowering points in a voluminous, massive, thick-set night.

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Suddenly – how am I to convey it? Well, suddenly the darkness turned into water. This is the only suitable figure. A heavy shower, a downpour, comes along, making a noise. You hear its approach on the sea, in the air, too, I verily believe. But this was different.

With no preliminary whisper or rustle, without a splash, and even without the ghost of impact, I became instantaneously soaked to the skin. Not a very difficult matter, since I was wearing only my sleeping suit. My hair got full of water in an instant, water

streamed on my skin, it filled my nose, my ears, my eyes. In a fraction of a second I swallowed quite lot of it.

As to Gambril, he was fairly choked. He coughed pitifully, the broken cough of a sick man; and I beheld him as one sees a fish in an aquarium by the light of an electric bulb, an elusive, phosphorescent shape. Only he did not glide away. But something else happened. Both binnaclelamps went out. I suppose the water was forced itself into them, though I wouldn't have thought

Matéria noturna

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[Night matter] · series 1 · Viaduto · [Overpass] · 2009 2 · Rua deserta com cerca · [Desert street

with fence] · 2010 3 · Rua deserta · [Desert street] · 2010

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that possible, for they fitted into the cowl perfectly.

The last gleam of light in the universe had gone, pursued by a low exclamation of dismay from Gambril. I groped for him and seized his arm. How startlingly wasted it was.

The shadow line · Joseph Conrad

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TERREIRO

EU SOU A RUA i am the street

I love the street. This feeling of greatly intimate nature would not be revealed to you by me if I did not think, and had no reasons to think, that this absolute and extreme love is shared by all of you. We are brothers, we feel similar and the same; in cities, in villages, in towns, not because, with pain and displeasure, we feel the harsh hand of the law and the police, but because we are united, made equal and brought together by our love of the street. This is the imperturbable and indissoluble sentiment, the only one that, like life itself, withstands ages and epochs. Everything is transformed, everything varies – love, hate, egoism. Today, laughs are more bitter, irony more painful. The centuries pass, slip by, taking with them futile things and notable events. The only thing that persists and remains, the ever-growing legacy of generations, is the love of the street.

The street! What is the street? A composer from Montmartre said: Je suís la rue, femme êternellement verte, Je n'ai jamais trouvé d'autre carrière ouverte Sinon d'être la rue, et, de tout temps, depuis Que ce pénible monde est monde, je la suis... [...]

A rua [The street] · João do Rio

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UNStudio Ben van Berkel & Caroline Bos. Amsterdam, Netherlands, since 1999. UNStudio is a firm specialized in architectonic projects and urban design with a wide variety of works constructed worldwide, from China to the USA. The studio has consolidated a reputation for being especially expressive and experimental, interested in provocative spaces and open programs, particularly in their smaller-scale projects, such as the New Amsterdam Plein & Pavilion, Burham Pavilion and Retreat Exhibition. In these small projects, the volumes and surfaces coax the visitors into movement,

exploring the possibilities of the space. With this reinvention of programs and forms, UNStudio goes beyond the technological innovation that characterizes so much of international architecture. In Youturn, the terreiro Eu sou a rua, the studio proposes an arena for debates that, designed around a centripetal force working from the center circle, twists around itself in a triangular volume, opening the way for three entrances and creating grooves in the walls to form stands for the audience.

LED Channels on the interior roof

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The street is born, like man, from a burst, from a spasm. There is human sweat in the mortar of its pavement. Every house erected is made of the exhaustive strength of many beings, and you will have seen bricklayers and stonemasons sing, covered in sweat while raising the walls of the façades, such a sad song that it seems a breathless sob in the air. The street feels this misery of creation in its nerves, and because of this is the most egalitarian, the most socialist, the most leveling of all human oeuvres. The street created all jokes, all clichés. It was the street that made sayings, proverbs and adagios majestic, and it was the street that baptized the immortal Calino. Without the consent of the street, the wise do not pass, and the charlatans, who flatter it and sum up its banality, are at the first occasion destroyed and blown away like soap bubbles.

The street is the eternal image of naivety. It commits crimes, it raves at night, it trembles with the fever of deliria. For it, as for children, the dawn is always lovely, for it there is no such thing as a sad awakening, when the sun rises and it opens its eyes, having forgotten its own actions, it is, in the enchantment of life renewed, in the chirping of the flock of birds, in the nostalgic lulling of the shouts – so modest, so washed, so smiling, that it seems to chatting with the heavens and the angels…

A rua [The street] · João do Rio

Lygia Pape Nova Friburgo, Brazil, 1927 – Rio de Janeiro, Brazil, 2004.

In the 1950s, Lygia Pape questioned the objectual character of art and created experiences that underscored the process and concept of the work. Initially committed to the geometrical research of the concrete movement, she later turned toward an understanding of art that would also include reasoning, sensibility, creativity, and participation. She began to integrate and reconfigure everyday perceptions and movements, mixing languages in order to bring them to the world as open narrative. In 1968, Lygia Pape commissioned an

enormous white fabric with a number of holes in it for heads to fit through, and invited a group of people to play with it. Each occupied his or her own space, new participants joined in, and from the choreographic union of their individual movements as one single body came the Divisor. The sheet is draped over the participants' shoulders, so they cannot see the improvised choreography going on underneath.

Those in the sheet see only the heads of the other users, the folds in the fabric, and the shadows of the movements. Looking in from the outside, the viewer sees an ocean of people in movement: individualities expressed only in faces, but whose locomotion is the result of collective negotiation.

Divisor 1968 / 2010 colective performance register

Antonio Vega Macotela Mexico City, Mexico, 1980. Lives and works in Mexico City.

Macotela defends the thesis that only time can be the equivalent of time. It is based on this apparently obvious relation that he observes and critiques the commercialization of time and the way the economic system appropriates the individual and alienates human relationships. For Macotela, it is the role of art to provoke reflection and aspire toward systems of exchange oriented not by monetary objectivity, but by subjective variables such as desire, affection, and liberty. Prison, the place par excellence of “appropriated”

time, was the venue chosen for Time Divisa. Over a period of three and a half years, the artist paid weekly visits to inmates at the Santa Marta Acotila jail in Mexico City, with whom he established a routine of approximations and interchanges. There were 365 exchanges in all, one for each day of the year, symbolically understood as a cycle of life. The artist created a dynamic with the prisoners whereby he, on the outside, would carry out a request from one of the inmates, who, in turn, would have to produce a commissioned artwork using his own body and registering the experience in drawings or objects. These projects testify to another possible form of interchanging times of life.

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Money is beautiful, for it's a liberation.

To want to die in Peking and not be able to is one of the things that oppresses me like the feeling of impeding doom.

The buyers of useless things are wiser than is commonly imagined – they buy little dreams. They become children in the act of acquisition. When those with money succumb to the charms of those useless little objects, they possess them with the joy of a child collecting seashells on the beach – and this is a

good image of the happiness within our reach. Collecting shells on the beach! No two are ever alike for a child. He falls asleep with the two prettiest ones in his hand, and hen they're lost or taken from him – a crime! robbing pieces of his very soul! taking away bits of his dream! –, he weeps like a God robbed of a just created universe.

The book of disquietude · Fernando Pessoa

Time Divisa

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series · 2006 – 2010 1 · Exchange 291 · 2009 2 · Exchange 318 · 2009 3 · Exchange 110 · 2007

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Pedro Costa Lisbon, Portugal, 1959. Lives and works in Lisbon. The time and effort that Pedro Costa invests in his films goes well beyond the usual parameters of fiction filmmaking. The director has developed a method of creation in which he tears down the boundaries between actor and character, narrative and document, cinema and life. He shoots systematically in places like Fontaínhas, a neighborhood that grew up on the outskirts of Lisbon, characterized by informal buildings and home to a poor and largely immigrant population, with which he has created a solid relationship. His camera roams the

decaying, demolished spaces, without attempting to cover over these dead times with ideological discourse or literary narratives. The everyday and eventless pace of his visits to this area coincides with the temporality of the aimless lives led by the actors/residents of this slum. The long and precise shots of his films reveal the sharable riches of this crumbling, beautiful, and incommunicable world. Minino macho, Minino fêmea and O nosso homem translate the research and environment of Pedro Costa's filmography, in which the narratives and sensations filmed intertwine in the affirmation of a world in which ethics and aesthetics are inseparable, and reductive classifications are rejected.

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There were a number of people this afternoon, far more than last Sunday. And the band sounded louder and gayer. That was because the Season had begun. For although the band played all the year round on Sundays, out of season it was never the same.

It was like some one playing with only the family to listen; it didn't care how it played if there weren't any strangers present. Wasn't the conductor wearing a new coat, too? She was sure it was new.

He scraped with his foot and flapped his arms like a rooster about

to crow, and the bandsmen sitting in the green rotunda blew out their cheeks and glared at the music. Now there came a little “flutey” bit – very pretty! – a little chain of bright drops. She was sure it would be repeated. It was; she lifted her head and smiled.

Only two people shared her “special” seat: a fine old man in a velvet coat, his hands clasped over a huge carved walking-stick, and a big old woman, sitting upright, with a roll of knitting on her embroidered apron. They did not speak. This

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[Our man] · 2010 frame

Minino macho, minino fêmea

O nosso homem

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was disappointing, for Miss Brill always looked forward to the conversation. She had become really quite expert, she thought, at listening as though she didn't listen, at sitting in other people's lives just for a minute while they talked round her.

Miss Brill · Katherine Mansfield

High Red Center

the commuters. This action formed the basis for High Red Center, a short-lived group that pursued a two-prong experimentalism: first, they toyed with artistic works that were free from the conventional art institutions and techniques; and, in parallel, they played with the social fabric and the everyday reality of urban modernization. Though dissonant in relation to the official city discourse, subtlety, tranquility and a near-passivity were hallmarks of their art, especially in works like Movement to Promote the Cleanup of the Metropolitan Area, in which they simply cleaned the sidewalks and corners of the city streets, dressed in aprons and white masks.

Nakanishi Natsuyuki, Gempei Akasegawa and Jiro Takamatsu. Yomiuri, Japan, 1962 – 1964. In a context of accelerated economic growth and fudged social standards in Japan, three young artists involved with the Fluxus movement began a series of performances in Tokyo, the soon-to-be stage of the 1964 Olympic Games. The first of these performances was Yamanote Line Event, in which the artists, with their faces painted white and carrying some unusual objects, rode the circular train line around the Japanese capital, adding their own noise to that of 1

Yamanote Line Event 1962 perfomance documentation

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Movement to Promote the Cleanup of the Metropolitan Area (Be Clean) 1964 perfomance documentation

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Artur Barrio Oporto, Portugal, 1945. Lives and works in Rio de Janeiro, Brazil. Artur Barrio's work largely consists of the Situações (Situations) he has created in a range of different environments since the 1960s: bodies and objects put into movement that end up modifying a place and a time in an ephemeral way. In the Situação T/T,1, produced during the military dictatorship, Barrio deposited blood-soaked rags alongside gutters and drains in Belo Horizonte, confusing passers-by and police alike, and evoking the martial law then in force. Situações originate from the notes,

drawings and collages with which he fills his so-called CadernosLivros, and are only known to the public through the Record-photos, Record-films or Record-books the artist keeps of each. However, the CadernosLivros and Records are not to be confused with the Situations themselves, which they can never quite capture or do justice, as these refuse to be imprisoned in image, text or thing. Barrio also does works that questions the sanctity of art institutions by using perishable materials. These are works that affirm the insufficiency of all and any documentation and that propose transient experience engraved only in sensory memory as a form of emancipation.

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Situação T/T,1 (1970) [Situation T/T,1 (1970)] · 1970 Record-photo

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Carlos Bunga Oporto, Portugal, 1976. Lives and works in Barcelona, Spain. The work of Carlos Bunga deals with the fragile, transitory side of architecture. The artist draws from his research into the historical, identitary, and cultural characteristics of urban spaces to produce large-scale installations.

Understanding the city as a huge experimental laboratory, Bunga appropriates existing spaces and reconfigures them through strategies of construction, demolition, and destruction. Far removed from the methodology of architects and engineers, Bunga's work process is intuitive, manual,

I've put finishing touches on my burrow and it seems to have turned out pretty well, a success. Viewed from without all that is visible, to tell the truth, is just a big hole, but in actuality this doesn't go anywhere, after just a couple of steps one runs up against this naturally occurring, solid rock. I don't want to make a big deal out of this and toot my own horn, this bit of cleverness wasn't at all part of my intentions but rather, was simply a by-product of one of my many failed attempts to a home-building

resource-poor, and cumulative, largely formulated as the extension of the repertoires and techniques of painting on canvas. His environments, corridors, or labyrinths, produced by the addition of paint, sticky tape, and cardboard, not infrequently fall to ruin over the course of the actions.

The vulnerable and processual nature of Bunga's work is present in Lamp, a video in which the artist destroys and rebuilds a small lamp, sticking it back together with tape.

As in other works by the artist, this action establishes an analogy with the factors of uncertainty and instability that characterize contemporary society.

and, after all was said and done, it seemed advantageous just to leave it ‘as is’ and not fill it in. But indeed, there's many a clever turn that is so subtle that it may as well never have been mentioned, I know this better than anyone else, and, certainly, it's also audacious of me that I make an example out of this emptiness, the hole, that altogether there is something at hand here that is well worth one's while, deserving the most through investigations. But indeed, you are sadly mistaken in your judgement

Lamp

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if you would believe that I am afraid and that it would be due to something like cowardice that leads me to grovel here in the earth. A good thousand steps away is where the true entrance to my borrow lies hidden, covered over by a trap door made up moss and so well fortified as anything in this world may possibly be. Certainly someone might step upon the moss or fall through it and then my home lies free and open and whoever takes pleasure in such break-ins - though, do take note, there are certain, not

necessary very common capacities that are requisite [‌] I could have blocked up this actual entrance, at the uppermost layer thinly with a firm fill, lower down just with loose earth so that in this way, it wouldn't cost me all that much effort, each time I'd be able to work my way out anew. But, that's not an option, foresight itself requires that I have an immediate escape route.

The Burrow ¡ Franz Kafka

Chim Pom Inaoka, Mizuno, Okada, Hayashi, Ellie, Ushiro. Tokyo, Japan, since 2005. In addition to drawing from the repertoire of the popular Japanese youth culture encountered in the streets of Tokyo, the group Chim Pom blurs the tactics of action with strategies of mass media and culture that resort to shock, surprise and the cult of celebrities. Emulating TV shows and Japanese pop groups, Chim Pom work with near-comic urban interventions and installations, in which they appropriate contexts and subvert their functionalities, acting in a hedonistic, ironic and provocative way. Continuing their

mission of absorbing and neutralizing ridiculous elements of society, the group is coming to SĂŁo Paulo for a new edition of Black of Death, an intervention recorded in video in which the youths drive around while waving a stuffed crow out the window of a car, as crow distress calls blare through a loudspeaker, attracting crows from all over the region, intent on rescuing the captured bird. As if questioning the limit of politically incorrect action, the group will produce a new video that functions as an anecdote or political skit put into hard practice. Chim Pom plans to roam the city doing small interventions and looking for parallels between the group's repertoire and the SĂŁo Paulo scene.

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Black of Death (above the Diet Building, Nagatacho, Tokyo) 2008 still

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Black of Death (above 109, Shibuya, Tokyo) 2007 still

This time the boys are going too far. It says on the radio that they've taken a number of inspectors and even some pedagogues. The same station also found it strange that “there's simply no formal ransom request.” Their “lives are feared for.”

They set fire to the entire block and, now that they've cut off the electricity in that part of the neighborhood, the impression is that all of Celso Garcia Avenue is smoldering, a twitching yellow snake, shedding pieces of incandescent skin in the jet-black

night. What's more, things are being thrown at the police helicopter, which responds with the luminous flashing of their gunshots.

Here from afar, it seems like nothing can die, but all of the neighbors are betting on disaster.

100 Stories Gathered on the Street · Fernando Bonassi

Antonieta Sosa New York, USA, 1940. Lives and works in Caracas, Venezuela. With an investigation initially focused on geometric abstract art, Antonieta Sosa was one of the first Venezuelan artists to make her own body the center of her language. She explores new relational possibilities between the subject and art and daily life, which, through situations, actions and performances, incorporate her latent sensorial subjectivity and energy. Pereza is the second part of a performance entitled Del cuerpo vazio, which Sosa conducted at the National Art Gallery of Caracas in 1985. Dressed in a

mottled jumpsuit reminiscent of an animal hide, the artist carried out her performance on an 8 m3 reticular scaffold installed inside the gallery. Inspired by the sloth, Sosa crawled about the scaffolding in slow and intensely expressive movements, accompanied by low murmuring and unintelligible ranting. In a liberating and cathartic shift, the artist's body penetrates and destabilizes the orthogonal reticule, the structuring and symbolic nucleus of modern artistic rationalism that nourished the constructive project of the Venezuelan artistic vanguard up to the early 1970s.

Pereza second part of the performance Del corpo al vacío [Laziness second part of the performance My body to the void] ¡ 1985 documentation

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Claudio Perna Milan, Italy, 1938 – Holguín, Cuba, 1997. Interested in extending the values and possibilities of art to daily life and popular culture, Claudio Perna rejected the role of the artist as producer of objects and protagonist of the artistic process. As an alternative, he positioned himself as a mediator of events and articulator of the products of diverse popular manifestations. It was in this manner that he produced the exhibition Fotografia Anónima de Venezuela at Galeria de Arte Nacional de Caracas, in 1979, which consisted of 36 framed photographs recovered from the trash at

a photography studio, all taken with cheap instamatic cameras. The photographs draw an involuntary panorama of Venezuelan culture at the time, collecting humdrum, precarious records of what these anonymous figures considered memorable in their lives: weddings, trips and, above all, their children. In addition to its value as a chronicle of the day, the series also serves as the demonstration of an activity – in this case, photography – which simultaneously operates as an artistic act and everyday practice. As such, it blurs the value relations between photographic output and keeps its intentions ambiguous.

Fotografía anónima de Venezuela

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series · [Anonymous picture of Venezuela] 1979

The new ages do not begin all at once / My grandfather already

/ Nor did bombardments // From new antennas come the old

lived in the new times / My grandson perhaps will still live in the

blunders. / Wisdom is transmitted by word of mouth. //

old. // New meat is eaten with old forks. // Automobile cars did not exist / Nor did tanks / Airplanes over our roofs did not exist

The New Ages · Bertolt Brecht

Karina Skvirsky Aguilera Providence, USA, 1967. Lives and works in New York, USA. Skvirsky's work reflects upon the complexity of the mechanisms of social stratification, identity, and representation.

Drawing from her personal and family heritage as a reflex of the migratory experience and the psychological and cultural legacy of Latin America, the artist problematizes the concept of the Third World. Coming from a first-generation immigrant family in the USA, with an African-Ecuadorian mother and father of Ukrainian descent, Skvirsky pursues an investigation that centers upon her childhood memories

and geared toward the theatricalized reconstruction of her own identity. In My Pictures from Ecuador, part of the photographic, videographic, and performatic cycle Memorias sobre el desarrollo, the artist uses photos of her family outings in Guayaquil, Equador, during a vacation in 1978.

Through dated images and innocent captions, reminiscent of a childhood photo album, she presents the jaded image of a country and the concreteness of a representation of class.

My Pictures from Ecuador series · 2009

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Oscar Bony Posadas, Argentina, 1941–Buenos Aires, Argentina, 2002. Oscar Bony is a paradigmatic name in Argentinean experimental and conceptual art of the 1960s and 70's and of the generation connected with the Instituto Torcuato Di Tella. Nonlinear and eclectic, his artistic research materializes differently in painting, video, film, objects, happenings, installations, and photography. It was in a context of the subjugation of the working class under the political repression of the military dictatorship that the artist produced his most controversial work. In 1968 he presented, in Buenos

Aires, La Familia obrera, an installation featuring Luis Ricardo Rodríguez, a factory worker, alongside his wife and son. The three remained at the exhibition like living sculptures, sitting in classical pose on a museum platform, simulating activities from their daily routines to a backing track of recognizable domestic sounds. For his work at the exhibition, Rodríguez received twice his normal hourly rate.

Directed by Bony, the performance is documented here in a black-and-white large-format family portrait, the composition of which evinces socially arbitrated stereotypes and hierarchies of class, gender, and age.

La familia obrera [The working-class family] · 1968 / 1999 performance documentation

Pedro Barateiro Almada, Portugal, 1979. Lives and works in Lisbon, Portugal. The work of Pedro Barateiro expresses an unequivocal critical content through the mediums of drawing, photography, sculpture, installation, performance, and text. His art shifts between a documental and a fictional focus, often interposed, and hinges upon reflection on modernism and postcolonialism. Barateiro explores the relations between power and the meaning of exhibition sites, questioning their institutional protocols, contaminating their disciplinary territories, and befuddling their ideological separation. Plateia

is a cement platform into which rows of half-sunken chairs are stuck, facing a blank screen that challenges one to capture an absent message, deliberately imposing the physical and symbolic relationship between the viewer and the sculptural object. The work toys with the notion of the exhibition site as an architectonic concept and structure, proposes an entirely new spatial appropriation and circulation, and reinforces rather than dispenses with the involved and performatic confrontation of the public.

Plateia [Audience] · 2008 installation view at Museu da Cidade, Lisbon (2008)

I confess: I / Have no hope. / The blind speak of a way out. I / See. / After our errors were used / As final company, before us / Sits Nothing // The born after · Bertolt Brecht

Chen Chieh-jen Taoyuan, Taiwan, 1960. Lives and works in Taipei, Taiwan.

The work of Chen Chieh-jen embodies a need to resist the state of amnesia that goes with consumer society. His works comment upon the history of Taiwan, focusing on such issues as work, isolation, exclusion, and migration.

During the Cold War, and despite the declaration of martial law in the wake of successive waves of colonization, Taiwan became one of the world's largest manufacturing hubs. The democratization of the country coincided with a migration of the globalized industrial network in search of cheaper la-

bor. The factories in Taiwan closed down and the workforce was laid off. The film Factory recovers the memory of this trauma on behalf of those who lived through it. In long, silent shots, it accompanies a group of former factory workers as they revisit their old workplace: the abandoned Lien Fu textile factory. The narrative sees them return to their workstations at the same time as it presents documental footage from the factory's heyday, thus underscoring the solemn, ghostly stagnation into which these people and those objects have fallen, symbols of the fruitless protest movement engendered at the time.

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Some guys wearing black skirts came / full of boxes and white powder / that they said was called shuga / so they talked and we scowled / they said it again and we closed our bodies / and they kept saying it and we ate them.

Indian talk · Chacal

Otobong Nkanga Kano, Nigeria, 1974. Lives and works in Paris, France and Antwerp, Belgium. The artist uses assorted mediums, including photography, drawing, and her own body, to visualize memories of inequality and social injustice. In 1990, the Nigerian government hurriedly built a series of blocks of public flats, called the Dolphin Estate, without bothering to install the necessary facilities, such as sewage system or lighting. Like so many public housing projects worldwide, the inadequacy of the construction became evident in under twenty years. Faced with the lack of government

support, the residents of Dolphin Estate pulled together to provide the lacking infrastructure themselves, resulting in scaffolds full of water tanks, antennas, and cables.

Nkanga's photographic series puts the place in the frame, prioritizing views of the spaces between the buildings, and the colors and supports of their architectonic addendums. Without showing the residents of the estate, Otobong creates ambiguous images, shifting between the picturesque colors of the stopgap structures and the opaque shell-like quality of the decrepit buildings.

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[…] esta é uma álealenda ler e reler retroler como girar regirar retrogirar um milicôro em milicórdio séptuor vezes setenta e sete vezes giroler em giroscópio em caleidocamaleoscópio e não ler e lernada e nunca ler como tudoler todoler tresmiller e estar a ponto e voltar ao ponto e apontar e despontar e repontar e pontuar e impontuar camaleoplástico cabaléulístico rodoviagem à roda da viagem a esmo da mensagem o mesmo e de passagem uma faena uma fadiga uma falena será que vale a

pena será que paga a teima será que põe um termo exânima o desânimo espanca o pânico e remaina o ânimo porque começa a faina gavilán gavilán gavilán cantavam na rue budé a patronne olhibovina escoltada por uma navalha corsa e madame meia-de-renda correntinha de ouro no tornozelo esquerdo respaldada em seu porta-cachorro monsieur apollon de quadris bailarinos de efebos requebros sem sapatos pois os pés doíam gavilán gavilán e a outra brunida em martinica thérèse mulâtresse açafrão aos

Dolphin Estate

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series · 2008 1 · Dolphin Estate 2 · Dolphin Estate Extended 3 · Dolphin Estate 3

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ferinos caninos citando antonin artaud digo madame ranço-de-violetas no make-up fanado gavilán sobre um guai de guitarras no boul-mich' tom-mix texano e sua cow-girl lourolambida desafinam por moedas na outra vez fôra o argelino sob o arco da ponte guturando entre pandeiros círculos de curiosos palmas e moedas e moedas e palmas e 'spèce de cocu poilu urlam de um beco o popeye malajambrado em pantalonas marinheiras caçava malamadas turistas no boulevard ou não foi bem assim

saia repuxada até o cós das coxas lendo o tropique no café flore a cara de sardas e óculos normalistas tomando talvez um café calvá a loiríssima abraçada a seu gigante negro o negríssimo enganchado a sua ninfeta loira saudável discordia concors recolonização biológica por isto esta cidade é babelbarroca por isto essa cidade é uma opera aperta e você é você […]

Galáxias · Haroldo de Campos

Ronald Duarte Barra Mansa, Brazil, 1962. Lives and works in Rio de Janeiro, Brazil. Ronald Duarte uses the street as the arena and stage for collaborative, ephemeral and radical actions.

The series Guerra é guerra is made up of films that document three actions carried out in Rio de Janeiro as a means of reflecting upon such social problems as violence and crime, and which were then shown to the surrounding communities. In O q rola VCV [you see what is going on], Duarte uses a water truck filled with red water to wash down the streets of Rio shantytowns over a period of three

days; in Fogo cruzado, he and a group of 26 artists set fire to 1,500 meters of tram line in the troubled Santa Teresa neighborhood; and in Nimbo Oxalá, twenty artists dressed in white formed a mandala and shot fire extinguishers into its centre, creating a huge white cloud under the pilotis of the former Ministry of Education building, an emblematic work of Brazilian modern architecture. At the Bienal, the artist will redo, as a performance, Nimbo Oxalá, making a comment on another landmark of Brazilian modernism.

Guerra é guerra series · [War is war] 1

1 · Nimbo Oxalá [Nimbo Oxalá] · 2004

action documentation 2 · Fogo cruzado [Crossfire] · 2002

action documentation 3 · O que Rola VCV [Blood bath] · 2001

action documentation

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The world moves forward. It progresses. A study of contemporary legislation leads us to the conviction that the cities of the future will have to deal with problems opposite those brought by the Christian conceptions of family and private property.

It is up to us, the peoples not born under the weight of centuries-old traditions, to study the way of living of the naked man, the man of the future, without gods, without property and

without matrimony. In the north of Germany, as in various different parts of the cultured world, free and open liaisons are a fact.

The conception of the state as sole proprietor has become increasingly ingrained with the socialization of children and of fortunes, and in conservative England, the inheritance tax has already reached 40 percent.

Man persecuted by the Christian cycle, brutalized by

Tea Pavilion Conceived by Dorothee Albrecht, Tea Pavilion is an ongoing project that interweaves artistic and curatorial practices.

Installed in art exhibitions, amidst the works and flow of visitors, the project draws upon the ancestral capacity of tea to bring people together and trigger social networks across vast and differentiated regions, uniting people in religious rituals, enlivening social get-togethers or even affording relaxation and cure. Inviting the visitors to serve themselves some tea, the Tea Pavilion recovers this tradition with a view to creating an environment geared towards the presentation of alternative systems for art. At the Bienal, the

scholastic philosophy and exhausted by 1,500 years of repressed monotony appears to our century as a used machine, tragically repeating the same movements taught by Aristotle. The Christian cycle stands out over other religions in having dominated more civilized man. But this civilized man awakens to see, in the Christian cycle, his very own destruction. Other religions are identical narcotics. The bourgeois individual venerates the past and the

project features interviews and statements gathered from curators, theorists, artists, producers and all manner of articulators of an independent thought structure throughout the Middle East, Africa and Latin America. The material, which the artist/curator collected on her travels in video, photography and text, is exhibited in an installation that assumes variable configurations depending on the wishes and responses of the audience, which is called to dialogue as it sits on one-of-a-kind stools, drinking tea.

events of the past just as a decadent tradition conceived it: he repeats the past without knowing why. Little by little he destroys his organism, his possibilities of progress and change.

In today's day and age, fatigue is evident. The machine man of classicism shaped by continuous repetition in the centuries-old feats of Christianity can no longer bear the monotony of this routine.

Carlos Vergara Santa Maria, Brazil, 1941. Lives and works in Rio de Janeiro, Brazil. The work of Carlos Vergara alternates abstract and figurative approaches. Mainly using painting and photography, intercalated with experiments in cinema, the artist has, since the 60s, dedicated his art to registering the cultural manifestations, landscapes, colors, textures, techniques and materials of Brazil in general and Rio de Janeiro in particular. In the Rio carnival Vergara found ample material for his iconographic research. Throughout the 70s, he documented – in photos and a collection of costumes

and miscellanea – the traditional carnival block of Cacique de Ramos, in which, in the association's own words, “there are no indians, only chiefs” (caciques). This ode to individualities as opposed to masses is a motto of Cacique de Ramos. As such, the play between the individual and the crowd, which is intrinsic to carnival, multiplies in the catch cries of the Caciques' block and is refracted in panoramic shots that capture agglomerations in synchronized movement, and in close-ups of individuals proudly playing a starring role in their own personal carnivals.

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He will perish, asphyxiated in logical selection by someone more efficient, by the natural man.

Fatigue assails him, and he needs to shed his clothing and present himself naked, without scholastic taboos, free to exercise reasoning and thought, to put his soul forward for research, to seek the significance of life.

The process, violently attacked by Christianity, will perhaps be slow, but not impossible.

Persecuted by society's taboos, he limits his desires, tightens his brain, preventing reason from working, preferring repetition because he finds it ready-made, at all costs and at all times avoiding the change and transformation indispensible to progress.

Why staunch progress with the old scholastic mechanism, why venerate the past, when we know no limit to thought? Why choke our desires when we do not know the ultimate nature of these desires, when we don't even know the consequences of

Cacique de Ramos

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series · 1972 – 1976 1 · Iguais diferentes 1 [Different equals 1] 2 · Dos 7.000 componentes eu sou mais 1

[From the 7,000 components I am 1] 3 · Poder [Power] 4 · Futebol na Candelária [Soccer at

Candelária] 5 · Avenida Rio Branco 2 [Rio Branco

Avenue] 6 · Leleô 4 3

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these desires?

The free man, unencumbered by outdated taboos, will produce marvelous things. His liberated intelligence will create new ideals – that is, new taboos – and his ego will automatically select itself in groups, seeking to characterize a series of tendencies.

Free, he will sublimate his desires with satiety, and new desires will immediately appear, pointing to new tendencies… in

other words, changing… progressing.

Free, he will automatically organize, for he will encounter no social impediment keeping him from organizing – and he will be able to progress.

At present, he labors struggling against his tendencies with no objective in sight, not knowing why he is struggling or where he is going. It is a non-productive mechanism of repetition, a nefarious mechanism that seeks to destroy that which is most

NS Harsha Mysore, India, 1969. Lives and works in Mysore. NS Harsha draws from the Indian miniaturist tradition in painting, in which the figures and narratives generally reveal specific models of social stratification, and he transposes it, through laborious strategies of repeating motifs in miniature, into monumental mural. Associated with large-scale installations and a leaning toward communitarian artistic projects, Harsha's painting aggregates different voices and cultural expressions in a single platform, registering the complexity and multiplicity of the condition of contemporary man.

grandiose; it seeks to destroy his possibility of becoming better, of progressing.

Man destroys himself, without knowing why.

The vision of a new era now presents itself to humanity. A new moment attracts man: how may he progress?

His character repels the past because, in the past, it was witness to nothing but the repetition of inconvenient dogmas.

He wishes to jump outside the circle, abandon the recurring

Come Give Us a Speech is structured as an orthogonal, systematic grid, with thousands of small figures set against a white background. Seen from a distance, it transforms into a colorful, abstract pattern. Thousands of people of various nationalities, professions, ages and characteristics, some of them comic and playful and all of them seated on plastic chairs, display a range of different attitudes. The crowd, a sample of the global population, seems to be waiting to hear a speech the viewer is obliged to give upon taking position before the scene.

and destructive movement of his soul, seek the mechanism of thought that does not bridle his desire to delve into the unknown.

He wishes to research his naked soul, get to know himself.

But what could this mechanism be?

São Paulo was the stage, some years ago, of the founding of the anthropophagic ideology, an exaltation of Nietzsche's biological man – in other words, the resurrection of primitive man, freed of Western taboos, a presentation without the ferocious culture

Come Give Us a Speech

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of nefarious scholastic philosophy. Man, as he appears in nature, savage, with all of his desires, all of his curiosity intact and not repressed. Man who makes a totem of his taboo, taking maximum advantage of it. Man who seeks to transform the non-metric world into the metric world, creating new taboos for new outputs, encouraging reasoning in new spheres. This idea, initiated in São Paulo by Raul Bopp, Oswaldo Costa, Clóvis Gusmão, Oswald de Andrade and others, with ramifications in Rio de Janeiro and

other states as well, was enthusiastically received by the philosopher Keyserling and by urbanist Le Corbusier, who saw in it a means of progressing, a far-off but possible happiness.

Anthropophagic man, when stripped of his taboos, resembles the naked man. The city of the naked man would doubtless be the proper home for anthropophagic man. There, he could sublimate his desires in an organized way. There, he could feel the constant renovation of the spirit within himself;

Flávio de Carvalho Barra Mansa, Brazil, 1889 – São Paulo, Brazil, 1973. Flávio de Carvalho graduated in engineering in England and, once back in Brazil, soon after the Modern Art Week in 1922, he started experimenting with architecture, dramaturgy, painting, drawing and cultural activism. Indomitable, he took on the antiquated and the clichéd in a bid to formulate an intense modern Brazilian life, free from European models.

Foreshadowing the happening and performance, Carvalho dedicated himself to a series of “experiences” through which he hoped to study the psychology of the masses.

The first work in this series, Experiência N. 2, was a march in the opposite direction to, and into, a Corpus Christi procession. Wearing a hat, the artist waded into the crowd of Catholics and ended up being threatened with lynching. In Experiência N. 4, driven by courage and irony in equal measure, Flávio de Carvalho organized an expedition to the Amazon Rainforest. With a team to record the journey, and accompanied by a pair of Caucasian “goddesses”, he went to encounter local tribes with a view to establishing a lineage of white indians. Both experiences were widely covered in the press, through which the artist managed to spark and rally public opinion and debate on these themes.

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the movement of life will appear from stunning realism and will understand that to live is to reason quickly and dominate taboos through comprehension.

American cities are no longer the fortress cities of the conquest. They are geographic and climacteric cities, the cities of naked man, of man with free and eminently anthropophagic reasoning.

The anthropophagic city satisfies the naked man because it

suppresses the taboos of matrimony and property, which belongs to the entire collective and is a huge monolith that functions homogeneously, a gigantic motor in motion, transforming the energy of ideas into needs for the individual, fulfilling collective desire, producing happiness – in other words, the understanding of life or movement.

The city of the naked man will be the house of man throughout. Man will find, in his immense house, his needs organized

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add on the Experience N.4 in the newspaper Última Hora (1958)

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Experiência N.2 [Experience N.2] · 1931 diagram from the book Experience N.2

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Experiência N.4

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[Experience N.4] · 1958 photographic documentation

story on the Experience N.2 in the newspaper Correio da Tarde (1931)

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and archived in appropriate places, allowing easy and immediate access. He will not uselessly lose energy like our present-day man. His fatigue will be minimal, his astounding relationship will be a surprise even to him, he will find a new happiness in his life, the happiness of efficiency; a new pride, that of having conquered his own soul, the pride of understanding his existence and the desire for constant change.

The organized city will form a single monolith with a uniform

aspect. This aspect will be a function of man's needs.

It will symbolize, through its forms, through its colors, the mechanism of the soul of the naked man.

The city will be the mathematical image of the free man, the man who has repelled the anguish of scholastic dogma, the man who has liberated his reasoning from an undesirable decrepitude.

The needs of man will be concentric, as concentric placement is that most equally accessible to all. They will be located

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…and an interesting detail is that I had a cap I'd brought from England when I was a student and I wore this cap while walking in the opposite direction of the procession to try to provoke reactions. I got reactions. And I took note of the reactions and at a certain moment the crowd exploded. That entire crowd – the daughters of Maria, virgins, priests, nuns and all – accosted me yelling, ‘lynch him, lynch him, kill him, kill him!’ [laughing from others present in the studio] Experience n. 2

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n atio miz

lry

ss ene

riva

tote

s nes

sive res

agg t astu

M

P

show of aggressiveness

show of astuteness

G = god the father M = me myself P = procession – totemic element

on concentric circles. The general well-being of the city, the magnitude of efficiency of the city's life, depends on the relative position of these zones.

An inconveniently located zone in relation to the center could cause serious disturbances in the organic equilibrium of cities, upsetting their process.

Our cities today are veritable scenarios of pandemonium and live in constant disequilibrium.

Today's man uselessly wastes his energies due to the sickened organism of the city. The city tires man, destroying his vital energy.

The City of Naked Man · Flávio de Carvalho

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Grupo Rex Geraldo de Barros, Nelson Leirner, Wesley Duke Lee, Carlos Fajardo, Frederico Nasser, and José Resende. São Paulo, 1966–1967. The headline stamped across the front page of the first issue of the ironic and good-humored newspaper Rex Time, published in June 1966, already indicated what was to come: “Warning: It's War.” Formed by the selfstyled “specialists in vanguard art in São Paulo,” the group operated as a provocation to the structures and precepts of the visual arts in Brazil. In an art circuit still under formation and based around a handful of museums, galleries, and

auction houses interested in exhibiting and commercializing modern art, Rex sought space for contemporary output. In the exhibitions and conferences held at Rex Gallery & Sons, in the issues of Rex Time, and in the work of its members, the group questioned the organizational bases of the art system, the role of the artist and the viewer, and the very statute of works of art. The Rex Room presents a collection of works produced by members of the group between 1964 and 1967, and exhibited at Rex Gallery & Sons, as well as five issues of Rex Time, exhibition posters and invitations, and coverage from newspapers of the day.

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Rex Time n. 1 newspaper, São Paulo, 3rd June of 1966 2 2

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Descoberta da América [The discovery of America] poster of an exhibition at the Galeria Rex (21st October of 1966) 3

Os Sex-Artistas [The Sex-Artists] poster of an exhibition at the Galeria Rex (10th May 1967) 4

O mais rápido levou [The fastest took it] highline to the story published in the Folha de S. Paulo newspaper (2nd edition) on the exhibition that marked the closing of the Galeria Rex (1967)

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Why am I asking for work at a nail factory if I'm a magician gifted with supernatural powers? That's what you're asking, right? Well, you're right. The problem, sir, is the market.

People who do magic tricks are always adapting to the changing demands of the entertainment world. Just think: until about ten years ago, everybody was pulling rabbits out of top hats, right? Nowadays it's not like that anymore, nobody works with rabbits anymore. How long has it been since you've seen

a magician pull a rabbit out of a hat, huh? In the eighties it was already passé and everybody started bending spoons and forks with their mind, which was what got people watching. But that was never for me. I've never had a top hat or bent silverware.

I've got supernatural powers, but I don't have a lot of control over them, you know? I know how to do exactly half a dozen magic tricks that I discovered gradually, throughout the course of my life, and that's it. And don't ask me how I do it, because I don't

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have the slightest idea. Maybe I'll still discover more, you never know. It hasn't even been two years since I discovered the letter E one. I'll try to explain so you can get an idea of the kind of magic tricks I do, and understand why I'm asking for work in this nail factory. Not that I think making nails isn't a noble activity, on the contrary! But anyway, I was going to tell you about the trick with the letter E, wasn't I? I take a book. I hold it in my hand. I close my eyes and

concentrate. I hop once with my feet together, like when you jump for Saint Longuinho when you lose something and want to ask him to help you find it, you know? Is it Saint Longuinho or Saint Nonguinho? I've never been sure about that‌ Anyway, after I jump you can open the book and check for yourself: all of the letter Es that, in order of appearance in the book, are prime numbers (the second to appear, the third, the fifth, the seventh and so on), will have four legs. All of those Es get one more leg,

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Geraldo de Barros

José Resende

Wesley Duke Lee

1964

[My father´s portrait] · 1965

O tríptico: o guardião, a guarda, as circunstâncias

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[The triptych: the guardian, the guard, the circumstances] · 1966

Nelson Leirner

Carlos Fajardo

They are kissing (positive)

Adoração – Altar a Roberto Carlos

Retrato do meu pai

Neutral 1966

[Adoration – Altar to Roberto Carlos] · 1966

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you understand? Right, but so what? Well, nothing, except that it's 100% supernatural. It's of no use whatsoever. But it shouldn't be like that, should it? After all, it's real magic, and that should be enough, don't you think? But that's not what the people want.

Who cares about a magician who, instead of pulling rabbits out of his top hat, instead of making people vanish inside trunks or bending silverware, puts another leg on the letter Es that are prime numbers in order of appearance in a book?! If people in

this country don't even know what a prime number is! The only place I could do a show would be at the Brazilian Academy of Letters. And don't think I haven't tried! But the secretary said everybody there was so old she doubted they'd even notice a leg on an E, even though some of those fogies certainly did notice her legs, she told me with a laugh. It's because she's also a friend of my wife Maribel, that's why we're comfortable with each other, you know? But where was I? Ah, talking about my supernatural

Carlos Zilio Rio de Janeiro, Brazil, 1944. Lives and works in Rio de Janeiro. Through the work of people like Carlos Zílio, the political potential of art came to be seen as a subversion of codes and rules. The artist problematized painting, injecting it with varied objects or even negating its bidimensional nature, demonstrating that it was not perpetually condemned to be hung on walls. In so doing he contributed to the affirmation of art as a territory for the articulation of ideas, not necessarily restricted to the explicit rendering of reality.

His incessant search for new artistic supports was justified

gifts' lack of commercial appeal, wasn't I? Alright, so the first time they noticed I'd been born with this, this, this sort of thing, this gift, was when I did the transformation on the banana. I took a banana. I put it in my pocket. I closed my eyes. I whistled. When I took it out of my pocket, it had that little stem that hooks it on to the tree, you know, that's a little longer on one side? So it had stems on both sides. If you see me do it, believe me, it's incredible. But it doesn't have any stage appeal.

as a reaction to the context of the military dictatorship and was oriented toward the reality of the nation, against the exploitation of the workforce, and the repressive gagging of voices that spoke against the regime. Using a language similar to that of the picture-story, the photographic series Para um jovem de brilhante futuro is one of his most ironic works. The “007” briefcase, the symbol of those who were entering the jobs market with no concern other than earning high salaries, is the metaphor of a trap. Its contents – a battalion of meticulously arranged nails – are an unexpected denunciation, a warning against the dangers that lurk inside the dreams of alienated youth.

What's exciting about me saying, “Ladies and gentlemen, do you see this banana? Do you see that it's only got a stem on one side?

Well then, I'm going to stick it in my pocket, say the magic words” – the magic words thing is just to give it a more theatrical air – “and when I take it back out, there will be two stems, one on each side!” There's nothing attractive about it at all, is there?

Flexibility · Antonio Prata

Para um jovem de brilhante futuro [For a young man with a brilliant future] 1973

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Henrique Oliveira Ourinhos, Brazil, 1973. Lives and works in São Paulo, Brazil. Painting is the origin and reference of the work of Henrique Oliveira. Through the act of painting, the artist conducted a programmatic exploration into its material and execution, which progressively breached the canvas to demand a new spatiality beyond it. With time, textures, brushstrokes, chromatisms, drippings, and coatings, juxtaposed and superposed in the artist's abstract, gestural works, turned to hoarding and pasteboard, systematically collected from the city streets. The sensual collage and

modeling of these precarious materials, rough and rudimentary in aspect, result in immersive works; walls, protuberances and alleys that contaminate the architecture of wherever they are installed, render the space organic.

A origem do terceiro mundo takes the painting The Origin of the World, by the French realist Gustave Courbet, as its point of departure. The work assumes the form of a tunnel installed in a space between two exhibition halls, from which it seems to burst and swell like the churning underside of flesh in open space.

A origem do terceiro mundo [The origin of the third world] · 2010 reference image: Túnel installation view at the Itaú Cultural, São Paulo (2007)

terreiro

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O OUTRO, O MESMO the other, the same

A man worn down by time, a man who does not even expect death (the proofs of death are statistics and everyone runs the risk of being the first immortal), a man who has learned to express thanks for the days' modest alms: sleep, routine, the taste of water, an unsuspected etymology, a Latin or Saxon verse, the memory of a woman who left him thirty years ago now whom he can call to mind without bitterness, a man who is aware that the present is both future and oblivion, a man who has betrayed and has been betrayed, may feel suddenly, when crossing the street, a mysterious happiness not coming from the side of hope but from an ancient innocence, from his own root or from some diffused god.

He knows better than to look at it closely, for there are reasons more terrible than tigers which will prove to him that wretchedness is his duty, but he accepts humbly this felicity, this glimmer.

Perhaps in death when the dust is dust, we will be forever this undecipherable root, from which will grow forever, serene or horrible, our solitary heaven or hell.

Someone  ¡  Jorge Luis Borges

Carlos Teixeira Belo Horizonte, Brazil, 1966. Lives and works in Belo Horizonte. Much of Carlos Teixeira's theoretical and projectual research is done through reflection upon the urban voids and unnamed spaces of the city of Belo Horizonte.

Amnésias topográficas is a paradigmatic moment in that research. The project installed an experimental theater in the substructure of an apartment building, availing of the existing system of walkovers, stairways, and belvederes.

The theater spread across a maze of concrete piles that had been left bare thanks to a singular combination of the

uneven topography of the Buritis neighborhood and city legislation. In Espaços para performances rearranjável, the terreiro O outro, o mesmo, Carlos Teixeira sculpts large volumes of cardboard into the amoeboid shape of an arena reserved for performances and other activities, only to then break it into pieces that retain nothing of the original formation. In so doing, the original outline of the arena design becomes just one of the countless configurations of a jug-saw puzzle in which no hierarchy is established for the pieces. Annulling differences, this terreiro presents itself as a Lego-like game open to reconfigurations and negotiations between performance and space, and, most importantly of all, between protagonist and audience.

O outro, o mesmo / Espaรงo para performances rearranjรกvel [The other, the same / Rearrangeable space for performances] 2010 terreiro project and construction

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You are invulnerable. Have they not granted you, Those powers that preordain your destiny, the certainty of dust? Is not your time as irreversible as that same river where Heraclitus, mirrored, saw the symbol of fleeting life? A marble slab awaits you which you will not read – on it already written, the date, the city and the epitaph.

Other men too are only dreams of time, not indestructible bronze or burnished gold; the universe is like you, a Proteus.

Dark, you will enter the darkness that awaits you, doomed to the limits of your travelled time.

Know that in some sense you are already dead.

To Whoever Is Reading Me · Jorge Luis Borges

Maria Thereza Alves SĂŁo Paulo, Brazil, 1961. Lives and works in Berlin, Germany and Rome, Italy. Maria Thereza Alves devotes her artistic production to alternative forms of knowledge that, combining art and science, are capable of promoting engagement and real change in minority social contexts. The translation, in Portuguese, of a Krenak-German dictionary compiled in the 19th century by the explorer Bruno Rudolph is the culmination of stage in her struggle to ensure the survival of the language and culture of the Krenak, a Brazilian indigenous people reduced to six hundred members distributed over the states of Minas

Gerais, Mato Grosso, and SĂŁo Paulo. The dictionary brings Krenaks, Germans, Portuguese, and Brazilians together in an ongoing process of cultural translation, in which the hum of reading reveals not only constitutive differences, but reminiscences of colonial relationships. With a print run of a thousand copies, the Krenak-Portuguese publication will be available for consultation in the installation On the importance of words, a holy (stolen) mountain and the ethics of the nations, an environment for research and remembrance that also features two videos, a photo of the sacred mountain of Sete SalĂľes (Minas Gerais), and a public petition. After the show, the copies of the dictionary will be given to the Krenak.

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On the importance of words, a holy (stolen) mountain and the ethics of the nations 2009 / 2010

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Iracema (de Questembert) from the series Sobre a importância das palavras, uma montanha sagrada (roubada) e a ética das nações [Iracema (of Questembert) from the series On the importance of words, a holy (stolen) mountain and the ethics of the nations] 2009 frame

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Dicionário Krenak - Português / Português – Krenak from the series Sobre a importância das palavras, uma montanha sagrada (roubada) e a ética das nações [Krenak – Portuguese / Portuguese - Krenak dictionary from the series On the importance of words, a holy (stolen) mountain and the ethics of the nations] · 2009 – 2010 layout

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Simon Fujiwara London, England, 1982. Lives and works in Berlin, Germany and Mexico City, Mexico. When the university teacher and “eroticist” Theodor Grünberg died in Berlin in the winter of 2008, he left a library of over a thousand books, poetry diaries, vinyl records, newspaper cutouts and postcards that Simon Fujiwara inherited from Grünberg's grandson. Based on this collection, the artist embarked on a research project to expand the jig-saw puzzle of Grünberg's life, in which he found reflections and bifurcations that were interesting in terms of his practice of recombining documents and fictions in his art. This

two-year study saw Fujiwara travel 10 thousand km in search of traces of not one, but three Theo Grünbergs, whose lives, reaching a combined total of 136 years, bore witness to all the main events of 20th-century Germany. The Personal Effects of Theo Grünberg is an installation in which Grünberg's academic library and sundry mementos from the lives of his two namesakes – one of whom was a botanist who spent some time in the Amazon, and the other a Nazi prisoner – mix into one, single story. In performances within the installation, Fujiwara feeds speculation and a certain confusion about the veracity of the story being told, assuming for himself, as interpreter, the only means of understanding the legacy.

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The Personal Effects of Theo Grünberg

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2010 1 · performance documentation 2 · research still

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Gabriel Acevedo Velarde Lima, Peru, 1976. Lives and works in Berlin, Germany. In Latin America, there has been talk since the 70s of building an inter-oceanic highway that would link the Atlantic and Pacific oceans via Brazil, Bolivia and Peru. After many attempts and promises, the project is to be finally completed in 2011, with very likely consequences for the dynamics of border towns hitherto all but inaccessible and impermeable. Gabriel Acevedo Velarde avails of the impending inauguration of the highway to document, in videos shown in one-day exhibitions, the human landscape at the triple

frontier. His mediation accelerates the contact between Brazilians, Bolivians and Peruvians, and maps differences soon to be homogenized by facilitated commercial and cultural interchange in the region. This collective mirroring promoted by Acevedo in numerous interviews and in his collection of a repertoire of physiognomies, accents, senses of humor, traits and idiosyncrasies not only strengthens regional differences, but also incites new visibilities for a possible Latin-American identitary integration.

After screening in three cities and at the 29th Bienal, the videos will be copied and distributed to audiovisual collections around the continent.

Extracción [Extraction] ¡ 2010 frames

Jonathas de Andrade Maceió, Brazil, 1982. Lives and works in Recife, Brazil. In 1971, a state-run publisher brought out a collection of posters based on the adult education method devised by Paulo Freire, one of the most revolutionary Brazilian educators.

When the collection was released, Jonathas de Andrade's mother, a public schoolteacher in Alagoas, went to a newsstand and bought the twenty-one pieces that made up the collection. In 2006, the artist found the collection among his mother's belongings and held onto it out of appreciation for its beauty and a certain nostalgia for a time he was not even

born to see. The artist now returns to these posters and their associations between pictures and words in order to identify fissures that might help question, modify, and inspire subjective vocabularies. Appropriating Paulo Freire's method, he goes to the classroom (or the Circle of Culture, to use the educator's term) in search of new students and new associations.

He raises themes related to the group's daily lives, discusses them collectively, photographs their imagetic representations and gives them back to the class in the form of posters.

Educação para adultos is the conversion of this laboratory into a graphic mural in which, among original posters and updated versions, the knowledge process occurs through the disorderly overlapping of different voices and times.

Educação para adultos [Education for adults] · 2010 project

Jeremy Deller & Grizedale Arts Jeremy Deller, London, England, 1966. Lives and works in London. Grizedale Arts, Coniston, England, since 1999. The transformative nature of art and performance is the platform for this previously unseen project, part video installation, part educational environment, by Jeremy Deller and Grizedale Arts.

As in earlier works, Deller shows how it is possible to bring about social change through artistic education and artistic gestures, whether individual or collective. The first reference in So Many Ways to Hurt You. The Life and Times of Adrian Street is the son of a Welsh coalmining family, who escaped

from his industrial destiny by reinventing himself as an exuberant, glam-rock wrestler. Associations are drawn between the story of Adrian Street, told in a documentary installed atop a graffiti mural on which he is represented in monumental proportions, and that of John Ruskin. In the 19th century, in a fast urbanizing England, the writer created arts and crafts schools, called Mechanics Institutes, to teach factory workers how to read and write, and help them expand their minds.

Remembering Ruskin, Deller and Grizedale Arts revisit the model of the Mechanics Institutes and mull over strategies and pedagogical parallels between the historical English experience and the present Brazilian sociocultural reality.

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So Many Ways to Hurt You: The Life and Times of Adrian Street 2010 reference image: Adrian Street and his father (1973)

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The Mechanics Institute

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2010 reference image: Ruskin Memorial Exhibition at the Coniston Mechanics Institute (1901)

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Juliana Stein Passo Fundo, Brazil, 1970. Lives and works in Curitiba, Brazil. Juliana Stein's photographic series announce and document a crisis that has gripped the modern subject, anchored in a conception of uniform human beings endowed with a fixed identity and complete autonomy. Instead of affirming the integrity of this subject, her work concerns itself with its fragmentary and diffuse character. Rather than point to stable subjectivities, these series privilege the ephemeral and the multiple. Her pictures have no pretension toward discursive, cultured comment, much less any

engaged critical or celebratory stance on the fudged state of the limits between the things of the world. In the series entitled Sim e não, Juliana Stein presents portraits of men made-up and cross-dressed in wigs and women's clothes. Regardless of the reasons that lead these men to assume another sexual orientation, these are photographs that suggest a transitory and circumstantial condition of the individual in contemporaneity – no longer stable, but remaking itself with each passing moment; no longer one, but irreparably many. The affirmative posture of each of these seems to lend some common sense and potency to their desire to be something other than the imposed norm.

[‌] before Big Ben strikes. There! Out it boomed. First a warning, musical; then the hour, irrevocable. The leaden circles dissolved in the air. Such fools we are, she thought, crossing Victoria Street.

For Heaven only knows why one loves it so, how one sees it so, making it up, building it round one, tumbling it, creating it every moment afresh; but the veriest frumps, the most dejected of

miseries sitting on doorsteps (drink their downfall) do the same; can't be dealt with, she felt positive, by Acts of Parliament for that very reason: they love life. In people's eyes, in the swing, tramp, and trudge; in the bellow and the uproar; the carriages, motor cars, omnibuses, vans, sandwich men shuffling and swinging; brass bands; barrel organs; in the triumph and the jingle and

Sim e não [Yes and no] · series · 2006 – 2010

the strange high singing of some aeroplane overhead was what she loved; life; London; this time of June.

Mrs. Dalloway · Virginia Woolf

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Amelia Toledo São Paulo, Brazil, 1926. Lives and works in São Paulo.

Material and color, time and space, these binary notions come together in the work of Amelia Toledo. Whether crafting jewelry and objects or moving huge rocks and minerals, the artist pursues an oeuvre that reconciles two otherwise distinct temporalities: geological time – that proper to the cycles and movements of nature – and situational time – that which exists only for the duration of an individual or collective action or encounter. Glu-Glu, a sort of hourglass reinvented and partially filled with soap and water, is

designed to be taken in both hands and shaken until the blown-glass orbs are frothed up with bubbles. Campos de cor is an installation made up of hung strips of dyed jute forming narrow wide mesh walls that should be seen with the body, given their monumental verticality, which gives you the sensation of entering a space in which you are lifted off the floor toward the roof. Medusas are structures made of bundles of PVC tubing filled with different colored liquids and installed at varying heights.

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1970 / 2010

1968 / 2010

Medusa

Glu-Glu

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Guy Veloso Belém, Brazil, 1969. Lives and works in Belém. The photography of Guy Veloso derives from his discretion in infiltrating and cultivating intimacies. He employs simple equipment, without using resources to zoom in on or optimize what is captured by the naked eye; he respects the possibilities of the body, its cohabitations, attachments, errors and musings, the main conditioners of what he aims to fix in image form. In return, the artist attains a photographic naturalness and spontaneity and creates a map of scenes that alternate documental rawness, ambiguity and fantasy. Religious and

spiritual events, such as the Nazareth Candle Procession in Pará, the Festival to Our Lady in Boa Morte, Bahia, and the pilgrimage along the Santiago Way in Compostela, Spain, have all warranted extensive series. In Penitentes, the artist presents a selection of photos of self-flagellation rituals performed by orthodox Catholics in the hinterlands of Ceará. The images combine moments of sacrifice and agony with others of fun and thanksgiving. Like the practice of the photographer, they penetrate and demystify this hidden value system and put the onus of reflection and responsibility for all manner of stigma squarely upon the Bienal's visiting public.

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Penitentes

1 · Sem título (Laranjeiras – Sergipe,

[Penitents] · series · 2002 – 2010

2005) [Untitled (Laranjeiras – Sergipe, 2005)] 2 · Sem título (Nossa Senhora da Glória – Sergipe, 2002) [Untitled (Nossa Senhora da Glória – Sergipe, 2002)] 3 · Sem título (Ritual de autoflagelação, Tomar do Jeru – Sergipe, 2008) [Untitled (Self-flagellation ritual, Tomar do Jeru – Sergipe, 2008)] 4 · Sem título (Frei Paulo – Sergipe, 2002) [Untitled (Frei Paulo – Sergipe, 2002)] 5 · Sem título (Cemitério de Juazeiro – Bahia, 2006) [Untitled (Juazeiro Cemitery– Bahia, 2006)]

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Andrea BĂźttner Stuttgart, Germany, 1972. Lives and works in London, England. Andrea BĂźttner's interdisciplinary work concerns the points of contact between art and religion, especially the way both can involve seclusion, guilt, and abnegation, and how each can interfere in the contemporary world by authorizing individual introspections and transcendences in the face of our current profuse and hyperstimulating visual culture. The set of works exhibited at the Bienal compiles a selection of monotypes and engravings in which scenes from the life of St. Francis of Assisi represented in paint-

ing by Giotto are reconfigured in small and large formats. The prints comprise an installation that combines figurative references with a sacrosanct environment. The artisanal techniques of image reproduction lend Andrea BĂźttner's work a certain deceleration and desire for the singularity which artistic experience can restore to life.

Together they comprise an essay on just how intentionally anachronic contemporary art can be.

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Vogelpredigt

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2 ¡ research material

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[Sermon of birds] ¡ 2010

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Where, like a pillow on a bed, / A Pregnant bank swel'd up, to

two equall Armies, Fate / Suspends uncertain victorie, / Our

rest / The violets reclining head, / Sat we two, one anothers

soules, (which to advance their state, / Were gone out,) hung

best. // Our hands were firmely cimented / With a fast balme,

'twixt her, and mee. // And whil'st our soules negotiate there, /

which thence did spring, / Our eye-beames twisted, and did

Wee like sepulchrall statues lay; / All day, the same our postures

thred / Our eyes, upon one double string; // So to'entergraft

were, / And wee said nothing, all the day. // If any, so by love

our hands, as yet / Was all the meanes to make us one, / And

refin'd, / That he soules language understood, / And by good

pictures in our eyes to get / Was all our propagation. // As 'twixt

love were growen all minde, / Within convenient distance stood,

Joachim Koester Copenhagen, Denmark, 1962. Lives and works in Copenhagen and New York, USA. Joachim Koester works with expressiveness, representation, and self-awareness in films and photographs that deal with traces of ideas and activities from the past that retain some reverberation in the present. Tarantism is a silent film loop in which a group of people are seen dancing uncoordinatedly, in spasm-like, convulsive movements. The Tarantella, a tradition that stretches back to Ancient Greece and which is today, among other folkloric formulations, a highly styl-

ized, quick-tempo couple's folk dance, carries over from its origins a therapeutic potential. According to an Italian myth appropriated by Koester, the tarantula's bite is associated with symptoms such as nausea, delirium, and excitation, exorcisable only through the compulsive practice of this dance. Koester films a group of dancers in which each member develops, individually and collectively, an unlimited number of quick, random movements exempted from the rules of choreography, in a free and liberating bodily experiment. The work shifts the debate concerning identity into the experiential field, stressing the need for a performatic reinvention of the present.

// He (though he knew not which soule spake, / Because both

makes both one, each this and that. // A single violet transplant,

meant, both spake the same) / Might thence a new concoction

/ The strength, the colour, and the size, / (All which before was

take, / And part farre purer than he came. // This Extasie doth

poore, and scant,) / Redoubles still, and multiplies. // When

underplex / (We said) and tell us what we love, / Wee see by

love, with one another so / Interinanimates two soules, / That

this, it was not sexe, / Wee see, we saw not what did move: //

abler soule, which thence doth flow, / Defects of loneliness

But as all severall soules containe / Mixture of things, they know

controules. // Wee then, who are this new soule, know, / Of what

not what, / Love, these mixt soules, doth mixe againe, / And

we are compos'd, and made, / For, th'Atomis of which we grow,

Tarantism

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2007 frames

/ Are soules, whom no change can invade. // But O alas, so long,

soule may flow, / Though it to body first repaire. // As our blood

so farre / Our bodies why doe wee forbeare? / They are ours,

labours to beget / Spirits, as like soules as it can, / Because

though they are not wee, Wee are / The intelligences, they are

such fingers need to knit / That subtile knot, which makes us

spheare. // We owe them thankes, because they thus, / Did us,

man. // So must pure lovers soules descend / T'affections, and

to us, at first convay, / Yeelded their forces, sense, to us, / Nor

to faculties, / Which sense may reach and apprehend, / Else a

are drosse to us, but allay. // On man heavens influence workes

great Prince in prison lies. // To'our bodies turne wee then, that

not so, / But that if first imprints the ayre, / Soe soule into the

so / Weake men on love reveal'd may looke; / Loves mysteries

Albano Afonso São Paulo, Brazil, 1964. Lives and works in São Paulo.

Availing of what is most unpredictable in the relationship between light and shade, or between foci of light and images that fix themselves upon the retina, Albano Afonso both deceives and feeds the viewer's gaze. Fusions, interlacings, reflections, and codifications of the image are procedures that give shape to what one could call light paintings; luminous movements; interferences that penetrate ephemeral visual constructions; immaterial, vertiginous pathways, abyssal to the eye. O Jardim, faço nele

in soules doe grow, / But yet the body is his booke. // And if some lover, such as wee, / Have heard this dialogue of one, / Let him still marke us, he shall see / Small change, when we'are to bodies gone.

The Extasie · John Donne

a volta ao infinito – parte 2, A noite envelopes the public in a game of illusions, a play of mirrors, lights, projections, and shadows in which the very movements of the observer's body disturb the surface of reflections, causing a constant transformation of landscapes, blotches, and glows. This work combines varied scales of perception of images through points of light, ranging from a reading of the general atmosphere and attention to the finer points of sculptural objects with symbolic content, to canvases representing landscapes.

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O jardim, faço nele a volta ao infinito – parte 02, a noite [The Garden, I make in it the return to the Infinite - part 2, the Night] · 2010 exhibition view at the Casa Triângulo, São Paulo (2010)

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O homem árvore [The Tree-Man] · 2010 detail 3

A sereia [The Mermaid)] · 2010 detail 1

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Zanele Muholi Umlazi, South Africa, 1972. Lives and works in Johannesburg, South Africa. Zanele Muholi's art overlaps with her role at the Forum for the Empowerment of Women (FEW), an organization of black lesbians in Gauteng, and with her work as a photojournalist for the online magazine Behind the Mask, which broaches the theme of homosexuality in South Africa. Her visual and gender activism is an attempt to amplify the voice and enlarge the space of these women, a very specific identitary platform within contemporary South African society. Excluded by other queer movements,

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generally coordinated by male, homosexual, European, and North American elements, this almost invisible and underground community is highly stigmatized and a target for prejudice, aggression, rape, and murder. Each of the women portrayed in the series Faces and Phrases fulfils a specific role and expresses a specific social identity within the black lesbian community, be they athletes, actresses, researchers, lawyers, dancers, or filmmakers. Together, these images challenge sensationalism and victimization by eschewing explicit violence in favor of the intimate, empathetic, and positive celebration of difference and unity in the faces of these protagonists of resistance.

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Faces and Phases

1 · Sisipho Ndzuzo, Embekweni, Paarl

series · 2009 – 2010

(2009) 2 · Thuli Ncube, Braamfontein, Johannesburg (2010) 3 · Kasha N Jacqueline, Toronto (2009) 4 · Ayanda Magudulela, Braamfontein, Johannesburg (2010)

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Filipa César Oporto, Portugal, 1975. Lives and works in Berlin, Germany.

The work of Filipa César is dominated by elements of cinematographic grammar, both narrative and documental, in terms of editing and montage. The themes she broaches, often taken from sociology or anthropology, reflect upon the social, political, and cultural identity of the artist and the need to update the forms by which the recent past has been recorded. Her latest work deals with chapters omitted from the history of the Portuguese Estado Novo. The pretext of Memograma and Insert is the history of Castro

In the theatrical galaxy of the No, I don't , the last play written by the great Cuban writer Virgilio Piñera, stands out alongside Maniere's work.

In I Don't , a strange and until very recently unpublished piece – published in Mexico by Vuelta – Piñera introduces us to an engaged couple who decide never to marry.

An essential principle of Piñera's theatre was always to present what is tragic and essential by means of the comic and

Marim, a town on the Portuguese / Spanish border that was allegedly used as a forced labor camp for homosexuals. César's investigation reacts to the erasure and invisibility of some of the mechanisms of segregation and censorship. Memograma presents a fixed and contemplative still of a salt mound with a voice over of oral testimony and memories from various agents regarding the forgotten history of Castro Marim. The video is complemented by Insert, the fictional construction of a forbidden tryst that takes place in that same salt mine.

grotesque. In I Don't he carries his blackest and most subversive sense of humour to its logical conclusion: the couple's I don't – in obvious opposition to the overused I do of Christian weddings – affords them a minuscule conscience, a guilty difference.

In the copy I possess, the author of the foreword, Ernesto Hernández Busto, observes that, in a masterly piece of irony, Piñera places the protagonists of this Cuban tragedy in a performance of hubris by default: if the Greek classics conceived a

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2010 frames

Memograma

Insert

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divine punishment for the exaggeration of passions and the Dionysian desire for excess, in I Don't the main characters “overstep the mark” in the opposite direction, violate the established order from the opposite extreme to that of unbridled passion: an Apollonian asceticism is what turns them into monsters .

The protagonists of Piñera's play say I don't they flatly reject the conventional I do . Emilia and Vicente practise a stubborn refusal, a minimal action which, however, is all they have that

makes them different. Their refusal sets in motion the avenging mechanics of the law of I do, represented first by the parents, then by the anonymous men and woman. Gradually, the family's repressive order extends until, finally, even the police intervene, carrying out a “reconstruction of events” which will result in a verdict of guilty for the engaged couple who refuse to marry.

At the end, the punishment is decreed. It is a brilliant ending, fitting for a Cuban Kafka. It is a great explosion of I don't in its

Miguel Angel Rojas Bogotá, Colombia, 1946. Lives and works in Bogotá. In the late 1960s, Miguel Angel Rojas found in the university of Bogotá an environment that suggested a revision of the discursive fields of art, whether through the pressure of leftist political engagement or by the questionings of pop art and conceptual art. In contrast to the atmosphere of liberty and openness, the places frequented by homosexuals in search of amorous liaisons were dingy turn-of-the-century cinemas, with their near-empty theaters during the afternoon session—veiled environments adopted by those who

had no place else to go. Rojas decided to bring this intimate homosexual space to the public, working the opacity of the gay universe in engravings and photography. In Faenza, the artist visited the homonymous cinema on various afternoons with a camera camouflaged in black cloth and attached to the arm of his seat. With this device he could capture the routine of the clientele as they watched the movie and made themselves available for flirtatious approach. The darkness and the need for discretion imposed certain compositional limits on the photography, resulting in grainy, blurry images capturing the occasional silhouette against the glare from the action films on the screen.

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marvellous subversive aspect: MAN: It's easy to say “I don't” now. We'll see in a mouth (pause). Besides, as you become more intent on your refusal, so we shall extend our visits. We'll even spend the night with you and probably, it depends on you of course, we'll end up moving into this house.

The couple, hearing these words, decide to hide.

“What do you think of our little game?” Vincent asks Emilia.

“It's enough to make your hairs stand on end”, she replies.

They decide to hide in the kitchen, sit in a tight embrace on the ground, turn on the gas – and let them try to marry them if they can!

Bartleby & Co. · Enrique Vila-Matas

Faenza

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series · 1979 1 · Tres en platea [Three in the stalls] 2 · Fisgón [Snooper] 3 · Sobre porcelana – Paquita [Over

Porcelain - Paquita]

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Nan Goldin Washington, USA, 1953. Lives and works in Paris, France and New York, USA. Through a photographic record kept over the years, Nan Goldin has gradually constructed a diary of her personal life. The accumulation of images and the way in which they represent themes central to the North American artistic and urban context confer a particular political meaning upon the work the artist has developed since the 1970s. These are photos of friends and acquaintances, taken at close quarters and without warning or preparation.

Through a domestic aesthetic and saturated chromatism,

they reveal the proximity of one who is recording while participating. She documents scenes and faces from the club scene, the punk scene, the worlds of feminism, sexuality, addiction, and AIDS. The Ballad of Sexual Dependency is organized as an album of memories of Nan Goldin's emotional family, a long-duration slide show of hundreds of pictures taken between 1979 and 2004. Divided into chapters, the work presents the habituĂŠs of the artist's circle set against a pop music soundtrack, freezing in time the utopia of a life both free and shared, whilst also suggesting the tragic end of a generation.

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The Ballad of Sexual Dependency series · 1979 – 2004

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1 · Picnic on the Esplanade, Boston, 1996 2 · Simon and Jessica in the shower, Paris

2001 3 · Lil laughing, Swampscott, Ma, 1996 4 · French Chris at the drive-in, N.J. 1979 5 · Heart-shaped bruise, NYC 1980 6 · Bruce in his car, NYC, 1981 7 · Jens hand on Clemens back, Paris 2001 8 · Geno in the lake, Bavatia, 1994

9 · Nan and Dickie in the York Motel, N.J.,

1980 10 · Coie and Vittorio's Wedding, NYC,

1986 11 · Skeletons coupling, NYC, 1983 12 · Couple in bed, Chicago, 1977

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Miguel Rio Branco Las Palmas de Gran Canaria, Spain, 1946. Lives and works in Rio de Janeiro, Brazil. With a lens filtered by the hot, saturated chromatism of Brazil, Miguel Rio Branco's eye is drawn to the reality and mundane experience of decrepit places. Figures and environments simultaneously grotesque and seductive are the themes that run through the films and photographs the artist has produced since the late 1960s, though without taking recourse to more advanced technologies. The Pelourinho neighborhood in Salvador, Bahia, is the setting for the film Nada levarei qundo morrer aqueles que mim deve cobrarei

no inferno, in which the artist reveals the time scratched out in scars on nude bodies and crumbling constructions.

Without pegging himself to a conventional narrative format, Miguel Rio Branco constructs images of the urban jumble of prostitutes, children, families, drug dealers, peddlers, and other residents of the neighborhood by juxtaposing excerpts of filmed footage, photographs, and musical snippets, strung together with all the variable intensity and fragmentation of a diary. With an air of seduction and malice, the work evinces the surprise at the fortuitous encounters and intimacy generated by empathic provocation between the observer and the observed, at once annulling and dignifying the difference.

Nha cretcheu, my love, Our encounter will make our life more beautiful, at least for another thirty years.

For my part, I become younger and return full of energy.

I'd like to offer you a hundred thousand cigarettes, A dozen snazzy dresses, A car, The house of lava that you so longed for, A four penny bunch of flowers.

But before anything else, Drink a fine bottle of wine, Think

about me. Here work is non-stop.

Now there are more than a hundred of us.

The day before yesterday, my birthday, Was the time for a deep thought about you.

Did the letter they brought arrive safely? I receive no reply.

I'll wait.

Every day, every minute. Every day I learn some new and beautiful words, just for the two of us. Tailor-made, like a fine silk

Nada levarei qundo morrer aqueles que mim deve cobrarei no inferno

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[I will take nothing wen dead those that me owe I'll charge in 'ell] · 1979 – 1981 frames

pajama. Would you like that? I can only send you with one letter per month.

But still nothing from your hand. Maybe next time. Sometimes I'm frightened about building this wall. Me, with a pick-axe and cement. You, with your silence Such a deep valley that it pushes you towards oblivion.

It hurts me inside to see these bad things I don't want to see.

Your beautiful hair falls from my hands like blades of dry grass.

Sometimes I lose my energy and imagine that I'm going to forget about myself.

Nha cretcheu, my love · Pedro Costa

Efrain Almeida Boa Viagem, Brazil, 1964. Lives and works in Rio de Janeiro, Brazil. A common feature in Efrain Almeida's work is the use of small wooden sculptures of a naked male made in the artist's own image. Facing the viewer, as if in search of complicity, the works assume a confessional, seductive tone that confuses eroticism and religiosity and evokes the conflictridden relationship between bodily availability and the moral interdictions to which it is submitted. It is through this approximation of two normally distant symbolic fields that the artist speaks of a body that is incapable of affirming itself

in its totality; of a body that is just potency. This ambiguity is present in the set of sculptures aptly entitled Efrain Almeida, in which the artist takes as his model his own naked body, tattooed with recurrent images from Northeastern Brazilian culture. If, on the one hand, the series turns these marks into signs of the affirmation of the individual in the world, on the other, it counters this idea through the unsteadiness and reduced size of the pieces. This ambivalence causes discomfort at the same time as it attracts the other's gaze; and it blurs the boundaries between what belongs to the individual - the artist -, and what pertains to the social environment in which that artist finds himself inscribed.

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Efrain Almeida

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2010 watercolor sketches 2

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Efrain Almeida 2010 work in progress

Laudisi:

The fact is that neither of you is wrong. May I explain? I will prove it to you. Now here you are, you, Sirelli, and Signora Sirelli, your wife, there; and here I am. You see me don't you?

Sirelli: Well. . . er. . . yes.

Laudisi: Do you see me or do you not?

Sirelli: Oh, I'll bite! Of course I see you.

Laudisi: So you see me! But that's not enough. Come here!

Sirelli (smiling, he obeys, but with a puzzled expression on his face as though he fails to understand what Laudisi is driving at): Well, here I am!

Laudisi: Yes! Now take a better look at me. . . Touch me! That's it – that's it! Now you are touching me, are you not? And you see me! You're sure you see me?

Sirelli: Why, I should say. . .

José Leonilson Fortaleza, Brazil, 1957 – São Paulo, Brazil, 1993. The work of José Leonilson is organized around the ambiguity of the space of the body in a world that dissolves, jumbles or confuses identities. Based mainly upon drawings, watercolors and embroidered fabric, his work make clear references to the emotional relationships that the body administrates, bringing them to the fore and asserting the impossibility of their clear or precise representation. Through pictures and words, the works of José Leonilson proffer an incomplete “lover's discourse” pieced together from fragments and de-

pendent upon random, insignificant and disperse circumstances, a choreography recreated every moment. In these pieces, he suggests situations from which derive tremulous feelings of anguish, tenderness, jealously, connivance, guilt, dependency, encounters, parties, memory, plenitude, seduction, deceit and truth. Pobre Sebastião; Para o meu vizinho de sonhos; Das 3 armas; Leo não consegue mudar o mundo; and Sem título are amorous glossaries that document common experiences and trigger the emotional memory of those who view them. It is from the provisional sum of these fragments that emerge the unsuspected signs of the possibility of a shared life.

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Laudisi:

Yes, but the point is, you're sure! Of course you're sure!

Now if you please, Signora Sirelli, you come here – or rather… no… (gallantly) it is my place to come to you! (He goes over to Signora Sirelli and kneels chivalrously on the knee). You see me, do you not, madam? Now that hand of yours. . . touch me! A pretty hand, on my word! (he pats her hand) Sirelli: Easy! Easy!

Laudisi:

Never mind your husband, madam! Now, you have touched me, have you not? And you see me? And you are absolutely sure about me, are you not? Well, now madam, I beg of you; do not tell your husband, nor my sister, nor my niece, nor Signora Cini here, what do you think of me; because, if you were to do that, they would all tell you that you are completely wrong. But, you see, you are really right; because I am really what you take

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Das 3 armas [Of the three weapons] · c. 1990 2

Para o meu vizinho de sonhos [To my dream neighbor] · c. 1991

me to be; though, my dear madam, that does not prevent me from also being really what your husband, my sister, my niece, and Signora Cini take me to be – because they also are absolutely right!

Right You Are (If You Think So) · Luigi Pirandello

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José Spaniol São Luiz Gonzaga, Brazil, 1960. Lives and works in São Paulo, Brazil. Drawing and engraving are the supports that lend expressiveness to the research and work of José Spaniol, constituting essential practices for the definition of his sculptural objects and installations, as well as his work with the poetic and literary word. In addition to these subsidies, the raison d'être of his work resides in the materiality of the objects and the signs they evoke, now subverted and appropriated within circumstances removed from their original uses. For the Bienal, Spaniol

develops an installation that materializes in accumulative actions. In the first of these, in which he molds some beaten earth, the artist tensions the empty space of the building, constructing Escada that almost reaches the ceiling. He then takes a series of white marble dishes, thinly coated in oil paint and distributes them about the space; lastly, adjustments and rectifications can bring new objects and words to the conjunct, already replete with material and qualities. Enigmatic and difficult to quantify, the installation reverberates with imagetic and literary echoes that make up the artist's repertoire, materializing an ineffable environment.

Escada [Ladder] · 2010 sketches

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Hélio Oiticica Rio de Janeiro, Brazil, 1937 – 1980. Hélio Oiticica is one of the major names in experimental Brazilian art. One of the core elements in his work is the breaching of hierarchies between the domains of artistic production and ordinary life. Street parties, constructions improvised out of household objects and the architecture of the shantytown are taken as examples of the porosity between the spheres, legitimizing procedures and materials derived from popular culture, as occurs in his Penetráveis, Parangolés and Ninhos, the latter reconstructed for this edition of the

Bienal. His work signals the capacity to respond creatively to material adversity in Brazil, as well as an egalitarian posture, free of political, economic, aesthetic or moral constraints. At the time it was produced, the artist's ode to marginality was confused with the negation of institutionalized modes of mediating conflicts. In the bolide Homenagem a Cara de Cavalo and the flag Seja marginal, seja herói, Oiticica pays tribute to Cara de Cavalo and Mineirinho, a pair of criminals violently slain by the Rio de Janeiro police. The work therefore challenges the conventional notions of right and wrong, the legitimate exercise of power and its authoritarian abuse.

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Seja marginal, seja herói

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[Be an outlaw, be a hero] · 1968 2

Ninhos [Nests] · 1970 / 2010 installation view at the Museum of Modern Art, New York (1970)

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Sandra Gamarra Heshiki Lima, Peru, 1972. Lives and works in Madrid, Spain. LiMac was devised by Sandra Gamarra as a fictitious institution to fill a gap in the cultural life of the Peruvian capital of the day: the absence of a contemporary art museum. LiMac has a Web site, a visual identity, and architectonic project, but has no premises and no budget. Its collection consists of paintings by the artist that reproduce, in enlarged catalogue images, works of art she would like to acquire. Through her imaginary museum, Gamarra forges a link between her own personal project and the curatorial line of the 29th

Bienal de SĂŁo Paulo. After having its request for a loan of Gerhard Richter's October 18, 1977 series turned down by MOMA (New York), the Bienal invited the artist to paint identical canvases to occupy the space initially reserved for Richter's work. The original series consists of a set of monochrome paintings that recreate pictures of members of the Baader-Meinhof terrorist group who were found dead in prison. The recreation process used by Gamarra echoes that employed in Richter's original series. The corroboration and recreation of reality through doubles are also part of the Milagros series, in which the artist equates newspaper clippings with paitings that reproduces them faithfully.

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Yes, I suppose that it is within me, as one of the representatives of us, that I must seek why the death of an outlaw is proving so painful. And why it is that I find it more worthy to count the thirteen gunshots that killed Mineirinho than to count his crimes. [‌] Why? Though the first law, that which protects irreplaceable body and life, is that which says thou shalt not kill. This is my greatest assurance: thus they won't kill me, because I don't

want to die, and thus they won't let me kill, because having killed someone would be utter darkness to me.

This is the law. But there is something that, if it makes me hear the first and second shot with relief and assurance, on the third leaves me alert, on the fourth unnerved, the fifth and sixth covers me with shame, the seventh and eighth I listen to with my heart pounding in horror, on the ninth and tenth makes my mouth tremble, on the eleventh first makes me say the name

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[Catalogue October 18, 1977] · series · 2010

[Miracles II] · 2010 reference image: installation view of Milagros at the Galeria Ivana de Aizperru, Madrid (2010)

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of God with shock and on the twelfth makes me call out to my brother. The thirteenth murders me – because I am the other.

Because I want to be the other.

This justice that veils my sleep, I repudiate it, humiliated for needing it. Meanwhile I sleep and am falsely saved. We, the essential idiots. […]

Mineirinho · Clarice Lispector

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Kimathi Donkor Bournemouth, England, 1965. Lives and works in London, England. Though he also works with photography, design, and curatorship, most of Kimathi Donkor's production is figurative painting. Using a palette of warm colors and making frequent associations with the history of art, the artist broaches such political and social issues as exploitation, racial inequality, and power relations, very often based on real facts and people, such as the Angolan queen Nzinga Mbande (1583 – 1663). The painting Johnny Was Born aloft by Joy and Stephen portrays the death of the Brazil-

ian electrician Jean Charles de Menezes in July 2005.

Menezes was mistaken for a terrorist and shot dead at close range by English police as he boarded a London underground train. Despite massive international repercussion and being considered one of the biggest blunders ever committed by the British police, the case was closed and those responsible left unpunished.

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Johnny Was Born aloft by Joy and Stephen 2010 sketch 2

Kombi Continua from the series Scenes from the Life of Njinga Mbandi 2010

LEMMY:

Tell me... to start with... what is it for?

Well, nearly every day there are words which disappear because they are no longer allowed. In their place, one must put new words to correspond to new ideas. And you know... in the last few months... some words have disappeared that I liked very much.

LEMMY: Which words? ... I am interested.

NATASHA:

The camera tracks up to LEMMY who, as NATASHA has been talking, is looking into his notebook and writing in it. Cuts to close-up of the words LEMMY has already written... and images of the words are edited to NATASHA's voice.

INSERT: Let Alpha 60 destroy itself NATASHA:

Robin redbreast... to weep...

INSERT: Save all those able to cry

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NATASHA:

Autumn light...

INSERT: Tenderness NATASHA:

Tenderness, also... As soon as I am with you, I get frightened. They ordered me not to see you again.

LEMMY: Who? The Alpha 60 engineers?

NATASHA: Yes. LEMMY: What makes you afraid?

NATASHA:

I'm afraid because I know a word... without having seen it or read it.

LEMMY: Which word?

NATASHA: “Le” CONSCIENCE. LEMMY: “La” CONSCIENCE. NATASHA: “La” ... CONSCIENCE. LEMMY: You've never been to the Outerlands?

Wendelien van Oldenborgh Rotterdam, Netherlands, 1962. Lives and works in Rotterdam. Forms of organization and sociability in industrialized countries have effected and been affected by changes in the global economic order. In Brazilian history, the collective organization of the union movement was intrinsically connected with artistic production, especially theater and cinema, through groups of political creation and formation or through representations of the people's struggle. In the work of Wendelien van Oldenborgh, the general strikes called by the factory workers in São Paulo in the late 70s

guide reflection on changes in working conditions and their effects on the formation of contemporary identities. The installation takes as its platform the relationships between women, work, the public voice and cultural production.

Pertinho de Alphaville is made in collaboration with a group of workers at a jeans factory in Greater São Paulo, and performed by an actress who shifts between politics and theater, and by a feminine voice from current pop culture. Her stories, readings and performances are filmed at the Teatro Oficina and the Wearplay factory, and the resulting material is transferred to a slide narrative concatenated by the rhythm of the speakers' voices.

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NATASHA:

No. You're sure?

NATASHA: Yes. LEMMY (pouring whiskey into his coffee from his hip-flask): You're lying.

NATASHA: Why are you angry with me?

LEMMY: I thought you were not supposed to say “why”, only LEMMY:

“because”.

I... I said “why”?

LEMMY: Yes... and if the enemies are listening to us, they heard it too.

NATASHA: So... I wasn't paying attention. Because it's not allowed.

Perhaps not for you, though, who has come from the Outerlands.

At what precise moment did I say “why”?

NATASHA:

Pertinho de Alphaville

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[So close to Alphaville] · 2010 1 · still: Teatro Oficina (2007) 2 · still: Wearplay jeans factory (2010)

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LEMMY:

Another question first: where were you born?

Here in Alphaville.

NATASHA:

Alphaville · Jean-Luc Godard

Artur Ĺťmijewski Warsaw, Poland, 1966. Lives and works in Warsaw. Artur Ĺťmijewski was in Warsaw on April 10, 2010, the day the plane carrying the Polish president Lech Kaczynski, his family, some allies, and possible party successors crashed, killing all onboard. As soon as the tragedy hit the media, the artist began to record the reaction of the Polish people, capturing on video their sorrow at the loss of a national leader, the public tributes, and the speculation as to the future of the government. In Catastrophy, Ĺťmijewski, who likes to put himself in the scene and assume his

interference in the situations he relates, tells the story of this air crash and its consequences. He photographs the expressions on faces in the assembled crowd, approaching people here and there, conducting interviews and insisting in the face of the pain. Close enough to be moved by the effects of the tragedy but still able to question them, the artist exposes to the world images of the still latent trauma and welling uncertainty about the future experienced by a nation suddenly deprived of its leader. In so doing, he not only shares the specificities of the episode in question but also an examination of the role the State plays in maintaining the collective order.

Catastrophy 2010 frames

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Yael Bartana Afula, Israel, 1970. Lives and works in Amsterdam, Netherlands. Born and raised in Israel, Yael Bartana is part of a generation heavily marked by the progressive militarization of the Arab/Israeli conflict. From childhood up to military service, she was subjected to the countless different means of reaffirming national identity, some subtle and others brutal, that rule the social space in contemporary Israel, where nationalism and religion are very often confused. In his videos and photographs, incorporating real characters and situations, albeit always lightly scripted,

Yael Bartana levels an eloquent and poetic criticism against the mechanisms of identity-building that double as forms of State power over the individual and which serve to block negotiated solutions to the conflict. Mary Koszmary is the first part of a trilogy in which a young Polish activist teaches children about the return of the 3 million Jews from Israel to Poland after the exodus provoked by the Second World War. In Mur i Wieża, the second part of the series still open to modifications, these same children, now grown, answer their leader's call and join together to build a place to live in a stretch of desert.

Mur i Wieża [Wall and tower] · 2009 frames

TERREIRO

LEMBRANÇAEESQUECIMENTO remembrance and oblivion

[…] and it is impossible to restore the past in a state of purity. It needs only to have existed for memory to corrupt it with superimposed remembrances. Even if one thinks about the same fact on a daily basis, its restoration will come mixed with the analogical of every day – which comes to transform it. It's like sailing, dragging through the sea/time a line and a hook that are always the same but onto which layers and layers of plankton become attached and will end up transforming this filiform, sharp thing into a sort of sponge. It is impossible for the voyage of memory to be embarked upon in only one direction: from the past to the present. It is not by ourselves that we sail into years past in search of our selves. We take with us an experience that is so irremovable that it is an element of deformation that forces us to act with our recollections like the first primitives who painted the Nativity, the Pretorius and the Resurrection, giving the Virgin, Saint Joseph, the Lord, Pilate and the centurions medieval clothing in Italian, Flemish and Spanish ambiences.

Balão Cativo [Captive Balloon] · Pedro Nava

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Ernesto Neto Rio de Janeiro, Brazil, 1964. Lives and works in Rio de Janeiro.

Ernesto Neto challenges the conventional artistic categories.

His works skirt the borders between the codes of sculpture and installation, whilst escaping both. Though clearly affiliated with the constructive legacy in Brazilian art, his work abandons its rigid presuppositions in favor of the more flexible elements of the quotidian. His environments, made from fabric, foam, spices and other sundry materials greet those who approach them with spatiotemporal experiences. Over the years, this characteristic led the artist to create works

that invite the public to enter them as a form of communal shelter, but without demanding any specific rule-governed behavior in return. These constructions use neutral colors and organic forms that are physically comfortable and visually serene. In Quem paga o arrego – Tå tudo arreglado!, a project for Lembrança e esquecimento, a terreiro designed for rest and relaxation in one of the most densely filled areas of the Bienal, Neto lays out mattresses and armchairs in a field tensioned by a large rug, on one hand, and a tree bough made of fabric, on the other. The work gradually announces a palette of warmer colors and legitimizes, within the exhibition itself, ordinary leisure and life as modes of creation.

Lembrança e esquecimento / Quem paga o arrego – Tå tudo arreglado!

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[Remebrance and oblivion / Who pays the surrender – Everything is agreed!] ¡ 2010 terreiro project

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Today during the day poetry would not reveal itself Heavy clouds covered sun and sky.

It was but late in the night that poetry arrived in the rain falling softly like pebbles on the roof, In the smell of moist earth coming in through the window.

Obra completa [Complete works] · Jorge Barbosa

Ai Weiwei Beijing, China, 1957. Lives and works in Beijing. Born in socialist China, Ai Weiwei spent a period in voluntary exile in New York, during which he acquired a vast conceptual, visual, and historical repertoire. This experience enabled him to move fluidly between the inward-looking culture of China and the culture of the West. In terms of plastic artistic investment, Ai Weiwei has achieved most renown in the field of sculpture, constructing structures of strong symbolic and material value that appropriate and resignify objects of his country's political and sociocultural heritage.

Circle of Animals is a previously unseen work that toys with the set of bronze heads originally located in the former Imperial summer palace in Beijing and which represent the twelve figures of the zodiac. Commissioned by Emperor Manchu Qianlong in the 18th century, the heads were designed by the Jesuits Michel Benoist and Giuseppe Castiglioni as the centerpieces of the palace water clock.

Though partially destroyed by Anglo-French forces during the Second Opium War, their archeology and recovery were recently prioritized under a propaganda policy consolidating the nationalism now mounting in tandem with the nation's economic growth.

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Circle of Animals

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Manon de Boer Kodaicanal, India, 1966. Lives and works in Amsterdam, Netherlands and Brussels, Belgium. The work of Manon de Boer reveals an interest in exploring differences, but also concomitances, between subjective, objective, and historical spaces and times. She focuses on the act of remembering the past and on forms of translating and materializing that reminiscence, verbally or performatically. The narrative of Dissonant consists of a danced response to a piece of music that the protagonist, the Belgian ballerina Cynthia Loemij, had listened to only moments before. In the foreground,

filmed in a large rehearsal room, Loemij listens carefully to Three Sonatas for Violin by Eugène Ysaÿe (1858 – 1931).

When the music finishes, she concentrates and, drawing the cadence and expressiveness of the musical construction entirely from memory, repeatedly executes her interpretation of the piece in precise and vigorous dance moves. The open shot follows her choreography, which would be utterly silent were it not for the sonorous translation of the friction between her body and the floor of the empty room, and the physical effort it implies. The work explores the perception and corporal construction of time and its passages, capturing the image of memory itself.

By the time they at last thus came to speech they were alone in one of the rooms – remarkable for a fine portrait over the chimney-place – out of which their friends had passed, and the charm of it was that even before they had spoken they had practically arranged with each other to stay behind for talk.

The charm, happily, was in other things too – partly in there being scarce a spot at Weatherend without something to stay behind for. It was in the way the autumn day looked into the high

windows as it waned; the way the red light, breaking at the close from under a low sombre sky, reached out in a long shaft and played over old wainscots, old tapestry, old gold, old colour. It was most of all perhaps in the way she came to him as if, since she had been turned on to deal with the simpler sort, he might, should he choose to keep the whole thing down, just take her mild attention for a part of her general business. As soon as he heard her voice, however, the gap was filled up and the missing

Dissonant

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2010 frames

link supplied; the slight irony he divined in her attitude lost its advantage. He almost jumped at it to get there before her. “I met you years and years ago in Rome. I remember all about it.” She confessed to disappointment – she had been so sure he didn't; and to prove how well he did he began to pour forth the particular recollections that popped up as he called for them. Her face and her voice, all at his service now, worked the miracle – the impression operating like the torch of a lamplighter who touches

into flame, one by one, a long row of gas-jets. Marcher flattered himself the illumination was brilliant, yet he was really still more pleased on her showing him, with amusement, that in his haste to make everything right he had got most things rather wrong. It hadn't been at Rome – it had been at Naples; and it hadn't been eight years before – it had been more nearly ten. She hadn't been, either, with her uncle and aunt, but with her mother and brother; in addition to which it was not with the Pembles he had

Alessandra Sanguinetti New York, USA, 1968. Lives and works in New York. Sanguinetti spent much of her life, from the age of two to thirty-five, in Buenos Aires, Argentina. Her photographic work focuses on figures from the remote and rural environs of that city.

Ranchers, farm hands, and animals populate the ongoing research in which she registers enigmatic and extraordinary scenes. It was during this process that she met Guillermina and Belinda, cousins whose lives she has accompanied and photographed since their preteen years. Sanguinetti portrays their desires and identity metamorphoses through

the playful and quotidian staging of transformative and mysterious scenes and fantasies. The series Las aventuras de Guille y Belinda y el enigmático significado de sus sueños consists of sweet, tender, strange, and eminently narrative photographs that crystallize a childish imaginary world even when dealing with rites of passage into adulthood.

The subjective and poetic situations Sanguinetti develops with Guille and Belinda evoke the literary universes of Julio Cortázar, Lewis Carroll, and Shakespeare. Her pictures make reference to romantic, symbolic, and Victorian iconographies at the same time as they cite conventional genres of popular and experiential Latin American representation.

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been, but with the Boyers, coming down in their company from Rome – a point on which she insisted, a little to his confusion, and as to which she had her evidence in hand. The Boyers she had known, but didn't know the Pembles, though she had heard of them, and it was the people he was with who had made them acquainted. The incident of the thunder-storm that had raged round them with such violence as to drive them for refuge into

an excavation – this incident had not occurred at the Palace of the Caesars, but at Pompeii, on an occasion when they had been present there at an important find.

The beast in the jungle · Henry James

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Las aventuras de Guille y Belinda y el enigmatico significado de sus sueños [The adventures of Guille and Belinda and the enigmatic meaning of their dreams] · series

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El devenir de sus dias

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[The life that came] · series 3 · La cama matrimonial · [The wedding bed]

2007 4 · El tiempo vuela · [Time flies] · 2005

1 · La foto de antes · [The old picture]

1997 2 · Inmaculada Concepcion · [Immaculate

Conception] · 1999

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David Lamelas Buenos Aires, Argentina, 1946. Lives and works in Los Angeles, USA. Between questions of space, time and language, David Lamelas produces sculptural proposals in which what really matters is not the physical materiality of the volumes and objects. The space conceptually acts upon his works, offering possibilities of assimilating different cultures and knowledge, as well as of broadening temporal consciousness and awareness of bodily movements. Time, for the artist, is a fiction that is fundamental to regulating processes of communication with artistic and political

activity; and language is something that can be organized into temporary systems that recondition relations between the audience, exhibition space and daily life. In Moon Time, the artist constructs a table as a meeting space, at which one experiences time as if on the surface of the moon, through a clock that indicates a strange time difference, with seconds and minutes not equivalent to those on Earth. The artist uses time as raw material and offers the possibility of adopting this imaginary measure of duration, which might be of help in planning a future life in space or in simply dodging earthly commitments.

Moon Time 2010 conceptual image

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Douglas Gordon Glasgow, Scotland, 1966. Lives and works in Berlin, Germany; New York, USA and Glasgow, Scotland. The work of Douglas Gordon is self-referential and unfolds as an exhibition of transformations in the artist's body and work, explored in photography, video, and sculpture. The use of such elements as skulls and mirrors expresses a narcissistic desire that goes with the tendency toward autobiographical record. This biographical pursuit also leads the artist to focus on the lives of other media figures, such as the soccer player Zinedine Zidane, about whom he made a film

in collaboration with Philippe Parreno. Pretty Much Every Film and Video Work from 1992 until Now. To Be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously, 1992 – ongoing gathers together some seventy films and videos, almost all produced over the last eighteen years. This monumental work is itself a retrospective of sorts, an installation in progress that blends into a collection and artistic genealogy.

Pretty Much Every Film and Video Work From About 1992 Until Now To be Seen on Monitors, Some with Headphones, Others Run Silently, and all Simultaneously 1992 – installation view at Dox, Prague (2009)

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Raqs Media Collective Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta.

New Delhi, India, since 1992. Raqs Media Collective is formed by professionals active in diverse fields of art who conduct experimentation focused on cultural processes.

Their works deal with the intersections between contemporary art, historical research and philosophical speculations, creating installations, online and offline media objects, performances, encounters, and, more recently, curatorial projects. The members of the collective also formed SARAI, a space where independent and experimental research

At the exit gate to Luna Park a cronopio notices that his watch is running slow, that his watch in running slow, that his watch.

The cronopio has the blues faced with a multitude of famas coming up calle Corrientes at twenty after two while he, a damp green object, already leaving at two fifteen.

Cronopio's meditation: It's late, but not so late for me as for the famas, for the famas it's five minutes later.

They'll arrive home later, go to bed later. You know, I've got

projects can be developed in interdisciplinary contexts, focusing on urban spaces and different modes of communication. Raqs explores relationships between myths and records of various origins, as a means of conducting investigations in languages and formulating a critique of the operations of power, property and identity. In Escapement, 27 clocks are exhibited at different heights and, instead of telling the time of day, their hands follow a circular course marked by feelings, such as ecstasy, guilt, duty, anxiety and fear. In the middle of the installation we see a pillar circled with four video screens, on which a face constantly moves, as if keeping the time.

a watch that's less lively, less homely, less going to bed when I go, I'm wet and unlucky. I'm a cronopio.

While having a coffee in the Richmond Bar, the cronopio dampens a piece of toast with his natural tears.

The Cronopio Blues · Julio Cortázar

Escapement 2009 installation view

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Jonas Mekas Semeniskiai, Lithuania, 1922. Lives and works in New York, EUA. Poet and filmmaker, Jonas Mekas has kept a film diary since 1950. Without any rigid discipline, he recorded variations in his personal and territorial context with a 16 mm Bolex camera. In 1949 he emigrated to New York, where he began making short, journalistic films through which he sought to get to know the city that had welcomed him. These recordings constituted radical experiments with cinematographic language, full of harsh cuts, accelerated camera movements and overlapping shots. It is with this

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liberty that he documented the American counterculture of the 1960s and his own involvement, during this period, with Andy Warhol, the singer Nico and the writer Allen Ginsberg.

In 1968 he completed a chronological organization of his last five years' worth of footage. In 2007, Mekas embarked on a new archival diary, 365-Day Project, making a film per day of quotidian events using a small digital camera.

With the day of filming as the title, each film is posted online along with a brief description of the theme.

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3 · DAY 297, October 24, 2007, 8 min 54 sec. Lou Reed at Harry

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Smith Concert at St. Ann's and a surprise from Glasslands Gallery, Williamsburg 4 · DAY 311, November 7, 2007, 3 min 10 sec. I cook, I dance, I write haikus 5 · DAY 326, November 22, 2007, 2 min 37 sec. Thanksgiving sequence from Hallelujah the Hills a film by Adolfas Mekas 6 · DAY 337, December 3, 2007, 11 min 23 sec. Norman Mailer speaks about himself, politics cinema

1 · DAY 272, September 29, 2007, 4 min 14 sec. About Godard,

too much mail, and what I learned from Goethe 2 · DAY 287, October 14, 2007, 3 min 52 sec. A video postcard

from Adolfas – Pola Chapelle & Arturas Zuokas, adventuresome former mayor of Vilnius, enjoy Segway

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A man was picking nails up off the ground. / He would always

/ I think this task gave him some sort of state. / The state of

find them lying horizontal, or sideways, or with their heads

people who decorate themselves in rags. / Picking up useless

down. / Never standing on their tip. / This way, they won't

things guarantees the sovereignty of Being. / Guaranteeing the

puncture anymore, thought the man. / They no longer fulfill

sovereignty of Being more than that of Having. //

the function of nailing. / They are useless assets of humanity. / They have gained the privilege of abandonment. / The man would spend the whole day in his task of picking up rusted nails.

The man who picked up nails · Manoel de Barros

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Emily Jacir Rome, Italy, 1970. Lives and works in Ramallah, Palestine and New York, USA. Emily Jacir's work spans a diverse range of media and strategies including film, photography, social interventions, installation, performance, video, writing and sound. Recurrent themes in her practice include translation and exchange, mobility and resistance, repressed historical narratives and archives. Lydda Airport is a film and sculpture based on the homonymous location. Built by the British in 1936, it was the world's largest aerodrome until 1939 and held great geostrategic importance on the

“Empire Route�. It was eventually captured by Israeli Defense Forces in 1948 and renamed Lod. In 1974 the airport was again renamed to Ben Gurion International Airport. Central to the film's narrative is Hannibal, one of eight planes, which made up the Handley Page fleet; the largest passenger planes in the world at that time. Hannibal mysteriously disappeared in 1940 somewhere over the Gulf of Oman en route to Sharjah. The film was partly inspired by Edmond Tamari, a transport company employee from Jaffa, who received a communication that he should take a bouquet of flowers to Lydda Airport and wait for the arrival of Amelia Earhart in order to welcome her to Palestine. She never arrived.

Lydda Airport 2007 – 2009 installation view at the Alexander and Bonin Gallery, New York (2009)

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Amar Kanwar New Delhi, India, 1964. Lives and works in New Delhi. The filmmaker Kanwar responds to the social experience of contemporary India through film essays, sometimes presented in installations. As a committed and partial observer, he reflects upon the history that has fuelled the tension and violence at the border between India and Pakistan. Such issues as nationalism, poverty, violence, and political power are introduced through silent and contemplative images of people, things, rites, and landscapes, the sequential order of which shapes underlying narratives derived from the

rubble of zones of conflict. Meditative, slow, and poetic, his films look to reflect on the causal relations running through history and to reveal the manner in which they translate into memory, culture, and everyday experience. The Lightning Testimonies creates an intense environmental experience in which stories of unspeakable terror, death, and survival are slowly weaved. A multichannel video screening recounts the history of the conflict in Kashmir, focusing on the sexual violence against women and their resistance to it.

The Lightning Testimonies 2007 installation view at the Marian Goodman Gallery, New York

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Nancy Spero Cleveland, USA, 1926 – New York, USA, 2009. Having graduated in visual arts in the late 40s, Nancy Spero sought to connect her drawing and painting practice with her struggle against abuses of power, both in geopolitical conflicts and in domestic situations. Without being reduced to a discourse of protest, her works possess an expressiveness steeped in rage, anguish and even seduction, like a blast of energy hurtling toward the forces she confronts, albeit in the field of form and language. Cri du coeur is a frieze consisting of a series of continuous boards that

covers the skirting of the exhibition space, featuring a procession of Egyptian women lamenting the death of Ramses in Thebes. The long cortege throbs in overlappings, interlacings and chromatic variations. Spero's first work after her husband's death, this narrative of grief amplifies various aspects of her research, as an exploration of the boundary between painting and engraving, the appropriation of historical icons and the fusion of painting with the configuration of space. In addition to the artist's own personal suffering, the work resonates with the grieving caused to thousands of women through war and catastrophe in present-day Iraq, Kashmir and New Orleans.

Cri du Coeur

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[Cry of the heart] · 2005 installation view and detail

God did not give me / a boyfriend / He gave me the white

/ but this is / Verlaine // Or: / a day / so beautiful / and I / will

martyrdom / of not having one // I saw / possible boyfriends

not fornicate //

/ they were oxen / they were pigs / and I palaces / and pearls // You don't want me / you never did / (my God, why?) // Life / Is a book / It's the book / It is not free // I cry / it rains

Metereological (For José Bernardino) · Adília Lopes

Nnenna Okore Canberra, Australia, 1975. Lives and works in Chicago, USA. The basis of Nnenna Okore's work is daily life. The artist works with things she finds, from newspapers and magazines to the most varied fabrics, to which she applies different procedures, such as collage, sewing, embroidery and dyeing, deforming and remodeling them into sculptures in which the recycled material acquires new dimensions and meaning, raising questions of overproduction, surplus and waste. In Slings, the artist rolls up newspapers into scrolls, forming asymmetric organic-looking and visceral

clumps, bundled into thick jute slings. Though suspended in this manner, the sculptures lie against the wall as if its smooth white surface somehow guided the reading of the works as a linear narrative. Nnenna Okore lends a whole new aura to these reading materials by depriving them of their informative function, at the same time as she engages them in a protest against excess by hanging them on exhibition walls as an installation.

Slings 2006 installation view

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Susan Philipsz Glasgow, Scotland, 1965. Lives and works in Berlin, Germany. Susan Philipsz takes a unique approach to sound, understood as a parcel of the configuration of spaces in its own right, with capacity to provoke, evoke, and stir layers of memory in the individuals that make up a given culture. Almost wholly camouflaged, her sound installations combine suaveness, fluidity, and vibrancy to create an enigmatic atmosphere and attract public attention. Her methods of composition induce the recognition – at once strange and familiar – of elements of the presented sonorities. The

artist researches the context of the place to be filled with her music, observing the range of cultural references and interwoven histories by which it is organized. Her works then avail of aspects of this research, recombining them into subtle sound maps to be deciphered by the temporary inhabitants of those spaces as they pass on through. In São Paulo, Philipsz opted to develop her sound installation To the Greenwood in the marquis of Ibirapuera Park, designed by Oscar Niemeyer, and annexed to the Ciccillo Matarazzo Pavilion.

To the Greenwood 2010 reference images: Ibirapuera Park Marquis, SĂŁo Paulo

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Daniel Senise Rio de Janeiro, Brazil, 1955. Lives and works in Rio de Janeiro. One day in the late 1980s, Daniel Senise left an enormous blank canvas leaning up against the wall in his studio and went home. The next morning he found it facedown on the sticky floor, covered in splashed paint from the last day's work. Picking the canvas up off the floor, he discovered that the pictorial “dirt” that had stuck to it was not much different from what he would have done intentionally with his brush. So he turned accident into method: in addition to his own brushstrokes, his painting started including

The driver knew Trout was bound for Midland City. He didn't know Trout was a writer on his way to an arts festival. Trout understood that honest working people had no use for the arts.

“Why would anybody in his right mind go to Midland City?” the driver wanted to know.

They were riding along again.

“My sister is sick,” said Trout.

“Midland City is the asshole of the Universe,” said the driver.

also what it managed to mop up from the floor. With this, his painting became an amalgam of product and residue, present and past, bi-dimensional canvas and three-dimensional studio. In O Sol me ensinou que a história não é tudo, Daniel Senise panels the walls in thick whitewashed modulated plaques. When approached, these plaques reveal small dots of color. The fibrous material of the plaques is made of art catalogues and brochures. Inside the compact plaster of water and glue, they harden and become solid blocks.

“I've often wondered where the asshole was,” said Trout.

“If it isn't in Midland City,” said the driver, “it's in Libertyville, Georgia. You ever see Libertyville?”

“No,” said Trout.

“I was arrested for speeding down there. They had a speed trap, where you all of a sudden had to go from fifty down to fifteen miles an hour. It made me mad. I had some words with the policeman, and he put me in jail.

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[The Sun has taught me that history is not everything] · 2010 detail

“The main industry there was pulping up old newspapers and magazines and books, and making new paper out of 'em,” said the driver. “Trucks and trains were bringing in hundreds of tons of unwanted printed material every day.”. “Um,” said Trout.

“And the unloading process was sloppy, so there were pieces of books and magazines and so on blowing all over town. If you wanted to start a library, you could just go over to the freight yard, and carry away all the books you wanted.”

“Um,” said Trout. Up ahead was a white man hitchhiking with his pregnant wife and nine children.

“Looks like Gary Cooper, don't he?” said the truck driver of the hitchhiking man.

“Yes, he does,” said Trout. Gary Cooper was a movie star.

“Anyway,” said the driver, “they had so many books in Libertyville, they used books for toilet paper in the jail. They got me on a Friday, late in the afternoon, so I couldn't have a hearing in

Rochelle Costi Caxias do Sul, Brazil, 1961. Lives and works in São Paulo, Brazil. Like every photographer, Rochelle Costi uses her camera to collect images, to choose, retain and possess what interests her in the world. Her collector's impulse, however, extends beyond this activity: she truly dedicates her time to collecting pictorial objects, toys and furnishings that have long since gone out of fashion, as well as old photographs, whether her own or belonging to others. These two faces of the collector meet in photographs that simultaneously document and manufacture intimate spaces,

such as rooms, houses, hearts and even plates of food. In her practice, visits to private spaces and the use of created settings are both important, as is, and fundamentally so, her painstaking editing and choice of scale and support for her photographic blow-ups. In Residência, the artist visits the Bienal Pavilion and intervenes in its empty and modular space with objects from her collection, creating and photographing scenes from a hypothetical exhibition.

Replete with enigmas, which sometimes make reference to works of contemporary art, sometimes to an intimacy achievable within the architecture of the pavilion, the series offers images of poetic occupations and interventions that convey this space into other times and other narratives.

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court until Monday. So I sat there in the calaboose for two days, with nothing to do but read my toilet paper. I can still remember one of the stories I read.”

“Urn,” said Trout.

“That was the last story I ever read,” said the driver. “My God—that must be all of fifteen years ago. The story was about another planet. It was a crazy story. They had museums full of

paintings all over the place, and the government used a kind of roulette wheel to decide what to put in the museums, and what to throw out.”

Breakfast of Champions · Kurt Vonnegut

Residência

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[Residency] · series · 2010 1 · Paisagem [Landscape] 2 · Estante [Bookshelf] 3 · Escada [Ladder] 4 · Redes [Hammocks]

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Isa Genzken Bad Oldesloe, Germany, 1948. Lives and works in Berlin, Germany. Isa Genzken sifts through, collects, combines and alters merchandise. The material for her bricolage are industrial articles sold in bulk and soon discarded. Through the universe of consumption and the associations each product can invite with the life of the user, the artist creates a post-modern cityscape that is at once frightening and fascinating – marked by superabundance, massification and superficiality, but nonetheless multifaceted like the millions that inhabit it. Cleaning up after a traditional street party,

Strassenfest results in eight floor pieces and one wall work. Made up of an amalgam of vibrantly colored materials of uncertain origin, the work spreads across a stretch of the Bienal floor space. Neither exactly sculpture nor installation, not quite maquette and certainly no mere object, Strassenfest challenges immediate classifications and draws the viewer into its ambiguity, disorder and strange beauty. Despite the myriad doubts the work can incite, it offers no explicit answers. It remains open like a narrative and provocation, taking remnants as the raw materials for new and imaginative compositions.

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Strassenfest

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[Street party] · 2009 1 · detail 2 · Installation view at Museum Ludwig,

Cologne (2009)

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Marcelo Silveira Gravatรก, Brazil, 1962. Lives and works in Recife, Brazil.

Marcelo Silveira has channeled his energies into the construction of objects, sculptures and installations made from cajatinga wood, from a tree often found felled in the environs of Gravatรก, the town in the Pernambucan hinterlands where he was born and grew up. In Tudo certo, the artist approaches and shuffles up dozens of thin slices sawn from a single thick trunk of cajatinga wood laid out across a large section of floor. While none of these volumes, taken individually, produce recognizable forms or

meanings, their arrangement as a set suggests an unlikely approximation of ideas of flow and stasis, of an unstable time and another anchored in tradition. Similar inconstancy is found in the collages Marcelo Silveira has produced in recent years: images made from photographs taken from sundry sources, which are then cut and rearranged by the artist in a singular fashion. This same process can be seen in Paisagem, collages that oscillate between the legibility and illegibility of their referents, of which only fragments are reproduced. These are images that only exist in the vague interval between the transparency and opacity of their potential meanings.

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[All right] · 2010

[Landscape II] · 2008 – 2009

Tudo certo

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Dina: Now, now, uncle dear, don't be so cross! Perhaps we did go there out of curiosity more than anything else; but it's all so funny, isn't it! Don't you think it was natural to feel just a little bit curious?

Laudisi: Natural be damned! It was none of your business!

Dina. Now, see here, uncle, let's suppose – here you are right here minding your own business and quite indifferent to what other people are doing all around you. Very well! I come into the

room and right here on this table, under your very nose, and with a long face like an undertaker's, or, rather, with the long face of that jail bird you are defending, I set down – well, what? – anything – a pair of dirty old shoes!

Laudisi: I don't see the connection.

Dina: Wait, don't interrupt me! I said a pair of old shoes. Well, no, not a pair of old shoes – a flat iron, a rolling pin, or your shaving brush for instance – and I walk. out again without saying a word

Nelson Leirner São Paulo, Brazil, 1932. Lives and works in Rio de Janeiro, Brazil. One of the hallmarks of Nelson Leirner's career is the progressive demolition of instituted cataloguing categories, whether in the aesthetic, social or economic spheres. There is no place in his work for certainties, seen as it feeds on doubt. Such is the sheer power of fantasy with which he imbues his creations that little heed is given to verisimilitude. For the artist, it is always possible to bracket out what seems stable and safe, deliberately assuming the role of twisting what was held as certain in order to unveil,

through invented situations and objects, the ambiguous nature of things and events. In order to achieve this goal, he frequently adopts the strategy of hybridization, crossbreeding different species of image and artifact to create constructions that eschew all norms of classification. In Javavoa, Leirner combines a paca with a wooden replica of the airplane designed in the 15th century by the great Italian artist and inventor Leonardo da Vinci. The rodent makes an unlikely pilot, or perhaps it is just another part of the structure, as if nature and culture had somehow blended into one.

Javavoa 2010 project

to anybody! Now I leave it to you, wouldn't you feel justified in wondering just a little, little, bit as to what in the world I meant by it?

Laudisi: Oh, you're irresistible, Dina! And you're clever, aren't you? But you're talking with old uncle. remember! You see, you have been putting all sorts of crazy things on the table here; and you did it with the idea of making me ask what it's all about; and, of course,. since you were doing all that on purpose, you can't blame me if I do ask, why those old shoes just there, on

that table, dear? But what's all that got to do with it? You'll have to show me now that this Mr. Ponza of ours, that jailbird as you say, or that rascal, that boor, as your father calls him, brought his mother-in-law to the apartment next to ours with the idea of stringing us all! You've got to show me that he did it on purpose!

Right You Are (If You Think So) · Luigi Pirandello

Fiona Tan Pekan Baru, Indonesia, 1966. Lives and works in Amsterdam, Netherlands. The work of Fiona Tan reflects upon the mechanisms by which we represent and interpret ourselves and others, using video and photography as her medium. A Lapse of Memory describes the experience of a European hermit confined in a deserted building with Asian-style architecture and decor. While a resolute silence prevails, the film presents a daily routine with dual protagonists: the man and the building itself. The man switches his concentration between ritualized actions, carefully preparing

tea, performing tai chi chuan, or devoting time to basketweaving. The building, the Royal Pavilion in Brighton, erec­ted in 1815 for King George IV, is a majestic palace, adorned with painted murals and wallpapers with clear Chinese and Indian influences, as well as from Japanism.

Built in England as the projection of the fantasy of a court that never set foot in Asia, the pavilion survives as one of the best preserved examples of colonial, Chinoise architecture and design in the world. With its plastic and cinematographic narrative, this video-installation revisits the history of colonialism, attenuating the cultural, historical, mnemonic, and subjective frontiers echoed in that spatial dichotomy.

A Lapse of Memory 2007 frame

Anri Sala Tirana, Albania, 1974. Lives and works in Paris, France. Anri Sala's early work in video and cinema contains some of the traces and urgency of the communist experience of Albania, brought to the present time as essays dealing directly or indirectly with the collective memory of the country. In his more recent work, he investigates how sound, light, color and architecture found social spaces, spheres of action and remembrance. Narrative is always present, even if only minimally and at a pace that contrasts starkly with the speed of contemporary media. The interior of a defunct

punk rock venue in Bordeaux, France, becomes the amplifier for passages from the famous punk anthem Should I Stay or Should I Go?, by the English band The Clash, and from which the work takes its name. The years have gone by, but the song, now wispy and nostalgic, continues to reverberate round the building and in the residents of the city.

In the Bienal, the notion of memory lingering in a space and in those who dwell therein is given a delicate trigger. A small music box installed above the pavilion window softly echoes the notes from the song in the video. The result is subtle and draws the listener closer, but the acoustic metaphor fills the entire building.

Le Clash

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wall: renewal Marina Wisnik

Tamar Guimarães Belo Horizonte, Brazil, 1967. Lives and works in Copenhagen, Denmark. Found pictures and objects, documents, famous and unknown characters, official and media narratives, all of this converges in the work of Tamar Guimarães as elements to be manipulated, recombined and presented as cases studies. Despite the possibilities of deviating from historical consensuses, the artist avoids directly denouncing the ideologies by which they are made, preferring to string together vestiges as if sharing the perception that there is something strange, arbitrary and occasion-

ally enchanting in the way documents are produced and perpetuated. Her project for the Bienal consists of 16 mm film footage of Casa das Canoas, a house Oscar Niemeyer designed for himself in 1951, nestled within an exuberant Rio de Janeiro landscape. Since its construction, the house has been a picture postcard for modern Brazil. Six decades later, the residence acquires an aura and becomes an emblem of the eroticism of tropical modernism in this work

by Tamar Guimarães. The film shows the preparations for a cocktail party, with the camera roving among the house staff and gauging their relations, registering images of the residence and descriptions of it by the guests.

Sem título (título provisório) [Untitled (working title)] · 2010 reseach images (Casa das Canoas)

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Anna Maria Maiolino

poetic gestures, keeping them open as invitations to apperception and experience. Solitário ou Paciência confirms this invitation by placing an individual card table in the middle of the exhibition. In Arroz e feijão, an installation made during the Brazilian dictatorship and reassembled a handful of times since democracy was restored, bean and rice stalks grow out of china bowls set along a somber black dining table. On a video monitor, altar-like at the end of this sacralized space, a mouth chews on food which the artist takes as a symbol of life and death, tradition and rebirth, in a forever throbbing cultural anthropophagy.

Scalea, Italy, 1942. Lives and works in São Paulo, Brazil.

Anna Maria Maiolino emigrated from Italy at the end of the war and made her career in Latin America, finally settling in Brazil in 1960. In experiments that are sometimes material-based – in ceramic, painting and engraving - and other times documental – video and photography –, the artist created an observatory of sensible forms, of how life happens and abides, despite its risks and adversities. Her Fotopoemação series, which Maiolino develops procedurally over the years, take images as the encapsulation of

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If one could measure these leaps of attention, the activity of the eye muscles, the pendular movements of the soul, and all of the efforts a human being needs to execute in order to remain standing in the torrent of a street, it would presumably result – this is what he'd thought, playing with the idea of trying to calculate the impossible – in a grandeur compared to which the strength that an Atlas needs to hold the world on his shoulders is insignificant; and one could evaluate what a gigantic feat someone who does

nothing can achieve in this day and age. For at this moment, the man with no qualities would be one of these people.

And someone who does? “Two things can be deduced,” he said to himself. The muscular activities of a citizen who calmly follows his path all day long is much greater than that of an athlete who lifts an enormous weight once a day; this has been physiologically proven, and it is also probable that small, everyday activities, in their social sum and in this capacity to

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Piccolo mondo from the series Fotopoemação [Piccolo mondo from the series Photo-poem, action] · 1982

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Arroz e feijão

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[Rice and beans] · 1979 / 2007 installation view at the Galeria Millan, São Paulo (2007)

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be summed up, release much more energy into the world than do heroic actions; yes, the heroic looks like a tiny grain of sand placed upon a mountain with extraordinary illusion. This idea pleased him.

The Man Without Qualities · Robert Musil

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Solitário ou paciência [Solitaire or Patience] · 1976 installation view at the Petite Galerie, Rio de Janeiro (1976)

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[By a thread from the series Photo-poem, action] · 1976

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Harun Farocki Nový Jičín, Czech Republic, 1949. Lives and works in Berlin, Germany. A film student during the 1960s, Harun Farocki has sought to maintain a certain unity between his production as a filmmaker, his critical reflection, and his political stance. This commitment is reflected in his ongoing dedication to his work as a lecturer and critic in tandem with his cinematography. In producing films as a form of thought, Farocki moves against the tide of our mass contemporary culture based on images homogeneously formatted to entertain, inform, or advertise. As a form of

resistance, Farocki makes this industrialization of thought and image production the theme of film-essays, draining off its meaning by removing it from its original context, thereby revealing new and discreet layers that also help shape its reality. Immersion is part of Serious Games, an installation presented at the Bienal. It is the result of his participation in a workshop organized by the ICT, a North American virtual reality and computer simulation research center that develops, amongst other projects, a videogame therapy for war veterans suffering from posttraumatic stress.

Serious Games III: Immersion 2009 frames

HE: Do you know that last time I flew from Düsseldorf to Rheims I used the automatic pilot?

SHE: The new one?

HE: Yes. SHE: What use are you if it's automatic?

HE: At any rate, it has a better memory than I have. It's fantastic when you think that first thing we teach a machine is memory. To record the past.

Enrique Ježik Córdoba, Argentina, 1961. Lives and works in Mexico City, Mexico. Between small urban security devices and analogous tools used in contexts of civil war, Enrique Ježik observes the ways in which violence reveals itself. The artist practices sculptural poetics using heavy-duty machinery, such as excavators, loaders, and pneumatic drills, to invade exhibition and institutional spaces. Carving, building, and demolishing, Ježik satirizes the material of which formal environments are made and presents himself as a model for equivalent collective investigations. In Estreno de La

OTAN, the artist mapped the Serbian airports bombed during the 1999 Kosovo war. Laid out on easels and sculpted in low relief into plasterboard, the airport maps are accompanied by real declassified NATO footage of the bombings. Objectified as they are in this installation, the maps and images of the bombing raids are transformed into mere impersonal data of a military operation, therefore hiding within themselves the raw face of the battlefield.

Estreno de la OTAN [NATO's debut] · 2008 installation view

SHE:

The past isn't funny. The present is the important thing.

INTERTITLE: 1 - MEMORY HE: No, for me memory is one of the most important things.

But it's so incredible, when I was in Germany, I was at the Auschwitz trial for a few days. Well, there were people accused of, I don't know, having killed thousands of people. And they sweared they didn't remember a thing. Well, perhaps that was because, I don't know, perhaps it was a defense mechanism,

but with some of them one had the impression that they had just forgotten.

Speaking of memory, remember when I was in Italy with Mr. Rossellini? Well, he told me a story. For him, it was really the funniest story out. One day on the Champs-Elysees, he saw a procession of deported people. You know, men who had dressed up in their old camp uniforms, striped pajamas. This was ten years later. Obviously they weren't as thin as skeletons like when

Carlos Garaicoa Havana, Cuba, 1967. Lives and works in Havana and Madrid, Spain. Carlos Garaicoa prefers to work with installation and photography, and draws upon architectonic forms to illustrate the physical and social degeneration of political ideals. The artist understands architecture as a discipline that is key to understanding society, since it conditions both individual experiences and collective actions. However, Garaicoa's interest in architecture and art in public spaces does not always materialize in monumental works.

His subtle and sometimes small-scale pieces can comment

just as strongly on the themes they broach. In his Las joyas de la corona, silver miniatures represent symbols of state power in different parts of the world: the Chile's Stadium, KGB Headquarters, Stasi, the Guantånamo Naval Base, the DGI, the Pentagon, the Escuela de Mecânica de La Armada, and Villa Marista. By positing these buildings as little preciosities, despite their histories as sites of repression and torture, the artist satirizes the indistinct social apprehension of coercive symbols. Exhibited as jewels, the eight buildings are definitively transformed into objects of desire and appreciation.

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they came out of Dachau, or Mauthausen. They had been eating, making money, living a normal life, they'd put on weight. They gained weight and their uniforms didn't look right on them. And that is what Mr. Rossellini thought that was really funny, because those men had a false memory. It didn't fit them because they had changed.

Me, I can't forget, no matter what..

I remember everything. I can remember my first flight, or

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my holidays in Britain. The first time I met you, remember? I can remember everything, even how you were dressed. Of course, there are things I'd like to forget, but...

INTERTITLE: 2 - PRESENT SHE:

Memory, all that, it's no good for me. I prefer present. It's more... present is more exiting. I like music. I like the things that perish, I like flowers, I like...

HE: That makes me think...

Las joyas de la corona

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[The Crown Jewels] series · 2009 1 · DGI-Línea y A [DGI-Línea and A)] 2 · Pentágono [Pentagon] 3 · Estadio Nacional de Chile [Chile's

National Stadium)] 4 · Base Naval de Guantánamo

[Guantanamo Bay Naval Base] 5 · installation view

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SHE:

Love. You have to live it. You have to live it in the present, also. Because if there is none in the present, it can't live, it dies. The most important thing for me is to understand what's happening. Well, to understand what goes on, I try to compare it to everything that I've known, to what I've seen in the others...

It's difficult, difficult in the present. That's why I like the present, because, during the present, I have no time to reflect, I can't think. Pardon?

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No, I can't understand. I can't understand the present... it's stronger than me. Of course, the thing I'm keen of, what fascinates me is this... is this element that escapes me, that I can't control in the present. That's what I like about it.

I'd like to control it. Because I think, I can't help thinking and I'm not an animal. Sometimes, I'm sorry I'm not, I like animals.

They're so natural, their movements are natural - they're beautiful, the animals. But it's like that, we're supposed to understand...

Manfred Pernice Hildesheim, Germany, 1963. Lives and works in Berlin, Germany. The objects produced by Manfred Pernice oscillate between the most intimate identification and cold and distant estrangement. On one hand, there are perfect and recurrent forms – the wall, the cube, the cylinder, the interval, the container, and the pile – as well as popular icons, product packaging, sticker signs, typography, whitewash, like on old houses. On the other, there are indices of disorientation and a lack of elements for recognizing function or symbolism and to identify it as result of a project

Well, am I happy? No, I'm not happy because... because... precisely because I have no life in the present. Because, I'm quite clear in myself, I'm not surprised by anything that happens to me. Yes, yes, they're lots of things I'm ashamed of. Precisely because, when they happened, I wasn't... I wasn't able to prepare myself. And I was ashamed afterwards. I was ashamed because I couldn't realize that I shouldn't have done it. But while it was happening, no. Not during the present. Because in the

or a process. Kubor presents itself as a pile of cubes, or wooden boxes, organized in equivalent in size, but unequal stacks, creating forms that ignore each other whilst being mutually tensioned. Kubor is a German trademark of industrialized beef stock, and the installation bearing its name offers itself as a place in which to be and to access information collected by Manfred Pernice. Testifying to their genesis, also exhibited are the sketches and model used in the creative process, as well as a biography of the artist, affected by the void left by the Berlin Wall. However, these resources could always serve as red herrings or dispensable clues.

present, I can't, it escapes me... I don't know what's happening.

The present keeps one from going mad.

A Married Woman · Jean-Luc Godard

Kubor 1 + 2 2010 project

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Qiu Anxiong Sichuan, China, 1972. Lives and works in Shanghai, China.

Qiu Anxiong is part of a new generation of artists dealing with the hiatus between the mystical, traditional China of a millennial past and the new nation generated by decades of socialist government. Through his pictorial production, he takes the Chinese landscape as the setting for allusive and fantastical narratives, allying traditional drawing techniques with tools of contemporary illustration. In The New Classic of Mountains and Seas, 1 & 2, roughly six thousand original black and white drawings are animated into a fable

about the production of space by man and his technique.

He reconstructs the birth, life and decline of an invented civilization, whose history coincides with recent global media events. Anxiong questions the validity of reason and information as the bases of our knowledge of the order of things, and repositions myth, the uncanny and the fantastical side by side in the real world.

The New Classic of Mountais and Seas – part 2

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2009 frame

We had now been about ten minutes upon the top of Helseggen, to which we had ascended from the interior of Lofoden, so that we had caught no glimpse of the sea until it had burst upon us from the summit. As the old man spoke, I became aware of a loud and gradually increasing sound, like the moaning of a vast herd of buffaloes upon an American prairie; and at the same moment I perceived that what seamen term the chopping character of the ocean beneath us, was rapidly changing into a current which

set to the eastward. Even while I gazed, this current acquired a monstrous velocity. Each moment added to its speed – to its headlong impetuosity. In five minutes the whole sea, as far as Vurrgh, was lashed into ungovernable fury; but it was between Moskoe and the coast that the main uproar held its sway. Here the vast bed of the waters, seamed and scarred into a thousand conflicting channels, burst suddenly into phrensied convulsion – heaving, boiling, hissing – gyrating in gigantic and innumerable

Francis Alÿs Antwerp, Belgium, 1959. Lives and works in Mexico City, Mexico. In 1986 Francis Alÿs travelled to Mexico City, where, by bureaucratic imposition, he ended up staying as a jobless foreigner. His wanderings in the megalopolis and his attentive observation of a society of unknown rules and standards lay the groundwork for his artistic activity.

His work uses photography, video, sculpture, painting, and performance as a means of enabling his own mindset to interact and articulate with daily life and events of the city and its environs. Assuming multiple roles, Alÿs

engineers and documents new fables, myths, rumors, and anecdotes, as if simultaneously researching and inventing a place. In Tornado, Alÿs inserts himself, as a challenge, into the seasonal sandstorms and tornadoes that form in the Mexican desert, investing in an apparently useless, exhausting, and dangerous task. Screened in large format in a darkened room, the video combines short shots, filmed

by Francis Alÿs himself at the moment he attempts to run into the storm, and long open shots filmed from a distance.

There are no clear images of the moments the artist spends inside the tornado, nor is there any suggestion that this minor conquest brings any definitive satisfaction.

vortices, and all whirling and plunging on to the eastward with a rapidity which water never elsewhere assumes except in precipitous descents.

In a few minutes more, there came over the scene another radical alteration. The general surface grew somewhat more smooth, and the whirlpools, one by one, disappeared, while prodigious streaks of foam became apparent where none had been seen before. These streaks, at length, spreading out to a

great distance, and entering into combination, took unto themselves the gyratory motion of the subsided vortices, and seemed to form the germ of another more vast. Suddenly – very suddenly – this assumed a distinct and definite existence, in a circle of more than a mile in diameter. The edge of the whirl was represented by a broad belt of gleaming spray; but no particle of this slipped into the mouth of the terrific funnel, whose interior, as far as the eye could fathom it, was a smooth, shining, and jet-black

Tornado

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wall of water, inclined to the horizon at an angle of some forty-five degrees, speeding dizzily round and round with a swaying and sweltering motion, and sending forth to the winds an appalling voice, half shriek, half roar, such as not even the mighty cataract of Niagara ever lifts up in its agony to Heaven.

The mountain trembled to its very base, and the rock rocked. I threw myself upon my face, and clung to the scant herbage in an excess of nervous agitation.

“This,” said I at length, to the old man – “this can be nothing else than the great whirlpool of the Maelström.”

A Descent into the Maelstrom · Edgar Allan Poe

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TErreiro

LONGEDAQUI,AQUIMESMO far away, right here

Irene is a name for a city in the distance, and if you approach, it changes.

For those who pass it without entering, the city is one thing; it is another for those who are trapped by it and never leave. There is the city where you arrive for the first time; and there is another city which you leave never to return. Each deserves a different name; perhaps I have already spoken of Irene under other names; perhaps I have spoken only of Irene.

CITIES AND NAMES 5 · Italo Calvino

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Marilá Dardot & Fabio Morais Belo Horizonte, Brazil, 1973; São Paulo, Brazil, 1975. Live and work in São Paulo. The book is the theme and material of the work of Marilá Dardot and Fabio Morais. The relationship between words and pictures, and conceptual experiments with the book and the visual arts, bring the two artists together in a productive partnership. Sebo, from 2007, is a collection of facsimiles of objects left between the pages of books bought by the artists in second-hand bookstores.

Marilá and Fabio also created the “Confrar'ilha de Leitura” (play on the words reading ‘club’ and reading ‘island’) – a

shared collection of novels published from the 70s on, which are stamped once read. The terreiro Longe daqui, aqui mesmo is a kind of labyrinth made of enclaves and narrow passageways that converge upon a large central hall, in an ode to reading as a creative act. The result is a house under construction, whose walls, doors and carpets are covered in pictures of books which the artists hold as references. In addition to the Confrar'ilha volumes, the terreiro also houses a library of publications and books sent in by artists from all over the world in response to an open invitation, as well as volumes that provide the answer to the question put by the 29th Bienal:”What books would you build your house with?”

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[Far away, right here] 路 2010 1 路 terreiro model 2 路 terreiro project 3 路 terreiro layout

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It is the mood of the beholder which gives the city of Zemrude its form. If you go by whistling, your nose a-tilt behind the whistle, you will know it from below: window sills, flapping curtains, fountains. If you walk along hanging your head, your nails dug into the palms of your hands, your gaze will be held on the ground, in the gutters, the manhole covers, the fish scales, wastepaper. You cannot say that one aspect of the city is truer than the other, but you hear of the upper Zemrude chiefly from those who remember it, as they sink into the lower Zemrude, following every day the same stretches of street and finding again each morning the ill-humour of the day before, encrusted at the foot of the walls. For everyone, sooner or later, the day comes when we bring our gaze down along the drainpipes and we can no longer detach it from the cobblestones. The reverse is not impossible, but it is more rare: and so we continue walking through Zemrude's streets with eyes now digging into the cellars, the foundations, the wells.

CITIES AND EYES 2 · Italo Calvino

Mateo Lรณpez Bogotรก, Colombia, 1978. Lives and works in Bogotรก. Going beyond the usual function of projects, i.e., to preconceive new objects to fulfill given purposes, Mateo Lรณpez borrows the codes of architecture and industrial design and makes these the gauges of the passing of time and the formulation of ideas. He creates models that repeat forms of things that have already been built, showing how, as time never stops and everything is in constant movement, even if only subtly, the duplication of things can either go on ad infinitum or begin to copy itself. Palacio del papel is a stationer's shop

invented from a geometric module that can be combined with other modules to make buildings, boroughs or whole cities. Inside, shelves and window displays are filled with drawing utensils, copied with other drawing utensils, constitute replicas of objects that could further the project of new utopias. Escaping from the vertigo of a world of copies that serve no other purpose than to be copied themselves, Mateo Lรณpez presents his Palacio as part of a new, possible Utopian city, the container of materials that can transform in order to propose new ideas.

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Palacio del papel

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[Paper palace] · 2010 1 · reloj [watch] 2

2 · vivenda social [social house] 3 · regla [ruler] 4 · project

If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. Without a cloud, there will be no rain; without rain, the trees cannot grow; and without trees, we cannot make paper. The cloud is essential for the paper to exist. If the cloud is not here, the sheet of paper cannot be here either. […]

If we look into this sheet of paper even more deeply, we can see the sunshine in it. If the sunshine is not there, the forest

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cannot grow. In fact, nothing can grow. Even we cannot grow without sunshine. And so, we know that the sunshine is also in this sheet of paper. [‌] And if we continue to look, we can see logger who cut the tree and brought it to the mill to be transformed into paper. And we see the wheat. We know that the logger cannot exist without his daily bread, and therefore the wheat that became his bread is also in this sheet of paper. And the logger's father and mother are in it too. When we look in this

way, we see that without all of these things, this sheet of paper cannot exist.

Looking even more deeply we can see we are in too. This is not difficult to see, because when we look at a sheet of paper, the sheet of paper is part of our perception. Your mind is in here and mine is also. So we can say that everything is in here with this sheet of paper. You cannot point out one thing that is not here – time, space, the earth, the rain, the minerals in the soil, the

Eduardo Navarro Buenos Aires, Argentina, 1979. Lives and works in Buenos Aires. Eduardo Navarro deals with living spaces and social habits, from which he develops experimental works as ambitious as ingenuous, from the construction process to their interaction with the viewer. Identifying existing social structures and altering them subtly, the artist works with the possibilities of art in contact with reality, without any intention toward mixing the two. Quite the opposite, in fact, he underlines the processes that distinguish them, creating new contexts for discussion. In El Dorado, Navarro

sunshine, the cloud, the river, the heat. Everything co-exists with this sheet of paper. […]

Suppose we try to return one of the elements to its source.

Suppose we return the sunshine to the sun. Do you think that this sheet of paper would be possible? No, without sunshine nothing can be. And if we return the logger to his mother, than we have no sheet of paper either. The fact is that this sheet of paper is made of “non-paper elements”. And if we return these non-paper

proposes digging for gold in the city of São Paulo, ope­ ning a huge excavation, ringed with protective fencing and kept well-lit during the night, so that he can sieve through the earth in search of the precious metal. While the work has a concrete objective, it also questions the divide between fiction and reality. Navarro conducts his search in such a manner as the undertaking meets enough criteria to ensure the real possibility of finding gold, while an office is set up at the exhibition with the express aim of attracting clients to the enterprise. As a new kind of Land Art, the work will ultimately incorporate the success or failure of the project as part of itself.

elements to their sources, then there can be no paper at all. Without non-paper elements, like mind, logger, sunshine, and so on, there will never be no paper. As thin as this sheet of paper is, it contains everything in the universe in it.

Interbeing · Thich Nhat Hanh

El dorado 2010 project

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Mario Garcia Torres Moclova, Mexico, 1975. Lives and works in Mexico City, Mexico. Mario Garcia Torres' practice rethinks the structures and negotiations that make and have made art exist as we know it. Recontextualizing certain forgotten or overlooked narratives related to art is one strategy used by the artist not only to examine the historiography of art but also to challenge and open the significance and implications of one single event in a different moment and place.

In Las variables dimensiones del arte, the commissioned piece for the Bienal, Garcia Torres reconsiders a number

Las variables dimensiones del arte 2010 reference image: register of The Caracas Incident (1963)

of repercussions of the exhibition Cien aĂąos de pintura francesa, held in the early 1960s in his native Mexico and in Venezuela, and specifically the removal of a number of paintings from this last venue, carried out by the Venezuelan urban guerrilla. The rhetoric of absence, displacement, and reencounter is used and explored in order to bring the narratives around the former event back into the context of art. And then, a new story begins.

CADA – Colectivo Acciones de Arte Fernando Balcells, Diamela Eltit, Raúl Zurita, Lotty Rosenfeld, and Juan Castillo. Santiago do Chile, Chile, 1979 – 1983. CADA was an activist group of Chilean artists and one of the most expressive protagonists of the escena avanzada movement in the wake of the military coup launched in Chile on September 11, 1973. Formed by sociologists, writers, poets, and visual artists, the group understood art as a form of political resistance and as a programmatic practice that eradicated the distance between the artist and the viewer. Intent on fusing art and life, they were

committed to the notion of an open, spontaneous audience.

Their performances questioned institutionalized practices, intervened in everyday life, and sought to interrupt and change the normalized routines of urbanity. Their subversive actions were designed to decontextualize and restructure the behaviors, places, and symbols of the Chilean dictatorship. Para no morir de hambre en la arte is part of CADA's first action and demanded a return to Salvador Allende's policy of distributing milk to the population. ¡Ay Sudamérica! involved dropping subversive flyers from planes while No + was an expression the group painted on walls and later completed with anonymous slogans.

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Para no morir de hambre en el arte [Not to starve in art] · 1979 documentation

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[Scene inversion] · 1979 documentation

1983 documentation

Inversion de escena

No +

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No + 1984 documentation

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¡Ay Sudamérica!

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[Oh South America!] · 1981 documentation

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Ana Gallardo Rosario, Argentina, 1958. Lives and works in Buenos Aires, Argentina. Biography and autobiography lie at the origins of the work of Ana Gallardo. Focused on emotional ties and places, Gallardo shifts between listening to others' memories and the extreme desire to possess them. Interested in the banal encounters and episodes that make up everyday life, the artist strives to make them visible by collecting their vestiges, whether letters, items of furniture, or other objects, but especially oral accounts or drawings. Gallardo gathers these traces together and, with the help of some minimal scenography, in-

vites the audience to look upon them as worthy objects full of vitality. For the installation presented at the Bienal, Ana Gallardo, Mario Gomez Casas, and Ramiro Gallardo think about how they would like to live when old, with special emphasis on securing a consistent and active intellectual and emotional life, culminating in a dignified and serene death. This edition of Un lugar para vivir cuando seamos viejos involves the participation of an elderly couple that meets every week to dance with other people of their age at a market in Mexico City. The two give classes and dance presentations and, with the artist's help, draw pictures on the walls that represent decisive moments in their emotional lives.

Un lugar para vivir cuando seamos viejos, El baile: Danzón / Conchita, Lucio, Maria Ascención [A place to live when we are old, The ball: Danzón / Conchita, Lucio, Maria Ascención] · 2010 reference photo: Danzonera de la Ciudadela

since I was 6 / I had a habit of drawing / the shape of things. /

insects. / as a result, / when I am 80 years old / I will have made

when I was 50, / I'd published an infinite number / of drawings; /

more and more progress; / when I'm 90, / I will penetrate into

but everything I produced before I was 70 / is not worthy of being

the mystery / of things; / when I'm 100, / I will certainly have

/ taken into account. / when I was 73 I learned a little / about the

reached a marvelous / phase, / and when I am 110 years old, /

true structure / of nature, / of animals, plants, birds / fish and

anything I do, / be it a dot or a line, / will have life. // written at

Kiluanji Kia Henda Luanda, Angola, 1979. Lives and works in Luanda. The work of Kiluanji Kia Henda develops an alternative vision of colonialism and post-colonialism in Africa by proposing its revision and fictional reconstruction. Using photography, video, sculpture, or performance, the artist creates scenarios idealized out of the introduction of strange and destabilizing elements. Icarus 13 is an installation made up of eight photographs and a model that reconstructs, through large documentation, man's imaginary first voyage to the Sun, conducted by a fictional Angolan team

on a Utopian mission. The legitimation of this invented mythology is jumbled with Angolan political history through a futuristic vision of the architectonic ruins of colonialism: a Russian mausoleum or an unfinished cinema transform, respectively, into a spaceship and an astronomical observatory. The likewise realist, but decontextualized images of construction workers in the shipyards of Luanda mix with the evocation of the failed heroism of the myth of Icarus, whose solar odyssey is echoed in this Angolan fable and in the vestiges of its political projects.

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75 years of age by / myself, once called Hokusai, / now gwakio rojin, the old man crazy / about drawing. // Hokusai · Waly Salomão

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ONE // Now you can treat me / As you wish: / I'm not happy I'm not sad, / Humble or proud, / – I'm not of the Earth. / Now I know that this insufficient body / To which remote speech is witness, / Is lost ever so sweetly / In the air, like the secret / That life gives off. / And its destiny is to go farther, / So far, indeed, as the exact / Soul, by which / One can be free and unbiased, / Without acts beyond dream, / Owner of nothing, /

Icarus 13 series · 2008

1 · Astronomy Observatory, Namibe Desert 2 · Icarus 13 (view from the Chicala Island, Luanda) 3 · The launch of Icarus 13 (6:00 pm, 25th of May, 2007)

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But without desire and without fear, / And between events / So peaceful! / Now you can look at me / While I wait for myself / For I will return and come, / As surprised as the aeronaut may be / With his encounters on Earth. // The aeronaut · Cecilia Meireles

Marta Minujín Buenos Aires, Argentina, 1943. Lives and works in Buenos Aires. Minujín is one of the artists who best embody the importance and popularization of the happening and ephemeral art in Argentina, having channeled into her creative action the destructivist impulse that she believes characterized Latin American art in the 1960s. La destrucción, executed in Paris in 1963, was her first self-proclaimed happening, in which she invited artists and friends to burn and destroy their own exhibits. Large-scale, striking environments, and ephemeral, utopian pieces, designed for

SOCRATES: Phaedrus, must I remain quiet? – For you will never know what temples, what theaters I could conceive in the purest Socratic style!... I would make you think how I had conducted my work. First, I would pore over all of the questions, I would develop a seamless method. – Where? – Why? – For whom? – For what?

– What dimensions? – And, assailing my spirit from all sides, I would determine, at the highest possible level, the operation through which quarries and forests are transformed into

mass participative perusal by the public, have marked her production down through the decades. La menesunda was an installation created (in conjunction with Rubén Santantonín) for the Centro de Artes Visuales do Instituto Torcuato Di Tella. Divided into sixteen zones, with different environments and activatable situations, the work afforded a playful, sensory experience for a large audience that unexpectedly became a spectator of itself. The work will be presented at the Bienal in documentary form.

buildings, in magnificent equilibrium!... And I would outline my project, taking into account the intention of the humans who would later pay me; having chosen the land, in accordance with its dimensions, its exposure, its access, adjacent plots and the deep nature of the subsoil…

Next, using raw materials, I would compose my objects, ordered entirely according to life and the joy of the race incarnate… Objects utterly precious for the body, delicious for the

La menesunda

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soul, that time itself would surely consider so hard and difficult to digest that it would be left merely to destroy them over the course of centuries; and after having garnished them with a singular beauty: a soft and golden patina of sacred majesty over them, and, around them, instituted by the duration, an enchantment of nascent comparisons, of secret tenderness…

But you will know nothing more. You cannot conceive that the ancient Socrates, your well-known shadow…

PHAEDRUS:

Faithful, Socrates, faithful.

You must follow me then; and change your shadow, if I change mine.

SOCRATES:

Eupalinos, or the architect · Paul Valéry

Palle Nielsen Copenhagen, Denmark, 1942. Lives and works in Nørre Alslev, Denmark. The artist worked at the frontier between art, architecture, activism, research and teaching, dedicating his time to understanding the role of interaction and playful practices as references for the construction of alternative spaces, particularly children's playgrounds. His research deals with the meaning of social and subjective change that childhood play can generate. In 1968, he proposed Modellen – En modell för ett kvalitativt samhälle, a synthetic action of thought, designed as a huge fun park

especially charged with social and sensorial stimuli, and open to reconstruction by children at play, who are provided with tools and materials to this end. This structure filled the entire floor space of the Moderna Museet in Stockholm, evincing a desire to use childhood experience as a means toward reinventing the institution of art. At the Bienal, the experiment is presented as an installation composed of three slideshows, set to the same soundtrack as stipulated back in the late 60s, and complemented by a documentary about the intervention. For the artist, the exhibition context of this social model depended on the possibility of the children's play being observed by the gallery-going public.

“It's – it's a very fine day!” said a timid voice at her side. She was walking by the White Rabbit, who was peeping anxiously into her face.

“Very,” said Alice. “Where's the Duchess?”

“Hush! Hush!” said the Rabbit in a low, hurried tone. He looked anxiously over his shoulder as he spoke, and then raised

himself upon tiptoe, put his mouth close to her ear, and whispered, “She's under sentence of execution.”

“What for?” said Alice.

“Did you say ‘What a pity!’?” the Rabbit asked.

“No, I didn't,” said Alice: “I don't think it's at all a pity. I said ‘What for?’”

Modellen – En modell för ett kvalitativt samhälle

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[The Model - A Model for a Qualitative Society] · 1968

“She boxed the Queen's ears” the Rabbit began. Alice gave a little scream of laughter. “Oh, hush!” the Rabbit whispered a frightened tone. “The Queen will hear you! You see she came rather late, and the Queen said “Get to your places!” shouted the Queen in a voice of thunder, and people began running about in all directions, tumbling up against each other:

however, they got settled down in a minute or two, and the game began.

Alice's Adventures in Wonderland · Lewis Carrol

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Milton Machado Rio de Janeiro, Brazil, 1947. Lives and works in Rio de Janeiro. To create anecdotes, tales and fables in art you need to have a sense of humor, but, above all, be deeply self-critical and disillusioned with the present and the future. Milton Machado, artist and lecturer, takes the nervous laughter the world provokes in him very seriously, especially when seen through unusual statements. With a degree in architecture, Machado chose to work as a “measureless architect”, proposing impossible but not improbable designs with no practical purpose. História do Futuro is a work in

progress since 1978 that consists of a series of fourteen designs and a descriptive text. It reveals an absolute and hyper-coherent imaginary system that articulated the Imperfect World, Perfect World and Pluperfect World. This mythical civilization inhabited by conceptual characters, such as the Destruction Module, a machine that makes and unmakes cities; and the Nomad, a minuscule sphere that fights against the odds in order to survive in Pluperfect Cities. Begun as a project somewhere between utopia and dystopia, História do futuro was cross-dressed over time into literature, philosophy, geometry and pataphysics, the science of the imaginary solutions.

“Silence. Elisabeth has moved. She looks at her husband, who sits with bowed head. She has started to tremble.

“We must go,” she reminds him gently.

Alissa and Stein have drawn together, unmindful of the others.

“She's said it,” Stein says.

“Yes. They must go.”

Silence. Alissa doesn't move. Now it is Elisabeth Alione's

eyes that try to get some hold on the smooth wall of their faces.

She fails.

“Don't be cross with her,” Max Thor says to Bernard Alione.

“Don't be cross with her because we're what we are.”

“He won't be cross with me,” she says. “He knows you can't be otherwise,” She turns to Bernard Alione. “Don't you?”

No answer. Head bowed, he waits.

“What about you?”, he asks. “What do you teach?”

História do futuro

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1 · Mundo Mais-que-Perfeito: Ciclos

de destruição, construção e vida, 4º movimento [More-than-Perfect World: Cycles of Destruction, Construction and Life, 4th movement] · 1978 2 · Módulo de destruição na posição alfa [Modulus of Destruction at Position Alpha] · 1990 3 · Nômade [Nomad] · 1990 1

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“History,” Max Thor says. “History of the future.”

Silence. Bernard Alione gazes at Max Thor, motionless. His voice is unrecognizable now.

“Is it very different?” he asks.

“There's nothing left,” Max Thor says. “So I don't say anything. The students go to sleep.”

Silence. Suddenly there are gentle sobs from Elisabeth Alione.

“Are there still children?” she asks.

“Only children,” Max Thor says.

She smiles through her tears. He takes her hand.

“Oh,” she says. “Wonderful.”

Destroy, she said · Marguerite Duras

Adrian Piper New York, USA, 1948. Lives and works in Berlin, Germany.

Artist and philosopher by academic training and profession, Piper began her artistic research doing psychedelic painting, exploring the mechanisms of perception and consciousness through yoga and meditation. Conceptual discourses contributed to her disciplinary diversification, having infused her artistic grammar with Hindu philosophy and iconography, as well as questions of identity, ethnicity, and gender, based on her own condition as an African-American woman. In indistinct and sometimes

simultaneous ways her art has employed painting, drawing, photography, sculpture, performance, video, installation, and audio. In her performance soundtrack Bach Whistled, Piper whistles along to recordings of concertos by Johann Sebastian Bach in D minor, A minor and C minor. The artist intervenes in Bach's famous compositions with her discontinuous whistling, with piques and dips in intensity and precision, depending on the oscillations of her breathing and spirit. The effort that goes into forming each note and executing the entire piece becomes an act of stamina and obstinacy, full of fissures and imperfections, as a metaphor and sample of the action of the artist upon culture.

Archigram Group David Greene, Peter Cook, Michael Webb, Warren Chalk, Ron Herron, and Dennis Crompton. London, England, 1961–1964. The Archigram Group was formed by six young English architects around an independent publication of the same name. Their visionary projects, materialized only in exhibitions, models, and drawings, functioned as a kind of laboratory for the formulation of utopian desires and as a seismograph of the social transformations of the time.

In the second half of the 1960s, they began to envisage what could be called an architecture of events, underlining

situations that explored mobile and disposable networks and tools. These projects pointed toward a radical situation in which an invisible and isotropic unlimited infrastructure – with the same services available in all directions – would allow human life and environments to be in continuous reorganization according to social flows and exchanges, thus rendering the very concept of the city obsolete. The Instant City project uses graphic and narrative resources to present the circulation of a set of mobile apparatuses (balloons, projections, sound systems, tents, neon signs) that promote events and toy with a range of playful ways of occupying space.

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Response Unit from the project Instant City

Instant City Airship, Sequence of Effect on a Typical English Town

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An entire life (project for a film).

An entire life spent filming an entire life.

An entire life spent under a movie camera lens.

An entire life spent watching an entire life on the screen.

A human being is the theme of a film from the moment of his birth until that of his death.

The film represents a human being in all of the moments of his life.

The tempo of the film is real, natural time. The experiences registered in the film take place in real time: their representation has the same duration of the action itself, but naturally the action, subject to representation, is not entirely real (something similar to the principle of uncertainty in science).

The film project is made up not only of the film project with all of its economic, legal, moral, technical and scientific aspects, but also of all of the projects for the use of the materials

Superstudio Adolfo Natalini, Cristiano Toraldo di Francia, Alessandro Magris, Roberto Magris and Piero Frassinelli. Florence, Italy 1966 – 1978. Made up of young architects and designers from the University of Florence, Superstudio firm compiled and radicalized the debate on modern architecture and urban sprawl raised in post-war Europe. Aligned with the counterculture movement of the 60s, they drafted various proposals and texts conjecturing about a life exempt from the notion of property and about the development of perfectly structured and self-sufficient urban modules. Aware

that perfect systems can serve equally well as models for a life free from a work routine as for the total instrumentalization of the human being, regarded as a cog in a mechanism, they created visionary fictions in video, drawing, photocollages and installations. Somewhere between dream and nightmare, the video series Gli atti fondamentali discusses the irreducible core of man's relationship with architecture, reflecting on such notions as life, love and ceremony in landscapes devoid of buildings, cities and even objects. Like parables of a world reduced to idyllic survival, they posit an architecture that derives from the movements of the body, and its desires, myths and politics.

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developed for the film, such as, for example: A – All of the material constitutes a single film.

Using the same procedures with which the “actor” was chosen, the “viewer” is chosen as well, a being destined to spend his life watching the representation of the “actor's” life. (Project for complex systems and miniature, portable and semi-invisible projectors, helmets for the simultaneous viewing of the film and exterior reality, environments for simultaneous and synchronic

experimentation of the film and of another – perhaps impossible –reality…).

B – All of the material constitutes a single film.

A group of viewers are selected so as to form a staff to assist the film with the same methods with which one assists in a scientific experiment.

(Project for workshop in theater graphics, innumerous relations, conferences, lectures, intrigues, travel, awards…).

Gli atti fondamentali

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[The fundamental acts] · series · 1972 1 · Vita Supersuperficie [Life Supersurface]

frames 2 · Cerimonia [Cerimony]

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C – All of the material is divided up to form various different films.

For example: Birth, Education, Love, the Ceremony, Death… natural time.

The experiences are grouped together to form homogenous groups. The dissection and reconstruction of the material in various different ways could also result in different films, with tones of adventure, comedy, documentary, comedy of the absurd,

heroic thriller, political thriller…).

D – Other films may be manufactured in accordance with the chronology.

For example: the first minute of each new year, the first day of each Spring, menstrual cycles (if the theme actor is a woman), the April 15th of every even-numbered year…

Prelude to Educazione · Superstudio

Julie Ault & Martin Beck Boston, USA, 1957; Bludenz, Austria, 1963. Live and work in New York, USA. The collaborative work of Julie Ault and Martin Beck involves curatorial, editorial and expositive dialogues and activities, weaving careful relations between research, context and exhibition apparatuses. Resources like color and the design of the furnishings are considered from the perspective of hypotheses concerning the movements and readings by the audience, which allows the duo to create environments that organize information and data accordingly, and in which theme, content and form mutually

relate. In No-Stop City High-Rise: a conceptual equation, Ault and Beck return to the project Outdoor Systems, Indoor Distribution, started a decade ago, and develop a new line of research, critically gathering references and visionary projects from the architecture collective Archizoom Associatti, as well as futuristic and anomalistic descriptions from the science fiction of J.G. Ballard. Besides quotations and documents gathered in two exhibition displays, the collective covers an area of the Bienal building with industrial lining and mirror paneling, creating a totally different region articulated in space with the nearby work of other artists and inciting new readings of the structure and transparency of Oscar Niemeyer's modern design.

No-Stop City High-Rise: a conceptual equation 2000

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Graziela Kunsch São Paulo, Brazil, 1979. Lives and works in São Paulo. Since the experiment of opening up her own home as a “public residence”, Graziela Kunsch has grounded her artistic practice in situations of encounters, dialogue and collaboration. Projeto Mutirão* is a processual work that takes the form of conversations infused with A.N.T.I. cinema excerpts –videos consisting of a single shot – that show the collective production of a new city. The reason for the use of single takes is to enable the viewer to experience the duration of the filmed actions and to show that each

excerpt can be understood as part of a bigger process: a moment in the political struggles underway. The Bienal will present the archive of the project and books about utopias, city projects, self-organization and education from the artist's library. The presentations are happening inside the terreiros and in different contexts, from the Arena Theater to rural settlements, as well as schools across the social spectrum involved in the Bienal's educational program. All of the presentations are recorded and reflexive excerpts are incorporated into the archive, with the goal of contemplating the role of individuals – artists included – in collective processes and in history itself. * Mutirão is a Portuguese word meaning collective effort/participatory mutual aid.

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I / The poet cloistered / Or even six months' incommunicable /

the city at night is the palace / Where privileged tenants / Pay no

Circulates / And functions / Like an irrevocable / Perfect coup

rent / Because they are unemployed… // I think… / But without

d'état. // Even clever Plato / Knew this! // II / The poet / Albeit

words / I can confess a lot but / No one knows anything. //

imprisoned / Never has the problem / Of feeling completely alone. // Because poetry does not allow him / To be detained / And remain alone. // III / The difficulty / With true poetry is not ideas. / It is words. // When / For example I want to say / That

A song in three movements · José Craveirinha

A.N.T.I. cinema, Projeto Mutirão

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frames 1 · Novos ventos · 2005 2 · Abertura de portas · 2006 3 · Ciclofaixa · 2008 4 · Rebatismo da Avenida Roberto Marinho

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Antonio Dias Campina Grande, Brazil, 1944. Lives and works in Rio de Janeiro, Brazil and Milan, Italy. By building connections between diverse semantic chains, the work of Antonio Dias evinces what lies in between; what resides in the interstices of precise fields of meaning, and what springs from places hitherto considered watertight. This place of sundry possibilities is handled in propositional form in Faça você mesmo: Território liberdade, a diagram drawn on the floor, suggesting the existence of some symbolic space of experimentation and invention. This space has the

authorial character of a map, constructions made from what the mapmaker indicates as landmarks to guide the traveler when crossing a given territory. It is in this forum for the affirmation of singularities that Antonio Dias raises the flag of O país inventado / Dias-de-Deus-dará, a red banner that bears the most recurrent motif in his work: the absence of the upper right-hand corner of what would otherwise be a rectangle. The mark of a core aspect in Antonio Dias' output, this motif stands for an absolute, irreparable, and diffuse lack; for the inexistence of a totality that encompasses and explains a work in constant change, and the very place in which it is made and symbolically thematized.

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[Do it yourself: Freedom territory] · 1968 installation view

[The invented country / God-will-give-days] 1976 installation view

Faça você mesmo: Território liberdade

O país inventado (Dias-de-Deus-dará)

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Nuno Ramos SĂŁo Paulo, Brazil, 1960. Lives and works in SĂŁo Paulo. Nuno Ramos' work is born from the material itself: from its resistance, its emphatic presence, its futile reaction to inevitable ruin. Added to that is a singular lyricism that feeds from both erudite and popular sources. Nuno Ramos' constructions seem to incarnate the ambiguities of art, culture, and the social contrasts of the country. Hence, for example, a euphoric and sorrowful samba mix flowers among enigmatic and somber architectonic structures; the amalgam of citations from music, literature, the visual arts, and cinema,

High up in the lonely night an unknown lamp blooms behind a window. Everything else in the city is dark except where feeble rays from the streetlamps hesitantly rise and, here and there, resemble the palest of earthly moonlight. In the black of the night the different colours and tones of the houses are barely distinguishable; only vague, one might almost say abstract, differences, point up the irregularities of the unruly whole.

I am joined by an invisible thread to the anonymous owner

with materials that appear ostensively. Inspired by melancholy sambas and Oswaldo Goeldi's sullen view of Brazilian cities, Bandeira branca is an installation that fills the central hall of the Bienal Pavilion, challenging the clarity and virtuosity of Oscar Niemeyer's lines. Consisting of three sculptures made from sacks of black sandy loam and glass sound speakers, the space is cordoned off by a black protective mesh that accompanies the sinuous design of the surrounding floors. Inside, three aviary-bred vultures share the space, to the sound of fragments from the songs CarcarĂĄ, Bandeira branca, and Acalanto.

of the lamp. It is not often we are both awake at the same time and there is no possible reciprocity in this for, since I am standing at my window in the dark, he cannot see me. It's something else, mine alone, something to do with the feeling of isolation, that participates in the night and the silence, and chooses that lamp as something to hold on to because I am awake, dreaming in the blackness, that he is there, alight.

Perhaps, everything exists only because something else

Bandeira branca

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[White flag] · 2008 / 2010 1 · project 2 · outline of the work on the pavement of the

Bienal Pavilion 3 · installation view at Centro Cultural Banco

do Brasil, Brasília (2008)

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does. Nothing just is, everything coexists; perhaps that's right. I feel that I would not exist at this hour (or at least that I would not exist in the exact way that I exist, with my present consciousness of myself, which because it is consciousness and because it is present, at this moment, entirely me) if that lamp were not lit over there, somewhere, a lighthouse marking nothing, erected on the false privilege lent it by its height. I feel this because I feel nothing. Nothing, nothing, just part of the night and the silence and

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of whatever emptiness, negativity and inconstancy I share with them, the space that exists between me and me, a thing mislaid by some god…

The Book of Disquiet · Fernando Pessoa

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Ox, Ox, Ox / Black-faced ox / come get this little girl / who's scared of scowls! / […]

Black-faced ox

When I saw the land burning / like a Saint John's Day bonfire I asked God in heaven, oh / why such suffering? / […]

Asa Branca · composed by Luiz Gonzaga and Humberto Teixeira

Carcará / Out in the scrublands / is an animal that flies like a plane / it's a wicked bird / with a beak turned back like a hawk Carcará / […]

Carcará · composition by João do Vale and José Cândido

Oswaldo Goeldi Rio de Janeiro, Brazil, 1895–1961. His European experience and failure to adapt to the art scene in Rio de Janeiro, after his return from Switzerland – where he grew up and began his activities as an artist and engraver –, mark the content and form of Oswaldo Goeldi's work. In Rua molhada and Luz sobre a praça, urban scenes in woodcut, there is little space for encounters or socializing, and there are no signs of communal life. What emanates from the woodcuts is a sense of deep solitude, in which stooped little figures make their way through the alleys, streets

and squares of a city that is either hostile or indifferent to their individual dramas. In other compositions there is no human presence at all, just household objects left lying about on the floor, attesting to the abandonment of their owners. His engravings harbor a disturbing silence, muffled like the darkness that dominates them, interrupted only by occasional rips of white light or tiny colored surfaces.

Almost nothing happens in the engraved space, with narratives suggested and aborted in the same instant. The passing of time seems to have been frozen, as if to oblige the viewer to feel the sheer weight and density of each scene.

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Paisagem urbana

Luz sobre a praça

[Urban landscape] · c. 1940

[Light on square] · c. 1930

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Mr. Costa's wife / (Scared, it was known) / Raised vultures in

/ Strangeness and its dark annals: / But rather because the

the chicken coop / Alongside the livestock they owned // It was

vulture protects, / Watches over and blesses the animals.

a letdown to know / The real reason why: / It was not for the sick pleasure / Of raising such Satanic fry, // Nor to exercise

A criadora de urubus [The vulture raiser] · João Cabral de Melo Neto

David Cury Teresina, Brazil, 1963. Lives and works in Rio de Janeiro, Brazil. In Antônio Conselheiro não seguiu o conselho, David Cury takes Brazilian agrarian conflicts as his theme of choice. The work is a present-day take on the 15th-century dispute between the Florentines and the Sienese, as portrayed in Uccello's The Battle of San Romano (c. 1450). The Italian episode is superposed upon the late 19th-century Canudos War (1896 – 1897), between the Brazilian army and a socio-religious movement led by Antônio Conselheiro in the hinterlands. The assembly of Antônio Conselheiro

não seguiu o conselho is unstable and risky, consisting of a trench comprising over a thousand burned-out cold tube lights, glass panes, iron rods, and containers connected by a simple support, with no bolting. If the instability of the work evokes a sensation of imminent conflict, much of the construction's visual tension derives from its fragile, precarious structure, in which everything could collapse and break without warning.

Antônio Conselheiro não seguiu o conselho [Antônio Conselheiro did not follow the advice] · 2005 / 2010 installation view at Museu de Arte Moderna do Rio de Janeiro – MAM-RJ (2005)

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Monir Shahroudy Farmanfarmaian Qazvin, Iran, 1924. Lives and works in Qazvin. Monir Farmanfarmaian devices sculptures, designs and paintings with intricate and rigorous, yet light geometric structures.

Since the 1960s, the artist has used the reverse-glass painting technique, the result of which is seen through the smooth side of the glass. In Iran, the technique is as traditional as mosaic, which the artist also works with. Her paintings presented at the Bienal made from the intersection of two circles, which comprise various geometric forms, from the triangle to the undecagon, furnishing

somber colors and a wealth of detail in mirrored surfaces.

The circles communicate between themselves, forming diptyches that revisit the formal and symbolic tradition of Islam. The set forms a delicate sequence of layers of color, interlacing ancestral symbols from the artist's culture and religion in a codified play of tributes and deflections.

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2008

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Heptagon and Hexagon

Square and Pentagon

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Interior lighting. / Instead of an extra-solar light / falling

its color. – In short / the color-effect of the whole / will be

at an angle of 45°. / determine the luminous / effects

the appearance of / matter having a source of light / in its

(lights and shadows) of an / interior source. i.e., that /

molecular construction. / […]

each substance in its chemical composition / is endowed with a “phosphorescence„ (?) / and lights up like luminous

The Bride Stripped Bare By Her Bachelors, Even ·

advertisements / not quite? Its light is not / independent of

Marcel Duchamp

Eduardo Coimbra Rio de Janeiro, Brazil, 1955. Lives and works in Rio de Janeiro. Designing, photographing and creating installations, Eduardo Coimbra captures landscapes and displaces them into a specific environmental situation. By manipulating representations of nature and constructed places, he guarantees his interlocutor a distant and poetic view of those spaces which might otherwise seem irreducible or inalterable. On the second floor of the Bienal building, Luz natural involves the construction of a sky overhead and out of reach of the circulating visitors. To confer a sense of con-

tinuity, the work girdles a sequence of six of the building's pillars with fluorescent lamps covered in acrylic tubing and stamped with images of clouds. These cylinders of light, set one beside the other near where the pillars reach the floor above, open a whole new space. By bringing the sky inside the exhibition, the composition invites the gaze to lift from the horizon, on which the other works are plotted, in order to behold not merely new perspectives, but indeed new places. Seduced by metaphor, the viewer momentarily encounters architecture in its Utopian form.

Luz natural [Natural light] ¡ 2010 project

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Jimmie Durham Arkansas, USA, 1940. Lives and works in Rome, Italy and Berlin, Germany. Attentive to the political and cultural use of objects, spaces and language itself, Durham collects materials and elements that refer to the major themes of western culture, at the same as he distinguishes himself from them.

Critical of the codes and symbols that regulate the way we talk and move about in space, the artist makes no attempt to abolish them, but simply to remain aware of their presence.

Through this stance he develops a brand of poetry or dance, an articulation of actions that follows an open structure and

that can emerge from an intense dialogue with its materials and meanings. For the installation Bureau for Research Into Brazilian Normality, Durham travels around SĂŁo Paulo like some false anthropologist gathering elements and citations of the strange normality of life in the city. Window displays and tables will represent a space reminiscent of an ethnographical museum or study hall. This documental space, replete with annotations and objects chosen for their banal or ridiculous aspect, will capture the taste and everyday life of a city full of residential buildings with pompoussounding names, international fast food chains, shopping centers and monuments to the bandeirante explorers.

Bureau for Research Into Brazilian Normality

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2010 reference images and texts made in São Paulo in July of 2010

“Kalakata! / A rat took a chunk out of your ear / Kalakata / Looks like a waddling duck's rear!”

And the other kids always making fun of the piece of ear that was missing in Kalakata's life.

“Kalakata / Eat your ear with the chunk of bread / They took off of yours / With the dog's mouth!”

When it would come time to go to the bread vendor, Kalakata made sure to keep his tickets clenched in his hand inside the

little plastic bag. That way, if someone made fun of him while he was in line he wouldn't even notice, for his stepmother's constant warnings to be careful forced Kalakata's head to stare only in the direction of the place. A place is a place. If you're going to go piss, piss right there in the line. Don't leave and mark your place with a stone or a brick. All that has to happen is for the person in front of you to get his bread and when you come back the stone'll be gone and you won't have time to get back in line again, the bread'll be

Some years ago Maria Thereza Alves and I distributed an “open letter” about the São Paulo Bienal and the situation of the indigenous peoples of Brazil.

We did not call for a boycott of the Bienal, although some people thought we did; we asked instead that artists think seriously about why there was no call for a boycott. The letter explained that in the entire world Brazil was the only country in the twenty-first century in which some people were not considered to be fully human in the legal system of the country.

For the most part Brazilians did not response to our letter, but we heard from secondary sources that the typical response was the same as it has been for so many years: “The situation is quite complex.”

Over the years, with indigenous peoples losing more land and being decimated by the violence of Brazilian society, this complacent excuse came to be seen as stupid.

But today some changes begin. If I say “not enough”, or something else which might sound paternalistic to Brazilians, I ask that you not consider me as an artist from the U.S., but as an indigenous person from the Americas.

These two continents hold not only our past but also our collective future. The indigenous peoples of Brazil do not belong to Brazil. They belong to ourselves/themselves.

gone. The line is for you to bring the bread back home. Nothing else. And before you get in line, pee three times.

Kalakata would obey and even every tiny step the person in front of him took Kalakata would take another, nearly leaning on him, pull up his baggy, beltless trousers with his wrists, look behind him and beside him and count how many people were more or less left ahead of him, because twice, when it was

his turn to hand them the ticket, they closed: no more bread! He also paid attention to people's elbows in the line. On those bad curves, kids older then fifteen like to cut. And no one can get them back out because of their group that waits outside, a bunch of Greeks, with their knives in their pockets, and their cutter holding four or five tickets. Greeks' bread, Kalakata knows the rule there in the neighborhood and whatever Greek elbows into the

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Anyway, I am pleased to participate in the Biennale, and think to be as participatory as I can manage.

As an artist I of course want to be kind of neutral; in the sense that personal histories and identities are not so interesting in art endeavors. In the same way, I do not want to research nor expose Brazilian racism. It is an old and boring fact, after all; no different from the racism of the other countries of the Americas.

I like very much to come into a place emptyhanded, with my brain also not completely filled.

With a base (a room) within the São Paulo Bienal structure I want to employ my time studying the situations and “complexities” of São Paulo. I do not so much want to visit favelas or poor people as to see what the elite are thinking, saying, doing. The everyday discourses in the shops and streets as well.

It should be possible to find interesting artifacts and material evidence. If things go as planned I will come to São Paulo in late August and stay several months. In that time my International Center for Research of Normal Phenomena can change, expand, take various directions.

Someone said, “If you wish to see God try to look at what he looks at.” I can look at what Brazilians look at. I can watch TV. International Center for Research of Normal Phenomena

line, Kalakata even helps him out, moves back a little and gives him more room.

Kalakata's life moves along like this, going to school, helping in the household chores alongside his six siblings, playing soccer when they pick him as goalie and, even then, when they kick the ball and he doesn't manage to block it, the teasing comes,

“Bird-beaked goalie / Not worth a dime / The ball flew past you / You half-eared slime.”

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Yonamine Luanda, Angola, 1975. Lives and works in Luanda and in Lisbon, Portugal. Yonamine was born at the end of the Portuguese colonial rule in Angola and grew up with the nation in civil war. His work takes painting, drawing, engraving, graffiti, photography, video, and installation as means of framing such processes as accumulation, superposing, mixing, and saturation. He expresses a poetic iconography that reinterprets political, cultural, and everyday practices, as well as references absorbed while simply moving around.

Os mestres e as criaturas novas (remixstyle) is an installa-

Os mestres e as criaturas novas (remixstyle) [The masters and the new creatures (remixstyle)] ¡ 2010 reference image: Dipolo installation detail at ZonaMaco, Mexico City (2009)

tion devised specifically for the Bienal space. It consists of a penetrable room plastered with silk-screen materials: Brazilian newspapers and a curtain made of transparent plastic bags, both new and recycled. The pavilion's window display is also covered in silk-screen prints.

The imagetic contained in these constructive elements is restored to them in shadows simultaneously projected onto the body of the viewer. The installation, an overlap and fusion of earlier ideas and works, such as the video Microlife, translates into an eclectic and unlikely sound assemblage which the visitor can savor inside and outside of the space of circulation.

Cildo Meireles Rio de Janeiro, Brazil, 1948. Lives and works in Rio de Janeiro. Cildo Meireles approaches space as the point of convergence between the real, the symbolic, and the imaginary.

The conceptual matrix from which the artist works leads him to insert political statements into everyday practices and objects, bringing power-relations to light through metaphors.

This procedure is rendered evident in Projeto cédula (Quem matou Herzog?), part of the historic series Inserções em circuitos ideológicos, in which the artist stamped banknotes with the question “Who killed Herzog?” (a Brazilian journalist

murdered during the dictatorship) and then returned them to circulation. In Abajur, the viewer goes up to the second level of a two-floor room from which she/he can appreciate a circular and illuminated projection showing overlapping images of a sea with sailships and a sky filled with clouds and seagulls. Approaching the room, the public gets surprised by the mechanics of a generator that supplies the energy that keeps the light aglow. In this paradoxical environment, divided between what the work reveals and apparently hides, the artist uses the scale and concreteness of the human body to throw up a question about the formation of the Brazilian social space, evoking the violence of time and history.

Abajur 1997 / 2010 project

A recluse can make machines or invest his visions with reality only imperfectly, by writing about them or depicting them to others who are more fortunate than him.

I think it will be impossible for me to learn anything by looking at the machines: hermetically sealed, they will continue to obey Morel's plan. But tomorrow I shall know for sure. I was not able to go down to the basement today, for I spent the whole afternoon trying to find some food.

If one day the images should fail, it would be wrong to suppose that I have destroyed them. On the contrary, my aim is to save them by writing this diary. Invasions by the sea and invasions by the hordes of increased populations threaten them. It pains me to think that my ignorance, kept intact by the library, which does not have a single book I can use for scientific study, may threaten them too.

I shall not elaborate on the dangers that stalk this island

Joseph Kosuth Toledo, USA, 1945. Lives and works in New York, USA and Rome, Italy. Kosuth started working as an artist during the 1960s, while studying anthropology and philosophy, and editing the magazine Art & Language, an influential publication with links to the generation of British and North- American conceptual artists of the period. His works take the form of installations, exhibitions, and publications that explore art as an idea. They reinforce the role of language in the constitution of a work of art and reject its formal, aesthetic, and iconic character. Researching the very nature of art itself,

Kosuth disassembles the codes and processes behind the construction of artistic discourse. North, South, East, West consists of enlarged dictionary entries reproduced in full in white type and set against a black background. This work is one of the first in which Kosuth switches from the exhibition of actual things to the lexical entries that define them, thus questioning the degree to which the description of a thing differs from the thing itself. The interdependence of meanings between the cardinal points, defined in conjunction in a territory, demonstrates that, when it comes to geopolitics, the correspondences between representation and reality are not always self-explanatory.

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– both the land and the men – because the prophecies of Malthus have been forgotten; and, as for the sea, I must confess that each high tide has caused me to fear that the island may be totally submerged. A fisherman at a bar in Rabaul told me that the Ellice, or Lagoon, Islands are unstable, that someone disappear and others emerge from the sea. (Am I in that archipelago? The Sicilian and Ombrellieri are my authorities for believing that I am.)

It is surprising that the invention has deceived the inventor.

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I too thought that the images were live beings, but my position differed from his: Morel conceived all this, he witnessed and directed the work to its completion, while I saw it in the completed form, already in operation.

The case of the inventor who is duped by his own invention emphasizes our need for circumspection. But I may be generalizing about the peculiarities of one man, moralizing about a characteristic that applies only to Morel.

Art as Idea as Idea

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series · 1967 1 · East 2 · North 3 · South 4 · West

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I approve of the direction he gave, no doubt unconsciously, to his efforts to perpetuate man: but he has preserved nothing but sensations, and although his invention was incomplete, he at least foreshadowed the truth: man will one day create human life. His work seems to confirm my old axiom: it is useless to try to keep the whole body alive.

The Invention of Morel · Adolfo Bioy Casares

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Breathing place Stela Barbieri

[... ] Whatever lives Disturbs with life The silence, the sleep, the body That dreamed of cutting itself Some clothes from clouds.

The living shocks, Has teeth, angles, is dense.

The living is dense Like a dog, a man, Like that river The dog without feathers · João Cabral de Melo Neto (direct translation)

The 29th São Paulo Bienal is a space where art expresses itself in a vital and sometimes uncomfortable manner. As everybody indiscriminately shares the air we breathe, the same can happen with artistic production. An exhibition like the Bienal de São Paulo should not be restricted to a reduced number of people, particularly not to an elite. For art is able to throw open, question, reflect and present points of view about what goes on in the world regardless of the preconceived ideas we may have about it. Aesthetic thoughts, articulated with the most diverse life experiences, reverberate inside of us through exhibited artwork, questioning our concepts, prejudices, values and culture, and frequently posing irresolvable challenges and inquiries. The role of art is not to present an answer, but to pose questions. What one sees in the works, and the private manner in which one experiences the artist’s proposal, forms nexuses with other visitors, opens a space in which to share, creates a whole galvanized by surprise, by the unexpected.

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The artist puts us in contact with invention. It is the artist who hears the impossible in the land of freedom and puts the idea into practice. He reminds us of the possibility of inexistent worlds and may even rub our faces in what lies right under our noses. He runs away from the illusion of a rational, falsely stable world, inventing other points of view and states of being, rupturing and questioning standards and routines, offering ambiguity instead of certainty.

Listening and dialogue in the art experience Educational processes happen in this place full of life, tension and incongruence. How can we receive guests at the Bienal de SĂŁo Paulo and maximize their contact with the exhibition? How should we develop significant actions for different people? How do we communicate with a great number of visitors while addressing each in turn?

The Educational Project of the 29th Bienal involves listening and dialogue, learning and deconstruction, receptiveness and rigor, conversation and respect for solitude. It is a collaborative task fulfilled in small groups, eye to eye, as well as in the wider discussion.

Committed to the curatorial concepts of the exhibition, the project contributes to a show that is focused on both art and politics, that has as its main goal the diffusion of contemporary art, that reaches different publics through specially tailored actions and that comes with its own documentation and material, including a website geared toward those interested in aesthetic formation and avid for information, but largely located far away from the big hubs.

As Paulo Freire teaches us, the Educational Project has to be aware of the several voices present in this circle – the voice of the artist, the curator, the student, the visitor (from so many different places), the security guard, the educator – and give them the space they need to understand the works and express themselves in their own way. As the educator says in Pedagogy of Freedom:

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Whoever has something worth saying has also the right and the duty to say it. Conversely, it is also obvious that those who have something to say should know that they are not the only ones with ideas and opinions that need to be expressed. Even more than that, they should be conscious that, no matter how important the issue, their opinion will probably not be the one truth long and anxiously awaited by the multitudes.

Collaborative networks The main focus here is the art experience, that is, to engage with it and share it from an aesthetic and political perspective, as proposed by the general curatorship of the exhibition. In this context, the goal is to work with different targets: specialists, people used to or unfamiliar with the art environment, people with special needs or with limited access to exhibitions and other cultural activities.

The development of the Educational Project for the 29th Bienal de SĂŁo Paulo started in July 2009 through contact with networks, dialogues with educators who had taken part in previous educational discussions with the Biennial Foundation throughout its history, and with different organizations and educational or cultural institutions, always respecting their backgrounds and principles. The network is made up of NGOs, public and private schools, universities, cultural centers, museums, Cultural and Educational Programs run by the city and state of SĂŁo Paulo, as well as similar programs in other states and on the federal level.

The work was developed in a proactive manner, through an invitation to discuss contemporary art and other issues broached by this edition of the Bienal. This first contact gave rise to a collaborative action plan. The challenge was to create possibilities for an encounter between the different publics and the art itself, promoting an unsettling dialogue and assuming as a point of departure the particular experiences and repertoires of each participant.

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The voice is in movement. Everybody can have it. It is the reverberation of the ping-pong of the collective body, of paths crossed, questions raised and experiences lived. Augusto Boal says: “all human beings are actors, because they act; and spectators, because they observe; we all are spect-actors”.

Educational actions In what regards actions that occur before, during and after the exhibition, the 29th Bienal’s Educational Project is structured upon eight axes that create diverse circumstances for knowledge exchange and learning, as follows: Actions before the 29th Bienal · Actions to train public and private school educators on either on-site or distance courses; 2 · Actions with NGOs and neighborhood organizations; 3 · Training course aimed at educators that will be offering guided tours during the exhibition. Part of this activity was done online, in partnership with 22 cultural institutions from São Paulo;1 1

1 Associação Cultural Videobrasil, Caixa Cultural, Centro Cultural Banco do Brasil, Centro Cultural São Paulo, Centro da Cultura Judaica, Instituto de Arte Contemporânea – IAC, Instituto Arte na Escola, Instituto Moreira Salles, Instituto Tomie Ohtake, Itaú Cultural, Memorial da América Latina, Museu Afro Brasil, Museu Brasileiro de Escultura, Museu da Casa Brasileira, Museu da Cidade de São Paulo, Museu da Imagem e do Som, Museu de Arte Brasileira da FAAP, Museu de Arte Contemporânea da USP, Museu de Arte de São Paulo, Museu Lasar Segall, Paço das Artes, Pinacoteca do Estado de São Paulo.

Actions during the 29th Bienal · Guided tours of the 29th Bienal for schools and general public; · Courses for children, young people, teachers and other professionals; 6 · Special program for children and families in the terreiros – meeting points inside the exposition; 7 · Meeting with artists, critics, educators, curators and other professionals – Teacher Week Program; 8 · International Seminar – Education, Art and Politics.

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After the exhibition, a permanent educational sector will be set up to continue to feed the relationship networks established during the event.

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Partnerships The promotion of meetings between teachers that problematize everyday issues paves the way for new modes of learning and establishing a relationship with art and the world.

At these meetings, the discussions were about the concepts related to contemporary art, politics and the curatorial project for the 29th Bienal, as well as those related to the notion of experience with art and the teaching of contemporary art. Teachers taking part in the discussion received the educational material prepared especially for this edition – to be used with their students – and helped to develop a collective poetic action. In the communities, after an initial meeting, some artists were invited to create specific actions with the residents.

The project goal was to attend 400 thousand people on guided tours, to which end meetings and courses were conducted with approximately 35 thousand teachers.

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Educators and training Visitors to the 29th Bienal will be met by a team of 300 educators properly prepared to dialogue with the public thanks to a course held in partnership with the main cultural institutions of São Paulo and designed to strengthen and expand the role of the educator as an instigator of questions.

The course administered to these educators was held in two steps. The first, which took place between April and June, involved 500 university students divided into 24 groups of approximately twenty individuals, with one supervisor per group, which visited educational sectors and exhibitions at 22 cultural spaces in São Paulo. The second step, held from August to September, was offered to 300 students, selected from the initial 500, with a view to deepening their knowledge of the concepts and artists featured at the 29th Bienal.

In terms of public policy, the Educational Project of this edition sought to reach different social groups in diverse ways, offering six initial routes through the exhibition, while stimulating the visitor to construct his/her own itinerary.

In a Bienal that proposes thinking about art and politics through poetry – “there is always a cup of sea to sail in” –, the Educational Project also finds a possible way of carrying out a political action through art. The art comes first, and is an education in itself. This educational and political action is not presented as something rigid and extremely analytical, with methods that frame the art as if it could be explained as a theorem or an historical fact, but rather as a collective body nourished by the listening of art, a body that is always in transformation, that grows by amalgamating other bodies and visions, questioning at every juncture.

After all, if art is vital, then Bienals are there to revitalize.

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On the construction of an archipelago Marta BogĂŠa

Occupy the whole space, shade it, fill it. Seek light, open, recognize the fields articulated in nuclei, relate the countless halls with the existing orthogonal grid. This was the first step.

The recollection of restlessness, of the movement desired for the space, and the recognition – shared with the curators – of an architecture that was an experimental field defined the final configuration of the project.

Three aspects demanded particular attention: to recover and constitute interstitial spaces that can be activated; shake off the orthogonal nature of the halls as a premise; and allow for roaming in fluid continuity across the exhibition fields.

With that done, finding variable, labyrinthine routes enriched by attention to the errancy present in human movement; densifying rather than isolating; recognizing the unstable space as a value, all of these provided significant bases, the result of a rich debate with the curatorial team that allowed for the redefinition of the design eventually established for construction.

The initial metaphor of citadels as a project parameter gave way to the new metaphor of neighborhoods, or boroughs, as non-delimited, but recognizable fields, territories configured by approximations, density and cohabitation. The labyrinthine pathways and the multiple routes were retained, while the skins/walls that delimited each nucleus were shed.

Of the initial outline remained only the desire for disjunction between the territory built for the 29th Bienal, as a rotated field, and the existing orthogonal grid that characterizes the space. The solution was to superpose a field of diagonals upon the strong structural orthogonal lattice of the pillars.

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Existent orthogonal grid

Proposed diagonal grid

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The metaphor that prevailed, in the end, was that of the archipelago, a spray of rocks or islands articulated by densities.

The halls, rocks in the archipelago, were configured around the lines of this grid so as to swallow the existing pillars and thus redefine the geometry of the space; shards of an earlier stable, but ultimately deposed field, in which the tension of rotation now occurs throughout the whole conjunct.

It is a guest architecture that intervenes in the resident architecture in unstable/movable ways. It uses the beauty and coherency of the building to subvert that architecture without having to cover it up. It creates, out of disjunction, two cohabiting territories. It looks for a depth and a variety of paths, organizing the controlled instability of the circuit via diagonals. A field unstable but not random, articulated in escapes that are precisely configured by the lines of force of a mesh recognized as a matrix.

The proposed archipelago also organizes itself as a play of heights and luminosities. Instead of uniform white, each “rock� assumes a temperature of white, using tonal differences to simulate a variance in light that confers the illusion of depth. Likewise, instead of a uniform, standardized height, the blocks are staggered to conjure a certain vibrancy on the vertical as well.

Counter to the habitual lines of architecture, this space is not defined by an addition of elements step by step, but rather takes its lead from sculptural procedure and fills the whole space, constituting blocks full of material from which the final elements derive through subtraction.

It’s an architecture that takes the shadow as its platform.

2nd floor

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Field of relations Architectures made for art exhibitions contain in themselves an enchantment and a secret; they originate from the immaterial field that amalgamates relations.

These are designs that, prior to any architectonic desire, remit to a narrative desire. They are, from the outset, delineated by the provocation of a curatorial reasoning articulated with the works and by an earlier space – a resident space that receives the visiting space proposed for a specific exhibition.

In this sense, there are different elements to be related and that become founding premises: the existing architecture, the curatorial proposal – which points toward a given poetic and conceptual field based on the nature of the selected works and their articulations between themselves and with the host territory.

Starting from an understanding of the particularities of each element and the relational field between them is what furnishes the bases that configure the nature of the space.

In this field, the desirable interlacing of the distinct poetics in play ought to ensure, as a counterweight, an architecture that is coherent and cohesive as a platform, such that it does not become confused with the works and can establish a pertinent, recognizable and singular space.

Thus are the relational milestones, the vertices of the 29th.

The Bienal Pavilion, former Palace of Industries, inaugurated in 1953 as part of the Ibirapuera Park complex,1 figures as one of the most significant works of the Brazilian modern movement.

Instantly recognizable by the large outer marquise that articulates the buildings and configures one of the most impressive meeting spaces in the city of São Paulo, the complex consists of singular buildings, all cast from the same conceptual matrix, but keeping such particularities that make each construction unique.

1 Designed by Oscar Niemeyer, Zenon Lotufo, Helio Uchôa and Eduardo Kneese de Mello, with the collaboration of Gauss Estelita and Carlos Lemos. The Ibirapuera Park complex was designed for the 4th Centenary of the foundation of the city of São Paulo. In: Henrique E. Mindlin, _Arquitetura Moderna no Brasil_. Rio de Janeiro: Aeroplano Editorial/Iphan, 2000.

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The pavilion that houses the São Paulo Bienal presents itself as a regular 250 by 50-meter prism covering a total area of 35 thousand square meters, structured by a 10 meter by 12 meter grille of pillars and two cantilevers that define the lateral marquises on the six-meter ground floor.

Here, from the very beginning, it is important to recognize an instigating ambiguity: the entrance indicated by the marquise intercepts the building transversally, while the “main entrance”, with the flight of steps that ensures the magnitude of the space, as well as the frontal access that reveals the longitudinal extension of the building, is located on the far left of the marquise.

Therein resides a whopper of a contradiction. It is interesting to see the force of the architecture well delineated, in this case, the power of the marquise as a field of articulation and ushering of flow. The most suggested entrance ends up being that indicated by the marquise, pertinent in relation to the park but undeserving of the potency of the building and, above all, not the access originally defined by its design.2 As its point of access, the architecture for the 29th Bienal recognizes a transversal field at the head of the building, defined by two parallel lines that funnel inwards and advance across the window frames, where they spatialize into two symmetrical porticos, a kind of door sill, that suppress the outside view in order to reveal it from within the glass-lined interior.

This level, measuring 7.5 meters from floor to ceiling, conjures a strong presence of the park landscape. An insinuating mezzanine intercepts this field, already announcing one of the major particularities of this pavilion – the tidy, symmetrical and homogeneous exterior that opens onto a complex, asymmetrical and varied interior.

2 See the drawings published in Mindlin, op. cit., pp. 208, 209, 214, in which one can see a large “veranda”, a kind of covered square in the first six structural modules.

Access through the head of the building was reestablished for the 27th Biennial and reiterated as a square in the 28th. The 29th edition restores access via this region, now using an axis transversal to the building.

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The first level is the base of the atrium. The powerful field engendered by the de-centered amoeboid-shaped void is one of the most surprising spans in modern architecture. It displaces the regular symmetry of the building, configuring a vertical field that is enriched by the haphazard contours of the non-prismatic void and, in this sense, constitutes a considerable force field that verticalizes the experience, like a kind of interior vertical street.

This outstanding extension returns on the second level, distinct from the third by virtue of its occupation (air-conditioned modules and space shared with MAC USP (Museum of Contemporary Art of the University of São Paulo).

For the 29th Bienal, considering the building as the originary material context meant recognizing the exuberance of an architecture that imposes itself as a singular constitution that, in this case, would not serve as an appropriate matrix. As such, the platform for the 29th Bienal, which seeks another order of space (non-transparent and discontinuous), organizes itself by subverting it, by devising another geometric base as its matrix – a diagonal weft. It does this, however, without hiding or covering the building, but by maintaining the tension of two spaces in dissonant cohabitation.

“There is always a cup of sea to sail in” is curatorially defined by a multifaceted, non-linear, non-hierarchised narrative for which an isotropic, continuous and transparent space would not prove effective. It looks for cohabitation between differences, in which the definition of distinct exhibition rhythms gives the show its legibility.

One of the enchantments of the Bienal, and also one of its stiffest challenges, is its considerable size. This physical extension, conferred by the dimensions of the pavilion, will echo throughout the 29th Bienal as a symbolic extension, organized out of “two significant territories – the first presenting the works of art, and the second defining a forum for debate”. 3

3 Curatorial concept behind the definition of exhibition fields and terreiros. For more on this see the document presented in May 2010.

the archipelago

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Ground floor + 1st

2nd

3rd

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In the exhibition spaces, rather than creating fields of frank articulation, in large continuous spaces with various objects in coexistence, what prevails is the concept of a distinct weave that both “approximates and separates”, as we read in the curatorial text on the terreiro “Remembrance and oblivion”.

The initial bases for the architecture of the 29th Biennial derive from the interweaving of the powerfully singular architecture of the Pavilion and a curatorial concept based on global diversity: an architecture constituted as a space that is continuous but not homogeneous; varied but not hierarchised; fluid but built from solid materials.

In the archipelago of exhibition spaces designed by this architecture, the coagulation of “rocks” or “islands” creates neighboring groups configured by the exhibition halls and their interstitial spaces, furnishing multidirectional crossings.

And so we have a varied territory that rigorously unfolds along the underlying lines of force. It is a restless architecture, established in intercourse with the works and their poetics.

Finally, the works, the constitutive lines, the relational field wrought in simultaneity with the architecture conspire to comprise the imagined – though never totally expected – interior landscape with which the engendered archipelago is activated.

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Capacete Project: notes on the proposal for the 29th Bienal de São Paulo

+ As part of the group of actions and events that embody the 29th Bienal de São Paulo, CAPACETE proposes to be, from March 2010 onwards, a “space-time” for multidisciplinary convergence, following the “conversation lounge” format. In the 19th century, this format allowed different personalities and upper bourgeoisie professionals to exchange information regarding their various trips, research, and activities. In the era of travel, however, John Cage brought the “lounge” from the dining room to the kitchen.

And today the “lounge” is in the virtual world of the Internet.

+ CAPACETE assumes that the most important events that lead to the construction of meaning take place in the “in-between spaces” and “in-between times,” and so they present themselves in fluctuating and unstable ways, therefore being unpredictable and uncontrollable. Can the breakfast be the central forum for convergence of ideas and exchanges? Or has it always been the nerve center for exchange and meetings? CAPACETE seeks to propose, in an ongoing way and from the most unexpected places, nonlinear and nonhierarchical exchanges.

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+ CAPACETE has been through several restructuring phases, questioning the very function of the “residence” format within the local context, adapting to the demands of increasingly complex projects, and inserting them into different logics and localities. + From the start, in 1998, CAPACETE has instigated and supported the various researches conducted by its artists/ curators/critics/guests, inserting them into the logic of the unpredictable. What interests CAPACETE and what connects it to the curatorial project of the 29th Bienal is this notion of an unstable system generating uncertainties and, therefore, entailing possible connections, as improbable as they may seem.

+ As an invited organism joining the body of actions of the 29th Bienal de São Paulo, CAPACETE will act as a discursive platform for the curatorial proposal, building a lively dialogue with its participants.

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Program of talks till the end of August in 2010 Anri Sala · Jeremy Deller e Amilcar Parker · Cristina Ribas e Wouter Osterholt & Elke Uitentuis · Daniela Castro, Inti Guerrero, Luisa Duarte e Sarah Farrer · Renata Lucas e Carlos Bunga · Milton Machado e Martin Beck · Santiago Garcia Navarro e Carla Zaccagnini · Teresa Riccardi e Julia Rometti & Victor Costales · Rina Carvajal, Moacir dos Anjos, Agnaldo Farias · Chus Martínez, Yuko Hasegawa · Fernando Alvim e Sarat Maharaj · Raquel Garbelotti com Cauê Alves, Ilana Feldman e Ismail Xavier · Jimmie Durham e Maria Thereza Alves · Ducha e Jean-Pascal Flavien · Adrià Juliá com Madalena Bernardes, Carlos Alberto Franzoi, Gleison Vieira · Wendelien van Oldenborgh e Raquel Garbelotti · Romulo Fróes, Eduardo Climachauska e Nuno Ramos · Mariana Castillo Deball e Tiago Carneiro da Cunha · Ana Paula Cohen · Benjamin Seroussi · Bik van der Pol · Cauê Alves · Daniela Bershan · Gleison Vieira · Guilherme Held · Hans Christian Dany · Jonas Ohlson · Ligia Nobre · Maíra das Neves · Marcelo Cabral · Maria Ferran · Otto Berchein · Pedro Ito

Residency programs in Rio de Janeiro / Program of the 29ª Bienal de São Paulo: Cristina Ribas (Porto Alegre/Rio de Janeiro) · Sarah Farah (New Zeland/Netherlands) · Victor Costales (Ecuador/ Belarus) · Julia Rometti (France) · Santiago Garcia Navarro (Buenos Aires) · Kasper Pederson (Copenhagen/New York) · Adrià Juliá (USA/Barcelona) · Ducha (Rio de Janeiro) · Jean-Pascal Flavien (France) · Mariana Del Castillo Deball (Mexico) · Sasha Huber (Switzerland/Finland) · Adriana Lara (Mexico) · Gabriel Lester (Netherlands).

Residency programs in Rio de Janeiro / Program of the 29ª Bienal de São Paulo: Carla Zaccagnini (São Paulo) · Liz Linden (USA) · Wouter Osterholt (The Netherlans) · Elke Uitentuis (Netherlands) · Amilcar Parker (São Paulo) · Vitor Cesar (Fortaleza/ São Paulo) · Kasper Pederson (Copenhagen/New York) · Adrià Juliá (USA/Barcelona) · Louidgi Beltrami (France) · Elfi Turpin (France) · Tamar Guimarães (Minas Gerais/ Denmark) · Raimundas Malasauskas (Lithuania).

Oficina Máquina de Responder (Answering machine workshop) + Capacete proposes, as part of its activities, the Máquina de Responder workshop, for a group between ten and fifteen people selected from a public edit. It is characterized as an “working table”, featured during nine months and that aims at sharpening the skills of listening and answering – respons(h)ability – to some questions placed by the 29th Bienal, always from the particularities of the practice of each participant. Thinking the text as a foremost matter of reflection and intervention, these workshops are a laboratory for discussion and production in order to generate a critical and qualitative fountainhead related to the event and to the public of this biennal.

Participants Cayo Honorato · Daniel Rubim · Daniela Castro · Fernanda Lopes · Fernanda Pitta · Helmut Batista · Hugo Fortes · Jorge Menna Barreto · Júlia Ayerbe · Julia Buenaventura · Livia Benedetti · Lucia Prancha · Luiza Proença · Mariana Lanari · Rafael RG · Keila Kern · Roberto Winter · Rodrigo Garcia Dutra · Vagner Godoi · Vitor Cesar.

works in exhibition

Adrian Piper Bach Whistled · 1970 · sound installation · soundtrack of performance · 44’7” · courtesy: Adrian Piper Research Archive Foundation, Berlin Aernout Mik Communitas · 2010 · video installation · HD, back projection, 3 synchronized channels, color, silent · courtesy: artist and Carlier | Gebauer, Berlin · support: The Netherlands Foundation for Visual Arts, Design and Architecture, the Teatre Dramatyczny Warsaw; Fundação Bienal de São Paulo Ai Weiwei Circle of Animals · 2010 · installation · bronze · 12 sculptures approx.

300 × 100 × 100 cm each; overall dimensions variable · courtesy: artist Albano Afonso O jardim, faço nele a volta ao infinito – parte 2, a noite [The garden, I make in it the return to the infinite – part 2, the night] · 2010 · installation · bronze; light projectors; lens; tripod; desks; motors; crystals; video projections; photographs · dimensions variable · commissioned by: Fundação Bienal de São Paulo Alberto Greco Vivo dito · 1963 · action documentation · print on photograph paper RC mate · 3 photographs 75 × 100 cm; 4 photographs 100 × 75 cm · courtesy: Montserrat Santamaría Puigbo · photo: Montserrat Santamaría Puigbo · © Alberto Greco's Family; Montserrat Santamaría Puigbo Alessandra Sanguinetti La foto de antes [The old picture] · 1997 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti El collar [The necklace] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Brindis [To the past] · 2000 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Hortencias [Hydrangeas] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti El casalito [The couple] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] ·

photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti El gato negro [The black cat] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Baño de verano [Summer bath] · 2000 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Inmaculada Concepcion [Immaculate Conception] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Madres [Mothers] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Madonna · 2001 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Revolver · 2002 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti El funeral de Archibaldo [Archibaldo´s funeral] · 1999 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Ofelias [Ophelias] · 2002 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Tres generaciones [Three generations] · 2002 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado

de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Ladron de gallinas [Chicken thief] · 2002 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti La respuesta [The answer] · 2002 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti La nube negra [The black cloud] · 2001 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti La novela de las tres de la tarde [Three o'clock soap opera] · 2004 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti El tiempo vuela [Time flies] · 2005 · from the series: El devenir de sus dias [The life that came] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti La niñera [The nanny] · 2006 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti La cama matrimonial [The wedding bed] · 2007 · from the series: El devenir de sus dias [The life that came] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti De verdad [The real thing] · 2007 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Garua [Drizzle] · 2008 · from the series: Las Aventuras de Guille y Belinda y el enigmático significado de sus sueños [The

adventures of Guille and Bellinda and the enigmatic meaning of their dreams] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Rocio, Guille y Oriana [Rocio, Guille, and Oriana] · 2009 · from the series: El devenir de sus dias [The life that came] · photograph · Fujiflex print · 76.2 × 76.2 cm · collection: artist · courtesy: artist; Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti Alfredo Jaar The Eyes of Gutete Emerita · 1996 / 2000 · installation · light table; 1 million slides; magnifiers; illuminated wall text · light table 91.5 × 553 × 363 cm; illuminated text 20 × 435 cm; overall dimensions variable · collection: Daros Latinamerica Collection, Zürich Alice Miceli Projeto Chernobyl [Chernobyl Project] · 2007 – 2010 · installation · light boxes with radiographic negative · 30 boxes 48 × 38 × 8 cm each; overall dimensions variable · collection: artist · commissioned by: Fundação Bienal de São Paulo Allan Sekula Ship of Fools · 1999 – 2010 · from the series: Ship of Fools · slide projection · 2 synchronized Kodak Ektapro 5000 projectors with Bässgen Basix control system, 2 Navitar 50 mm F. 2.8 PC Lenses· dimensions variable · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Crew, Pilot, and Russian Girlfriend (Novorossisk) 1-10 · 1999 – 2010 · from the series: Ship of Fools · photograph · c-print · 10 photographs 101.6 × 149.9 cm each · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Ship Lesson (Durban) · 1999 – 2010 · from the series: Ship of Fools · photograph · c-print · 101.6 × 149.9 cm · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Drunken Pilot (Koper) & Near Collision (Koper) 1-2 · 1999 – 2010 · from the series: Ship of Fools · photograph · c-print · 101,6 × 149,9 cm; 50,8 × 74,9 cm each · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Good Ship Bad Ship (Limassol) 1-2 · 1999 – 2010 · from the series: Ship of Fools · photograph · c-print · horizontal diptych 101.6 × 154.9 cm each · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Engine Room Eyes 1-3 · 1999 – 2010 · from the series: Ship of Fools · photograph · c-print · horizontal triptych 101.6 × 127 cm each · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Russian Visitors (Novorossisk) 1-2 · 1999 – 2010 · from the series: Ship of

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Fools · photograph · c-print · horizontal diptych 101.6 × 149.9 cm each · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Churn (1 RPM clockwise) · 1999 – 2010 · from the series: Ship of Fools · photograph · c-print · 121.9 × 132.1 cm · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Docker's Museum (Version 1 for Antwerp and Santos) · 2010 · from the series: Ship of Fools · found objects · woodcuts; engravings; figurines; flags; medallions; fabric uniform patches; postcards; gelatin silver prints; wooden container; ship hull model · dimensions variable · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Docker portraits (Santos) 1-9 · 2010 · from the series: Ship of Fools · photograph · c-print · 9 photographs 101.6 × 149.9 cm each · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Churn (1 RPM clockwise) · 2009 – 2010 · from the series: Ship of Fools · slide projection · circular slide in rotary projection; replacement bulbs · dimensions variable · courtesy: artist; Christopher Grimes Gallery, Santa Monica · support: Museum van Hedendaagse Kunst Antwerpen; Fundação Bienal de São Paulo Allora & Calzadilla A Movement without Development · 2010 · performance · 10 musicians; snare drum; flute; clarinet; trombone; trumpet; tube; saxophone · 17’, every hour, 3 times a week · support: Auditório Ibirapuera, São Paulo · commissioned by: Fundação Bienal de São Paulo Amar Kanwar The Lightning Testimonies · 2007 · video installation · HD, 8 synchronized channels, color and black/white, sound · 32’31” · courtesy: artist; Marian Goodman Gallery, New York and Paris Amelia Toledo Glu-Glu · 1968 / 2010 · multiple, reedition · blown glass; water and soap · 30 × 18 ø cm · collection: artist · courtesy: Galeria Nara Roesler, São Paulo Medusa · 1970 / 2010 · multiple, reedition · flexible PVC tube; air; water; oil and pigments · dimensions variable · collection: artist · courtesy: Galeria Nara Roesler, São Paulo — from the series: Impulsos [Impulses] · 2007 · objects · concrete jasper stone stools · approx. 38 × 50 × 40 cm each · collection: artist · courtesy: Galeria Nara Roesler, São Paulo — from the series: Campos de cor [Fields of Color] · 1969 / 2010 · installation · pigmented jute fabric · dimensions variable · collection: artist · courtesy: Galeria Nara Roesler, São Paulo Ana Gallardo Un lugar para vivir cuando seamos viejos, El baile: Danzón / Conchita, Lucio, Maria Ascención [A place to live when we are

old, The ball: Danzón / Conchita, Lucio, Maria Ascención] · 2010 · installation; performance · video, color, sound; drawing on wall; second-hand furniture; dancers; blog · dimensions variable · commissioned by: Fundação Bienal de São Paulo · Collective project with Mario Gómez and Ramiro Gallardo Andrea Büttner Untitled · 2010 · screenprint · print on paper · 120 × 160 cm · courtesy: artist; Hollybush Gardens, London · commissioned by: Fundação Bienal de São Paulo Untitled · 2010 · screenprint · print on paper · 120 × 160 cm · courtesy: artist; Hollybush Gardens, London · commissioned by: Fundação Bienal de São Paulo Vogelpredigt [Sermon of the birds] · 2010 · woodcut · print on paper · 180 × 240 cm · courtesy: artist; Hollybush Gardens, London Drinking Man · 2010 · woodcut · print on paper · 180 × 240 cm · courtesy: artist; Hollybush Gardens, London Pebble · 2010 · woodcut · print on paper · 120 x180 cm · courtesy: artist; Hollybush Gardens, London Bush · 2010 · woodcut · print on paper · 120 × 180 cm · courtesy: artist; Hollybush Gardens, London Tears · 2010 · woodcut · print on paper · 120 × 180 cm · courtesy: artist; Hollybush Gardens, London Table · 2010 · woodcut · print on paper · 147 × 144 cm · courtesy: artist; Hollybush Gardens, London · commissioned by: Fundação Bienal de São Paulo Father · 2010 · woodcut · print on paper · 218 × 136 cm · courtesy: artist; Hollybush Gardens, London · commissioned by: Fundação Bienal de São Paulo Tent · 2010 · woodcut · print on paper · 130 × 218 cm · courtesy: artist; Hollybush Gardens, London · commissioned by: Fundação Bienal de São Paulo Man with Fabric · 2010 · woodcut · print on paper · 118 × 336 cm · courtesy: artist; Hollybush Gardens, London · commissioned by: Fundação Bienal de São Paulo Andrea Geyer Criminal Case 40/61: Reverb · 2009 · video installation · HD, 6 synchronized channels, color, sound · 42’ · courtesy: Galerie Thomas Zander, Köln Andrew Esiebo God Is Alive · 2006 · photograph · print on cotton fiber paper · 10 photographs 100 × 150 cm each Anna Maria Maiolino Arroz e feijão [Rice and beans] · 1979 / 2007 · installation · fomica table; 20 black chairs; dishes; glasses; silverware, earth; rice and bean seeds; shelves and video on TV · table 540 × 120 cm; overall dimensions variable · collection: artist Piccolo mondo · 1982 · from the series: photo-poem, action · photograph · blackand-white print on photographic paper · 37.5 × 47 cm · collection: artist Por um fio [By a thread] · 1976 · from the series: photo-poem, action · photograph · black-and-white print on photographic paper · 52 × 79 cm · collection: artist Solitário ou paciência [Solitaire or patience] · 1976 · installation · table;

chair; base; tablecloth; cards · dimensions variable · collection: artist Anri Sala Le Clash · 2010 · video installation · HD, color, dolby surround sound 5.1; molded glass; music box; ticket booklets · 8’31” · courtesy: artist; galerie Chantal Crousel, Paris; Marian Goodman Gallery, New York; Gallery Hauser & Wirth, Zürich, London; Johnen Galerie, Berlin Antonieta Sosa Pereza [Laziness] · 1985 · second part of the performance Del cuerpo al vacío [My body to the void] · performance documentation · video, color, sound; black-and-white print on photographic paper · video 8’17”; 3 photographs 75 × 100 cm Antonio Dias Faça você mesmo: Território liberdade [Do it yourself: Freedom territory] · 1968 · installation · adhesive plotter on the floor · 600 × 400 cm · collection: Daros Collection, Zürich O país inventado (Dias - de - Deus Dará) [The invented country] · 1976 · installation · satin flag, bronze pole · pole 500 cm · collection: artist Antonio Manuel Semi-ótica [Semi-optics] · 1975 · film · 35 mm, DVD transfer, color, sound · 6’ · collection: artist Alab atam emof [Tellub sllik regnuh] · 1975 · flan · newspaper printing plate · 53.5 × 38.5 cm · collection: artist Estudantes fazem o caos e anunciam nova passeata [Students make chaos and announce new demonstration] · 1968 · flan · newspaper printing plate · 51 × 37 cm · collection: artist Pintor ensina Deus a pintar [Painter teaches God how to paint] · 1973 · flan · newspaper printing plate · 55 × 37 cm · collection: artist Feitiço contra o feiticeiro [The witchcraft turned against the witch] · 1975 · flan · newspaper printing plate · 55 × 37 cm · collection: artist Isso é o que é [That’s what it is] · 1975 · flan · newspaper printing plate · 54.5 × 38.5 cm · collection: artist As armas/os desarmados [The weapons/ the unloaded] · 1968 · flan · newspaper printing plate · 56.5 × 37 cm · collection: artist Dura assassina [Hard killer] · 1968 · flan · newspaper printing plate · 56.5 × 37.2 cm · collection: artist As armas do diálogo [The weapons of dialogue] · 1968 · flan · newspaper printing plate · 56 × 37.5 cm · collection: artist A inglória vitória dos sabores [The inglorious victory of flavors] · 1968 · flan · newspaper printing plate · 56.5 × 37.5 cm · collection: artist Roubaram o poema enterrado [The buried poem has been stolen] · 1975 · flan · newspaper printing plate · 54.5 × 37 cm · collection: artist Chupava sangue dando gargalhadas [Sucked blood laughing out loud] · 1973 · flan · newspaper printing plate · 36.5 × 54 cm · collection: artist Dia a dia a Manuel [Day to day to Manuel] · 1975 · flan · newspaper printing plate · 54.5 × 37 cm · collection: artist

Silêncio barulho [Silence noise] · 1975 · flan · newspaper printing plate · 54.5 × 37 cm · collection: artist Sem censura [No censorship] · 1968 · flan · newspaper printing plate · 57 × 38 cm · collection: artist Wanted Rose Selavy [Procura-se Rose Selavy] · 1975 · flan · newspaper printing plate · 56.4 × 39 cm · collection: artist A imagem da violência [The image of violence] · 1968 · flan · newspaper printing plate · 56.5 × 38 cm · collection: artist Deu-se um claro no salão e o poeta virou estrela [There was a lightning on the ballroom, and the poet turned into star] · 1973 · flan · newspaper printing plate · 54 × 36.5 cm · collection: artist Poema classificado [Classified poem] · 1975 · flan · newspaper printing plate · 55 × 37.5 cm · collection: artist Perturbou o coro dos contentes [Disturbed the happy choir] · 1975 · flan · newspaper printing plate · 54 × 36.5 cm · collection: artist The Cock of the Golden Eggs · 1973 · flan · newspaper printing plate · 54 × 36.5 cm · collection: artist Sabor doce para bocas amargas [Sweet flavor for bitter mouths] · 1975 · flan · newspaper printing plate · 53.5 × 36.5 cm · collection: artist Pintor faz exposição [Painter makes an exhibition] · 1975 · flan · newspaper printing plate · 53 × 36 cm · collection: artist Amarrou um bode na dança do mal [Tied a goat in the evil’s dance] · 1975 · flan · newspaper printing plate · 55 × 37 cm · collection: artist A palavra/o pau/a pedra [The word/ the stick/ the stone] · 1968 · flan · newspaper printing plate · 56.5 × 37 cm · collection: artist A batalha de junho [The june battle] · 1968 · flan · newspaper printing plate · 56.5 × 37 cm · collection: artist Os cavaleiros do Apocalipse [The warriors of the Apocalypse] · 1968 · flan · newspaper printing plate · 56.5 × 37.5 cm · collection: artist Aulas suspensas [Interrupted classes] · 1968 · flan · newspaper printing plate · 56 × 36.7 cm · collection: artist Comeu gato por lebre [Bought a pig in a pe] · 1975 · flan · newspaper printing plate · 53 × 35.5 cm · collection: artist Salto mortal com roupa escamada [Somersault with scale outfit] · 1975 · flan · newspaper printing plate · 54.5 × 36.5 cm · collection: artist Morro de Vintém [Vintém mount] · 1968 · flan · newspaper printing plate · 56 × 37 cm · collection: artist Passeata não pode sair [Demonstration cannot leave] · 1968 · flan · newspaper printing plate · 55 × 37.5 cm · collection: artist Carnaval 2 [Carnival 2] · 1968 · flan · newspaper printing plate · 51.5 × 29 cm · collection: artist Governo ataca agitação [Government attacks agitation] · 1968 · flan · newspaper printing plate · 48.5 × 38 cm · collection: artist Retrato falado [Facial composite] · 1968 · flan · newspaper printing plate · 48.5 × 38 cm · collection: artist Sorriso em vez de ódio [Smile instead of hate] · 1968 · flan · newspaper printing plate · 53 × 37 cm · collection: artist

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Praça é o povo [The square is the people] · 1968 · flan · newspaper printing plate · 56.5 × 37 cm · collection: artist Marcha reúne cem mil [March gathers one hundred thousand] · 1968 · flan · newspaper printing plate · 52.5 × 37 cm · collection: artist Repressão outra vez – eis o saldo [Repression once again – here’s the balance] · 1968 · objects · wood; fabric; rope; silkscreen · 5 objects 122 × 80 cm each · collection: João Sattamini, lessor Museu de Arte Contemporânea de Niterói Antonio Vega Macotela Time Divisa · 2006 – 2010 · exchanges · objects; drawings; ceramics; videos and collages · 22 exchanges; dimensions variable · collection: artist Apichatpong Weerasethakul Phantoms of Nabua · 2009 · video installation · HD, color, sound · 10’56” · © Kick the Machine Films · commissioned by: Animate Projects, with Haus der Kunst, Munich; FACT (Foundation for Art and Creative Technology), Liverpool · Produced by Illuminations Films, London; Kick the Machine Films, Bangkok Archigram Group Illustration from Living Arts Catalogue – Communication (Living City Exhibition) · 1963 · graphic material · black & white photographic print · 70 × 100 cm · collection: Archigram Archives, London Sick (Living City Exhibition – ICA installation) · 1963 · documentation · color photograph · 72 × 102 cm · collection: Archigram Archives, London Dream City · 1963 · architectural project · photograph mounted on board · 45 × 89.5 cm · collection: Archigram Archives, London Archigram Group (David Greene) Map of Bot Landscape · 1969 · from the series: Bottery / L.A.W.u.N. (Locally Available World unseen Network) · architectural project · ordnance survey map with added line work · 23 × 16 cm · collection: Archigram Archives, London Briefing Collage for Your Consideration · 1969 · from the series: Bottery / L.A.W.u.N. (Locally Available World unseen Network) · architectural project · magazine clippings and xerox copy · 19.3 × 23 cm · collection: Archigram Archives, London Park Scene with Mobot Facilities · 1969 · from the series: Bottery / L.A.W.u.N. (Locally Available World unseen Network) · architectural project · black-andwhite photograph with added collage · 21.3 × 22.8 cm · collection: Archigram Archives, London Park Scene with Mobot Facilities (detail) · 1969 · from the series: Bottery / L.A.W.u.N. (Locally Available World unseen Network) · architectural project · color print · 16 × 23 cm · collection: Archigram Archives, London Examples of Plug Installations · 1969 · from the series: Bottery / L.A.W.u.N. (Locally Available World unseen Network) · architectural project · color prints from transparencies · 20 × 25 cm · collection: Archigram Archives, London Imagining the Invisible University · 1969 · from the series: Bottery / L.A.W.u.N. (Locally Available World unseen Network) · architectural project · black & white

photographic print · 50 × 40 cm · collection: Archigram Archives, London Archigram Group (David Greene & Michael Webb) Story of the Thing · 1963 · graphic material · photograhic collage · 29.3 × 89.5 cm · collection: Archigram Archives, London Archigram Group (Peter Cook) Living City Diary (Living City Exhibition) · 1963 · graphic material · ink and film on tracing paper · 36.8 × 65.5 cm · collection: Archigram Archives, London Sketch Plan (Living City Exhibition) · 1963 · architectural project · reproduction of original drawing, ink, crayon felt pen on tracing paper · 21.2 × 46.6 cm · collection: Archigram Archives, London Sketch Section 1 (Living City Exhibition) · 1963 · architectural project · reproduction of original drawing, ink, crayon felt pen on tracing paper · 27.4 × 62.2 cm · collection: Archigram Archives, London Sketch Section 2 (Living City Exhibition) · 1963 · architectural project · reproduction of original drawing, ink, crayon felt pen on tracing paper · 13.8 × 44.4 cm · collection: Archigram Archives, London Town before Instant City; Preparation stage; Catalyst stage; Aftermath · 1968 · from the series: Instant City · architectural project · ink line on art board with transfer lettering and tone film · 4 drawings 29.8 × 41 cm each · collection: Archigram Archives, London Instant City Airship, Sequence of Effect on a Typical English Town: 1 Before Event: A sleeping town; 2: Descent; 3: Event; 4: Highest Intensity; 5: Infiltration; 6: Network Takes Over · 1968 · from the series: Instant City · architectural project · black-and-white photographic print · 3 prints 39 × 27 cm each · collection: Archigram Archives, London Instant City Progression – Visit Nº 3 Bournmouth; Visit Nº 9 St Helens; Visit Nº 21 Nottingham · 1968 · from the series: Instant City · architectural project · reduced copy print of original dyeline print with added color annotation · 3 prints 50.4 × 35.6 cm each · collection: Archigram Archives, London Urban Action · 1968 · from the series: Instant City · architectural project · collage, heat sealed · 28 × 39 cm · collection: Archigram Archives, London Glamour: Typical Nighttime Scene · 1968 · from the series: Instant City · architectural project · photographic print from original collage · 33.2 × 47.7 cm · collection: Archigram Archives, London Response Unit · 1968 · from the series: Instant City · architectural project · photographic print from original collage · 37.2 × 48 cm · collection: Archigram Archives, London Archigram Group (Ron Herron) Optional Extras (Manzak) · 1969 · from the series: Manzak · architectural project · laser print of collage, ink, letra-film on board · 21 × 26 cm · collection: Archigram Archives, London Manzak on Beach · 1969 · from the series: Manzak · architectural project · laser print of collage, ink, wax crayon, letraset film on board · 22.7 × 25.8 cm · collection: Archigram Archives, London Manzak out for a Walk · 1969 · from the series: Manzak · architectural project · laser print of collage, ink, wax crayon,

letraset film on board · 35.5 × 28 cm · collection: Archigram Archives, London Manzak – Seat · 1969 · from the series: Manzak · architectural project · laser print of collage, ink, letra-film on board · 16.8 × 24.4 cm · collection: Archigram Archives, London Instant City Sketches from Notebooks · 1968 · from the series: Instant City · architectural project · laser prints · 9 prints 12.5 × 21.5 cm each; 1 print 28 × 21.5 cm cada · collection: Archigram Archives, London It’s a…beach · 1971 · from the series: It’s a... · architectural project · laser print of ink, collage, letra-film, adhesive dots on mounting board · 44.5 × 48 cm · collection: Archigram Archives, London Archigram Group Daily Express Newspaper with Reports of Instant City and Monte Carlo Projects · 1968 · documentation · front and back pages of newspaper · 72 × 102 cm · collection: Archigram Archives, London Artur Barrio da INUTILIDADE da UTILIDADE da POLíTICA da ARTE · 2010 · installation · dimensions variable P.H. ...................................... (1969). · 1969 · [record-film] · 8 mm transferred to DVD, black & white, silent · 2’26” · collection: artist · photo: record-photo: César Carneiro · action carried out on the external area of MAM in Rio de Janeiro - Brasil; materials: wind / 2 white toilet paper rolls / the body Uma semana de outubro: 77 – Une semaine d’octobre: 77 [A week in October: 77] · 1977 · A série ..........

Projetos sobre carvão. [The serie ..........“Projects” on the kraft.] · indian ink; photograph and cloth glued and stapled on cardboard · 48.5 × 64 cm · collection: Jean Cardilès, Grand Rodez Situação T/T,1 (1970) [Situation T/T, 1 (1970)] · 1970 · [record-photos] · recordsphotos; color and black and white slides · 43 Records-photos 30 × 45 cm each; 11 Records-photos 45 × 30 cm each · collection: Instituto Inhotim, Brumadinho · photo: record-photo: César Carneiro · materials: cables; meet; blood; bones.... etc.

Situação T/T,1 (1970) [Situation T/T, 1 (1970)] · 1970 · [record-film] · 16mm, black and white, silent · 12’ · collection: Instituto Inhotim, Brumadinho · photo: record-photo: César Carneiro · materials: cables; meet; blood; bones....etc.

T.r.à.B.H.,M.G., Br.,Le 20.04.70 · 1970 · [record-book] · wood board; records-photos, color and black-andwhite · 20 × 21 × 3,5 cm · collection: Paulo Pimenta, Porto · photo: César Carneiro · Record-photos of one of the parts of Situação T/T,1 (1970) glued to a Registerbook. Editon of 5 copies to each part of Situação T/T, 1 (1970). These five copies were made in 1975 / 1977/Paris Situação T/T,1 (2ª parte).........1970 [Situation T/T,1 (2nd part)........1970] · 1970 · [record-book] · wood board; records-photos, color and black-andwhite · 20 × 20 × 3.5 cm · collection: Paulo Pimenta, Porto · photo: record-photo: César Carneiro · Record-photos of one of the parts of Situação T/T,1 (1970) glued to a Register-book. Editon of 5 copies to each part of Situação T/T, 1 (1970). These five copies were made in 1975 / 1977/Paris

Situação T/T,1 (3ª parte).............1970 [Situation T/T,1 (3rd part).....1970.] · 1970 · [record-book] · wood board; records-photos, color and black-andwhite · 20 × 20 × 3.5 cm · collection: Paulo Pimenta, Porto · photo: record-photo: César Carneiro · Record-photos of one of the parts of Situação T/T,1 (1970) glued to a Register-book. Editon of 5 copies to each part of Situação T/T, 1 (1970). These five copies were made in 1975 / 1977/ Paris Situação... ORHHHHHHH... ou... 5.000...

T.E ... em........ N.Y... city......(1969). · 1969 · [records-photos] · color recordsphotos from slides and black-white · 31 Records-photos 30 × 45 cm each · collection: Galeria Millan, São Paulo · photo: record-photo: César Carneiro T.r.à.B.H.,M.G., Br.,Le 21.04.70 ou Situação T/T,1 (1ª parte)..........1970. · 1970 · [record-book] · color and black and white records-photos, indian ink on cardboard · 2.7 × 20.2 × 19.7 cm · collection: Gilberto Chateaubriand MAM RJ · photo: record-photo: César Carneiro · Record-photos of one of the parts of Situação T/T,1 (1970) glued to a Registerbook. Editon of 5 copies to each part of Situação T/T, 1 (1970). These five copies were made in 1975 / 1977/Paris T.r.à.B.H.,M.G., Br.,Le 21.04.70 ou Situação T/T,1 (2ª parte) · 1970 · [recordbook] · records-photos, indian ink, typed text on cardboard · 3.2 × 20.1 × 19.5 cm · collection: Gilberto Chateaubriand MAM RJ · photo: record-photo: César Carneiro · Record-photos of one of the parts of Situação T/T,1 (1970) glued to a Registerbook. Editon of 5 copies to each part of Situação T/T, 1 (1970). These five copies were made in 1975 / 1977/Paris T.r.à.B.H.,M.G., Br.,Le 21.04.70 ou Situação T/T,1 (3ª parte) · 1970 · [recordbook] · records-photos, indian ink; typed text on cardboard · 3 × 20.2 × 19.5 cm · collection: Gilberto Chateaubriand MAM RJ · photo: record-photo: César Carneiro · Record-photos of one of the parts of Situação T/T,1 (1970) glued to a Registerbook. Editon of 5 copies to each part of Situação T/T, 1 (1970). These five copies were made in 1975 / 1977/Paris Trouxa [Bundle] · 1969 · object · cloth; industrial paint; string; waste · 33 × 60 × 24 cm · collection: Gilberto Chateaubriand MAM RJ Des . compressão....... Des . compressão (1973) [De compression....... De compression] · 1973 · photographs · records-photos black-white; kraft paper cover · 17.7 × 24 cm each · collection: Gilberto Chateaubriand MAM RJ · photo: record-photo: Doris Mena Des. compressão..... 1973...... Des. compressão [De. compression.....

1973...... De. compression] · 1973 · [record-book] · photograph, indian ink, adhesive tape on cardboard · 1.8 × 20.2 × 19.7 cm · collection: Gilberto Chateaubriand MAM RJ · photo: recordphoto: Doris Mena · Record-photos the work carried out on 1973 (Petrópolis) glued to a Register-book. Editon of 5 copies. These five copies were made in 1975 / 1977/Paris Plinthes de viande (Rodapé de carne) [Plinthes de viande (Flesh wall-skirting)] · 1978 · [record-book] · record-photos, paper after slides, indian ink, adhesive tape on cardboard · 3 × 20 × 19.5 cm · collection: Gilberto Chateaubriand MAM RJ · photo: record-photo : Dorine Weuts

429

· Record-photos the work carried out on 1978 (Paris) glued to a Register-book.

Editon of 5 copies. These five copies were made in 1978/Paris 4 dias 4 noites [4 days 4 nights] · 1970 · indian ink, adhesive tape on paper · 21 × 15 × 3 cm · collection: Gilberto Chateaubriand MAM RJ · Regular [school] notebook made into a CadernoLivro.

Single edition.

Artur Żmijewski Catastrophy · 2010 · video · color, sound · approx. 30’ · commissioned by: Fundação Bienal de São Paulo CADA – Colectivo acciones de arte ¡Ay Sudamérica! [Oh! South America!] · 1981 · action documentation · video, color, sound; print on photographic paper · 4’41”; photograph 40 × 50 cm; enlarged copy of flyer 40 × 53 cm · collection: artist Para no morir de hambre en el arte [In order not to starve in art] · 1979 · action documentation · video, color, sound; print on photographic paper · 5’23”; photograph 24 × 34 cm · collection: artist Inversion de escena [Scene inversion] · 1979 · action documentation · video, color, sound; print on photographic paper · 5’06”; photograph 34 × 47 cm · collection: artist No + · 1983 · action documentation · video, color, sound; print on photographic paper · 5’52”; 2 photographs 30 × 45 cm; enlarged copy of document 50 × 35.35 cm · collection: artist Anuncio em la revista Hoy [Advertising in Hoy magazine] · 1983 · document · photographic print on paper · enlarged copy 40 × 30 cm · collection: artist CADA – Colectivo acciones de arte (Lotty Rosenfeld) Documental Colectivo Acciones de Arte [Documentary Colectivo Acciones de Arte] · 1993 · video · color, sound · 23’50” · collection: artist Cao Fei RMB City · 2010 · installation · color wallpaper prints; objects; video, color, sound · dimensions variable · RMB City is developed by Cao Fei (SL: China Tracy) + Vitamin Creative Space. Facilitator: Uli Sigg (SL: UliSigg Cisse). Public Presenter: Serpentine Gallery, London Carlos Bunga Lamp · 2002 · video · color, sound · 1’34”, loop · courtesy: artist; Galería Elba Benítez, Madrid Simultâneo, fragmentado, descontínuo [Simultaneous, fragmented, discontinuous] · 2010 · site-specific installation · cardboard; adhesive tape; matte paint · dimensions variable · courtesy: artist; Galería Elba Benítez, Madrid · commissioned by: Fundação Bienal de São Paulo Carlos Garaicoa Las joyas de la corona (KGB) [The Crown Jewels (KGB)] · 2009 · model · silver · 2 × 7.5 × 7 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (Base Naval de Guantanamo) [The Crown Jewels (Guantanamo Bay Naval Base)] · 2009 · model · silver · 5 × 6.5 × 6.5 cm · courtesy: artist; Galeria Luisa Strina, São Paulo;

Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (Estadio Nacional de Chile) [The Crown Jewels (Chile's National Stadium)] · 2009 · model · silver · 3 × 14 × 8 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (Pentágono) [The Crown Jewels (Pentagon)] · 2009 · model · silver · 1.5 × 9 × 9 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (Stasi Alemania) [The Crown Jewels (Stasi Alemania)] · 2009 · model · silver · 2 × 7 × 19 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (Villa Marista) [The Crown Jewels (Villa Marista)] · 2009 · model · silver · 5 × 12 × 9 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (DGI- Línea y A) [The Crown Jewels (DGI- Línea y A)] · 2009 · model · silver · 5 × 3 × 3 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Las joyas de la corona (ESMA) [The Crown Jewels (ESMA)] · 2009 · model · silver · 1.5 × 9 × 5 cm · courtesy: artist; Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin Carlos Teixeira Espaço para performances rearranjável [Rearrangeable space for performances] · 2010 · terreiro The other, the same · piled cardboard; plywood panels · dimensions variable · collection: artist Carlos Vergara Eros · 1972 – 1976 / 2009 · photograph · backlight · 70 × 160 × 20 cm · collection: artist Poder 2 [Power 2] · 1972 – 1976 / 2009 · photograph · print on methacrylate · 60 × 180 cm · collection: artist Leleô · 1972 – 1976 / 2009 · photograph · print on methacrylate · 60 × 180 cm · collection: artist Cacique na poça [Cacique at the puddle] · 1972 – 1976 / 2010 · photographic panel · print on methacrylate · 8 prints 100 × 150 cm each · collection: artist Futebol na Candelária [Soccer at Candelária] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 8 prints 60 × 90 cm each · collection: artist Iguais diferentes 2 [Different equals 2] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 100 × 160 cm · collection: artist Poder [Power] · 1972 – 1976 / 2009 · photograph · print on methacrylate · 100 × 150 cm · collection: artist Balança mas não cai [It swings but it does not fall] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 100 × 150 cm · collection: artist Avenida Rio Branco [Avenida Rio Branco] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 60 × 180 cm · collection: artist Cacique e PM [Cacique and police officer] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 60 × 180 cm · collection: artist

Iguais diferentes 1 [Different equals 1] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 100 × 241 cm · collection: artist Dos 7.000 componentes eu sou 1 [From the 7,000 components, I am 1] · 1972 – 1976 / 2010 · photograph · print on methacrylate · 60 × 180 cm · collection: artist Carlos Zilio Para um jovem de brilhante futuro [For a young man with a brilliant future] · 1973 · photograph; object · eight prints; suitcase with nails · prints 45 × 60 cm each; object 41 × 32 × 7 cm · collection: photographs artist; object Vanda Mangia Klabin, Rio de Janeiro Chantal Akerman D’est, au bord de la fiction [From the East, bordering on fiction] · 1995 · video installation · 35 mm, DVD transfer, 25 synchronized channels, color, sound · variable dimensions · collection: The Ella Fontanals – Cisneros Collection, Miami D’est [From the East] · 1993 · film · 35 mm, DVD transfer, color, sound · 107’ · collection: artist Chen Chieh-jen Factory · 2003 · film · Super 16 mm, DVD transfer, color, silent · 31’09” · courtesy: artist Chim Pom Black of Death for São Paulo [working title] · 2010 · videoinstallation; performance documentation · multichannel, color, sound · dimensions variable Cildo Meireles Abajur · 1997 / 2010 · installation · round projection screen; dynamo · 1,180 × 900 cm · support: Fundação de Serralves, Porto · commissioned by: Fundação Bienal de São Paulo Inserções em circuitos ideológicos: Projeto Cédula [Insertions into ideological circuits: Banknote Project] · 1976 · rubber stamp on banknotes · 7 × 15 cm · collection: artist Cinemata [Cinthia Marcelle & Tiago Mata Machado] Buraco negro [Black hole] · 2008 · video · HD, black & white, sound · 4’41”, loop · courtesy: Sprovieri, London; Box4, Rio de Janeiro; Galeria Vermelho, São Paulo · production: Katásia Filmes; edição: Pedro Verenoso Cinthia Marcelle Sobre este mesmo mundo [This same world over] · 2009 – 2010 · installation · chalk; blackboard; eraser · 120 × 840 × 8 cm · courtesy: Sprovieri, London; Box4, Rio de Janeiro; Galeria Vermelho, São Paulo Claudia Joskowicz Round and Round and Consumed by Fire · 2009 · video installation · BD, color, sound · 8’, loop · courtesy: artist · direction Claudia Joskowicz; production Dorita Fernandez; production assistance José María Llora; photography direction Ernst Udo Drawert; sound design Grégoire Paultre; grips Walter Acho, Ronald Nogales; art direction Isaac Nogales; cast Dan Griffiths (Butch Cassidy) and Richard Saxton (Sundance Kid); extras Ruth Ewan,

Jon Geiger, Military Cadets from the City of Vallegrande; photography production Yolanda Chichester Claudio Perna Fotografía anónima de Venezuela [Anonymous picture of Venezuela] · 1979 · black and white print on paper · 36 photographs 14.8 × 14.8 cm each · collection: Fundación Museos Nacionale, Galería de Arte Nacional de Venezuela, Caracas Daniel Senise O Sol me ensinou que a história não é tudo [The Sun has taught me that history is not everything] · 2010 · installation · recycled paper from art catalogues and pamphlets; PVA glue; plaster · tiles 51 × 51 × 1.5 cm each; tiles 51 × 51 × 4 cm each; overall dimensions variable · collection: artist Skira · 2010 · painting · art book pages on aluminum · 155 × 462 × 3.5cm · collection: artist David Claerbout The Algiers’ Sections of a Happy Moment · 2008 · video installation · HD, black & white, stereo sound · 37’12” · courtesy: artist; Hauser & Wirth Gallery, Zürich/ London/New York; Yvon Lambert Gallery, Paris/New York Sunrise · 2009 · video installation · HD, black & white, stereo sound · 18’ · courtesy: artist; Hauser & Wirth Gallery, Zürich/London/New York; Yvon Lambert Gallery, Paris/New York David Cury Antônio Conselheiro não seguiu o conselho [Antônio Conselheiro did not follow the advice] · 2005 / 2010 · installation · containers; glass; iron; steel; aluminum; rubber; fluorescent burned lamps · variable dimensions David Goldblatt BHJ Richtersveld National Park, Northern Cape. 25 December 2003 · 2003 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg Port Nolloth, Northern Cape. 28 December 2003 · 2003 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg Vesta Appolis, cashier, Suurbraak Municipality, Suurbraak, Western Cape.

22 July 2004 · 2004 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg Entrance to Lategan’s Truck Inn, Laingsburg. Western Cape. 14 November 2004 · 2004 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg Smid Street, Middelburg, Eastern Cape.

24 November 2004 · 2004 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg Are you Master. Kilometre 4 on R74 between Harrismith and Bergville, Free State. 25 August 2005 · 2005 · from the

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series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg Be a volunteer, Join community home base care services. Dept. of Health and Welfare. Vaalwater Clinic/Kliniek.

Vaalwater, Limpopo Province. 18 September 2006 · 2006 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg The entrance to Lwandle, Strand, Western Cape. 9 October 2005 · 2005 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg PMTCT at the entrance to Boitumelomg Township, Bloemhof, North - West. 10 February 2006 · 2006 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg The first day of spring at Lategan’s Truck Inn on the N1, Laingsburg, Western Cape. 1 September 2006 · 2006 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg At Kevin Kwanele’s Takwaito Barber, Lansdowne Road. Khayelitsha, Cape Town. 16 May 2007 · 2007 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg On Lansdowne Road, Khayelitsha, Cape Town. 16 May 2007 · 2007 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg IT’S EASIER TO LIVE BETTER WITH ELLERINES, Beaufort West, Western Cape. 14 May 2007 · 2007 · from the series: In the time of Aids · photograph · digital print on 100% cotton rag paper in pigment inks · 90 × 114 cm · courtesy: artist; Goodman Gallery, Johannesburg David Lamelas Moon Time · 2010 · digital clock; table; chairs · table 80 × 315 × 256 cm; 12 chairs · courtesy: artist · commissioned by: Fundação Bienal de São Paulo David Maljković Scene for New Heritage Trilogy · 2004 – 2006 · video installation · DVD, color, sound · 20’08” · collection: Van Abbemuseum, Eindhoven · courtesy: Annet Gelink Gallery, Amsterdam; Metro Pictures, New York; Georg Kargl Fine Arts, Vienna; Sprüth Magers, London/Berlin Deimantas Narkevičius The Dud Effect · 2008 · film · 16 mm, BD transfer · 15’40” · courtesy: gb agency, Paris; Jan Mot, Brussels; Galerie Barbara Weiss, Berlin Dora García The Deviant Majority · 2010 · video installation · HD, color, sound · 34’ · courtesy: artist · commissioned by: Hogeschool Sint-Lukas, Brussels; Vlaams Audiovisuele Fonds, Brussels; Fondazione Galleria Civica di Trento; Fundação Bienal de São Paulo

Douglas Gordon Pretty much every film and video work from about 1992 until now. To be seen on monitors, some with headphones, others run silently, and all simultaneously · 1992- · video installation · video, color; 79 monitors; 15 headphones · dimensions variable · courtesy: artist Eduardo Coimbra Luz natural [Natural light] · 2010 · installation · print on transparency; fluorescent lamps · 6 sets approx.

240 × 80 × 80 cm each · collection: artist · commissioned by: Fundação Bienal de São Paulo Eduardo Navarro El Dorado · 2010 · action; documentation of action; installation · soil; copies on paper · dimensions variable · support: Projeto Anchieta, São Paulo · commissioned by: Fundação Bienal de São Paulo Efrain Almeida Efrain Almeida · 2010 · sculpture · umburana wood and oil · 6 pieces 30 × 10 × 7 cm each · courtesy: Galeria Fortes Vilaça, São Paulo · commissioned by: Fundação Bienal de São Paulo Emily Jacir Lydda Airport · 2007 – 2009 · video · BD, black and white, Dolby 5.1 sound · sculpture 33 × 155.6 × 76.8 cm; table 89 × 170 × 92 cm · courtesy: Alexander and Bonin, New York Lydda Airport · 2009 · urethane and epoxy model; steel table · 5’21” Enrique Ježik Estreno de la OTAN [NATO’s debut] · 2008 · installation · carved plasterboards mounted on plywood; video monitors; wooden trestles · 75 × 500 × 600 cm · collection: artist · courtesy: Galería Enrique Guerrero, Mexico City Ernesto Neto Quem paga o arrego – Tá tudo areglado!

[Who pays the surrender – everything is agreed] · 2010 · terreiro Remembrance and oblivion · cloth; wood; foam; spices; rug · approx. 120 sq m · commissioned by: Fundação Bienal de São Paulo Fernando Lindote Cosmorelief · 2010 · installation · painting on wall; cement; fiberglass sculptures; video, color · variable dimensions · commissioned by: Fundação Bienal de São Paulo Filipa César Memograma · 2010 · video · HD, color, sound · 40’ · collection: artist Insert · 2010 · video · 16 mm, HD transfer, black & white, silent · 10’ · collection: artist · © Filipa César Fiona Tan A Lapse of Memory · 2007 · video installation · HD, color, sound · 24’ · courtesy: artist; Frith Street Gallery, London Flávio de Carvalho Experiência N.2 [Experience N.2] · 1931 · action record · audio; newspaper clippings; books; flyer · audio 4’24”; 6 clipping pages; 2 books; flyer 16.1 × 12 cm · collection: Fundo Flávio de Carvalho –

CEDAE – Unicamp, Campinas; private collection Experiência N.4 [Experience N.4] · 1958 · action record · photograph; film; newspaper clipping · 25 photographs 18 × 24 cm each; loop, color; ad 16.1 × 12 cm · collection: Fundo Flávio de Carvalho – CEDAE – Unicamp, Campinas · support: Fundação Padre Anchieta – Centro de Documentação TV Cultura, São Paulo Retrato de Sérgio Buarque de Holanda [Sérgio Buarque de Holanda Portrait] · 1970 · painting · fluorescent gouache on paper · 90 × 70 cm · collection: Francisco Buarque de Holanda, Rio de Janeiro Francis Alÿs Tornado · 2000 – 2010 · video installation · HD, color, sound · 55’ · courtesy: artist; David Zwirner, New York; Galerie Peter Kilchmann, Zürich · © Francis Alÿs Gabriel Acevedo Velarde Extracción [Extraction] · 2010 · video installation · video, DVD transfer, color, sound; printed papers · dimensions variable · courtesy: Galeria Leme, São Paulo; Maribel López Gallery, Berlin Gil Vicente Suíte safada II [Shameless Suite] · 2007 – 2010 · drawing · Indian ink on book page · 22.5 × 15.7 cm each · collection: artist · courtesy: Galeria Nara Roesler, São Paulo · commissioned by: Fundação Bienal de São Paulo Autorretrato I – matando George Bush [Self-portrait I – killing George Bush] · 2005 · from the series: Enemies · drawing · charcoal on paper · 200 × 150 cm · collection: artist Autorretrato II – matando Lula [Selfportrait II – killing Lula] · 2005 · from the series: Enemies · drawing · charcoal on paper · 200 × 150 cm · collection: artist Autorretrato III – matando Elizabeth II [Self-portrait III – killing Elizabeth II] · 2005 · from the series: Enemies · drawing · charcoal on paper · 150 × 200 cm · collection: artist Autorretrato IV – matando Ahmadinejad [Self-portrait IV – killing Ahmadinejad] · 2010 · from the series: Enemies · drawing · charcoal on paper · 200 × 150 cm · collection: artist Autorretrato V – matando Jarbas Vasconcelos [Self-portrait V – killing Jarbas Vasconcelos] · 2005 · from the series: Enemies · drawing · charcoal on paper · 150 × 200 cm · collection: artist Autorretrato VI – matando Eduardo Campos [Self-portrait VI – killing Eduardo Campos] · 2005 · from the series: Enemies · drawing · charcoal on paper · 150 × 200 cm · collection: artist Autorretrato VII – matando Ariel Sharon [Self-portrait VII – killing Ariel Sharon] · 2005 · from the series: Enemies · drawing · charcoal on paper · 200 × 150 cm · collection: artist Autorretrato VIII – matando Bento XVI [Self-portrait VIII – killing Benedict XVI] · 2005 · from the series: Enemies · drawing · charcoal on paper · 150 × 200 cm · collection: artist Autorretrato IX – matando Fernando Henrique Cardoso [Self-portrait IX – killing Fernando Henrique Cardoso] · 2005 · from the series: Enemies · drawing · charcoal on paper · 200 × 150 cm · collection: artist Autorretrato X – matando Kofi Annan [Self-portrait X – killing Kofi Annan] ·

2005 · from the series: Enemies · drawing · charcoal on paper · 150 × 200 cm · collection: artist Graziela Kunsch Projeto Mutirão · 2007 - · installation · HD, color, sound; furniture; library · variable dimensions · collection: artist · support: Fundação Bienal de São Paulo · Projeto Mutirão Archive: architecture Kooperative für Darstellungspolitik (Andreas Müller, Jesko Fezer, and Anita Kaspar); collaboration José Eduardo Baravelli; presentation video André Guerreiro Lopes; website Florian Schneider/kein.org and Casco –Office for Art, Design and Theory Grupo de Artistas de Vanguardia Tucumán Arde Archive [Tucumán Arde Archive] · 1968 – 2007 · documentation · offset prints · dimensions variable · collection: MACBA Museu d’Art Contemporani de Barcelona · preselection Ana Longoni Grupo Rex Placa Rex Gallery & Sons [Rex Gallery & Sons Sign] · 1966 · object · metal · 41 × 66 cm · courtesy: Luciana Brito Galeria, São Paulo — 1966 – 1967 · graphic material · newspaper; invitations; posters · 4 newspaper 48 × 33 cm; 1 newspaper 30.5 × 21 cm; 4 invitations 10 × 20 cm; 2 posters 48 × 33 cm · collection: private, São Paulo — 1966 – 1967 · clipping · newspaper · collection: private, São Paulo Grupo Rex (Carlos Fajardo) Neutral · 1966 · object · plexiglass cube; wooden base · 30 × 30 × 30 cm · collection: artist, São Paulo Mulher sendo atacada [Woman being attacked] · 1966 · drawing · charcoal on paper · 60 × 73 cm · collection: Gema Giaffone, São Paulo Grupo Rex (Geraldo de Barros) They are kissing (positive) · 1964 · painting · Indian ink on wood · 78 × 113 cm · courtesy: Luciana Brito Galeria, São Paulo They are kissing (negative) · 1964 · painting · oil on plywood · 77 × 113 cm · collection: Fulvia Leirner, São Paulo Grupo Rex (José Resende) Homenagem ao horizonte longínquo [Hommage to the faraway horizon] · 1967 · installation · aluminum; plastic; decalcomania; cotton · 250 × 150 × 150 cm · collection: private, São Paulo Retrato do meu pai [My father’s portrait] · 1965 · object · plexiglass; portrait; iron base · 160 × 50 × 40 cm · collection: private, São Paulo Grupo Rex (Nelson Leirner) Adoração - Altar a Roberto Carlos [Adoration - Altar to Roberto Carlos] · 1966 · installation · fabric; paint; light · 205 × 105 cm · collection: Museu de Arte de São Paulo Assis Chateaubriand, São Paulo – MASP Grupo Rex (Wesley Duke Lee) O artista chorando assina... [The artist crying signs...] · 1964 · painting

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· oil on metal sign; ballpoint pen ink; paper collage; metal funnel · 100 cm ø · collection: Gilberto Chateaubriand MAM RJ, Rio de Janeiro O tríptico: o guardião, a guarda, as circunstâncias [The triptych: the guardian, the guard, the circumstances] · 1966 · installation · oil on canvas; reproduction; mirror; hair; others · 197 × 70 cm; 136 × 60 cm; 150 × 56 cm · collection: private, Rio de Janeiro Gustav Metzger To Walk Into – Massacre on the Mount, Jerusalem, 8 October 1990 · 1996 / 2010 · from the series: Historic Photographs · installation · photograph on PVC; linen cover · 238 × 395 × 30 cm · courtesy: Tate, London: Purchased with assistance from Tate Members 2007 · © Menahem Kahana/AFP To Crawl Into – Anschluss, Vienna, March 1938 · 1996 / 2010 · from the series: Historic Photographs · installation · black-and-white photograph on PVC; cotton cover · 315 × 423 cm · collection: artist · © Yad Vashem Photo Archive Guy de Cointet Two Drawings · 1974 · play · · courtesy: Estate of Guy de Cointet / Air de Paris, Paris · actress Mary-Ann Duganne Glicksman Tell Me · 1979 · play record · fac-simile of the original typed script; photographic still; transferred film · 44` · courtesy: Estate of Guy de Cointet / Air de Paris, Paris · actresses Denise Domergue, Helen Mendez, Jane Zingale Guy Veloso Sem título [Untitled] · 2007 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2006 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2007 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2003 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2007 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2008 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2002 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2010 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2005 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm

· collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2005 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2002 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2003 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2006 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2005 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2010 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2006 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Sem título [Untitled] · 2004 · from the series: Penitentes [Penitents] · print on cotton paper · photograph · 65 × 100 cm · collection: artist · courtesy: Nara Rosely Nakagawa_Gabinete de Artes, São Paulo Harun Farocki Serious Games I: Watson is Down · 2009 – 2010 · video · HD, color, sound · 8’15” · © Harun Farocki Filmproduktion 2010 · support: Medienboard, BerlinBranderburg GmbH; Fundação Bienal de São Paulo · Filmed in October 2009 in BattleSimulation Center of the Marine Air Ground Task Force Training Command, Marine Corps Air Ground Combat Center – Twentynine Palms, California, United States of America; using Virtual Battle Space 2, Recognition of Combatants – Improvised Explosive Devices. Cinematography Ingo Kratisch. Sound Matthias Rajmann.

Editing Harun Farocki. Online editing Max Reimann. After a screenplay by Harun Farocki, Matthias Rajmann. Director Harun Farocki. Production Harun Farocki Filmproduktion, Berlin. Production manager Matthias Rajmann Serious Games II: Three Dead · 2009 – 2010 · video · HD, color, sound · 7’43” · © Harun Farocki Filmproduktion 2010 · support: Medienboard, BerlinBranderburg GmbH; Fundação Bienal de São Paulo · Filmed in October 2009 in Combined Arms Military Operations on Terrain (MOUT) Facility, Range 220 of the Marine Air Ground Task Force Training Command, Marine Corps Air Ground Combat Center – Twentynine Palms, California, United States of America; using draft MOUT animations, created for the Marine Corps by Maraizon International.

Cinematography Ingo Kratisch. Sound Matthias Rajmann. Editing Harun Farocki.

Online editing Max Reimann. After a screenplay by Harun Farocki, Matthias Rajmann. Director Harun Farocki.

Production Harun Farocki Filmproduktion,

Berlin. Production manager Matthias Rajmann Serious Games III: Immersion · 2009 · video · HD, color, sound · 20’23” · © Harun Farocki Filmproduktion 2010 · support: Medienboard, BerlinBranderburg GmbH · commissioned by: co-production Jeu de Paume, Paris, Stuk, Leuve · Filmed in January 26 and 27, 2009 in the Workshop for U.S. Air Force psychologists at Fort Lewis, Madigan Army Medical Center, Tacoma, Washington, USA “Virtual Reality Exposure for PTSD (Post-Traumatic Stress Disorder)”; with the participation of Albert Rizzo, PhD, Research Professor, School of Gerontology & Dept. of Psychiatry and Behavioral Health; Research Scientist, University of Southern California, Institute for Creative Technologies, ICT - Los Angeles, California, USA; Kevin Holloway, PhD, Clinical Psychologist, Defense Centers of Excellence for Psychological Health and Traumatic Brain Injury, National Center for Telehealth and Technology - Tacoma, Washington, USA. Barbara O. Rothbaum, PhD, ABPP, Professor in Psychiatry; Director, Trauma and Anxiety Recovery Program, Emory University School of Medicine - Atlanta, Georgia, USA And psychologists of the U.S. Air Force; Cinematography Ingo Kratisch; Sound Matthias Rajmann; Editing Harun Farocki, Max Reimann; Script Harun Farocki, Matthias Rajmann; Director Harun Farocki; Producer Matthias Rajmann Serious Games IV: A Sun with no Shadow · 2009 – 2010 · video · HD, color, sound · 7’39” · © Harun Farocki Filmproduktion 2010 · support: Medienboard, BerlinBranderburg GmbH; Fundação Bienal de São Paulo · Filmed in October 2009 in Battle Simulation Center of the Marine Air Ground Task Force Training Command, Marine Corps Air Ground Combat Center – Twentynine Palms, California, United States of America; using Virtual Battle Space 2, Recognition of Combatants – Improvised Explosive Devices; filmed in January 2009 at the Workshop for U.S. Air Force psychologists on virtual reality exposure for PTSD (post-traumatic stress disorder) in Fort Lewis, Madigan Army Medical Center – Tacoma, Washington, United States of America. Cinematography Ingo Kratisch. Sound Matthias Rajmann.

Editing Harun Farocki. Online editing Max Reimann. After a screenplay by Harun Farocki, Matthias Rajmann. Director Harun Farocki. Production Harun Farocki Filmproduktion, Berlin. Production manager Matthias Rajmann Hélio Oiticica B 33 Bólide caixa 18 “Homenagem a Cara de Cavalo” [B 33 Box Bolid 18 “Hommage to Cara de Cavalo”] · 1966 · wood; photograph; nylon fabric; glass; plastic; pigment · 40 × 30.5 × 68.5 cm · collection: Gilberto Chateaubriand MAM RJ, Rio de Janeiro Seja marginal, seja herói [Be an outlaw, be a hero] · 1968 · flag · silkscreen on fabric · 95 × 114.5 cm · collection: César and Cláudio Oiticica Ninhos [Nests] · 1970 / 2010 · installation · wood; jute; mattresses; light bulbs · 366 × 640 × 548 cm · collection: César and Cláudio Oiticica Henrique Oliveira A origem do terceiro mundo [The origin of the third world] · 2010 · site-specific

installation · wood; PVC; others · dimensions variable · photo: artist · commissioned by: Fundação Bienal de São Paulo High Red Center (Nakanishi Natsuyuki, Jiro Takamatsu) Yamanote Line Event · 1962 · performance documentation · photographic print from digital file on cotton paper on aluminum sheet · 2 photographs 50 × 80 cm each · courtesy: The Estate of Jiro Takamatsu/ Yumiko Chiba Associates, Tokyo High Red Center (Nakanishi Natsuyuki, Gempei Akasegawa e Jiro Takamatsu) Movement to Promote the Cleanup of the Metropolitan Area (Be Clean) · 1964 · performance documentation · photographic print from digital file on cotton paper on aluminum sheet · 2 photographs 30 × 45 cm each · courtesy: The Estate of Jiro Takamatsu/ Yumiko Chiba Associates, Tokyo Movement to Promote the Cleanup of the Metropolitan Area (Be Clean) · 1964 · performance documentation · photographic print from digital file on cotton paper on aluminum sheet · 4 photographs 35 × 50 cm each; 1 photograph 80 × 120 cm · courtesy: Minoru Hirata · photo: Minoru Hirata Shelter Plan · 1964 · performance documentation · video 16 mm, DVD transfer, black & white, silent · 25’ · collection: Museum of Contemporary Art, Tokyo · photo: Jonouchi Motoharu Shelter Plan · 1964 · performance documentation · photographic print on paper · 2 photographs 40 × 60 cm; 3 photographs 30 × 70; 1 photograph 40 × 50 cm · collection: Nagoya Art Museum Isa Genzken Strassenfest [Street party] · 2008 – 2009 · installation · 8 sculptures; 1 wall piece · dimensions variable · collection: Inhotim, Minas Gerais · courtesy: Inhotim, Minas Gerais; Galerie Daniel Buchholz, Köln/ Berlin; neugerriemschneider, Berlin Jacobo Borges Imagen de Caracas [Image of Caracas] · 1967 · performance documentation · video, 3 channels, color, sound; blackand-white photographic print on paper · approx. 128 photographs 28 × 42 cm / 21 × 28 cm / 14 × 21 cm · collection: artist · © Jacobo Borges & Imagen de Caracas Team · with the collaboration of Josefina Jordan, Mario Robles, Juan Pedro Posani, Adriano Gonzales Leon , Salvador Garmendia, Manuel Espinoza, Jose Vicente Azuar, Edmundo Vargas, Luis Lucksic, Francisco Hung, Alejandro Otero, Carlos Cruz Diez, Jorge Chrinos, Franca Donda, Donald Myerston, Juan Santana, Antonio LLerandi, Miguel Arroyo, Roberto Siso, Fernando Toro, Alvaro Boscan, Ramon Unda, Mario Volpi, Sergio Antillano, J. M. Cruxent, Manuel Caballero, Caupolican Ovalles, Peran Erminy, Josefina Urdaneta, Hector Mujica, Ruben Nunez, Roberto Guevara, Bélgica Rodríguez, Gerd Leufert, Jesús Tenrreiro James Coleman Ligne de foi [Line of faith] · 1991 – 2005 · video · DVD, color, sound · 57’ · courtesy: artist; Marian Goodman Gallery, New York / Paris · © James Coleman

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Jean-Luc Godard Je vous salue, Sarajevo [Hail, Sarajevo] · 1993 · video · DVD, color, sound · 2’15” · courtesy: artist · director, screenplay, voice, edition Jean-Luc Godard; music Arvo Pärt; editing François Musy; production Périfhéria Jeremy Deller So Many Ways to Hurt You: The Life and Times of Adrian Street · 2010 · video installation · video; mural painting · 41’ · commissioned by: Grizedale Arts, Coninston Jeremy Deller & Grizedale Arts The Mechanics Institute · 2010 · installation; educative program · furniture; objects; drawings; field trip · approx.

450 × 800 · courtesy: Liceu de Artes e Ofícios de São Paulo; Ruskin Museum, Coniston · commissioned by: Fundação Bienal de São Paulo Jimmie Durham Bureau for Research Into Brazilian Normality · 2010 · sculptural installation · dimensions variable · courtesy: artist; Kurimanzutto Gallery, Mexico City Joachim Koester Tarantism · 2007 · film · 16 mm, DVD transfer, black & white, silent · 6’30” · courtesy: Jan Mot, Brussels Jonas Mekas 365-Day Project · 2007 · video · HD, color, sound · lengths variable · courtesy: James Fuentes Gallery, New York Jonathas de Andrade Educação para adultos [Education for adults] · 2010 · photograph; graphic material · offset posters · approx. 50 posters 46 × 34 cm each · collection: artist · commissioned by: Fundação Bienal de São Paulo José Leonilson Pobre Sebastião [Poor Sebastião] · c. 1993 · painting · acrylic on canvas · 160 × 90 cm · collection: Museu de Arte Moderna de São Paulo. Lendind Eduardo Brandão and Jan Fjeld Sem título [Untitled] · 1990 · sewing on felt · 66 × 28 cm · collection: Museu de Arte Moderna de São Paulo. Gift from Eduardo Brandão and Jan Fjeld Para o meu vizinho de sonhos [To my dream neighbor] · c. 1991 · neddlework on felt · 90 × 38 cm · collection: Museu de Arte Moderna de São Paulo. Lendind Eduardo Brandão and Jan Fjeld Das 3 armas [Of the three weapons] · c. 1990 · needlework on cotton pillowcase · 48 × 62 cm · collection: Museu de Arte Moderna de São Paulo. Lendind Eduardo Brandão and Jan Fjeld Leo não consegue mudar o mundo [Leo can’t change the world] · 1989 · painting · acrylic on canvas · 156 × 95 cm · collection: Ana Celina Dias Reichert, São Paulo José Spaniol Sem título [título provisório] [Untitled [working title]] · 2010 · installation · rammed earth; concrete; oil on marble · ladder approx. 400 × 600 × 80 cm; slate approx. 208 × 148 cm · support: Unesp – Universidade Estadual Paulista “Júlio de Mesquita Filho”; Galeria Baró, São Paulo; H.A.P Galeria, Rio de Janeiro ·

commissioned by: Fundação Bienal de São Paulo Joseph Kosuth North · 1967 · from the series: Art as idea as idea · graphic material · silkscreen on metal · 100 × 100 cm · collection: Guilherme Magalhães Pinto Gonçalves South · 1967 · from the series: Art as idea as idea · graphic material · silkscreen on metal · 100 × 100 cm · collection: Guilherme Magalhães Pinto Gonçalves West · 1967 · from the series: Art as idea as idea · graphic material · silkscreen on metal · 100 × 100 cm · collection: Guilherme Magalhães Pinto Gonçalves East · 1967 · from the series: Art as idea as idea · graphic material · silkscreen on metal · 100 × 100 cm · collection: Guilherme Magalhães Pinto Gonçalves Juliana Stein Sim e não [Yes and no] · 2006 – 2010 · photograph · print on cotton paper · 11 images 100 × 100 cm each · courtesy: artist Julie Ault & Martin Beck No-Stop City High-Rise: a conceptual equation · 2010 · installation · drop ceiling; halogen lamps; three columns covered with reflexive material; vitrine; publications; documents; information panel plot on hanging board; texts reproduced in vinyl and mounted to the inside of the windows; postcards · dimensions variable · commissioned by: Fundação Bienal de São Paulo Karina Skvirsky Aguilera My Pictures from Ecuador · 2009 · collage · fac-simile of album page · 16 prints 38.10 × 30.48 cm each · courtesy: artist Kboco & Roberto Loeb Canabibi · 2010 · terreiro Said, unsaid, not to be said · timber wood; paint · approx.

120 sq m · commissioned by: Fundação Bienal de São Paulo Kendell Geers ‘Monument to the F-Word · 2010 · sculpture · bronze · 118,5 × 24,5 cm ø · commissioned by: Fundação Bienal de São Paulo Loopback Wonderland · 2010 · mural · paint on wall · approx. 490 × 1700 cm · commissioned by: Fundação Bienal de São Paulo Kiluanji Kia Henda The Spaceship Icarus 13, Luanda · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda Astronomy Observatory, Namibe Desert · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda Centre of Astronomy Studies and Astronauts Training, Namibe Desert · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda Building the Spaceship Icarus 13 · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda

Icarus 13 (View from the Chicala Island, Luanda) · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda Icarus 13 · 2008 · from the series: Icarus 13 · model · fiber · dimensions variable · collection: Fundação Sindika Dokolo, Luanda The Launch of Icarus 13 (6:00pm, 25th of May, 2007) · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda First Pictures of the Sun’s Photosphere from Icarus 13 in Orbit · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda The Return of the Austronauts (5:00am, 9th of June, 2007) · 2008 · from the series: Icarus 13 · photograph · inkjet print on matt paper · 80 × 120 cm · collection: Fundação Sindika Dokolo, Luanda Kimathi Donkor Johnny Was Born aloft by Joy and Stephen · 2010 · painting · oil on linen · 190 × 160 cm When Shall We 3? · 2010 · from the series: Scenes from the Life of Njinga Mbandi · painting · oils, wood, staples, linen · 105 × 160 × 4.5 cm Drama Queen · 2010 · from the series: Scenes from the Life of Njinga Mbandi · painting · oil on linen · 100 × 160 cm Kombi Continua · 2010 · from the series: Scenes from the Life of Njinga Mbandi · painting · oil on linen · 170 × 160 cm Kutluğ Ataman Beggars · 2010 · video installation · HD, 7 channels, silent · courtesy: artist; Thomas Dane Gallery, London Livio Tragtenberg Gabinete do Dr. Estranho [Dr. Strange’s Cabinet] · 2010 · installation; performance · iron cage; audiovisual editing room; monitor, color, sound · 300 × 300 × 300 cm · commissioned by: Fundação Bienal de São Paulo Luiz Zerbini Inferninho [Little hell] · 2010 · installation · reflexive painting; smoke; sand; light; sound · collection: artist · courtesy: Galeria Fortes Vilaça, São Paulo · commissioned by: Fundação Bienal de São Paulo · architecture Pedro Evora e Pedro Rivera - Rua Arquitetos; production Luiza Mello - Automática Lygia Pape Divisor · 1968 / 2010 · collective performance reenactment; video record of performance reenactment · white cloth with holes; people · cloth 1,500 × 1,500 cm; video loop · courtesy: Projeto Lygia Pape, Rio de Janeiro · photo: Paula Pape · filmed by Paula Pape; editing Paula Pape and Mario Costa; production Central das Artes Língua apunhalada [Stabbed tongue] · 1968 · photograph · acetate on backlight · 124 × 163 × 14 cm · courtesy: Projeto Lygia Pape, Rio de Janeiro Manfred Pernice & Olaf-ur Panic´ Kubor 1 + 2 · 2010 · installation · plywood and particle board cubes; mixed technique collage · 84 cubes 38 × 38 cm

each; total dimensions variable · courtesy: artist; NEU-Berlin; AKG, New York and Regen Projects L.A. · thanks to: Aranza Becerra, Edgar Cobian, Emanuel Tovar, Lydia Genin, Mayra Huerta, Victor Sanchez and Juan Pablo Vadillo, Gabriela Castañeda, Madlen Schering, José Davila, Mariana Munguia and Patrick Charpenel Manon de Boer Dissonant · 2010 · film installation · 16 mm, DVD transfer, color, sound · 10’40” · courtesy: Jan Mot, Brussels Marcelo Silveira Tudo certo [All right] · 2010 · installation · Cajacatinga wood · 700 × 500 cm · courtesy: artist; Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife · commissioned by: Fundação Bienal de São Paulo Paisagem II [Landscape II] · 2008 – 2009 · collage · magazines; books · 150 × 150 cm · collection: artist · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem III [Landscape III] · 2008 – 2009 · collage · magazines; books · 52 × 94 cm · collection: artist · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem VI [Landscape VI] · 2008 – 2009 · collage · magazines; books · 61 × 111 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem IX [Landscape IX] · 2008 – 2009 · collage · magazines; books · 61 × 111 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem X [Landscape X] · 2008 – 2009 · collage · magazines; books · 51 × 164 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XI [Landscape XI] · 2008 – 2009 · collage · magazines; books · 150 × 150 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XII [Landscape XII] · 2008 – 2009 · collage · magazines; books · 150 × 150 cm · collection: artist · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XIII [Landscape XIII] · 2008 – 2009 · collage · magazines; books · 150 × 300 cm diptych · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XIV [Landscape XIV] · 2008 – 2009 · collage · magazines; books · 82 × 114 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XV [Landscape XV] · 2008 – 2009 · collage · magazines; books · 82 × 114 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XVI [Landscape XVI] · 2008 – 2009 · collage · magazines; books · 82 × 114 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XVII [Landscape XVII] · 2009 – 2010 · collage · magazines; books · 150 × 150 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XVIII [Landscape XVIII] · 2008 – 2009 · collage · magazines; books · 150 × 150 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife

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Paisagem XIX [Landscape XIX] · 2009 · collage · magazines; books · 51 × 164 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Paisagem XX [Landscape XX] · 2009 – 2010 · collage · magazines; books · 183 × 444 cm · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife Marcius Galan Ponto em escala real [Dot in real scale] · 2010 · sculpture · concrete, iron, paint · sculpture 30 × 500 × 600 cm · collection: artist · courtesy: Galeria Luisa Strina, São Paulo · commissioned by: Fundação Bienal de São Paulo Entre [In between] · 2010 · scanning electron microscopy · inkjet print on cotton paper · 8 prints 70 × 100 cm each · collection: artist · courtesy: Galeria Luisa Strina, São Paulo · commissioned by: Fundação Bienal de São Paulo Maria Lusitano The War Correspondent · 2010 · video · HD, color, sound · 59’ · collection: artist Maria Thereza Alves On the importance of words, a holy (stolen) mountain and the ethics of the nations · 2009 / 2010 · photograph; Krenak - Portuguese / Portuguese Krenak dictionary; petition · adhesive plotter on glass; print on paper · protograph 380 × 608 cm; dictionary print run 700 · courtesy: Galerie Michel Rein, Paris; Maumaus, Lisbon · photo: Arne Kaiser · support: Fundação Bienal de São Paulo Iracema (de Questemberg) [Iracema (of Questemberg)] · 2009 · from the series: On the importance of words, a holy (stolen) mountain and the ethics of the nations · video · DVD, color, sound · 26’43” · courtesy: Michael Rein Gallery, Paris Uma história dos Krenak [A history from the Krenak] · 2009 · from the series: On the importance of words, a holy (stolen) mountain and the ethics of the nations · video · DVD, color, sound · 5’24” Marilá Dardot & Fabio Moraes Longe daqui, aqui mesmo [Far away, right here] · 2010 · terreiro · masonry; wallpaper; rugs; tiles; books; stools · dimensions variable · commissioned by: Fundação Bienal de São Paulo Mário Garcia Torres Las variables dimensiones del arte [The variable dimensions of art] · 2010 · installation · inkjet prints; slideshow · dimensions variable · courtesy: artist; Galerie Jan Mot, Brussels; Proyectos Monclova, Mexico City · support: Fundação Bienal de São Paulo; Fundacion Diagonal Colleción Jumex Marta Minujín & Ruben Santantonín La menesunda · 1965 · installation documentation · 16 mm film, DVD transfer · 12’ · courtesy: Marta Minujín and Leopoldo Maler · with the collaboration of: Pablo Suárez, David Lamelas, Rodolfo Prayon, Floreal Amor, and Leopoldo Maler Matheus Rocha Pitta Fontes [Fountains] · 2010 · from the series: Provisional Heritage · photograph · inkjet print on Hahnemuehle Photo

Rag 308 g · 24 prints 24 × 16 cm each · commissioned by: Fundação Bienal de São Paulo Sem título [Untitled] · 2010 · from the series: Provisional Heritage · photograph · inkjet print on Hahnemuehle Photo Rag 308 g · 60 × 90 cm · commissioned by: Fundação Bienal de São Paulo Overturned Tires · 2010 · from the series: Provisional Heritage · photograph · inkjet print on Ilfrod Galeria Smooth High paper · 13 prints 20 × 30 cm cada · commissioned by: Fundação Bienal de São Paulo Sem título [Untitled] · 2010 · from the series: Provisional Heritage · photograph · inkjet print on Hahnemuehle Photo Rag 308 g · 50 × 75 cm · commissioned by: Fundação Bienal de São Paulo Sem título [Untitled] · 2010 · from the series: Provisional Heritage · photograph · inkjet print on Hahnemuehle Photo Rag 308 g · 2 prints 50 × 57 cm each · commissioned by: Fundação Bienal de São Paulo Hot Shots · 2010 · from the series: Provisional Heritage · photograph · inkjet print on Hahnemuehle Photo Rag 308 g · 4 prints 50 × 75 cm each · commissioned by: Fundação Bienal de São Paulo Provisional Heritage · 2010 · from the series: Provisional Heritage · video · HD, color, sound · approx. 15’ · commissioned by: Fundação Bienal de São Paulo Mateo López Palacio del papel [Paper palace] · 2010 · installation · drawings; objects; models · dimensions variable · support: Fundação Bienal de São Paulo Miguel Angel Rojas Tres en platea [Three in the stalls] · 1979 · from the series: Faenza · photograph · digital print on cotton fiber paper · 5 photographs 82.5 × 122 × 4 cm each · collection: artist · courtesy: Sicardi Gallery, Houston Fisgón [Snooper] · 1979 · from the series: Faenza · photograph · digital print on cotton fiber paper · 5 photographs 82.5 × 122 × 4 cm each · collection: artist · courtesy: Sicardi Gallery, Houston Antropofagia [Anthropophagy] · 1979 · from the series: Faenza · photograph · digital print on cotton fiber paper · 9 photographs 82.5 × 122 × 4 cm each · collection: artist · courtesy: Sicardi Gallery, Houston Via Láctea [Milky Way] · 1979 · from the series: Faenza · photograph · digital print on cotton fiber paper · 3 photographs 82.5 × 122 × 4 cm each · collection: artist · courtesy: Sicardi Gallery, Houston Niño lindo [Pretty boy] · 1979 · from the series: Faenza · photograph · digital print on cotton fiber paper · 4 photographs 82.5 × 122 × 4 cm each · collection: artist · courtesy: Sicardi Gallery, Houston Sobre porcelana – Paquita [Over porcelain – Paquita] · 1979 · from the series: Faenza · photograph · digital print on cotton fiber paper · 7 photographs 82.5 × 122 × 4 cm each · collection: artist · courtesy: Sicardi Gallery, Houston Miguel Rio Branco Nada levarei qundo morrer aqueles que mim deve cobrarei no inferno [I will take nothing wen dead those that me owe I charge in 'ell] · 1979 – 1981 · film · 16 mm, HD transfer · approx. 20’ · courtesy: Galeria Millan, São Paulo

Milton Machado Série I [Series I] · 1978 · from the series: História do futuro [History of the future] · drawings · pencil on paper · 8 drawings 35 × 50 cm each · collection: artist Série II [Series II] · 1978 · from the series: História do futuro [History of the future] · drawings · pencil on paper · 6 drawings 35 × 50 cm each · collection: artist Estudos [Studies] · 1978 · from the series: História do futuro [History of the future] · drawings · mixed media on paper · 30 drawings 23.5 × 32.5 cm each · collection: artist Módulo de destruição na posição alfa [Module of destruction at position alpha] · 1990 – 1991 / 2010 · from the series: História do futuro [History of the future] · photograph · lambda print glued on PVC · 150 × 100 cm · collection: artist Nômade [Nomad] · 1990 – 1991 / 2010 · from the series: História do futuro [History of the future] · photograph · lambda print glued on PVC · 150 × 100 cm · collection: artist Módulo de destruição na posição alfa [Module of destruction at position alpha] · 1990 – 1991 / 2010 · from the series: História do futuro [History of the future] · photograph · lambda print glued on PVC · 60 × 40 cm · collection: artist Nômade [Nomad] · 1990 – 1991 / 2010 · from the series: História do futuro [History of the future] · photograph · lambda print glued on PVC · 40 × 60 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Módulo de destruição na posição alfa [Module of destruction at position alpha] · 2010 · from the series: História do futuro [History of the future] · sculpture · iron · 380 × 380 cm · support: Galeria Nara Roesler, São Paulo · commissioned by: Fundação Bienal de São Paulo Nômade [Nomad] · 2010 · from the series: História do futuro [History of the future] · sculpture · marble · 18 cm ø Mira Schendel Sem título [Untitled] · 1964 / 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper · 47 × 23 cm · collection: Ada Schendel · courtesy: Galeria Millan, São Paulo Sem título [Untitled] · 1964 / 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper · 47 × 23 cm · collection: Ada Schendel · courtesy: Galeria Millan, São Paulo Sem título [Untitled] · 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper · 47 × 23 cm · collection: Ada Schendel · courtesy: Galeria Millan, São Paulo Sem título [Untitled] · 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper · 47 × 23 cm · collection: Rose e Alfredo Setúbal Sem título [Untitled] · 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper · 47 × 23 cm · collection: Rose e Alfredo Setúbal Sem título [Untitled] · 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper · 47 × 23 cm · collection: Rose e Alfredo Setúbal Sem título [Untitled] · 1965 · from the series: Escritas · monotipias [Writings · monotype] · oil on Japanese paper ·

47 × 23 cm · collection: Rose e Alfredo Setúbal Que beleza [How beautiful] · 1966 · drawing · ecoline and crayon stick on paper · 43 × 61 cm · collection: Nara Roesler Objeto gráfico [Graphic object] · 1967 · drawing; object · oil and tracing on paper installed in between acrylic plates · 50 × 50 cm · collection: Marta e Paulo Kuczynski Objeto gráfico [Graphic object] · 1967 · drawing; object · typing on paper installed in between acrylic plates · 100 × 100 cm · collection: Marta e Paulo Kuczynski Monir Shahroudy Farmanfarmaian Square and Pentagon · 2008 · painting · mirror; reverse-glass painting; plaster on wood · 100 × 160 cm · courtesy: artist; The Third Line, Dubai Pentagon and Hexagon · 2008 · painting · mirror; reverse-glass painting; plaster on wood · 100 × 160 cm · courtesy: artist; The Third Line, Dubai Hexagon and Heptagon · 2008 · painting · mirror; reverse-glass painting; plaster on wood · 100 × 160 cm · courtesy: artist; The Third Line, Dubai Heptagon and Octagon · 2008 · painting · mirror; reverse-glass painting; plaster on wood · 100 × 160 cm · courtesy: artist; The Third Line, Dubai Octagon and Nonagon · 2008 · painting · mirror; reverse-glass painting; plaster on wood · 100 × 160 cm · courtesy: artist; The Third Line, Dubai Nonagon and Decagon · 2008 · painting · mirror; reverse-glass painting; plaster on wood · 100 × 160 cm · courtesy: artist; The Third Line, Dubai Moshekwa Langa Kamora [Room] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Kitchi [Kitchen] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Gartene [Curtain] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Monyako [Door] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 35.6 × 27.9 cm · courtesy: artist; Goodman Gallery, Johannesburg Mpete [Bed] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Kamora [Room] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Baefrom [Bathroom] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Lebota [Wall] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 35.6 × 27.9 cm · courtesy: artist; Goodman Gallery, Johannesburg Patchisi [Passage] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Kamora Matlou [Matlou's room] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm

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· courtesy: artist; Goodman Gallery, Johannesburg Monyako Matlou [Matlou's door] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 35.6 × 27.9 cm · courtesy: artist; Goodman Gallery, Johannesburg Moshasha [Kitchen] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Koloyana [Toy car] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Dipitša [Pots] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Lefastere [Window] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Motšega [Water vessel] · 2005 / 2006 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Gartene [Curtains] · 2005 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Di-empty [Empty bottles] · 2005 · from the series: Untitled · photograph · c-print · 35.6 × 27.9 cm · courtesy: artist; Goodman Gallery, Johannesburg Ka ntle [Outside] · 2005 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Ka ntle [Outside] · 2005 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Panka [Bench] · 2005 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Saepoto [Sideboard] · 2005 · from the series: Untitled · photograph · c-print · 35.6 × 27.9 cm · courtesy: artist; Goodman Gallery, Johannesburg Setilo [Armchair] · 2005 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Mmetse [Rug] · 2005 · from the series: Untitled · photograph · c-print · 27.9 × 35.6 cm · courtesy: artist; Goodman Gallery, Johannesburg Nan Goldin The Ballad of Sexual Dependency · 1979 – 2004 · slideshow · 35 mm, DVD transfer, color, sound · approx. 45’ · collection: private, Houston · photo: Nan Goldin Nancy Spero Cri du Coeur [Cry of the heart] · 2005 · painting; installation · handprinting on paper mounted on canvas · overall dimensions 83.2 × 4,893.1 cm · courtesy: Estate of Nancy Spero; Galerie Lelong, New York Nástio Mosquito / Bofa da Cara My African Mind · 2009 · video · DVPAL; mixed media of animation and postproduction of photographic and printed material; books and comic strips from archive · 6’12” · courtesy: artist

Nelson Leirner Javavoa · 2010 · installation · stuffed paca; wooden airplane · approx. 500 cm ø · commissioned by: Fundação Bienal de São Paulo Nnenna Okore Slings · 2006 / 2010 · installation · newspaper; burlap; rope · dimensions variable NS Harsha Come Give Us a Speech · 2008 · painting · acrylic on canvas · 6 panels 186 × 186 cm each · courtesy: artist; Victoria Miro Gallery, London Nuno Ramos Bandeira branca [White flag] · 2010 · installation · sand; granite; glass; vulture; safety net; loudspeakers, sound · dimensions variable · collection: artist · courtesy: Galeria Fortes Vilaça, São Paulo · support: Morlan SA, Orlândia · commissioned by: Fundação Bienal de São Paulo Oscar Bony La familia obrera [The working-class family] · 1968 / 1999 · performance; documentation · black-and-white photograph on paper · 200 × 180 cm · collection: Carola Bony, Buenos Aires Oswaldo Goeldi Luz sobre a praça [Light on the square] · [1930] · woodcut · print on paper · 18,6 × 24 cm · collection: MNBA/IBRAM/ MINC, Rio de Janeiro Noturno [Nocturne] · [1950] · woodcut · print on paper · 20,8 × 26,9 cm · collection: MNBA/IBRAM/MINC, Rio de Janeiro Noturno [Nocturne] · [1953] · woodcut · print on paper · 20,5 × 27,7 cm · collection: MNBA/IBRAM/MINC, Rio de Janeiro Paisagem urbana [Urban landscape] · [1940] · woodcut · print on paper · 8,9 × 13,6 cm · collection: MNBA/IBRAM/ MINC, Rio de Janeiro Cena de rua [Street scene] · [1940] · woodcut · print on paper · 20,7 × 24,7 cm · collection: MNBA/IBRAM/MINC, Rio de Janeiro Paisagem noturna [Nocturnal landscape] · [1930] · woodcut · print on paper · 15,9 × 12,1 cm · collection: MNBA/IBRAM/ MINC, Rio de Janeiro Bairro industrial [Industrial neighborhood] · [1930] · woodcut · print on paper · 22 × 17 cm · collection: MNBA/ IBRAM/MINC, Rio de Janeiro Casario e urubus [Houses and vultures] · [1940] · woodcut · print on paper · 23 × 38,5 cm · collection: MNBA/IBRAM/ MINC, Rio de Janeiro Rua molhada [Wet street] · [1970] · woodcut · print on paper · 22,4 × 24,8 cm · collection: Gilberto Chateaubriand MAM RJ, Rio de Janeiro Otobong Nkanga Dolphin Estate Area · 2008 · from the series: Dolphin Estate · photograph · lambda print · 78 × 120 cm · courtesy: artist; Lumen Travo Gallery, Amsterdam Dolphin Estate · 2008 · from the series: Dolphin Estate · photograph · lambda print · 90 × 120 cm · courtesy: artist; Lumen Travo Gallery, Amsterdam Dolphin Estate 2 · 2008 · from the series: Dolphin Estate · photograph · lambda

print · 90 × 120 cm · courtesy: artist; Lumen Travo Gallery, Amsterdam Dolphin Estate 3 · 2008 · from the series: Dolphin Estate · photograph · lambda print · 90 × 120 cm · courtesy: artist; Lumen Travo Gallery, Amsterdam Dolphin Estate 4 · 2008 · from the series: Dolphin Estate · photograph · lambda print · 90 × 120 cm · courtesy: artist; Lumen Travo Gallery, Amsterdam Dolphin Estate Extended · 2008 · from the series: Dolphin Estate · photograph · lambda print · 100 × 180 cm · courtesy: artist; Lumen Travo Gallery, Amsterdam The Otolith Group Nervus Rerum · 2008 · video · DVD, color, sound · 32’57” · collection: artist Palle Nielsen Modellen - En modell för ett kvalitativt samhälle [The model - a model for a qualitative society] · 1968 / 2010 · exhibition documentation · slide projection, three channels, color; prints of articles and letters; fac-simile of exhibition map; sound · dimensions variable · collection: MACBA. Museu d'Art Contemporani de Barcelona Consortium; Gift of the artist Paulo Bruscky O que é arte? Para que serve? [What is art? What is it for?] · 1978 · performance documentation · print on photographic paper · 4 photographs 70 × 50 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Arte paisagem: saudade não é apenas um bairro em Belo Horizonte, é uma proposta, um sentimento, é arte (gabarito de anúncio) [Art landscape: saudade is not only a neighborhood in Belo Horizonte, it is a proposal, a feeling, it is art (advertisement template)] · 2009 · from the series: Arteclassificada [Classifiedart] · newspaper · text in newspaper · 19.2 × 22.2 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Ruídos adventícios da escultura pulmonar [Adventitious sounds in lung sculpture] · 1987 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 19 × 18.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Arteaeronimbo [Aeronimboart] · 1974 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 28 × 31.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Projeto de máquina Xerox Reflex para artistas [Project of Reflex Xerox machine for artists] · 1986 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 58 × 35 cm · courtesy: artist; Galeria Nara Roesler, São Paulo 2 anúncios – poema de repetição [2 ads – repetition poem] · 1997 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 57.8 × 37.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Arte paisagem: saudade não é apenas um bairro em Belo Horizonte, uma proposta, um sentimento, é arte [Art landscape: saudade is not only a neighborhood in Belo Horizonte, a proposal, a feeling, it is art] · 2009 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 57.7 × 31.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Concerto celulasonial [Celulasonial concert] · 2008 · from the series:

Arteclassificada [Classifiedart] · publishing · text in newspaper · 56 × 32 cm · courtesy: artist; Galeria Nara Roesler, São Paulo 2 anúncios – Pintura bifocal e Borrachas para apagar palavras [2 ads – bifocal painting and erasers to erase words] · 1984 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 41 × 30 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Eletroencefalógrafo musicado [Musicalized electroencephalograph] · 1986 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 58 × 35 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Soneto – tu me ensinas a fazer renda, eu te ensino a sonetar [Sonnet – you teach me how to make lace and I will teach you how to sonnet] · 2008 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 57.5 × 31.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Esqueçam a copa e pensem no governo [Forget the World Cup and think about the government] · 1990 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 31.5 × 21.7 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Disco antropofágico [Antropophagic Disc] · 1984 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 41 × 29 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Máquina de filmar sonhos [Dreamfilming machine] · 1977 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 58 × 38 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Arte classificada e poesia paga [Classified art] · 1977 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 58 × 38 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Brasileiro adverte: trabalhar, estudar, comer, habitar, ter saúde e viver é prejudicial à saúde [Brazilian warns: to work, study, eat, inhabit, be healthy, and live is harmful to your health] · 1994 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 56 × 34.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Confederação do Equador [Ecuador Confederation] · 1989 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 21 × 33 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Vervendo [Seeseeing] · 2008 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 56.5 × 31.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Poema de repetição [Repetition poem] · 2008 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 28 × 31.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Poema visual [Visual poem] · 1970 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 57.7 × 35.5 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Composição aural [Aural composition] · 1976 · from the series: Arteclassificada [Classifiedart] · publishing · text in newspaper · 58 × 37.6 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Máquina tradutora [Translator machine] · 1984 · from the series: Arteclassificada [Classifiedart] · publishing · text in

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newspaper · 41 × 29 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Fogueira de gelo [Ice fire] · 1974 · sculpture · superimposed ice blocks · approx. 220 × 80 × 80 cm · courtesy: artist; Galeria Nara Roesler, São Paulo Arte/pare [Art/stop] · 1973 · film · Super 8 mm, DVD transfer, color, silent · 2’30” · courtesy: artist; Galeria Nara Roesler, São Paulo Postes [Lampposts] · 1978 · photograph · photo prints on wood frames · 37 photos 13 × 18 cm each · courtesy: artist; Galeria Nara Roesler, São Paulo Pedro Barateiro Plateia [Audience] · 2008 · sculpture · reinforced concrete platform; 16 chairs · 400 × 500 × 75 cm · courtesy: artist; Galeria Pedro Cera, Lisbon Pedro Costa Minino macho, minino fêmea · 2006 · video installation · HD, 2 synchronized channels, color, stereo sound · 34’ · collection: Fundação de Serralves, Museu de Arte Contemporânea, Lisboa · image and direction Pedro Costa; sound Philippe Morel, Olivier Blanc; edition Pedro Marques O nosso homem [Our man] · 2010 · video installation · HD, cor, stereo sound · 23’ · collection: artist · support: Fundação Bienal de São Paulo · image and direction Pedro Costa; sound Vasco Pedroso, Olivier Blanc, Branko Neskov; edition Patrícia Saramago, João Dias; with Alfredo Mendes, Ventura, José Alberto Silva, Lucinda Tavares, and António Semedo Pixação SP from the series: Noturnas [Night] · 2006 – 2008 · shots · photographic documentation · prints over photographic paper, color · 22 photographs 110 × 71.7 cm each · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo 24 horas de Pixação [24 hours of Pixação] · 2010 · video · High-8, DVD, color, sound · 32’ · commissioned by: Fundação Bienal de São Paulo · documentation and script Cripta Djan; edition Tony Z/L Studio; photography Choque Photos Opus 666 · 2010 · slideshow · DVD, color, sound · approx. 4’ · commissioned by: Fundação Bienal de São Paulo · actions and script Rafael Pixobomb — [Folhinhas] · aprox. 1980 – 2010 · desenho · copy on A4 paper, black & white · 29.7 × 21 cm · collection: Cripta Djan · commissioned by: Fundação Bienal de São Paulo SURRA rudá · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo SURRA rudá > COMA wil · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo SURRA rudá > VOLUME-3 dentinho! · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo

HESMD (Marcelo Doido) · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo SURRA rudá · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo NAJAS clt > JAMAICA mnh > RIJA · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo CANSADOS DA VIDA die > TUMULOS doido > DEMONIOS nd · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo HESMD (Marcelo Doido) · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo RAFAEL PIXOBOMB - “Arte como Crime, Crime como Arte” · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo COMA wil · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo VOLUME-3 dentinho! > SEM MEDO juca > SURRA rudá · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo CLONES dok · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo ANTBOYS duda · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo ZICAS stan · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo CRIPTA djan · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo JUSTICEIROS ruds > G · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo

NOJOS bis > CLONES dok · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo NOVATOS nil > PINOTS m > OS LOPES tgn > JUSTICEIROS ruds > OSCURURU gds > AJATOS ralf · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo JUSTICEIROS ruds > OS LOPES tgn > TURCO · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo SURRA rudá > SEM MEDO juca > COMA wil · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo ZICAS stan · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo SURRA rudá · 2006 – 2008 · from the series: Noturnas [Night shots] · photographic documentation · prints over photographic paper, color · 110 x 71.7 cm · photo: Choque Photos · commissioned by: Fundação Bienal de São Paulo Qiu Anxiong The New Classic of Mountains and Seas – Parts 1 and 2 · 2006; 2009 · video installation · animation, 3 projections, black & white, sound · 30’15”; 29’35” · collection: Spencer Museum of Art, Lawrance,USA; Museum of Modern Art, New York; Museum of Contemporary Art, Tokyo Raqs Media Collective Escapement · 2009 · installation · 27 clocks, high glass aluminum with LED lights; video, 4 synchronized channels, color; sound · dimensions variable; loop · courtesy: artists; Frith Street Gallery, London Roberto Jacoby El alma nunca piensa sin imagen [The soul never thinks without image] · 2010 · installation; program of talks and political actions · stage; microphones and light; posters; lambe lambe; band; t-shirts; caps; buttons; flyers; lecturers; activists and public; drawings in collaboration with a group of Argentinian artists · dimensions variable · commissioned by: Fundação Bienal de São Paulo · produced by Fundação Start, Buenos Aires Rochelle Costi Paisagem [Landscape] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 123 × 156 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Casa Giacomet [Giacomet House] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton

fiber paper · 67 × 100 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Casa Colognesi [Colognesi House] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 67 × 100 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Estante [Bookshelf] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 120 × 80 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Casa desmedida [Rampant house] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 67 × 100 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Coluna Brasília [Brasília column] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 100 × 150 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Variações sobre colunas [Variations on columns] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 5 photographs 53 × 35 cm each · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Lagos [Lakes] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 100 × 150 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Redes [Hammocks] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 100 × 150 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Coluna bolhas [Bubble column] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 120 × 80 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Cortina [Curtain] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 123 × 156 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Escada descida [Descent stair] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 120 × 80 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo Escada subida [Rise stair] · 2010 · from the series: Residência [Residency] · photograph · inkjet print on cotton fiber paper · 123 × 156 cm · courtesy: artist; Galeria Luciana Brito, São Paulo · commissioned by: Fundação Bienal de São Paulo

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Rodrigo Andrade Rua deserta [Desert street] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Rua deserta com cerca [Desert street with fence] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Beira do mar [Offshore] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Perturbação [Disturbance] · 2009 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Viaduto [Viaduct] · 2009 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Sem título [Untitled] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Estrada [Road] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 240 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Lua cheia sobre a cidade [Full moon over the city] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Interior escuro [Inner darkness] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 240 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Promontório [Promontory] · 2010 · from the series: Matéria noturna [Night matter] · painting · oil on canvas on particle board · 180 × 270 cm · collection: artist · commissioned by: Fundação Bienal de São Paulo Ronald Duarte Fogo cruzado [Crossfire] · 2002 · from the series: Guerra é guerra [War is war] · action documentation · video, color, sound · 4’39” · collection: artist Nimbo Oxalá · 2004 · from the series: Guerra é guerra [War is war] · action documentation; performance · video, color, sound; · 3’05” · collection: artist O que rola VCV [Blood bath] · 2001 · from the series: Guerra é guerra [War is war] · action documentation · video, color, sound · 4’30” · collection: artist Rosângela Rennó Hoje eu atingi o reino da despalavra.

[Today I have reached the kingdom of the unword.] · 2008 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] ·

photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · collection: Marcela and Vinicius Reis Eu queria construir uma ruína. [I wish I built a ruin.] · 2008 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] · photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · collection: Esther Faingold As coisas sem importância são bens de poesia. [The unimportant things are goods of poetry.] · 2008 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] · photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · collection: private Perder a inteligência das coisas para vê-las / é bom para a poesia. [To lose things' intelligence to see them / it is good for poetry.] · 2008 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] · photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · collection: Regina Pinho de Almeida As coisas que existem são mais bonitas.

[The things that exist are the most beautiful ones.] · 2008 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] · photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · collection: Roberto Profili O que é bom para o lixo é bom para a poesia. [What is good for garbage is good for poetry.] · 2010 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] · photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · courtesy: Galeria Vermelho, São Paulo Há histórias tão verdadeiras / que às vezes parece que são inventadas. [There are stories so true / that they sometimes seem invented.] · 2010 · from the series: Matéria de poesia (para Manuel de Barros) [Poetry matter (to Manuel de Barros)] · photographic polyptych · 6 inkjet prints of superimposed slides; text; plexiglass box; slides · 234 × 226 cm; box 10 × 15 × 3 cm · courtesy: Galeria Vermelho, São Paulo Menos-valia [leilão] [Minus value [auction]] · 2010 · installation; performance · objects; table; labels · approx. 40 objects; dimensions variable · commissioned by: Fundação Bienal de São Paulo · auctioneer Aloísio Cravo Runa Islam This Much Is Uncertain · 2009 – 2010 · film installation · 16 mm, color and black & white, silent · approx. 8’ · courtesy: artist; White Cube, London · support: Vhernier · commissioned by: Nicoletta Fiorucci Samuel Beckett Not I · 1972 · TV adaptation of play · video, black & white, sound · 13’10” · courtesy: Estate Curtis Brown, London

Sandra Gamarra Milagros II [Miracles II] · 2010 · installation · oil on paper; press clippings · dimensions variable · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 11 [Page 11] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · 101.5 × 118 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 13 [Page 13] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · 127 × 102.5 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 15 [Page 15] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · 170.5 × 108.5 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 18 [Page 18] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · 99.5 × 117.5 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 19 [Page 19] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · 99.6 × 117.5 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 20 [Page 20] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · 102 × 117.5 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Pág. 22 [Page 22] · 2010 · from the series: Catálogo October 18, 1977 [October 18, 1977 catalogue] · painting · oil on canvas · diptych 170.5 × 249 cm · collection: LiMAC, Lima · courtesy: Galeria Leme, São Paulo · commissioned by: Fundação Bienal de São Paulo Sara Ramo A banda dos sete (titulo provisório) [The band of seven (working title)] · 2010 · video installation · HD, color, sound · loop · commissioned by: Fundação Hermés Simon Fujiwara The Personal Effects of Theo Grünberg · 2010 · video installation; performance · collection of books and objects; library; video, color, sound · video approx. 40’; overall dimensions variable · courtesy: artist; Neue Alte Brücke, Frankfurt/Main; Gio Marconi, Milan · support: Julia Stoschek Foundation e.V., Düsseldorf; Fundação Bienal de São Paulo · commissioned by: Philippe Fürnkäs · actor Wu Ingrid Tsang; director of photography Ashley Hunt; assistant director of photography Harold Batista; production assistants Feliz Solomon, Harold Batista; assistant editor Michael De Angelis; sound editor Lidia Tamplenizza; Mixer Alexa Zimmerman; performance support Justin Perkins; crew Jane Anderson, Lily Benson, Cynthia Chris, Cassandra Xin Guan; location Industry City, Sunset Park, Brooklyn

Sophie Ristelhueber series: WB · 2005 · photograph · inkjet print on wallpaper · 6 photographs 310 × 387.75 cm each Steve Mcqueen Static · 2009 · film installation · 35 mm, HD transfer · loop · courtesy: artist; Thomas Dane Gallery, London; Marian Goodman Gallery, New York/Paris Sue Tompkins Untitled · 2010 · drawing · typewritten text on newsprint · dimensions variable · courtesy: artist; The Modern Institute/Toby Webster Ltd., Glasgow Hallo, Welcome to Keith Street · 2010 · performance · approx. 25’ · courtesy: artist; The Modern Institute/Toby Webster Ltd., Glasgow · commissioned by: Fundação Bienal de São Paulo Superstudio Vita Supersuperficie [Life Supersurface] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · storyboard · ink on paper · 103 × 73 × 3.5 cm · collection: Archivio Superstudio, Florence Vita Supersuperficie [Life Supersurface] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · illustration · lithography on paper · 103 × 73 × 3.3 cm · collection: Archivio Superstudio, Florence Educazione [Education] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · illustration · lithography on paper · 103 × 73 × 3.3 cm · collection: Archivio Superstudio, Florence Cerimonia [Ceremony] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · illustration · lithography on paper · 103 × 73 × 3.3 cm · collection: Archivio Superstudio, Florence Amore [Love] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · illustration · lithography on paper · 103 × 73 × 3.3 cm · collection: Archivio Superstudio, Florence Morte [Death] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · illustration · lithography on paper · 103 × 73 × 3.3 cm · collection: Archivio Superstudio, Florence L'accampamento [The camping] · 1972 / 1973 · from the series: Gli atti fondamentali [The fundamental acts] · illustration · print on acetate · 76.5 × 62 cm · collection: Archivio Superstudio, Florence Vita Supersuperficie [Life Supersurface] · 1972 · from the series: Gli atti fondamentali [The fundamental acts] · video · color, sound · 10’ · collection: Archivio Superstudio, Florence Educazione [Education] · 1972 / 2010 · from the series: Gli atti fondamentali [The fundamental acts] · video · color, sound · 15’ · collection: Archivio Superstudio, Florence · © Archivio Superstudio, Florença; Fundação Bienal de São Paulo · support: Fundação Bienal de São Paulo · made in 2010 following the storyboards and images from 1972; text and image selection, direction Gian Piero Frassinelli (Archivio Superstudio); sound technician Benedict Frassinelli; music Philiph Glass: Music with changing parts, Eric Satie: Vexationes Cerimonia [Ceremony] · 1972 · from the series: Gli atti fondamentali [The fundamental acts] · video · color, sound

437

· 20’ · collection: Archivio Superstudio, Florence Amore [Love] · 1972 / 2010 · from the series: Gli atti fondamentali [The fundamental acts] · video · color, sound · 15’ · collection: Archivio Superstudio, Florence · © Archivio Superstudio, Florença; Fundação Bienal de São Paulo · support: Fundação Bienal de São Paulo · made in 2010 following the storyboards and images from 1972; text and image selection, direction Gian Piero Frassinelli (Archivio Superstudio); sound technician Benedict Frassinelli; music Philiph Glass: Music with changing parts, Laurie Anderson: Superman, Musica tradizionale giavanese, Johannes Brahms, Ludwigh van Beethoven: Nona sinfonia: Inno alla gioia Morte [Death] · 1972 / 2010 · from the series: Gli atti fondamentali [The fundamental acts] · video · color, sound · 15’ · collection: Archivio Superstudio, Florence · © Archivio Superstudio, Florença; Fundação Bienal de São Paulo · support: Fundação Bienal de São Paulo · made in 2010 following the storyboards and images from 1972; text and image selection, direction Gian Piero Frassinelli (Archivio Superstudio); sound technician Benedict Frassinelli; music Philiph Glass: Music with changing parts, Luigi Nono: Contrappunto dialettico alla mente Susan Philipsz To the Greenwood · 2010 · sound installation · digital sound, 3-channel surround · 1’ every 10’ · courtesy: artist and Tanya Bonakdar Gallery, New York · commissioned by: Fundação Bienal de São Paulo Tacita Dean Teignmouth Electron · 1999 · film installation · 16 mm, color, optical sound · 7’ · courtesy: Marian Goodman Gallery, New York / Paris Tamar Guimarães Sem título (título provisório) [Untitled (working title)] · 2010 · film installation · 16 mm, HD transfer, color, sound · courtesy: artist · support: Danish Arts Council Committee for International Visual Art, Copenhagen · commissioned by: Danish Arts Council Committee for International Visual Art, Copenhagen; Fundação Bienal de São Paulo Tatiana Blass Metade da fala no chão – Piano surdo [Half of the speech on the ground – Deaf piano] · 2010 · performance; installation · grand piano; microcrystalline wax; video · approx. 30’; dimensions variable · courtesy: Galeria Millan, São Paulo · photo: Everton Ballardin · commissioned by: Fundação Bienal de São Paulo Tatiana Trouvé 350 Points towards Infinity · 2009 · installation · plumb lines; magnets · 485 × 950 × 950 cm · courtesy: Galerie Johann Koenig, Berlin; Galerie Emmanuel Perrotin, Paris; Almine Rech Gallery, Brussels Tobias Putrih Alvorada · terreiro The skin of the invisible · 2010 · wood; cardboard; seats · approx.

120 sq m · commissioned by: Fundação Bienal de São Paulo

UNStudio Youturn · terreiro I am the street · 2010 · CNC-cut wooden structure; plywood cladding; plaster; paint; led lightining; video projectors · approx. 120 sq m · support: The Netherlands Architecture Fund, Rotterdam; The Netherlands Foundation for Visual Arts, Design and Architecture, Amsterdam; Zumtobel Licht GmbH, Lemgo; p+p, Fuerth, Odenwald · architect: UNStudio, Amsterdam - Ben van Berkel, Caroline Bos with Christian Veddeler and Jordan Trachtenberg; building and engineering: p+p, Fuerth, Odenwald Wendelien van Oldenborgh Pertinho de Alphaville [So close to Alphaville] · 2010 · installation · HD video, transferred to slides, sound · courtesy: artist; Wilfried Lentz, Rotterdam · support: The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB) · commissioned by: Fundação Bienal de São Paulo · collaboration with Fábrica Wearplay and Teatro Oficina, São Paulo; camera Heloisa Passos; architecture Milica Topalovic; acknowledgments Mario Campanella, Barbara Wagner, Wanderley Moreira, Jorge Loureiro, Claudia Yammine, Edda Bihr Campanella, Suely Rolnik, Denise Garcia Wilfredo Prieto Apolítico [Apolitical] · 2001 · installation · black-and-white flags · 70 flags 122 × 244 cm each; overall dimensions variable · collection: Daros Latinamerica, Zürich Yael Bartana Mary Koszmary [Nightmare] · 2007 · film · 16 mm, HD transfer, color, sound · 10’30” · collection: Van Abbemuseum, Eindhoven · courtesy: Annet Gelink Gallery, Amesterdã; The Netherlands and Sommer Contemorary Art, Tel Aviv Mur i Wieża [Wall and tower] · 2009 · film · 16 mm, HD transfer, color, sound · 13’ · collection: Van Abbemuseum, Eindhoven · courtesy: Annet Gelink Gallery, Amesterdam; The Netherlands and Sommer Contemporary Art, Tel Aviv Yoel Diaz Vázquez La torre del ruido [The tower of noise] · 2006 – 2010 · video installation · TV monitors; wood structure; posters on offset print · 40 monitors, videos approx.

5’ each; 7 posters 104 × 74 cm each; overall dimensions variable · support: Fundação Bienal de São Paulo · Rappers Abelito-Manigua, Osmany-Manigua, Dayana-Amazona, Gleiser-Real negro, Lazaro-Oscar, Misluanis-Vietnam, Ashlie-Yoruba Tradition, Rositika-Yoruba Tradition; artist advisory Juan Carlos Betancourt; architect Jan Stauf, Torben Shomaker Yonamine Os mestres e as criaturas novas (remixstyle) [The masters and the new creatures (remixstyle)] · 2010 · installation · sound; silkscreen; newspaper; plastic; video, color · dimensions variable · courtesy: Cristina Guerra Contemporary Art, Lisbon; Soso Arte Contemporânea Africana, Luanda, São Paulo · support: Fundação Sindika Dokolo, Luanda/Bienal; Fundação Bienal de São Paulo

Yto Barrada A modest proposal · 2010 · installation · offset prints · 12 posters, 2,000 prints, 59.4 × 42 cm each · collection: artist Zanele Muholi Makho Ntuli, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Gazi T Zuma, Umlazi Township, Durban · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Puleng Mahlati, Embekweni, Paarl · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Amogelang Senokwane, District Six, Cape Town · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Thuli Ncube, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Wewe Ngidi, Observatory, Johannesburg · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Lerato Morumolwa, Embeweni, Paarl · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Kasha N Jacqueline, Toronto · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Lebo Mashifane, District Six, Cape Town · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Nhlanhla Esther Mofokeng, Thokoza, Johannesburg · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Charissa Granger, Amsterdam · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Michele Clarke, Toronto · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Lebo Mashifane, District Six, Cape Town · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Sisipho Ndzuzo, Embekweni, Paarl · 2009 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Thandi Mbatha, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Refilwe Mahlaba, Thokoza, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver

gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Thandi ‘Mancane’ Selepe, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Nunu Sigasa, Germiston, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Tumi Mkhuma, Katlehong, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Lerato Nkutha, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Ayanda Magudulela, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Shirley Ndaba, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Bakhambile Skhosana, Natalspruit · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Bathandwa Mosho, Braamfontein, Johannesburg · 2010 · from the series: Faces and Phases · photograph · silver gelatin print · 86.5 × 60.5 cm · courtesy: Michael Stevenson, Cape Town Zarina Bhimji Waiting · 2007 · film installation · 35 mm, HD transfer, color, Dolby 5.1 sound · 7’45” · collection: artist

image credits

ARTISTS

Antonio manuel · p. 110 1 · photo: Rômulo Fialdini 2–5 · photo: Lula Rodrigues

David Cury · p. 386 photo: Wilton Montenegro

Antonio Vega Macotela · p. 170 1 · photo: Brenda Ortiz

David Goldblatt · p. 90 1–4 · courtesy: Goodman Gallery, Johannesburg

Apichatpong Weerasethakul · p. 98 courtesy: Animate Projects/ Kick the Machine Films, London · photo: Chaisiri Jiwarangsan · © Kick the Machine Films

David Maljković · p. 80 1–3 · courtesy: Annet Gelink Gallery, Amsterdam; Metro Pictures, New York; Georg Kargl Fine Arts, Vienna; Sprüth Magers, London, Berlin

Artur Barrio · p. 177 1 · courtesy: Instituto Inhotim, Brumadinho · photo: César Carneiro

Deimantas Narkevičius · p. 81 courtesy: gb agency, Paris; Jan Mot, Brussels; Barbara Weiss, Berlin

Alessandra Sanguinetti · p. 286 1–4 · courtesy: Yossi Milo Gallery, New York; Ruth Benzacar Gallery, Buenos Aires · © Alessandra Sanguinetti

Artur Żmijewski · p. 270 courtesy: Foksal Gallery Foundation, Warsaw; Galerie Peter Kilchmann, Zürich · photo: Zofia Waslicka, Artur Żmijewski

Douglas Gordon · p. 290 courtesy: Studio lost but found, Berlin · photo: Studio lost but found (Frederik Pedersen)

Alfredo Jaar · p. 64 courtesy: Daros Collection, Zürich

Cada – Colectivo Acciones De Arte · p. 353 1–3 , 6–8 · photo: Lotty Rosenfeld 4 · photo: Jorge Brantmayer 5 · photo: Kena Lorenzini

Efrain Almeida · p. 254 1–2 · courtesy: Galeria Fortes Vilaça, São Paulo · photo: Eduardo Ortega

Aernout Mik · p. 94 courtesy: Carlier / Gebauer, Berlin · photo: Elsje de Bruijn Albano Afonso · p. 240 1–3 · courtesy: Casa Triangulo, São Paulo · photo: Everton Ballardin Alberto Greco · p. 40 courtesy: Montserrat Santamaria Puigbo · photo: Montserrat Santamaria Puigbo · © Família Alberto Greco; Montserrat Santamaria Puigbo

Allan Sekula · p. 68 1–7 · courtesy: Christopher Grimes Gallery, Santa Monica 8 · courtesy: Christopher Grimes Gallery, Santa Monica; Galerie Michel Rein, Paris · photo: Museum van Hedendaagse Kunst Antwerpen M HKA, Antwerpen Allora & Calzadilla · p. 114 photo: Internet Image, Public Domain Amar Kanwar · p. 298 courtesy: Marian Goodman Gallery, New York Amelia Toledo · p. 232 1–2 · photo: Du Ribeiro Ana Gallardo (Coletivo com Mario Gómez Casas e Ramiro Gallardo) · p. 356 photo: Mario Gómez Casas, Ana Gallardo Andrea Büttner · p. 236 1 · courtesy: Hollybush Gardens, London · photo: George Eksts 2–4 · courtesy: Hollybush Gardens, London Andrea Geyer · p. 124 1–6 courtesy: Galerie Thomas Zander, Cologne · photo: Stefan Rohmer, Andrea Geyer Anna Maria Maiolino · p. 324 1 · photo: Bernardo Magalhães 2 · photo: Rômulo Fialdini 4 · photo: Regina Vater Anri Sala · p. 320 1–4 · courtesy: Galerie Chantal Crousel, Paris; Marian Goodman Gallery, New York; Gallery Hauser & Wirth, Zurich, London; Johnen Galerie, Berlin Antonio Dias · p. 378 1 · photo: Udo Grabow 2 · photo: Gabriele Basilico

Cao Fei · p. 86 1–2 · courtesy: Vitamin Creative Space, Guangzhou Carlos Bunga · p. 180 courtesy: Galería Elba Benítez, Madrid Carlos Garaicoa · p. 330 1–4 · courtesy: Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin · photo: Ela Bialkowska 5 · courtesy: Galeria Luisa Strina, São Paulo; Galleria Continua, San Gimignano, Beijing, Le Moulin · photo: Alex Delfanne Carlos Teixeira p. 216–217 · photo: João Parenti Carlos ZIlio · p. 210 photo: Paulo Rubens Fonseca Chantal Akerman · p. 66 1 · courtesy: Marian Goodman, Paris, New York · photo: © Stephan Wyckoff 2 · courtesy: Marian Goodman, Paris, New York · photo: © Chantal Akerman Chim Pom · p. 182 1–2 · courtesy: Mujin-to Production, Tokyo · photo: © Chim Pom Cinthia Marcelle · 83 1 · courtesy: Sprovieri, London; Box4, Rio de Janeiro; Vermelho, São Paulo · photo: Cinthia Marcelle, Tiago Mata Machado 2 · courtesy: Sprovieri, London; Box4, Rio de Janeiro; Vermelho, São Paulo · photo: Cinthia Marcelle, Michael Asbury Daniel Senise · p. 306 photo: Marianne Giuliano David Claerbout · p. 60 1–2 · courtesy: Hauser & Wirth Gallery, Zürich, London, New York; Yvon Lambert Gallery, Paris, New York

Emily Jacir · p. 296 courtesy: Alexander and Bonin, New York · photo: Jason Mandella Enrique Ježik · p. 329 courtesy: Galería Enrique Guerrero, Mexico City · photo: Tania Candiani Fernando Lindote · p. 82 photo: Karina Zen Filipa César · p. 244 1–2 · courtesy: Cristina Guerra Contemporary Art, Lisbon · © 2010 © Filipa César Fiona Tan · p. 319 courtesy: Frith Street Gallery, London Flávio de carvalho · p. 202 1–4 , 6 · photo: Edouard Fraipont (register)

Gustav Metzger · p. 108 1 · photo: David Bordes · © 2009 Gustav Metzger 2 · courtesy: Tate, London: Purchased with assistance from Tate Members 2007 · photo: © S Madejski · © Tate, London 2010; © 2009 Gustav Metzger Guy De Cointet · p. 140 courtesy: Air de Paris, Paris; Estate Guy de Cointet, Paris Guy Veloso · p. 234 1–5 · courtesy: Galeria Rosely Nakagawa_ Gabinete de Artes, São Paulo Harun Farocki · p. 328 photo “Immersion” (work in progress) Harun Farocki, 2009 Hélio Oiticica · p. 260 1 · courtesy: Projeto Hélio Oticica 2 · courtesy: Projeto Hélio Oticica · photo: Ronald Cultone High Red Center · p. 176 1–2 · courtesy: The Estate of Jiro Takamatsu / Yumiko Chiba Associates, Tokyo Isa Genzken · p. 312 1 · courtesy: Instituto Inhotim, Brumadinho; Daniel Buchholz, Cologne, Berlin; neugerriemschneider, Berlin · photo: Jens Ziehe 2 · courtesy: Instituto Inhotim, Brumadinho; Daniel Buchholz, Cologne, Berlin; neugerriemschneider, Berlin Jacobo Borges · p. 133 1 · © Jacobo Borges & Imagen de Caracas team James Coleman · p. 138 courtesy: Marian Goodman Gallery, New York, Paris · © James Coleman

Francis Alÿs · p. 336 1 · courtesy: David Zwirner, New York · © Francis Alÿs

Jeremy Deller & Grizedale Arts · p. 228 2 · courtesy: Ruskin Museum, Coniston · photo: M E Hargreaves

Gabriel Acevedo Velarde · p. 226 courtesy: Galeria Leme, São Paulo; Maribel López Gallery, Berlin

Jimmie Durham · p. 392 courtesy: Kurimanzutto Gallery, Mexico City

Gil Vicente · p. 150 1–2 · photo: Flávio Lamenha

Joachim Koester · p. 238 courtesy: Jan Mot Gallery, Brussels

Grupo de Artistas de Vanguardia · p. 152 1–3 · courtesy: Museu d'Art Contemporani de Barcelona Consortium-MACBA

Jonas Mekas · p. 294 courtesy: James Fuentes Gallery, New York

Grupo Rex · p. 206 7 · José Resende · photo: Rômulo Fialdini 8 · Carlos Fajardo · photo: Silvio Paulo Soares Bento 9 · Wesley Duke Lee · photo: Vicente de Mello

José Leonilson · p. 256 1–2 · photo Ding Musa Kendell Geers · p. 123 courtesy: Stephen Friedman, London; Galleria Continua, San Gimignano, Beijing, Le Moulin; Galerie Rodolphe Janssen, Brussels

439

Kiluanji Kia Henda · p. 357 1–3 · courtesy: Fundação Sindika Dokolo, Luanda Kutluğ Ataman · p. 102 courtesy: Thomas Dane Gallery, London Luiz Zerbini · p. 58 1 · courtesy: Pedro Évora and Pedro Rivera | RUA arquitetos Lygia Pape · p. 169 courtesy: Projeto Lygia Pape; Museu de Arte Moderna do Rio de Janeiro MAM-RJ · photo: Paula Pape Manfred Pernice · p. 332 courtesy: Galerie NEU, Berlin Manon de Boer · p. 284 courtesy: Jan Mot Gallery, Brussels Marcelo Silveira · p. 316 1–2 · courtesy: Galeria Nara Roesler, São Paulo; Galeria Mariana Moura, Recife · photo: Robson Lemos Marcius Galan · p. 76 1–2 · courtesy: Galeria Luisa Strina, São Paulo

Nástio Mosquito / Bofa da Cara · p. 126 courtesy: Bofa da Cara · photo: Pere Ortín; Alex Guimerà Nelson Leirner · p. 318 photo: Ricardo Miyada Ns Harsha · p. 200 1–2 · courtesy: Victoria Miro Gallery, London · photo: Malikajun Katakol Nuno Ramos · p. 380 1 · courtesy: Galeria Fortes Vilaça, São Paulo · photo: Marilia Teixeira 2 · courtesy: Galeria Fortes Vilaça, São Paulo · photo: Renato Silva 3 · courtesy: Galeria Fortes Vilaça, São Paulo · photo: Mila Petrillo Oswaldo Goeldi · p. 384 1–2 · courtesy: Museu Nacional de Belas Artes, Rio de Janeiro Otobong Nkanga · p. 194 1–3 · courtesy: Lumen Travo Gallery, Amsterdam the Otolith Group · p. 92 © The Otolith Group 2008

Maria Thereza Alves · p. 221 1 · courtesy: Maumaus – Escola de Artes Visuais, Lisbon; Galerie Michel Rei, Paris · photo: Arne Kaiser 2 · courtesy: Maumaus – Escola de Artes Visuais, Lisbon; Galerie Michel Rei, Paris · photo: Fabrício de Souza Pereira 3 · courtesy: Shirley, Douglas, Tam and Waldemar Krenak; Maumaus – Escola de Artes Visuais, Lisbon

Pedro Barateiro · p. 191 courtesy: Galeria Pedro Cera, Lisbon · photo: Pedro Tropa; Teresa Santos

Mario Garcia Torres · p. 352 photo: E. Diaz, 1963, published in the magazine Elite, Caracas, August 8, 1967, p. 32.

Raqs Media Collective · p. 292 courtesy: Frith Street Gallery, London · photo: Alex Delfanne

Marta Minujín & Ruben Santantonín · p. 360 courtesy: Marta Minujín and Leopoldo Maler Miguel Angel Rojas · p. 246 1–3 · courtesy: Sicardi Gallery, Houston Mira Schendel · p. 144 1–2 · courtesy: Galeria Millan, São Paulo · photo: Edouard Fraipont Monir Shahroudy Farmanfarmaian · p. 388 1–2 · courtesy: The Third Line, Dubai

Pedro Costa · p. 174 1 · courtesy: Fundação de SerralvesMuseu de Arte Contemporânea, Oporto Pixação SP · p. 147 1–6 · photo: Choque Photos

Roberto Jacoby · p. 132 photo: Antonio Cruz/Abr; Silvio Tanaka Rochelle Costi · p. 308 1–4 · courtesy: Galeria Luciana Brito, São Paulo Rodrigo Andrade · p. 158 1–3 · photo: Eduardo Ortega Studio Ronald Duarte · p. 196 1 · courtesy: Pedro Stephan 2 · courtesy: Wilton Montenegro Rosângela Rennó · p. 55 1 · photo: Alexis Azevedo 2 · courtesy: Galeria Vermelho, São Paulo

Moshekwa Langa · p. 156 1–6 · courtesy: Goodman Gallery, Johannesburg

Runa Islam · p. 51 courtesy: White Cube, London

Nan Goldin · p. 248 1–12 · courtesy: Michael Zilkha

Samuel Beckett · p. 145 courtesy: Estate Curtis Brown, London

Nancy Spero · p. 300 courtesy: Galerie Lelong, New York · photo: Jason Mandela

Sandra Gamarra heshiki · p. 262 1–2 · courtesy: Galeria Leme, São Paulo · photo: Manuel Blanco 3 · courtesy: Galería Juana de Aizpuru, Madrid · photo: Antoine Henry-Jonquères

Simon Fujiwara · p. 224 1 · courtesy: Neue Alte Brücke, Frankfurt, Main; Gio Marconi, Milan · photo: Yun Lee and VG Bildkunst 2 · courtesy: Neue Alte Brücke, Frankfurt Sophie Ristelhueber · p. 78 1–2 · courtesy: Adagp, Paris Steve McQueen · p. 52 courtesy: Marian Goodmann Gallery, New York, Paris; Thomas Dane Gallery, London Sue Tompkins · p. 142 1–2 · courtesy: The Modern Institute / Toby Webster Ltd, Glasgow; Tanya Bonakdar, Nova York Tacita Dean · p. 54 courtesy: Marian Goodman Gallery, New York, Paris; Frith Street Gallery, London Tamar Guimarães · p. 322 photo: Kasper Akhøj Tatiana Blass · p. 154 courtesy: Galeria Millan, São Paulo · photo: Everton Ballardin Tatiana Trouvé · p. 34 courtesy: Gagosian Gallery, New York; Johann Kobig, Berlin; Almine Rech, Brussels; Emmanuel Perrotin, Paris · photo: A. Altenburger · © Migros Stefan Altenburger Wendelien van Oldenborgh · p. 268 courtesy: Wilfried Lentz, Rotterdam Wilfredo Prieto · p. 32 courtesy: Nogueras Blanchard, Barcelona Yael Bartana · p. 272 courtesy: Annet Gelink Gallery, Amsterdam; Sommer Contemporary Art, Tel Aviv Yonamine · p. 396 courtesy: Cristina Guerra Contemporary Art, Lisbon; Soso Arte Contemporânea Africana, Luanda, São Paulo Zanele Muholi · p. 242 1–4 · courtesy: Michael Stevenson, Cape Town

Breathing Place STELA BARBIERI

p. 403 · photos: Mariana Galender p. 405 · photo: Gustavo Melo p. 406 · photo: Denise Adams

On the Construction of an Archipelago Marta Bogéa p. 412–421 · images: Arquitetura

CAPACETE PROJECT

p. 422 · photo: Helmut Batista

bibliographic credits and references

150 ANDRADE , Mario de. Poesias Completas. Belo

Horizonte: Villa Rica Editoras Reunidas, 1993, p. 88. [Jeffery Hessney (trans.)].

30 ARENAS , Reinaldo. Antes que anoiteça. Irène

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280 BARBOSA , Jorge. Obra Poética. Lisboa:

Imprensa Nacional – Casa da Moeda, 2002, p. 113. [Jeffery Hessney (trans.)].

295 BARROS , Manoel de. Gramática Expositiva

do Chão (Poesia quase toda). São Paulo: Editora Civilização Brasileira, 1990, p. 107. [Jeffery Hessney (trans.)].

383 CAIMMY , Dorival. “Acalanto”. Odeon, 1957.

339, 346 CALVINO , Italo. Invisible cities. William Weaver

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194 CAMPOS , Haroldo de. Galáxias. São Paulo:

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52, 362 CARROL , Lewis. Alice’s Adventures in

Wonderland. Oxford: Oxford University Press, 1998, pp. 70, 73.

204 CARVALHO , Flávio de. Experiência n. 2.Rio de

Janeiro: Nau, 2001. [Jeffery Hessney (trans.)].

154 BARROS , Manoel de. Tratado geral das

grandezas do ínfimo. Rio de Janeiro, Record, 2001. [Jeffery Hessney (trans.)].

50 BASHÔ . Cem haiku – Antologia. LEITE, Ana

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38 BECKETT , Samuel. Not I. Written in English

in spring 1972. First performed at the Forum Theater of the Lincoln Center, New York, in September 1972. First published by Faber and Faber, London, in 1973. First performed in Britain at the Royal Court Theatre, London, on 16 January 1973.

183 BONASSI , Fernando. 100 histórias colhidas

na rua. São Paulo: Scritta, 1996, p. 9.

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129, 135 BORGES , Jorge Luis. Ficciones. Donald Leslie

Shaw (trans.), London: Grant & Cutler in association with Tamesis, 1993.

213, 220 BORGES , Jorge Luis. Selected Poems. W. S.

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110, 187, 191 BRECHT , Bertolt. Poemas 1913 - 1956. Paulo

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78 BUARQUE , Chico. Turbulence. Peter Bush

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376 CRAVEIRINHA , José. Cela 1. Lisboa: Edições

70, 1960, p. 11. [Jeffery Hessney (trans.)].

43 CUMMINGS , E. E. 100 Selected Poems. New

York, Grove Press, 1958, p. 44.

196 CARVALHO , Flavio de. A cidade do homem

nu. Diário da Noite, 01/07/1930.

Republicado em DAHER, Luiz Carlos, Flávio de Carvalho: arquitetura e expressionismo. São Paulo: Projeto, 1982. [Jeffery Hessney (trans.)].

63, 68 DODGE , Jim. Fup. Fort Bragg: City Miner

Books, 1987, pp. 16,18 237

397 CASARES , Adolfo Bioy. The Invention of Morel.

Ruth L. C. Simms (trans.). 2003, p. 80.

145 CÉSAIRE , Aimé. Cahier d'un retour au pays

natal. Paris, Présence africaine, 1956.

[Jeffery Hessney (trans.)].

89 CÉSAIRE , Aimé. The Collected Poetry. Clayton

DONNE , John. "Êxtase". In CAMPOS, Augusto

de. Verso reverso controverso. São Paulo: Perspectiva, 1978, p.132.

389 DUCHAMP , Marcel. The Bride Stripped Bare

by Her Bachelors, Even. Edition Hansjörg Mayer, Stuttgart, London, Reykjavík and Jaap Rietman Inc, New York, 1976.

366

Eshleman and Annette Smith (trans. and introd.). Berkeley: University of California Press, 1984, p. 35.

DURAS , Marguerite. Destroy, She Said. New

142

GARCIA , Dora. An interview with Franco Rotelli

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137

CESAR , Ana Cristina. “Flores do mais”,

in Inéditos e dispersos. Org. e intro.: Armando Freitas Filho. São Paulo: Brasiliense, 1985, p. 95. [Jeffery Hessney (trans.)].

126, 193 CHACAL . Belvedere. São Paulo: Cosac Naify,

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158 CONRAD , Joseph. The Shadow Line. Fairfield:

1st World Library, 2007, p. 123.

72 CONRAD , Joseph. "About geography and

some explorers". In: Heart of Darkness.

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292 CORTÁZAR , Julio. Cronopios and Famas. Paul

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252 COSTA , Pedro. Casa de Lava. Portugal, France

and Germany: Madragoa Filmes, 1994.

and a footnote by Antonin Artaud. Trieste: May 2010.

266 GODARD , Jean-Luc. Alphaville. France: Athos

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37 GODARD , Jean-Luc. Je vous salue, Sarajevo.

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328 GODARD , Jean-Luc. Une femme mariée.

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383 GONZAGA , Luiz; TEIXEIRA, Humberto. “Asa

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96 GULLAR , Ferreira. Poema Sujo [Dirty Poem].

Leland Guyer (trans). Lanham: University Press of America, 1990, p. 11.

348 HANH , Thich Nhat. The Heart of

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441

102 HATOUM , Milton. The Tree of the Seventh

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284 JAMES , Henry. The Beast in The Jungle. São

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180 KAFKA : The Burrow. in LUNDBERG, Phillip:

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157 LINS , Osman. Nove, Novena. São Paulo:

Companhia das Letras, 1994. [Jeffery Hessney (trans.)].

262 LISPECTOR , Clarice. “Mineirinho”, 1968. In:

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146 LISPECTOR , Clarice. The apple in the dark.

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Gregory Rabassa (trans.), 1961, p. 182.

301 LOPES , Adilia. Antologia [Clube da poetisa

morta]. São Paulo: Cosac Naify, 2002, p. 165. [Jeffery Hessney (trans.)].

174 MANSFIELD , Katherine. The Garden Party and

Other Stories. Charleston: BiblioBazaar, 2008, p. 134 93 MATTOSO , Chico. Esse filme. In: “Ácaro # 1”.

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83 McEWAN , Ian. Atonement. New York: Anchor

Books, 2003, p. 370.

358 MEIRELES , Cecilia. Doze noturnos da Holanda

e outros poemas. Rio de Janeiro: Nova Fronteira, p. 45. [Jeffery Hessney (trans.)].

385 MELO NETO , João Cabral de. Entre o Sertão e

Sevilha. Rio de Janeiro: Ediouro, 1997.

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60 MENDES , Murilo. As metamorfoses. Rio de

Janeiro: Record, 2002, p. 32. Jeffery Hessney (trans.).

108 MENDES , Murilo. Mundo enigma (1942) &

356 SALOMÃO , Waly. Algaravias; Câmara de ecos.

Os quatros elementos (1935). Porto Alegre: Edição da livraria do Globo, 1945.

[Jeffery Hessney (trans.)].

324

São Paulo: Editora 34, 1996. [Jeffery Hessney (trans.)].

371 SUPERSTUDIO , Prologue of the script for

MUSIL , Robert. O homem sem qualidades.

the film Educazione, Superstudio 1972 / 2010 (selected text) by Gian Piero Frassinelli (Superstudio archive).

Unpublished.

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273 NAVA , Pedro. Balão cativo. Rio de Janeiro:

383 VALE , João de; CÂNDIDO, José. “Carcará”.

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380

1964. [Jeffery Hessney (trans.)].

360 VALÉRY , Paul. Eupalinos ou o Arquiteto. São

PESSOA , Fernando. The Book of Disquiet.

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171

32 VALÉRY , Paul. Monsieur Teste. Princeton:

PESSOA , Fernando. The Book of Disquietude:

by Bernardo Soares, Assistant Bookkeeper in the City of Lisbon. Richard Zenith (trans.). Riverdale: Sheep Meadow Press, 1996, p. 180.

Princeton University Press, 1989, p. 62.

80, 244 VILA-MATAS , Enrique. Bartleby & Co. Jonathan

Dunne (trans.). New York: New Directions Book, 2000, pp. 48, 142.

255, 317 PIRANDELLO , Luigi. Three plays by Luigi

Pirandello: Six Characters in Search of an Author; Henry IV and Right You Are (If You Think So). Whitefish: Kessinger Publishing, 2005, pp. 153, 159

306 VONNEGUT Jr. , Kurt. Breakfast of Champions: a

novel. New York: Delacorte Press, 1973.

40 WATANABE , José. El huso de la palabra. Lima:

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335 POE , Edgar Allan. A Descent into The

Maelstrom. Whitefish: Kessinger Publishing, 2005.

207

321 WISNIK , Marina. Palíndromos. Marina Wisnik

and Paulo Neves (trans.). Rio de Janeiro: Oficina Raquel, 2008, n/p.

PRATA , Antonio. Flexibilidade. In: “Ácaro # 1”.

São Paulo, outubro 2002, p. 16. [Jeffery Hessney (trans.)].

161, 168

230 WOOLF , Virginia. Mrs. Dalloway. London:

Penguin Books, 1996, p. 6.

RIO , João do; GOMES, Renato Cordeiro. João

do Rio. Rio de Janeiro: Agir, 2005, pp. 1, 2. [Jeffery Hessney (trans.)].

RODRIGUES , Nelson. "Personagem da

semana", O Globo newspaper, Rio de Janeiro, 21st December 1964. [Jeffery Hessney (trans.)].

All the translations made by Jeffery Hessney, Maria do Carmo Pontes, Paulo Miyada and

98

Suzana Vidigal are literal and were conceived for this catalogue.

The excerpts from “Not I,” by Samuel Beckett, and “Galáxias,” by Haroldo de Campos, have

115, 122 ROSA , Guimarães. Manuelzão e Miguilim

(Corpo de baile). 9a. ed.. Rio de Janeiro: Nova Fronteira, 1984, pp. 122, 139.

[Jeffery Hessney (trans)].

393 RUI , Manuel. Um morto e os vivos. Lisboa:

Cotovia, 1993, p. 12. [Jeffery Hessney (trans.)].

been left in the languages in which they were originally written – English and Portuguese, respectively – due to the lack of pertinence of a literal translation and the non-existence of an authorized poetic translation.

29th BIENAL DE SÃO PAULO

Curatorship Chief-Curators Agnaldo Farias Moacir dos Anjos Guest Curators Chus Martinez Fernando Alvim Rina Carvajal Sarat Maharaj Yuko Hasegawa Curatorial Assistants Ana Maria Maia Diego Matos Ligia Afonso Paulo Miyada Isabel Teixeira · Intern

Architecture Marta Bogéa

Guia Digital Director Gustavo Rosa de Moura

Collaborators Tiago Guimarães · Coordinator Laura Bigliassi Marcus Vinicius Santos

Production Coordinator André Bomfim

Assistants Lídia Ganhito Leonardo Cunha Garcia Luiz Antonio Adorno Gomes Martins

Editors Alexandre Wahrhaftig Eduardo Aquino Luisa Marques Lukas Gadelha Ricardo Saito

Scale model Fabio Gionco

Editorial Cristina Fino

Cinematographers Gustavo Rosa de Moura Alexandre Wahrhaftig

Researchers Dorothee Albrecht Stina Edblon

Website Galciani Neves

Sound Recordists Gutavo Chiappetta Gustavo Zysman Nascimento Raul Arthuso

Curator of the Grupo Rex Room Fernanda Lopes

Assistant Maria do Carmo Pontes

Production Assistant Eduardo Azevedo

Production Director Emilio Kalil

Graphic Production Signorini Produção Gráfica

Assistant Yumi Watari Coordinators Cláudia Vendramini Dora Silveira Corrêa Producers Ana Francisca Barros Carolina Vendramini Claudio Oliveira Felipe Isola Grace Bedin Ivana Monteiro Luciana Soares Marcela Amaral Michael Gibbons Renata Malina Renato Silva Assistants Helena Ramos Joaquim Millan Marília Arantes Loureiro

Assistant Editor Tunay Canepari Animation Ton Ruey

Residency Programs (Projeto Capacete) Helmut Batista

Original music Nick Graham-Smith

Documentation Amílcar Packer

Narration Gustavo Rosa de Moura Marina Person Nick Graham-Smith Ricardo Saito

General Assistance Adriana Pineda

Translator César Turim

Terreiros Program Pedro França

Subtitling Tunay Canepari

Mediation Jorge Menna Barreto

Assistant Adriana Kachar Hernandes · Luiza Crosman

443

Educational Project Curator Stela Barbieri

External Relations Coordinator Helena Kavaliunas

Assistant Angela Castelo Branco

Assistants Júlia Milaré Gropo Pedro Milaré Gropo Veridiana Simons

General Supervision Laura Barboza Pinto Actions in Communities Coordinator Carlos Barmak Coordinator to Teachers Program Mariana Serri Francoio Distance Learning Coordinator Marisa Szpigel Assistant Bruno Fischer Dimarch Educators Deborah Paiva Diogo de Moraes Guilherme Teixeira Secretary Stella Queiroga Gomes dos Santos Production Ana Carolina Magalhães Chica Mendonça Gustavo Melo Karina Zandoná Marcelo Tamassia Fernandes Pinto Melina Borba Olga Torres Photographic Documentation Denise Adams Mariana Galender Text Editors Fernanda Albuquerque Fernanda Lopes Website Simone Castro

Volunteers Ana Paula Pacianotto Ary Potyguara Carolina Morhy Daniela Fajer Rosa Gaella Pierson Isabela Giugno Joana Santos Rolemberg Côrtes Juliana Fernandes Karina Fischer Dimarch Laetitia Aubin Letícia Sabbatini Natália Braga Tonda Radamés Rocha Educators formation supervisors Adriana Miranda Aguiar Affonso Prado V. Abrahão Anita Limulja Carlota Mazon Elaine Carvalho Fontana Emmanuela Tolentino Santos Fabíola de A. S. Mariano Fernanda Simionato Giuliano Tierno Julia Goeldi Larissa Glebova Magno Rodrigues Faria Maíra Ribeiro Spilak Maralice Antunes Camillo Matheus Leston Maurício André da Silva Mayra Oi Saito Otávio Zani Teixeira Pablo Manuel R. Talavera Patrícia Marchesoni Quilici Paula Yurie Torelli Hijo Roberta Fialho de Abreu Talita S. Pedrosa Paes Tiago Lisboa de M. Athayde

Educators Adelaide Cristina da Silva Adriana Amossi Dolci Leme Palma Adriana de Moraes Adriana Moreno Ágatha Barbosa Araujo Alex Marinho Cavalcante Alves Alex Nascimento Aline Evangelista de Moura Aline Pires Luz Allan de Freitas Amanda Catherine Vieira Monteiro Ana Carolina Cabral Motta Ana Carolina Druwe Ribeiro Ana Carolina Roman Rodrigues Ana Chhaya Azevedo Kohli Ana Claudia Di Tulio Lopes Ana Claudia S. Takenaka Ana de Carvalho Dias de Andrade Ana Karina Silva Maganha Ana Luisa R. de M. Rocha Nossar Ana Luiza Cencini Polisel Ana Paula Gomes Ana Paula Robira Morgado Anderson Benelli da Silva André Barboza Arantes André Rabelo Simões André Minoru Souza Asai André Soares da Silva Andreia Cristina Campinho Angelo Esteves Silva Anna Regina Correia Neves Ariane Faria dos Santos Ariel Fernandes Spadari Bárbara Jacqueline Soares Milano Barbara Rodrigues Ariola Beatriz Cyrineo Pereira Beatriz França Vasconcelos Beatriz Santana Ferreira Bianca Grazielli Selofite Bianca Leite Ferreira Bianca Panigassi Zechinato Bruna Costa de Oliveira Bruna Farias Abreu Luz Bruno Cesar Rossarola dos Santos Bruno Ferreira de Souza Caio Feriotti Alves Meira Caio Meirelles Aguiar Caio Muller Barbosa Camila C. dos S. Gomes Camila Sanches Zorlini Camila Zanon Paglione

444

Camille Olivastro Perches Carlos Alberto Negrini Carlos Eduardo Poma Valadão Carlos Henrique Meirelles de Castro Carmen Cardoso Garcia Carolina de Mello Castanho Alves Carolina Ohashi Carolina Oliveira Ressurreição Carolina Tami Umezawa Caroline Brunca Sapgnol Caroline Gusman Anelli Caroline Hellm M. Dias Catharine Rodrigues Cintia Guimarães Ramos Clara Passarelli Scott Alves Cláudia Di Ferreira Ayoub Cristiana Junqueira Bei Cristiane Rafael dos Santos Gelain Cybele Silveira de Lima Honda Dafini Oliveira Daniel Zagatti Daniele Barros dos Santos Daniele E. C. Cardoso David Geová Medeiros Santana Dayane Okipney Silva Debora de Souza Freitas Débora Rosa da Silva Debora S. Hawrysz Gepp Denise Silva Barros Diego Francisco Silva Rosberg Diermany D'Alessandro Raymundo Dina Ioanna F. L. Pappou Eduardo Antonio Pereira de Freitas Elena Knijnik Eliane Breguêz de Souza Emerson Nobre Silva Érica da Costa Santos Erivaldo Aparecido Alves Nascimento Eustáquio Ornelas Cota Júnior Eveline Ivi Cori Everton Farias Valença Andrade Fabiana Costa de Almeida Fabiana Figueira Strumiello Fábio Moreira Caiana Felipe Augusto Bracco de Aguillar Felipe Guimarães Felipe Roth Faya Felipe Tenório da Silva Felix White Toro Fernanda Basile Resstom Fernanda da Silva Souza Fernanda Lemes Campos

Fernanda Maria Borges Fernando Augusto Fileno Fernando Siwek Sala Filipe Lima Pinheiro Filipe Monguilhott Falcone Flávia Amato Nogueira Francine Fernandes Rosa Gabriel de Aguiar Marcondes Cesar Gabriel Francisco Barbosa Lemos Gabriel Lima Garcia Gabriela L. Dinkhuysen Gabriela Maete Turetta Gabriela Vanzetta Pereira da Silva Giovanna Pezzuol Mazza Giuliana Marquesi de Souza Giulianna Nishiyama Guilherme Glaucos Marcelo Fedozzi Minuera Guilherme Pacheco Alves de Souza Guilherme Ramalho dos Santos Gustavo Avamilano Alvarez Gustavo Barros Rocha Helena da Silva Souza Helena Knoll Bastos Heloiza Sensulini Soler Olivares Ildenira Lopes de Sales Ileane da Silva Ribeiro Isabella Guimarães Rezende Isadora do Val Santana Isaura de Oliveira Ogawa Izabela Mariano F. de Araújo Izabella Demercian Jade Medeiros Tavares Janaína Nagata Otoch Jean Luiz Palavicini Jean Roberto Felipe da Silva Jeferson Pereira Costa Santos Jihana Y. A. Nassif Jonas Rodrigues Pimentel José Luiz Augusto Alves Pinheiro Juan Manuel Wissocq Julia Nóvoa de Campos Juliana Antunes Mendes Juliana Cristina Alves da Silva Juliana Cristina S. Bueno Guimarães Juliana Marachleian Nersessian Juliana Solimeo Karen Herreros Karina Ayumi Ekami Takiguti Kelly Cristina da Silva Laiz Hiromi Fuzinaga Lara Chaud Palacios Marin Larissa da Costa Miyazaki

Laura Belik Laura da Silva Monteiro Chagas Laura de Barros Chiavassa Laura Muniz Pacheco Laura Nogueira Marin Leila Graziela Costa Oliveira Leonardo Matsuhei Araki Normande Letícia da Silva B. Vasconcellos Livia Mara Botazzo França Livia Regina Midori Izumi Luana Cassia Araujo Marcondes Luana de Paula Perez Luanda Dessana Ferreira dos Santos Luara Alves de Carvalho Luara de Paula Vidal Lucas Cominato D'Angelo Lucas Lopes Queiroz Lucas Silva de Oliveira Luciana Andreotti Sonck Luciana Ester Schiel Gigolotti Luciara dos Santos Ribeiro Lucilia Santos Luisa Caetano Escobar da Silva Luisa Doria Giraldes Teixeira Luisa Rodrigues Barcelli Maira Bottan Manuela D'Albertas G. de Carvalho Manuela Henrique Nogueira Marcel Cabral Couto Marcella Klimuk Uchiyama Marcello A. M. Avelasco Marcia Veronica de A. Ferrari Marco Antonio Biglia Junior Maria Augusta B. de Souza Aranha Maria Clara Kanazawa Maria Isabela Buzolin Lucredi Maria Livia Nobre Goes Maria Tereza Bentivegna Belfort Mariana Coyado Rodrigues Garcia Mariana Ferreira Ambrosio Mariana Garau Moll Mariana Rodrigues Rosell Mariana Schmidt de Oliveira Iacomo Mariana Vilela do Nascimento Mariane Beline Tavares Mariane N. Ferreira Marina Borges Sarno Marina Cunha Martins Martha Letícia Casalaspro Moreira Martin Prado Sander Smit Matias Barboza Pinto Mayara Medeiros Miussi

445

Melina Martinho Mira Serrer Rufo Natália Pineiro Bressan Natália Rodrigues Gil Nathalia Carolina Fuchs Nayara Datovo Prado Nei Franclin Pereira Pacheco Nina de Oliveira Castellano Nina Pauline Knutson Olyvia Victorya Bynum Osvaldo Sant Anna Júnior Otavio de Camargo Penteado Paloma F. de Melo Paula Paola Ribeiro da Silva Patrícia Regina Vannetti Veiga Patrick Gomes de Toledo Paula Franco Paula Kaori Nishijima Paula Macedo Pereira Paula Vaz Guimarães de Araujo Paulo Chiarella Scharlach Paulo Henrique Bonosi Futagawa Paulo Ricardo Gomides Abe Paulo Vitor F. de B. M. Delgado Pedro Gabriel Amaral Costa Pedro Henrique Ferreira Costa Pedro Henrique Moreira Pedro Mattoso Boaventura Pedro Pizante Millan Priscila Dias Carlos Priscila Oliveira Herrera Hidalgo Priscila Palumbo Priscila Tavares Queli Cristina Martins Coelho Rachel Kogawa Carvalho Rachel Pacheco Vasconcellos Rafael Calixto da Silva Rafael D'Amico Flabore Rafael Florêncio da Silva Rafael Frattini Coimbra Longhi Rafael Santolíquido Davini Rafael Tortorelli Canal Raissa Monteiro dos Santos Raphael Yozo Donadio Suguita Rebeca Lopes da Silva Renata de Pierro Renata Barbosa Lima Renata da Silva Xavier Renata Osti Renata Pedroza Renata Perissinotto Passos Renata Tsuchiya

Renato Nonato Ogasawara Ricardo Rodrigues Serafim Roberta Borges de Oliveira Roberta Maringelli Campi Rodolfo Borbel Pitarello Rodolfo Colombo Rodrigo Pereira Fernandes Rômulo dos Santos Paulino Ruana Negri Crusca Sabrina Alves da Silva Simei Silva Greb Simone de Cassia Spilborghs Stephanie Maluf Suellen de Souza Barbosa Sylvia B. P. Fonseca Tabita Tiede Lopes Tamara Faifman Maciel Tamara Takaoka de Oliveira Tamira Naia dos Santos Tatiana de Andrade Beltrão Tatiana G. do Prado Tatiana P. do Nascimento Tatiane Ferreira da Silva Santos Téo C. Garfunkel Thais A. da Costa Botelho Thaís Mendes Moura Carneiro Thamíres Cristina da Silva Thiago Alves de Oliveira Thiago Cezar Macete Thila Pedrozo Lima Thisby Alarcon Khury Tiago Salles Rizzo Tiely Cáceres Correia Úrsula Passos de Paula Vanessa Florentino de Jesus Verônica Sayuri Kuniyoshi Victor Tasso Garcia Vieira Albertini Vincenzo Russo Soares Vinicius Dias Oliveira de Almeida Vinícius Monteiro de Castro Tubino Vitor Ballan B. Leite Vitor Yugo Katanosaka Wembley Matos dos Santos William S. de Oliveira Yasmim de Liz Branco Yukari Vieira Ritzmann Yule Liberati Barbosa

Fundação Bienal de São Paulo

Administrative and Financial Director Flávio Camargo Bartalotti

Design Bienal Director André Stolarski

Wanda Svevo Historical Archive Coordinator Adriana Villela

Designers Ana Elisa de Carvalho Silva Felipe Kaizer

Researcher Natália Leoni

Web Designer Victor Bergmann

Database Administrator Jorge Lody

Interns Fernando Petrich João Parenti Roman Iar Atamanczuk

Administrative Assistant José Leite de A. Silva (Seu Dedé) Intern Ana Paula Andrade Marques

Directorship Advisor Luciana Lehfeld Daher Legal Advisory Cesnik, Quintino e Salinas Advogados Bienal Digital Adriana Villela Ana Maria Maia Ângela Teixeira André Stolarski Chico Caminati Diana Dobránszky Diego Matos Marcos Machuca Paulo Miyada Pedro Weingärtner Rony Rodrigues Victor Bergmann

Editorial Producer Diana Dobránszky

Human Resources and Maintenance Management Mário Rodrigues · Manager Marcus Vinícius Cardoso da Silva Rodrigo Martins Valdemiro Rodrigues da Silva Vinícius Robson da Silva Araújo Wagner Pereira de Andrade Financial Management Kátia Marli Silveira Marante · Manager Amarildo Firmino Gomes Felipe Araújo Machado Lisânia Praxedes dos Santos Thatiane Pinheiro Ribeiro General Secretariat Management Maria Rita Marinho · Manager Anderson Fernandes Angélica de Oliveira Divino Josefa Gomes M. da Glória do E. S. de Araújo

Institutional Relations and Special Projects Brasil Arte Contemporânea Project, cooperation agreement with Ministry of Culture Flávia Abbud · Coordinator Marina Terepins · Assistant Marina Scaramuzza · Assistant Integrated Sectional Project – Brasil Arte Contemporânea, cooperation agreement with Apex-Brasil Têra Queiroz · Manager

Marketing and Fundraising Coordinators Alessandra Effori Marta Delpoio Assistants Bruna Azevedo Glaucia Ribeiro

Exhibition Production Administrative Coordination Vânia Mamede C. Shiroma · Coordinator Mônica Shiroma de Carvalho · Cultural Producer Viviane Teixeira · Assistant Technology and Inovation Marcos Machuca · Special advisor Anderson de Andrade Valdemiro Rodrigues da Silva

29th bienal catalogue

447

Editors Agnaldo Farias Moacir dos Anjos

Graphic Design Director André Stolarski

Editorial Coordination Cristina Fino

Designers Ana Elisa de Carvalho Silva Felipe Kaizer

Assistants Galciani Neves Maria do Carmo Pontes Editorial Production Diana Dobránszky Texts Agnaldo Farias Ana Maria Maia Diego Matos Filipa Oliveira Galciani Neves Ligia Afonso Maria do Carmo Pontes Moacir dos Anjos Paulo Miyada Pedro França Collaborators Aline Rezende Anders Kreuger Dorothee Albrecht Fernanda Lopes Isabel Teixeira Stina Edblon Translation Anthony Doyle Jeffery Hessney Suzana Vidigal Proofreading Regina Stocklen

Web Designer Victor Bergmann Interns Fernando Petrich João Parenti Roman Iar Atamanczuk

Graphic Production Signorini Produção Gráfica Pre-Press Burti Printing Ipsis

Dados Internacionais de Catalogação na Publicação (CIP) (Câmara Brasileira do Livro, SP, Brasil)

Catalogue of the 29th Bienal de São Paulo : There is always a cup of sea to sail in / curators Agnaldo Farias, Moacir dos Anjos.

-- São Paulo : Fundação Bienal de São Paulo, 2010.

Título original: Catálogo da 29ª Bienal de São Paulo : Há sempre um copo de mar para um homem navegar.

Vários tradutores.

ISBN 978 – 85 – 85298 – 33 – 3 1. Arte - Exposições - Catálogos 2. Arte contemporânea I. Farias, Agnaldo. II. Anjos, Moacir dos.

10-09219 CDD-700.74 Índices para catálogo sistemático: 1. Arte contemporânea : Exposições : Catálogos 700.74

Fundação Bienal de São Paulo and the participating artists of the 29th Bienal de São Paulo thank to:

Lenders to the exhibition

Documentação Alexandre Eulálio da Universidade Estadual de CEDAE-UNICAMP,

Ada Schendel, São Paulo · Adrian Piper Research Archive Foundation, Berlin · Ana

Campinas · Cinemateca da Embaixada da França, Rio de Janeiro · Colección

Celina Dias Reichert, São Paulo · Annet Gelink Gallery, Amsterdam · Archigram

Fundación Museos Nacionales, Caracas · Consejo Nacional para la Cultura y las Artes

Archives, London · Archivio Superstudio, Florence · Carola Bony Collection, Buenos

- CONACULTA, México City · Centro de Integração Empresa Escola – CIEE, São Paulo

Aires · César and Cláudio Oiticica, Rio de Janeiro · Coleção Gilberto Chateaubriand |

· Centros Educacionais Unificados- CEU, São Paulo · Companhia de Engenharia de

Museu de Arte Moderna do Rio de Janeiro – MAM · Coleção Inhotim, Brumadinho ·

Tráfego, São Paulo · Comunidade NUA, São Paulo · Consulado Geral da Bélgica, São

Coleção João Sattamini | Museu de Arte Contemporânea de Niterói – MAC · Comodato

Paulo · Consulado Geral da França, São Paulo · Consulado Geral da Holanda, São Paulo

Eduardo Brandão and Jan Fjeld | Museu de Arte Moderna de São Paulo – MAM · Daros

· Consulado Geral da República Argentina, São Paulo · Consulado Geral da República

Latinamerica Collection, Zurich · Estate of Guy de Cointet / Air de Paris, Paris · Esther

da Polônia, São Paulo · Consulado Geral do México, São Paulo · Consulado Geral

Faingold, São Paulo · Frith Street Gallery, London · Fúlvia Leirner, São Paulo · Fundação

dos Estados Unidos da América, São Paulo · Consumer Electronics Unlimited - IFA,

do Museu da Imagem e do Som do Estado do Rio de Janeiro – FMIS/RJ · Galeria Millan,

Berlin · CULTURESFRANCE, Paris · Curtis Brown Estate, London · Danish Visual Arts,

São Paulo · Galeria Vermelho, São Paulo · Galerie Lelong and Estate of Nancy Spero,

Copenhagen · Delacorte Press, New York · DGArtes, Lisbon · DIMUS Bahia, Salvador

New York · Gema Giaffone, São Paulo · Jean Cardilès, Grand Rodez · kurimanzutto,

· Edições 70, Lisbon · Ediouro, Rio de Janeiro · Éditions Présence Africaine, Paris ·

Mexico City · Liceu de Artes e Ofícios de São Paulo · LiMac, Lima · Luciana Brito

Editora 34, São Paulo · Editora Casa da Palavra, Rio de Janeiro · Editora Companhia das

Galeria, São Paulo · Marcela and Vinicius Reis, São Paulo · Marta and Paulo Kuczynski,

Letras, São Paulo · Editora Cosac Naify, São Paulo · Editora BestBolso, Rio de Janeiro

São Paulo · Museu d’Art Contemporani Barcelona – MACBA Museu de Arte de São

· Editora Brasiliense, São Paulo · Editora Casa da Palavra, Rio de Janeiro · Editora

Paulo Assis Chateaubriand – MASP · Museu de Arte Moderna de São Paulo – MAM ·

Civilização Brasileira, Rio de Janeiro · Editora Cotovia, Lisbon · Editora Ediouro, Rio de

Museu Nacional de Belas Artes – MNBA/IBRAM/MINC, Rio de Janeiro · Projeto Lygia

Janeiro · Editora Leya, Rio de Janeiro · Editora Globo, Rio de Janeiro · Editora Jorge

Pape, Rio de Janeiro · Paulo Pimenta, Porto · Regina Pinho de Almeida, São Paulo ·

Zahar, Rio de Janeiro · Editora José Olympio, Rio de Janeiro · Editora Leya, São Paulo

Ricardo de Carvalho Crissiuma Pisciotta, Valinhos · Rivista Domus, Milan · Roberto

· Editora Martin Claret, São Paulo · Editora Melhoramentos, São Paulo · Editora Nova

Profili, São Paulo · Rose and Alfredo Setubal, São Paulo · Ruskin Museum, Coniston ·

Fronteira, Rio de Janeiro · Editora Pensamento-Cultrix, São Paulo · Editora Planeta,

Sicardi Gallery, Houston · Tate Collection, London · Van Abbermuseum, Eindhoven ·

São Paulo · Editora Record, Rio de Janeiro · Editora Rocco, Rio de Janeiro · Editora

Vanda Mangia Klabin, Rio de Janeiro · And those who whised to remain anonymous.

Revan, Rio de Janeiro · Editora Scriptum, Belo Horizonte · Editora Scritta, São Paulo · Editora WMF Martins Fontes, São Paulo · El Museo del Barrio, New York · Embaixada da

Galleries

Colômbia no Brasil, Brasília · Embaixada de Israel no Brasil, Brasília · EMEF Presidente

Alexander and Bonin, New York · Amparo 60, Recife · Anita Schwartz Galeria de Arte,

Campos Salles, São Paulo · Escola Municipal de Iniciação Artística, São Paulo · Espaço

Rio de Janeiro · Box4, Rio de Janeiro · Carlier | Gebauer, Berlin · Christopher Grimmes

Unibanco de Cinema, São Paulo · Faculdade Mozarteum de São Paulo, São Paulo ·

Gallery, Santa Monica · Cristina Guerra Contemporary Art, Lisbon · David Zwirner, New

Faculdades Belas Artes, São Paulo · Faculdades Santa Marcelina, São Paulo · FIESP/

York · Galeria Baró, São Paulo · Galeria Casas Riegner, Bogotá · Galería Elba Benítez,

SESI, São Paulo · Flemish Institute for Visual, Audiovisual and Media Art - BAM,

Madrid · Galeria Enrique Guerrero, Mexico City · Galeria Fortes Vilaça, São Paulo ·

Brussels · Fondation d’enterprise Hermès, Paris · Fondazione Galleria Civica di Trento ·

Galeria Graça Brandão, Lisbon · Galeria Leme, São Paulo · Galeria Luisa Strina, São

Fundación Proa, Buenos Aires Fundação de Serralves, Porto · Fórum Permanente, São

Paulo · Galeria Mariana Moura, Recife · Galeria Marília Razuk, São Paulo · Galeria Nara

Paulo · Fundação Abrinq, São Paulo · Fundação Armando Álvares Penteado, São Paulo

Roesler, São Paulo · Galeria Pedro Cera, Lisbon · Galeria Sílvia Cintra, Rio de Janeiro ·

· Fundação Casa, São Paulo · Fundação Dorina Nowill, São Paulo · Fundação Japão,

Galeria Triângulo, São Paulo · Galerie Almine Rech, Brussels · Galerie Barbara Weiss,

São Paulo · Fundação Japão, Tokyo · Fundação Joaquim Nabuco, Recife · Fundação

Paris · Galerie Chantal Crousel, Paris · Galerie Daniel Buchholz, Cologne / Berlin ·

Oscar Niemeyer, Rio de Janeiro · Fundação Padre Anchieta - Centro Paulista de Rádio

Galerie Emmanuel Perrotin, Paris · Galerie Jan Mot, Brussels · Galerie Michael Rein,

e TV Educativas, São Paulo · Goethe-Institut, São Paulo · Hogeschool Sint-Lukas,

Paris · Galerie Neu, Berlin · Galerie Polaris, Paris · Galerie Thomas Zander, Cologne

Brussels · Fundação para o Desenvolvimento da Educação- Programa Cultura é

· Galleria Continua, San Gimignano / Beijing / Le Moulin · Galleria Gio Marconi, Milan

Currículo, São Paulo · Fundação Sindika Dokolo, Luanda · Gasworks / TrAIN, London

· gb agency, Paris · Georg Kargl Fine Arts, Vienna · Goodman Gallery, Johannesburg

· Grant & Cutler, London · Grove Press, New York · Iniva – Institute of International

· H.A.P. Galeria, Rio de Janeiro · Hauser & Wirth, Zurich / London / New York ·

Visual Arts, London · Instituto Arte Contemporânea - IAC, São Paulo · Instituto Arte na

Hollybush Gardens, London · Johani Koenig Gallery, Berlin · Johnen Galerie, Berlin ·

Escola, São Paulo · Instituto Moreira Salles, São Paulo · Instituto Tomie Ohtake, São

Laura Marsiaj, Rio de Janeiro · Lumen Travo Gallery, Amsterdam · Marian Goodman

Paulo · Istituto Italiano di Cultura, São Paulo · Itaú Cultural, São Paulo · Julia Stoschek

Gallery, New York / Paris · Mercedes Viegas Arte Contemporânea, Rio de Janeiro

Foundation e.V., Düsseldorf · Kessinger Publishing, Whitefish · Memorial da América

· Metro Pictures, New York · Michael Stevenson, Cape Town · Neue Alte Brücke,

Latina, São Paulo · Ministerio de Asuntos Exteriores y de Cooperación de España -

Frankfurt · neugerriemschneider, Berlin · Peter Kilchmann Gallery, Zurich · Soso Arte

AECID, Madrid · Ministerio de Relaciones Exteriores / República Argentina, Buenos

Contemporânea Africana, Luanda / São Paulo · Sprovieri, London · Sprüt Magers,

Aires · Ministerio de Relaciones Exteriores / República de Colombia, Bogotá · Ministry

London / Berlin · Tanya Bonakdar Gallery, New York · The Modern Institute, Glasgow ·

of the French Speaking Community, Brussels · Mondriaan Foundation, Amsterdam

The Third Line, Dubai · Thomas Dane Gallery, London · Victoria Miro Gallery, London ·

· Morlan S.A., Orlândia · Museu Afro Brasileiro, São Paulo · Museu Brasileiro da

White Cube Gallery, London · Yvon Lambert, Paris / New York

Escultura - Mube, São Paulo · Museu da Casa Brasileira, São Paulo · Museu da Cidade, São Paulo · Museu da Imagem e do Som - MIS, São Paulo · Museu de Arte Brasileira

Institutions and firms

da Fundação Armando Álvares Penteado, São Paulo · Museu de Arte Contemporânea

1st World Library, Fairfield · Administração do Parque do Ibirapuera, São Paulo

da USP – MAC, São Paulo · Museu de Arte de São Paulo - MASP, São Paulo · Museu

· Americas Society, New York · Animate Projects, London · Associação Artística

de Arte Moderna - MAM, São Paulo · Museu de Arte Moderna AloIsio Magalhães -

Cultural Oswaldo Goeldi, Taubaté · Auditório Ibirapuera, São Paulo · Balé da Cidade

MAMAM, Recife · Museu Lasar Segall, São Paulo · Museum van Hedendaagse Kunst

de São Paulo · Associação Cultural Videobrasil, São Paulo · AuthorHouse, Chicago ·

Antwerpen, Antwerp · New Directions Book, New York · Norton Critical Editions, New

Belvedere, Rio de Janeiro · BiblioBazaar, Charleston · Bloomsbury UK, London · British

York · Núcleo Vocacional, São Paulo · Oficina Raquel, Rio de Janeiro · Oxford University

Council, London · British Council, São Paulo · Caixa Cultural, São Paulo · Camberwell

Press, Oxford · Paço das Artes, São Paulo · Parallax Press, Berkeley · Penguin Books,

College of Arts, London · Casco – Office for Art, Design and Theory, Utrecht · Centro

London · Pinacoteca do Estado, São Paulo · Pinakotheke Cultural, Rio de Janeiro / São

Cultural Banco do Brasil, São Paulo · Centro Cultural da Espanha, São Paulo · Centro

Paulo · Prefeitura Municipal de Santos · Programa Cultura Viva- Pontos de Cultura, São

Cultural São Paulo · Centro de Cultura Judaica, São Paulo · Centro de Estudos e

Paulo · Programa de Iniciação Artística- PIA, São Paulo · Programa de Valorização de

449

Iniciativas Culturais- VAI, São Paulo · ProHelvetia, Zurich · Projeto Anchieta, São Paulo

· Jørgen Leth · Jose Arnaud-Bello · José Augusto Ribeiro · José Celso Martinez Corrêa

· Proyetos Monclova, Mexico City · RCR Cultural Foundation, Los Angeles · Relógio

· José Ignácio Roca · José Luiz Herencia · José Resende · Juan Gaitán · Julia Arana ·

d’água editores, Lisbon · Revista Ácaro, São Paulo · Revista Urbânia, São Paulo ·

Juliana Braga · Karel Kaivanto · Karen Cunha · Karla Jasso · Lani Goeldi · Lars Bang

Secretaria da Educação do Estado de São Paulo · Secretaria da Educação e Cultura de

Larsen · Laura Lima · Laureana Toledo · Laymert Garcia dos Santos · Lenora de Barros

Araraquara · Secretaria de Estado da Cultura de São Paulo · Secretaria Municipal de

· Leon Cakoff · Lia Chaia · Lia Mity Ono · Lilia M. Schwarcz · Lisa Robertson · Lisette

Assistência e Desenvolvimento Social de São Paulo · Secretaria Municipal de Cultura de

Lagnado · Lucia Koch · Luisa Duarte · Luiz Antonio Almeida Braga · Lukash Weglinski ·

São Paulo · Secretaria Municipal de Educação de Santo André · Secretaria Municipal

Luzinete Nunes · Maiza Verstagui · Manoel de Barros · Manthia Diawara · Manuel Costa

de Educação de São Caetano do Sul · Secretaria Municipal de Educação de São Paulo

Cabral · Manuela Afonso · Manuel Rui · Marcelo Brodsky · Marcelo Pedroso · Marcelo

· Secretaria Municipal de Educação Diadema · Secretaria Municipal de Educação e

Suzuki · Márcia Xavier · Márcio Botner · Marco Antonio Nakata · Marco Paulo Rolla ·

São Bernardo do Campo · Secretaria Municipal dos Transportes de São Paulo · Seglusa

Marcos Cesar Santos Simões · Marcos Moraes · Maria Alice Milliet · Maria Dora Mourão

Editores & Editorial Colmillo Blanco, Lima · Serpent's Tail, London · SESC, São Paulo ·

· Maria Elvira Pombo Holguin · Maria Estela Segatto Corrêa · Maria Iovino · Mariette

Tablado de Arruar, São Paulo · Sheep Meadow Press, Riverdale · Sociedad Estatal para

Dölle · Marilena Chauí · Marina Wisnik · Mario Almeida · Mario Campanella · Marketta

la Acción Cultural Exterior - SEACEX, Madrid · SOSO Arte Contemporânea Africana,

Seppala · Marita Silva · Marko Stamenkovic · Markus Richter · Marta Lança · Marta

Luanda / São Paulo · St. Paul’s School, São Paulo · Teatro Arena, São Paulo · Teatro

Mestre · Martine d'Anglejan-Chatillon · Mary Sabbatino · Mattia Denisse · Mauricio

Oficina, São Paulo · Teatro Vertigem, São Paulo · The Netherlands Foundation for Visual

Ianês · Mauricio Oliveira · Max Perlingeiro · Maya Da-Rin · Micha Schijlen · Michael

Arts, Design and Architecture – Fonds BKVB, Amsterdam · The New Press, New York ·

Asbury · Michel Favre · Michel Groisman · Mike Davis · Milton Hatoum · Mio Iwakiri ·

The Teatre Dramatyczny Warsaw · Triptique Arquitetura, São Paulo · União de Núcleos,

Molly Taylor · Monica Caldiron · Nara Roesler · Neka Menna Barreto · Niccolò Sprovieri

Associações e Sociedades dos Moradores de Heliópolis e São João Clímaco – UNAS,

· Nicoletta Fiorucci · Nilson Garrido · Nora Hochbaum · Norma Macabelli · Oscar

São Paulo · Universidade Camilo Castelo Branco, São Paulo · Universidade Cidade de

Carvajal · Oto Milfont · Pamela Prado · Patrícia Moran · Patrícia Mourão · Patrícias

São Paulo, São Paulo · Universidade de São Paulo, São Paulo · Universidade Estadual

Durães · Paul Chan · Paula Amaral · Paula Gaitán · Paula Lopez · Paula Pape · Paula

Paulista Júlio de Mesquista Filho – UNESP, São Paulo · WBI | Wallonie-Bruxelles

Possani · Pedro Aspahan · Pedro Moreira · Pedro Vanucchi · Pedro Veneroso · Pena

International, Brussels · University Press of America, Lanham · Vhernier, Milan · Villa

Schmidt · Peter Pal Pelbart · Philippe Ariagno · Philippe Fürnkäs · Pontogor · Rachel

Rica Editoras Reunidas, Belo Horizonte · Vlaams Audiovisuele Fonds, Brussels

Tompson · Rafael Barros · Rafael RG · Rejane Coutinho · Renata de Almeida · Renato Pinto Coelho Filho · Ricardo Aleixo · Ricardo Basbaum · Ricardo de Carvalho Crissiuma

Individuals

Pisciotta · Ricardo Holcer · Ricardo Miyada · Ricardo Ohtake · Ricardo Resende ·

Adolpho Leirner · Adriana Pineda · Afonso Luz · Alanna Lockward · Alessandro Sartore

Richard Riley · Roberta Estrela Dalva · Roberto Civita · Roberto Condurú · Roberto

· Alexandra Cruz · Alexandre Kassin · Aline Souza · Aloísio Cravo · Álvaro Faleiros ·

Marti · Rodolfo García Vázquez · Rodrigo Andreolli · Rodrigo Moura · Rui Costa Reis

Amal Khalaf · Amilcar Packer · Amina Urasaki · Ana Farinha · Ana Francisca Barros ·

· Ruth Estevez · Ruy Ohtake · Sabrina van der Ley · Samir Abujamra · Sandra Vieira

Ana Longoni · Ana Luiza Leão · Ana Mae Barbosa · Ana Paula Hisayama · Ana Rubia

Jurgens · Sebastião Barbosa Muniz · Serge Nokoué · Sérgio Baur · Shihoko Iida · Silvio

· Ana Tomé · André Amaral · André Cortez · André Millan · Andrea Branzi · Andrea

de Sicco · Sindika Dokolo · Sir Nicholas Serota · Socorro de Andrade Lima · Stephen

Tonacci · Andrei Ujica · Angela Lopes Ruiz · Anna Vass · Ann-Sofi Noring · Antonio

Rimmer · Sueko Hashimoto · Suely Rolnik · Tadeu Chiarelli · Tatiana Cuevas · Tatjana

Prata · Arnaldo Antunes · Arthur Nestrovski · Arthur Omar · Augusto de Campos ·

Gretschmann · Ted Bonin · Thairna Patrícia Lee · Thaís Medeiros · Thich Nhat Hanh ·

Augusto Lívio Malzoni · Augusto Massi · Aurélio Michiles · Barbara Wagner · Bel Coelho

Tiago Mata Machado · Tiganá Santana · Tine Colstrup · Ton Marar · Trinh T. Minh-ha

· Ben Hayward · Beth Goulart · Black Audio Film Collective (John Akomfrah, Lina

· Valdinar Rocha Fernandes · Veronica Cordeiro · Victor César · Victor Nieuwenhuijs ·

Gopaul, David Lawson) · Bob N · Bozo · Bruno Caracol · Esther Goes · Bruno Guanambi

Victória Ferraz · Victoria Noorthom · Vinícius Spricigo · Vitor César Junior · Wanderley

· Cacilda Teixeira da Costa · Camila Juarez · Camila Mota · Carla Maia · Carlos Fajardo

Moreira · Yasumitsu Takai · and to all the galleries, institutions, firms and individuals

· Carole Morrison · Carolyn Alexander · Cassiano Elek Machado · Catalina Lozano ·

who cooperated with the realization of the 29th Bienal de São Paulo.

Cecília Cotrim · Celso Pinhata Júnior · Chacal · Charles Cosac · Chico Buarque de Hollanda · Chico Mattoso · Chiei Ishida · Christina Rizzi · Cid Campos · Cida Peres ·

Educativo of 29th Bienal de São Paulo specially thank the cities:

Clarice Lacerda · Clarice Lacerda · Cláudia Yammine · Cláudio Willer · Cleide Terzi ·

Araçatuba – SP · Araraquara – SP · Barra Mansa – RJ · Birigui – SP · Campinas – SP

Clio Bugel · Corinne Diserens · Cristiane Esteves · Cristina Cortez · Dan Zimmerman ·

· Curitiba – PR · Itirapina – SP · Londrina – PR · Marilia – SP · Osasco – SP · Ourinhos

Dani Umpi · Daniel Rangel · Daniel Roesler · Daniel Santiago · Daniela Castro · Daniela

– SP · Porto Feliz – SP · Porto Alegre – RS · Recife – PE · Ribeirão Preto – SP · Santa

Labra · Davi Arrigucci · Denise Garcia · Dennis Crompton · Denise Milfond · Dora Longo

Cruz do Rio Pardo – SP · Santos – SP · São Sebastião – SP · São Carlos – SP · São José

Bahia · Dulce Vivas · Edda Bihr Campanella · Edgard Navarro · Eduardo Brandão ·

do Rio Preto – SP · São Luis do Maranhão – MA · Volta Redonda – RJ

Eduardo Climachauska · Eduardo Coutinho · Eduardo Jorge · Eduardo Leme · Eduardo Macabelli · Elaine Caramella · Eliana Zugaib · Emília Rosa · Enrique Vila-Matas · Erika Gartner Hopfgartner · Eryk Rocha · Eugênio M. Cordaro · Evaldo Mocarzel · Fabiana de Barros · Fabiana Faleiros · Fabiano Marques · Fabio Cimino · Fábio Delduque · Fábio Savino · Fernanda Boechat · Fernando Bonassi · Ferreira Gullar · Flávia Carneiro Leão · Flora Sussekind · Florence Bonnefus · Florencia Battiti · Francisca Bagulho · Francisco Canestri · Frederico Morais · Gabriel Borba · Gabriel Menotti · Gabriel Perez-Barreiro · Gabriela Rangel · Gabriela Salgado · Gillian Duffy · Gláucia Craveiro de Almeida · Glória Ferreira · Graziela Mantoanelli · Guerrilla Girls (Kathe Kollwitz and Frida Kahlo) · Gustavo Melo · Haco de Ridder · Hélio Goldsztejn · Heitor Fecarotta · Heloísa Buarque de Hollanda · Helson Léver Camilli · Heraldo Guiaro · Horácio Costa · Hu Fang · Ian McEwan · Ícaro Santos · Ilona Rechlin · Inês Bogéa · Inti Guerrero · Isaac Julien · Isabel Teixeira · Ismar Tirelli · Isobel Whitelegg · Jalal Toufic · Jana Binder · Jards Macalé · Jean-Martin Tidori · Jessica Paz · Jim Dodge · Jo Takahashi · João Bandeira · Joacélio Batista · Joana da Conceição · João Dumans · João Fernandes · João Sodré · Jochen Volz · Jorge Barreto Xavier · Jorge Loureiro · Jorn Konijn · Jorge Menna Barretto

The 29th Bienal counts on the strategic partnership of the Ministry of Culture with the support of Lei Rouanet

major sponsorship

educational project

terreiros

climatized area

digital guide

support

media support

institutional support

publicity

international support

Amigos da Bienal [friends of the bienal]

Ana Elisa Estrela Ferreira AndrĂŠa e JosĂŠ Olympio Pereira Ativa Corretora Carlos Francisco Bandeira Lins Link Investimentos Wieland Gurlit