Exhibition Guide Thirtieth bienal de sĂŁo paulo the imminence of poetics
7/31/12 2:14 PM
Exhibition guide thirtieth bienal
MinistĂŠrio da Cultura and Bienal present Thirtieth Bienal The Imminence of Poetics
7/31/12 2:14 PM
Since its first edition in 1951, the Bienal de SĂŁo Paulo has sought to examine contemporary cultural production from the vantage point of Brazil and its place within the international context. However, unlike other large-scale exhibitions held in cities with relatively small populations, ours takes place in one of the largest metropolises in the world, in a country where access to art and the transformative power it wields is still severely limited.
As such, our biennial dialogues with society in
a way that is different to the others and this comes with a unique set of challenges and responsibilities. Above all, this singularity demands the creation of institutional structures that are self-sustainable and that improve upon the experiments of the past. It requires a Bienal that does not start from scratch every two years, but rather develops solid bedrock for ongoing work and builds toward an institutional identity that envisages the Bienal de SĂŁo Paulo Foundation's enhancement as a collective-interest entity committed to art and public formation.
After a first phase that recomposed and recove-
red the institution's values, we now strive to lay even deeper foundations for the future. The Bienal de SĂŁo Paulo Foundation has a fully professionalized administrative model in place that affords greater financial autonomy and more efficient management. For the last two years we have had the privilege of running a permanent Educational Program which has broadened the range of our interlocution with people and works, generating dialogues between members of the team and the public.
The idea behind this permanent exchange is also
the platform for the 30th Bienal de São Paulo – The Imminence of Poetics. Intended as a nexus for a diversity of poetics, the exhibition aims to be an event that is capable of producing constellations of works and artists that converse amongst themselves. The ranging dialogue between the curators and guest artists will result in a Bienal made up of many works on-show for the first time and others specially commissioned for the event.
This celebration of the 30th Bienal is thanks
to decisive support from the Ministry of Culture and São Paulo City Hall, as well as the engagement of our sponsors, such as Itaú, Oi, AES Eletropaulo, Mercedes-Benz and Gerdau, and such valuable cultural partners as SESC São Paulo and FAAP – Fundação Armando Alvares Penteado. This support network is recognition not only of the catalyzing role played by the Bienal in the social development of the nation, but also, and above all, of a collective understanding of the importance of its institutional strengthening.
President of the Bienal de São Paulo Foundation
Throughout its history, the Bienal de SĂŁo Paulo has brought themes, works, artists and proposals fundamental to the understanding of modern and contemporary art in its multiple territories of expression to be reflected upon. As the main Brazilian arts event on the international calendar, it has contributed in a decisive way to the affirmation of the quality of artistic production, presenting the public with the diverse range of trends and languages that make up the extensive field of the visual arts.
This year, with the title The imminence of
poetics and with its curatorial axis centered on the idea of constellations, the Bienal has brought together artists and works that deal with transitions in current poetic and artistic expression, its multiple nature in permanent mutation, and which carry out dialogue with one another. In order to conduct and guide visitors, the Bienal also has an Educational Program formed by professionals capacitated to accompany a public of hundreds of thousands of people on guided visits and on various complementary programs â&#x20AC;&#x201C; a pioneering activity in the field of the arts in the country.
In also acknowledging the economic and cultural
impact made by the Bienal, one of the first events of the creative economy in Brazil and one that reflects the image of the promotion of quality and innovation, with the creative process as one of its most value-added activities, the Ministry of Culture has joined the group effort undertaken for its production, an effort made up of all of its sponsoring companies and institutional cultural partners, who have made possible a new administrative model, with greater financial autonomy and a collective spirit decisive for Brazil's economic and cultural development process.
Ana de Hollanda
State Minister of Culture
MINISTRY OF CULTURE AND BIENAL PRESENT
EXHIBITION GUIDE THIRTIETH
BIENAL DE SÃO PAULO THE IMMINENCE OF POETICS SEPTEMBER 7 – DECEMBER 9 2012
CURATORS: LUIS PÉREZ-ORAMAS ANDRÉ SEVERO TOBI MAIER ISABELA VILLANUEVA
Bienal in the City
064 David Moreno
040 Alair Gomes
065 Diego Maquieira
041 Alberto Bitar
066 Edi Hirose
042 Alejandro Cesarco
067 Eduardo Berliner
043 Alexandre da Cunha
068 Eduardo Gil
044 Alexandre Navarro
069 Eduardo Stupía
070 Elaine Reichek
045 Alfredo Cortina
071 Erica Baum
046 Ali Kazma
072 f. marquespenteado
047 Allan Kaprow
073 Fernand Deligny
048 Andreas Eriksson
074 Fernanda Gomes
049 Anna Oppermann
075 Fernando Ortega
050 Arthur Bispo
076 Franz Erhard
051 Athanasios Argianas
052 August Sander
077 Franz Mon 078 Frédéric Bruly Bouabré
053 Bas Jan Ader
054 Benet Rossell
080 Guy Maddin
055 Bernard Frize
081 Hans Eijkelboom
056 Bernardo Ortiz
057 Bruno Munari
083 Hayley Tompkins
084 Helen Mirra
085 Hélio Fervenza
060 Christian Vinck
086 Horst Ademeit
061 Ciudad Abierta
062 Daniel Steegmann
088 Hugo Canoilas
063 Dave Hullfish
089 Ian Hamilton
090 Icaro Zorbar
122 Pablo Accinelli
091 Ilene Segalove
123 Pablo Pijnappel
092 Iñaki Bonillas
124 Patrick Jolley
093 Iván Argote &
125 Paulo Vivacqua
094 Jerry Martin
127 Ricardo Basbaum
095 Jiří Kovanda
128 Robert Filliou
096 John Zurier
129 Robert Smithson
097 José Arnaud Bello
130 Roberto Obregón
098 Juan Iribarren
131 Rodrigo Braga
099 Juan Luis Martínez
132 Runo Lagomarsino
100 Jutta Koether
133 Sandra Vásquez
101 Katja Strunz
de la Horra
102 Kirsten Pieroth
134 Saul Fletcher
104 Leandro Tartaglia 105 Lucia Laguna 106 Marcelo Coutinho
136 Sergei Tcherepnin with Ei Arakawa
107 Marco Fusinato
137 Sheila Hicks
108 Mark Morrisroe
109 Martín Legón
110 Maryanne Amacher
139 Simone Forti
111 Meris Angioletti
140 Sofia Borges
112 Michel Aubry
141 Studio 3Z
113 Mobile Radio
142 Tehching Hsieh
143 Thiago Rocha Pitta
115 Moyra Davey
144 Thomas Sipp
145 Tiago Carneiro
117 Nicolás Paris
118 Nino Cais
146 Viola Yeşiltaç
119 Nydia Negromonte
147 Waldemar Cordeiro
120 Odires Mlászho
148 Xu Bing
121 Olivier Nottellet
149 Yuki Kimura
The 30th Bienal de São Paulo, which takes place under the insignia of The Imminence of Poetics, has its structure laid out with the form of a constellation in mind. The artists presented here and the works for the appreciation of which this guide is intended, were selected and installed with an eye toward the dual power of the condition of bonding: bonds among themselves – in other words, between formally and generationally dissimilar artists, always open, always imminent – and the bonding of their works among one another, forming quasi-retrospective constellations that are more or less self-contained. Spectators will be free to decide where to focus their attention: on these self-containing units, or, on the contrary, on the ties binding the artists. This guide, in addition to a short text on the general poetics of each of the individual artists, proposes to the viewer a series of constellate groupings among artists. All bonds, all constellations of meaning, are more or less the fruit of arbitrariness. This arbitrariness is the manifestation of the freedom of spectators, among whom we curators are necessarily included, to create our own bonds, to activate our own memory. The twelve constellations proposed here are twelve among countless other possibilities. This guide presents them as an arguable possibility, as a potency of meaning, neither unique nor exclusive, for understanding the 30th Bienal. Given that, in Goethe's words, “everything that exists is an analogue of everything that exists,” what is important is not so much the arbitrariness of the bonds as the possibility that they be intellectually and responsibly justified, thus establishing the potency of a controversial communion of meaning. This is how we understand the imminence of poetics.
Curator of the 30th Bienal de São Paulo
The Imminence of Poetics
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In all of these artists' works, the idea of “image construction” is critically questioned: the construction of the image is made visible as entanglement, architecture, fabric, memory, displacement, shadow; in all of them reflection takes place, when pictorial, filmic or imagistic language is put into practice
upon the limits of language itself: painting with the tip of the brush – not seeing the painting except through hypothetical classificatory mediations (Benet Rossell) or “not painting anything” – in them, it is often affirmed that painting paints nothing, that film films nothing, as p. 070
irony, or as politics; in them, the possibility of an imagistic discourse is interrogated, the very temporality of the construction of the image is shown, individual authorship is questioned, and the possibility of making images in an alluvial manner is instituted. In them the politics of the image is thrown into doubt.
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These artists' works, in general, appear as fields â&#x20AC;&#x201C; these fields may take the form of labyrinths, theater dressing rooms, fragments of objects that require participation in order to attain their artistic destination, open or choreographed spaces, realms of memory, supports for a multiplicity of signs, an agglomeration of things: what is common to them all is that all of these fields are potential coordinates for activation through performance. Every time a form is activated in them â&#x20AC;&#x201C; or is activated together with others â&#x20AC;&#x201C; another diverse, alternative, different form emerges, alterforms, and survives in its own difference. In all of these artists, there prevails a potential for theatricality that is born of apparently less theatrical forms, a theatricality without precepts and rules, without p. 139
instruction, without didascalia, open to imminence: in them, things come to be what they are by transforming into what they supposedly should not be.
In these artists' works, the most common constellating denominator is the found object, the already-thing, the already-image, that which is there, or was there: in their works, non-connectable realities connect; hybrid units of distinct things are constituted; things are sewn together, in the same way as words are sewn to their supports so that they cannot escape, in order to acquire a p. 083
possible unity (Arthur Bispo do Rosรกrio): discourse becomes a patched body: patched onto the world, onto things. Beginning with there-things, alreadythings, found objects and images, serial and abstract practices materialize, as do narratives that relate nothing, with words or with things; object-based syntaxes articulate with one another, generally develope into alle-
gorical devices, which are themselves also critical of reality and of images.
A form of excess applied to the image, a figurative apogee, a figural overweight that could all too easily be qualified merely as grotesque, appears as a leitmotif in the practice of all of these artists: this excess derives from a certain exacerbation of reality in its representation, domestic or dreamlike, through which altered fictions or versions of the world, of the self, of history are narrated (or are figuratively metabolized), and take the form of critiques of some dimensions of reality: of genre, of p. 060
self-portrayal, of national history, of community, of prehistory, of origin, of the body as a somatic entity, of dreams or sexuality, of social functions, of tawdriness; in them, intimacy appears under siege, as if it could not aspire to form part of common reality, or as if common reality consisted of hiding, veiling, disguising, sublimating the exacerbated, at times violent, at times sarcastic truth of our ordinary lives.
The common denominator of these artists is a chiasmus: in all of them the sonic dimension of image, the representable dimension of sound, is elaborated in one way or another, to a greater or lesser degree. The ability to turn sounds into images – inasmuch as one can affirm that this indeed can happen – is articulated in them, to the sonority of images, to the sonority of figures. In all of
them it is affirmed, through post-abstract practices (in other words, consciously practiced after abstraction as a modern manifesto), that one of the imminences of the voice is the image that can give body to it; that perception is always a sensorially constelp. 111
lated object, and not, as a naïve – or idealistic – vision could have one believe, monosensorial: that one hears with one's eyes just as one sees with one's ears, that one looks through touch just as one caresses the world with scent, etc. These artists make evident, in their work, the fact that space requires the body, with its wakefulness and sleep, with its instant and its memories, in order to be a
place of life.
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Each of the artists in this constellation comprises a specific world, and accesses various diverse problems: habitable space as a metaphor for existence; the musicality of bodies that are entwined as erotic shapes in public space; landscape as a mental, artificial scene; the indifference of the regard; the figurativeness of a social body, a community, social distinctions; indications of a temporality by way of dress; taxidermic series as an allegorical method or as a metaphor for the fragility of life; the continuity of customs in the most radical diversity of spaces and p. 045
places; the alienation of work, the methodical and repetitive resistance of gestures; the fractured figures of the selfportrait; intimacy, desire, the underworld; surroundings as a space of threat and catastrophic imminence, etc. What ties them all together into a constellation is the formalization of their works under the form of systematic and repetitive developments, constituting typologies of various different natures: image- or performance-based,
architectural or analytical; landscape-based or classificatory; related to dress or physiognomy; musical or identity-related, etc.
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In the artists' works in this constellation, there is manifested, in addition to the diversity of mediums and themes used in their works, an approximation of everyday reality, of daily human existence through an anthropological or genealogical regard: they are anthropological or genealogical approximations of the everyday that acquire various different forms: biographical or autobiographical tales; assemblages constituting sculptures or self-portraits; series of photographs; docup. 144
mental registry; ironic narration; measuring and gauging devices, etc. In them, the status of images as transitive means of reaching reality is questioned, and their works are generally developed in the form of poetics of testimony or registry.
Found actions and/or activities, illogical figurations and the theatricalization of everyday life are elements present in the work of these artists. We may note a poetic continuity attentive to the unexpected event, to the imminence of the extraordinary in what is ordinary or common; to the wonder within the habitual as a source of disquiet, as a disquieting uncanniness. In this rhetoric of the ordinary p. 075
and the habitual that binds us to certain instants or to specific scenes of prodigy or surprise, these artists sketch a grammar of the body itself as alien, of gesture as an unstable resource of installation in the world and, ultimately, of the revelation of public space as a poetic space strictly tied to an individ-
ual, more than to a social or collective, occupation.
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This is a constellation of language – or of languages – that could, perhaps, be considered one of the guiding axes of the 30th Bienal: Philostratus' challenge (radicalized by Fernand Deligny: how to make the silent image speak; how to consider the muteness of the image, the
image that belongs to the kingdom of silence and the mute, to the animal kingdom) is transversal to the work of all of these artists, in which the act of speaking – and, therefore, enunciation – becomes central to visual construction, be it through the invention of language or through its poetic suspension, its interruptive and irruptive practices, its collision with the image, when not through the hermetic eloquence of images. In these artists, language aspires to
become incarnate as voice, as sound, as body, as space. It can be language as an operation of founding realities or as a de-aggregator of what is real; language as mediation and immediacy; or as revelation, discovery, confirmation, description; the absence of language within the animalistic p. 077
realm of the silent image; it is space and the practices of space that substitute the practices of language, for example, in the language-less children who lived alongside Deligny; it is, finally, the wandering of language and the drift of the
image, which incessantly find and miss one another.
Critique of public space could be the common denominator among these artists: all of them try to bring awareness to the idea or evidence of a â&#x20AC;&#x153;public unconscious,â&#x20AC;? of the public realm as unconscious. But this is not necessarily an unconscious in the Freudian sense: the reality that our automated and daily gestures annul, and contribute toward us not seeing, reappears in the work of each of these artists. At the same time reality in its most absolute ordinary dimension, in its non-fascinating texture, and in its potentials of p. 095
differentiation and rarity: history or drift; memory or sound; radio as consciousness and not as an undifferentiated voice; the repertoire of possible formalizations that classificatorily divides the inexpugnable archive of images that everyday life multiplies; actions as poetic resources
for conferring density upon the most banal of gestures.
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Poetics of archives, archives of poetics: in each of the artists belonging to this constellation, the work is produced by constituting itself as an archive â&#x20AC;&#x201C; an archive of practices or memories; of inter-subjectification or genealogy; of the register of space, etc. In p. 119
this foundation of archives as work of art, there prevail strategies of multiplication, of codification and of classification. Their objective is to mark spaces of memory or of fiction in which a certain collective, familiar, communicable dimension is made evident, generating or point-
ing out first-of-a-kind losses of consciousness as new forms of fluidity tracing our intersubjective or social reality.
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Poetics of territorialization, territoriality of poetics: in these artists, the dominant practice is that of trajectory, the route, the outlining of distances, the quantifying or sonic measurement of space; the substantiation of its density or emptiness; the testimony of its mnemonic gravity; of its poetic possibility to serve as shelter or dwelling; home or drift; of its specific p. 097
localization, of its vernacular texture and its potential of universality: space as the risk of disappearance and as the potential to transcend limits: desert, jungle, water, height, abyss, cavern â&#x20AC;&#x201C; the cave-like place of pre-verbal language and all forms of post-language: the imminence of the time we do not know on
the same earth we believe we know too well.
Absalon 1964, Ashdod, Israel. 1993, Paris, France.
Cellule Nr. 3 (Prototype, for New York) 1992
Absalon's oeuvre is intimately connected to architecture. Fascinated by space, his cells, habitable sculptures, were made according to the dimensions of his own body. These spaces, planned to house the artist during temporary visits to large urban centers, are reminiscent of modernist architecture and explore a new understanding of the individual. His work is autobiographical and is as public as it is intimate. It also creates a space of resistance, of loneliness and confinement within a social environment.
Alair Gomes 1921, Valenรงa, Brazil. 1992, Rio de Janeiro, Brazil.
Sonatinas, Four Feet Nr. 21 c. 1977
Alair Gomes' artistic style emerges from the process of editing and organizing his images based on notions of rhythm and the relationships of form. Gomes classifies and names the works in this series as if they were musical pieces, and in them portrays young male bodies in poses that allude to classical sculptures. Although homoeroticism is evident in the work, his collections are not configured as a discourse in defense of homosexuality. In posed photographs or images taken at a distance, Alair Gomes' photographs bear witness to the compulsive desire of the artist and mirror the world that he idealized.
Alberto Bitar 1970, Belém, Brazil. Lives in Belém.
Sem título Series: Corte Seco 2012
Alberto Bitar takes photographs of people, landscapes, cities, situations and contexts as a testimony to existence. He explores the technical limits of photography constructing a visual language that is sophisticated yet simple. By working with changes in light and variations in shutter speed he has established his own particular way of recording and revealing fleeting events. Bitar questions the notion of image as objective record and takes photographs that are at once strange, surprising and arresting. His work does not aspire to offer a reflection of the world, but rather a means of exposing the tensions and paradoxes established in our daily lives.
Alejandro Cesarco 1975, Montevideo, Uruguay. Lives in New York, United States.
Index (A Reading) 2007-2008
Alejandro Cesarco explores reading as a creative act and one that brings about new meanings. In his works he investigates the differences between reading and observation, and looks at how the act of reading is related to the construction of sense. Cesarco is fascinated by what lies beyond words. Aware that the experiences and expectations of those who read are what constitutes the text, his work seeks to understand the conditions that make texts possible and the effects that texts produce. For Cesarco, the reader is not only author but is also responsible for what is written.
Alexandre da Cunha 1969, Rio de Janeiro, Brazil. Lives in London, England.
Landmark I 2011
The process of intervention, appropriation, and re-contextualization of everyday objects used primarily by people who perform manual labour is essential to Alexandre da Cunha's sculptural installations. He engages with the idea of work associated with an object, and challenges the preconceived cultural significance of the chosen material. His work is often constituted by arrangements of mass-produced materials: cloths, plungers, ironing boards, clothes, towels, utensils, ceramics, fabrics or brooms. In neo-minimalist montages, he reinvents objects that are full of social and cultural connotations and supplies them with meaning beyond their original domestic role.
Alexandre Navarro Moreira 1974, Porto Alegre, Brazil. Lives in Porto Alegre.
Alexandre Navarro Moreira develops independent actions in which ideas of classification, dissemination, appropriation, collaboration, production and the sharing of information are made evident through the indiscriminate use of photographic images drawn from a diverse range of sources. His work Apócrifo (2001-), consists of posters featuring portraits of people which he places directly in the urban landscape – most often in places where posters advertising events and shows would otherwise be located. The presentation of Apócrifo occurs at a concrete level of integration that exists between the artistic object and the everyday context of large urban centers.
Alfredo Cortina 1903, Valencia, Venezuela. 1988, Caracas, Venezuela.
Alfredo Cortina is considered one of the founders of modern radio broadcasting in Venezuela and as a scriptwriter wrote innumerous programs for television, radio and theater. Cortina was associated with a group of vanguard Venezuelan intellectuals and produced a significant body of work portraying his wife, the poet Elizabeth Schรถn, as his only model. He adopted a compositional system based on repetition and used this to explore the notion of landscape, emphasizing the picturesque and the unfamiliar nature of a reality that appeared completely neutralized.
Ali Kazma 1971, Istanbul, Turkey. Lives in Istanbul.
Automobile Factory 2012
Situated somewhere between a markedly methodical, detail-oriented realist approach and poetic construction, Ali Kazma's films reveal the gestures, techniques, attention, effort and aesthetics involved in the practices and routines of different professions. Raising questions about the way that different occupations define man and his place in the world, the artist's creations explore the human, and paradoxically, machine-oriented aspects of our everyday lives and at the same time challenge the nature, meaning and significance of contemporary labor.
Allan Kaprow 1927, Atlantic City, United States. 2006, Encinitas, United States.
Comfort Zones 1975
In the late 1950s, Allan Kaprow produced a series of apparently random, but carefully choreographed activities, entitled 18 Happenings in 6 Parts â&#x20AC;&#x201C; a new artistic process that challenged the position of the spectators as they engage with the work of art. These happenings called for the participation of the public, and blurred the line between artist and spectator. Kaprow insisted that his work should survive only in the memory of the participants and gradually altered his artistic practice until it became what he simply called Activities â&#x20AC;&#x201C; small-scale pieces to be acted out by one or more people and incorporated into everyday rituals.
Andreas Eriksson 1975, BjĂśrsĂ¤ter, Sweden. Lives in Medelplana, Sweden.
A Second Time 2007
Andreas Eriksson works across a range of media including painting, photography, sculpture and installation. While his photographs often depict nature in a state of suspension, his paintings counter this fragility with dense brushstrokes that emphasize depth and movement in a scene. His works often suggest melodramatic tragedy, and fluctuate between beauty and the ephemeral quality of matter in nature. In his most recent works, photography and painting come together in diptychs and triptychs that juxtapose reality and illusion, and raise questions about the relationship between man and nature.
Anna Oppermann 1940, Eutin, Germany. 1993, Celle, Germany.
Anders sein (»Irgendwie ist sie so anders..«) 1970-1986
Anna Oppermann took existential questions as a basis for social inquiries. Her ensembles, as she herself named them, appeared in the late 1960s, when the word “environment” began to give way to “installation.” Oppermann combined “environment” and “assemble” to produce a term that described both the form of her work and the process of its construction. In her ensembles, drawings, paintings, photographs, texts, phrases and objects taken from their everyday context are combined in the space. Each step in this process is documented and constantly rearranged within the work itself.
Arthur Bispo do Rosário 1909 (1911), Japaratuba, Brazil. 1989, Rio de Janeiro, Brazil.
Carinho – Arquivo II s.d.
Arthur Bispo do Rosário lived for more than fifty years in a psychiatric hospital. Fluctuating between reality and delirium, Bispo do Rosário claimed to be on a divine mission and used found objects and materials discarded at the hospital to map out his version of reality. He made use of the written word as a living, breathing element, manipulating signs and toying with the construction and deconstruction of discourse, and in so doing, created a unique universe of embroidery, assemblages, banners and other objects that would later become works of reference in contemporary art.
Athanasios Argianas 1946, Athens, Greece. Lives in London, England.
The Length of a Strand of Your Hair, of the Width of Your Arms, Unfolded 2010
A musician and composer concerned with the risk of implicit interpretations in translation, Athanasios Argianas translates his poetic world into sound-sculptures that investigate diverse media as well as materials and languages. Symmetry, repetition and permutation characterize what he calls his “machines” – his performance installations, in which sound, form and meanings are condensed. In Argianas' work, uninterrupted movements suggest open systems for comprehension – images and sounds harmonize and mimic each other in a way that evades definition.
August Sander 1876, Herdorf, Germany. 1964, Cologne, Germany.
Bricklayer Series: People of the 20th Century 1928
In photographing individuals from all social spheres, from 19th-century peasant life, to the capitalist-driven society emerging at the time, August Sander created a typological catalogue containing more than six hundred photographs of German people in his most important series, People of the 20th Century. Transcending documentation and revealing a country in the midst of transformation, his work exposes the hierarchical structures and forms a systematic and encyclopaedic portrait of society in his day and age.
Bas Jan Ader 1942, Winschoten, The Netherlands. 1975, disappeared in the Atlantic Ocean.
Broken Fall (Geometric), Westkapelle, Holland 1971
Bas Jan Ader's performances touch on the notion of vulnerability in a tone that is at once dramatic and comic and which is removed from any narrative context. Simple, mysterious and implacable, the experiences the artist exposes himself to appear to question the meaning of life and human existence. The circumstances of his death â&#x20AC;&#x201C; he disappeared during an attempt to cross the Atlantic in a small sailboat whilst working on the piece In Search of the Miraculous â&#x20AC;&#x201C; further contribute to the mystique that surrounds him. He was an artist who faced the ultimate consequences of his inquiries into the meaning and finite nature of life.
Benet Rossell 1937, Àger, Spain. Lives in Barcelona, Spain.
La Santa Secuencia 1992
Based on an intimate relationship with calligraphy, Benet Rossell works with ephemeral situations that normally go unnoticed. Incorporating films, drawings, prints, poems and paintings, his works employ a variety of mediums. Rossell explores the complexity of the simple and has created his own alphabet of icons, “Benigrams,” replete with ideograms and calligraphic drawings that are never repeated, and which coexist and connect in such a way that they are always unique and are constantly reinvented. He blends concrete elements, such as water and trees, with abstract ideas, such as the infinite, emptiness, humor and irony. Rossell's alphabet seems to give voice to the wonder of everyday existence.
Bernard Frize 1954, Saint-MandĂŠ, France. Lives in Paris, France.
Bernard Frize's painting reveals the traces of its own compositional method, and in turn confronts the tautology of its own creation. In each series of paintings, Frize employs a different technique. Movement and chromatic scale are determined systematically in an attempt to eradicate any trace of subjectivity or personal decision-making. The act of pouring the paint onto the canvas before reflecting on the formal outcome of the action is a response to a rigorous method of pictorial elaboration that does not provide a representation of reality, but rather takes as its theme the painting itself.
Bernardo Ortiz 1972, Bogota, Colombia. Lives in Bogota.
Untitled (Fragment) 2010
Bernardo Ortiz draws words. Concentrating on drawing as a means of freezing time, the artist renounces mimetic images of the world and highlights the minuscule effects of objects and events. Simple forms such as lines, points, scribbles and collages are recorded in the artist's sketchbooks, notebooks, on restaurant napkins, advertising pamphlets and many other supports. Ortiz is interested in the trajectory, in the transitory, and in drawing as a way of exploring this. As such, his series of drawings are always unfinished, always awaiting silent signals from everyday life.
Instituto Tomie Ohtake
1907, Milan, Italy. 1998, Milan.
Libro illeggibile MN1 1984
As an artist, designer, writer, illustrator and educator, Bruno Munari made his contribution to the fields of visual arts and literature, demonstrating a special interest in books and in themes such as play, education and creativity. He considered childhood the most fertile time for the development of a fully creative personality, and developed recreational laboratories in which he worked on the sensorial receptivity of children. For Munari, every work of art implicitly contained the message that we are all capable of creativity through contact with expressive mediums.
Cadu 1977, São Paulo, Brazil. Lives in Rio de Janeiro, Brazil.
O hino dos vencedores (compilação) 2012
Work and the process of creation are completely inseparable for Cadu. The artist employs complex methods, rules and procedures in order to operate in a restricted world, the results of which are unpredictable and which depend entirely on the system itself. Bringing together different projects to generate images as a way of understanding the world, Cadu surrenders to chance and the unexpected while awaiting the visual results that emerge from the systems he creates. His works are metaphors of existence in space and time – actions that collide with the notion of art as a challenge to the limits of the authorial gesture.
1930, Wiesbaden, Germany. 1985, Frankfurt, Germany.
Square Tubes, Series D (Original) 1967
Charlotte Posenenske experimented with the ordinary, with what could be reproduced in a series, and aspired to a strong realism of form. Through abstract paintings and minimalist geometric sculptures, Posenenske sought to make public participation possible in contexts otherwise permeated by voracious institutional criticism. In 1968, having concluded that art would not have the political impact she desired, she abandoned it, gave up exhibitions and distanced herself from everything related to the art world. She went on to study sociology and worked for the rest of her life as a social scientist, researching issues related to labor conditions.
Christian Vinck 1978, Maracaibo, Venezuela. Lives in Maracaibo.
Bombardeo a la Guaira Series: SegĂşn el Archivo General de Indias 2012
Christian Vinck's work emerged on the Venezuelan art scene at the beginning of the new millennium. It came at a critical moment in Venezuela's cultural history, a moment characterized by a profound crisis made worse by the capacity for history to become legend, and the emptiness of modern artistic models. It was in this context that Vinck, a self-taught artist, associated himself with a fictitious body of legendary and historical forms that allowed him to produce frequently grotesque and caricature-like expressions. He would use these to spread abstruse anecdotes related to a supposedly collective memory of Venezuela's past and present.
Ciudad Abierta 1970, Valparaíso, Chile.
Ref.: Taller Amereida 2010
The Corporación de Servicios Profesionales Amereida, [Amereida Corporation of Professional Services] was formed as Ciudad Abierta in the municipality of Ritoque, Valparaíso, in 1970. This collective and inspiring project has, however, existed since 1952, when a group of intellectuals and architects founded the Institute of Architecture at Valparaíso Catholic University. The institute suggested a communal stance toward trade and life, and questioned conventional practices in architecture. Committed to community-based reflection in which notions of property or leadership did not exist, the participants and creators of Ciudad Abierta prioritized contemplation, hospitality, work and community life – and developed, somewhere between doing and existing, an indissoluble unity with the poetic.
Daniel Steegmann Mangrané 1977, Barcelona, Spain. Lives in São Paulo and Rio de Janeiro, Brazil.
Lichtzwang (rombo) Series: Lichtzwang 1998
The seductiveness of the unknown filtered through multifaceted perception permeates the work of Daniel Steegmann Mangrané. His foreign perspective on Brazil invites the spectator to discover different points of view and to share his experience of encountering the unknown. Through drawing, the artist investigates thought in variations of movements that disclose his creative processes and build up a delicate mosaic in which distinct artistic possibilities balance each other out. One of his film works alludes to the risk of venturing into the forest – a place where conflict and encounters are possible – and reveals a web of relationships as elaborate as nature itself.
Dave Hullfish Bailey 1963, Denver, United States. Lives in Los Angeles, United States.
Untitled (West by North) 2007-2008
Dave Hullfish Bailey is interested in the precarious nature of civil society and its superstructures. His photographs, drawings and sculptures may be understood as an investigation into sustainable means of subsistence, or a socio-political reorganization in which proposals for architecture, urbanism and design are put forward as means of survival in urban and rural contexts. Believing that we are determined by the political, social and cultural structures in which we live, the artist reflects on what moves between them and posits a society constructed in such a way that all elements would be equally important.
David Moreno 1957, Los Angeles, United States. Lives in New York, United States.
David Moreno's work operates in the permanent connection between two worlds: the figurative nature of sound and the sonic qualities of images. His work is distinguished by the recurring themes of resonance, stigma, cuts, incisions, repetition and vibrations. The chiasmus which he weaves through figures of sound and the sounds of figures is in fact a key element in the production of images. By means of sound installations, electro-acoustic experimentation, drawing and photography, he poses questions about the mortality of the body, the animal condition of man and the impulses of life and death manifested in the form of symptoms.
Diego Maquieira 1951, Santiago, Chile. Lives in Santiago.
Confrontación de las especies Series: El Annapurna 2012
Alongside Vicente Huidobro and Juan Luis Martínez, Diego Maquieira belongs to an important trio of Chilean poets whose work has made the force of language visible, building unexpected tension as they established unusual encounters between images, words and empty spaces. The author of a carefully developed body of work, Diego Maquieira is best known for three books of poems, Upsilon (1975), La tirana (1983) and Los Sea Harrier (1993), and for a renowned Huidobro anthology, El oxígeno invisible (1991). Critics unanimously recognize the publication of his last two books of poetry as being a catalyst for significant changes in the landscape of contemporary Chilean poetry.
Edi Hirose 1975, Lima, Peru. Lives in Lima.
Nueva Esperanza #8 2010
With Pozuzo, Edi Hirose presents a photographic essay of the central region of the Peruvian Highlands, where descendents of Austrian and German immigrants have lived for more than half a century. Uncanny, beautiful and subtle, the images portray everyday scenes in the community and although captured in moments of objectivity, they constitute subtle digressions that reflect the artist's visual language. Hirose constructs a visual portrait of the relationships he formed with the commune and its inhabitants in a manner that is both contemplative and frankly personal.
Eduardo Berliner 1978, Rio de Janeiro, Brazil. Lives in Rio de Janeiro.
In Eduardo Berliner's paintings each composition seems to point both to the material nature of the paint and to what its density does not allow us to perceive. Shifting between the eerie, mysterious, grotesque and the banal, Berliner submits photographs, drawings, objects and collages to his creative imagination and produces paintings that seem to offer traces of narratives fed by the logic of dreams and of the absurd.
Eduardo Gil 1973, Caracas, Venezuela. Lives in New York, United States.
A Brief History of the End of the War 2010
Eduardo Gil belongs to a generation of emerging artists in Latin America that bring together installation strategies and archive-based forms. His work is developed using allegories and commentaries, in which language â&#x20AC;&#x201C; inscribed or written, and, more recently, spoken â&#x20AC;&#x201C; plays a central role. Found objects and texts underpin Gil's reflection on memory, and on community and collective practices. Gil renews the connection between art and history without any pretension to authority or doctrine, giving priority to fragments approached from the perspective of a common person.
Eduardo StupĂa 1951, Buenos Aires, Argentina. Lives in Buenos Aires.
Sin titulo 2007
Working from a reduced color palette, Eduardo StupĂa creates energetic drawings of great gestural concentration built up from a wealth of elements that constitute an extensive graphic and pictorial alphabet. The artist develops figures and landscapes, a rich texture and composition in which viewers discover new angles, layers and dimensions along the way. This openness in his work allows the observer to project meaning onto the composition, to perceive gestures and create an own narrative.
Elaine Reichek 1943, New York, United States. Lives in New York.
There's No Need 2011
Elaine Reichek's work combines text and image in a series of embroidered cloths in various formats. Strongly conceptual in character, her output borrows from works of art across a range of moments in history, presenting them alongside quotations from philosophy, literature and art history. Focusing on the visual representation of communication, language and modern technologies, the artist's conceptual embroidered works seem to propose an alternative history of art, shifting references away from the works they are derived from and back to traditions that predate them, while at the same time recontextualizing them in an age of digital production.
Erica Baum 1961, New York, United States. Lives in New York.
Nebulous 2 Series: Naked Eye II 2011
Erica Baum's work reveals her empathy for the printed image and word, which is reflected in the typographic qualities of her photos and the fact that her grainy portraits bring attention to the material quality of printing paper. The source material for her photography comes largely from books found in thrift shops and antique dealers and Baum's aim is to digress from the original content and design of these books – a process that often culminates in work reminiscent to concrete poetry. Baum has said that her work is “in the tradition of street straight photography, looking at the work of Walker Evans, Atget, Brassaï and other artists who punctuated their landscapes with strands of found text.”
f. marquespenteado 1955, SĂŁo Paulo, Brazil. Lives in SĂŁo Paulo.
Homem-veado do Rio de Janeiro 2004
Uncomfortable with Manichean notions of the male body and the role of masculinity in a society that promotes mass identity in place of fragmentary singularity, f. marquespenteado opted to separate gender from name. Often f.marquespenteado combines embroidery in a pastiche style with found images and photography. Applied on delicate as well as industrially produced support materials, the laboriously elaborated pieces point towards politics and performance of gender, the male body and male-to-male sexual relations, or schismatic figures and regimes of power within society.
Fernand Deligny 1913, Bergues, France. 1996, Graniers, France.
L'ĂŽle d'en bas (Jacques Lin) 1969
Fernand Deligny focused his work on community life alongside professionals who were dedicated to understanding children and adults with language and verbal communication difficulties. He produced essays, poetic prose and fiction that were supported by films and other visual documents such as photographs, drawings, maps and â&#x20AC;&#x153;wandering linesâ&#x20AC;? that recorded the movements of autistic children in French communities. Deligny's work is the product of a radical school of thought which questioned bourgeois humanist conventions and challenged perceived ideas about autism, psychiatry, psychoanalysis, formal education, ethnology and anthropology, the image, the politics and the primacy of language in Western culture.
Fernanda Gomes 1960, Rio de Janeiro, Brazil. Lives in Rio de Janeiro.
Sem tĂtulo 2012
Fernanda Gomes uses furniture, household items and elements found in the natural environment in order to recycle and reinvent materials in another context. In binding these elements an sculpture to existing architecture, her site-specific installations transform the space and create a controlled disorder. She lures the viewer into rethinking the very significance of the object; qualities inherent to the memory and identity of the object itself. In a new context, the rejected object regains a certain degree of autonomy, and new meanings surface that bear no relation to its past life.
Fernando Ortega 1971, Mexico City, Mexico. Lives in Mexico City.
Momentos despuĂŠs del clavado 2005
Fernando Ortega focuses on what is exceptional and unexpected in ordinary situations and contexts. He reorders images, sounds and objects in an attempt to expand on conventional significances. Guided by his search for the invisible and the inaudible, Ortega seeks a sense of balance that undermines assumptions and plays with inherited notions of reality and unreality. Permeated by the intimate dimension of experience and contact with the accelerated pace of daily life, Ortega's work displays a performance-like quality that seeks to question the boundaries between reality and its possible representations.
Franz Erhard Walther 1939, Fulda, Germany. Lives in Fulda.
FĂźr Zwei 1967
In an attempt to undermine the role of the artist in favor of a more democratic aesthetic based on interaction between artistic production and the public, the works of Franz Erhard Walther take on full meaning and form when they are engaged with by the public. They are as such intended for interaction and manipulation rather than merely being observed. Made from fabric cut in straight lines, sober colors and simple geometrical shapes, such as squares, circles and rectangles, Walther's objects are almost always intended for collective use, and generate moments of exchange, recognition, wonder and intimacy.
Franz Mon 1926, Frankfurt, Germany. Lives in Frankfurt.
As a poet and artist, Franz Mon plays with the essential aspects of language and text. Mon engages media readily available to him: the typewriter, woodcut prints, letraset, audio recordings. Since the 1960s the typewriter has been his principal tool to shape text into form in the letter constellations of experimental and concrete poetry. Mon's collages and visual poems convey messages with a surreal connotation and challenge the habitual legibility: text and image coincide and together inform perception.
Frédéric Bruly Bouabré 1923, Zéprégüé, Ivory Coast. Lives in Abidjan, Ivory Coast.
Mythologie bété "Génie Guié Guié Guié" "Génie couvert d'yeux" n.d.
As the result of a vision he had in 1948, Frédéric Bruly Bouabré dedicated himself to observing, documenting and archiving the beliefs, folklore, customs and wisdom of his countrymen. Always accompanied by texts, Bruly Bouabré's drawings ponder life, death, love and the relationship man has with the world and with nature. According to the artist, his works aim to represent everything that may be revealed or concealed. Entitled Knowledge of the World, the collection discloses an attentive and sensitive gaze that seeks to comprehend and share the most varied aspects of human experience.
Gego 1912, Hamburg, Germany. 1994, Caracas, Venezuela.
Sin titulo 1987
The work of Gego sets out to serve as a challenge to spatial, constructive, architectural and cognitive structures. With an abstract-figurative character difficult to categorize, the artist takes the line to be an element of interconnection and sustenance of space. Creating organic ensembles through concomitantly chaotic and organized operations with materials, the artist's trajectory is characterized by flexible constellational modulations that exploit structural transparencies capable of deconstructing the border between real space and the space of representation.
Guy Maddin 1956, Winnipeg, Canada. Lives in Winnipeg.
Bing & Bela, One of the Hauntings Series: Hauntings I 2010
Through the use of audio-visual support across a range of formats, Guy Maddin's films create fantastical dreamlike worlds and borrow from the aesthetics of 1920s silent film. Characterized by the use of expressionist scenography, surrealist poetry, disturbing eroticism and bizarre themes, Maddin's films unravel sophisticated pictorial compositions in plots replete with irony and nonsense.
Hans Eijkelboom 1949, Arnhem, The Netherlands. Lives in Amsterdam, The Netherlands.
Photo Note May 4, 2012, Centro, SĂŁo Paulo Series: Photo Notes 1992-2012 â&#x20AC;&#x201C; A Selection from the Photographic Diary 2012
Hans Eijkelboom depicts the streets of different cities in the world identifying patterns which he uses to create his Photo Notes. The discipline and rigor of his observations are reminiscent to aspects of anthropological studies. In establishing systems and criteria in the midst of the chaos of the streets, Eijkelboom confronts notions of identity and the relationship between individualism and collectivism. In a continuous process that began over two decades ago, he works with combinations and repeated sequences that form an extensive (self) portrait of society.
Hans-Peter Feldmann 1941. Lives in DĂźsseldorf, Germany.
Women Handbags 2012
Hans-Peter Feldmann works across different media and takes everyday figures, situations and contexts as his subjects. He juxtaposes series of photographs, found objects, or documents of ordinary scenes. An avid collector, his interest lies in the opposition between objects and the meaning that man attributes to them. Feldmann investigates how we invest everyday images with feelings that emerge from our personal and collective perceptions. In contrast to the aggression that drives present-day consumer trends, Feldmann edits series of found or culturally established objects, setting them up for the viewer to contemplate and potentially supply them with new meaning.
Hayley Tompkins 1971, Leighton Buzzard, England. Lives in Glasgow, Scotland.
The work of Hayley Tompkins defies categorization. Her creations take the focus away from formalist discussions and instead ask questions about what constitutes art. Her work is both intuitive and intimate and her repertoire of images includes themes from art history and everyday rituals and objects. Seeking to express something that lies beyond language, Tompkins sees her works as extensions of her body and treats the experience of creation as something natural â&#x20AC;&#x201C; part of a familiar process of connection, or re-connection with the world.
Helen Mirra 1970, Rochester, United States. Lives in Cambridge, United States.
Hourly Directional Field Notation 20 January, Superstition Wilderness Series: Field Notations 2012
Rooted in the voluntary displacements she systematiÂ cÂ ally undertakes, Helen Mirra's artistic practice explores the relationship between the natural world and the people who inhabit it. For the artist, walking is a specific way of stimulating thought and one that allows for the creation of work across a variety of media. Often expressed in immaterial (sound) or minimal terms, employing a limited colour palette of greens, blues and browns, her work generates allegories that draw attention to the way we relate to nature, to the passing of time, and to the space that surrounds us.
Hélio Fervenza 1963, Sant'Ana do Livramento, Brazil. Lives in Porto Alegre, Brazil.
Apresentações do deserto 2001-
Visual artist, professor and researcher, Hélio Fervenza creates his visual and theoretical work through a profound reflection on the notions of presentation, exhibition and self-presentation. He considers the concept of presentation as a broader set of ideas than that of exhibition, and suggests that the configuration of an exhibition space may not be guaranteed solely as a result of the physical presence of an artistic work in the contextual environment established by the museum or gallery. It may be established at the point where devices that act upon the visual realm meet.
Horst Ademeit 1937, Cologne, Germany. 2010, DĂźsseldorf, Germany.
Untitled (â&#x20AC;&#x153;4821â&#x20AC;?) Series: Archive Photographs 2002
Discovered shortly before his death, Ademeit's work is composed of photographs and annotations that tell the story of an individual undergoing an emotional crisis and attempting to establish a sense of order in a world that he considered to be chaotic. Obsessed with documenting the impact of what he believed to be harmful invisible rays that were capable of endangering life on Earth, the artist used a Polaroid camera to record his daily movements. The resulting photographs are accompanied by notes on the place, the situation or the objects portrayed.
Hreinn Fridfinnsson 1943, Dalir, Iceland. Lives in Amsterdam, The Netherlands.
Third House Series: House Project 2011
Hreinn Fridfinnsson blends genres such as land art, minimalism and arte povera. He is interested in creating works that investigate ideas of self and of time, and in his attempt to transmit multiple poetic meanings, he appropriates found objects which he interferes with as little as possible. Photographs, readymades, drawings, text and sound installations all feed into lyrical and strongly poetic works that transcend the sense and meaning of the ordinary objects they are composed of. Having grown up in sparsely populated rural Iceland, his work relates strongly to natural phenomena and the mystery of time.
Casa do Bandeirante
Hugo Canoilas 1977, Lisbon, Portugal. Lives in Vienna, Austria.
Although his background is in painting, Canoilas' work is often collaborative and incorporates video, sound, sculpture and performance as well as research-based projects. Over the last decade painting has led him to establish a dialogue between abstraction and a style that nods towards social realism painting. With a strong interest in modernism and literature, Canoilas' practice revisits histories from a political, poetic, religious or existentialist perspective and has a capacity to be in a limbo between some of these subjects.
Ian Hamilton Finlay 1925, Nassau, Bahamas. 2006, Edinburgh, Scotland.
Hommage to Malevich 1974
In his work, Ian Hamilton Finlay evokes the complex relationship between culture and nature. His experiments with language stem from concrete poetry, formalist constructions of discourse and artistic processes in which the word becomes an expression in physical space. Little Sparta, his home in Lanark, Scotland, where he lived from 1966 onwards, is the place in which the diversity of his artistic language converges. In this immense garden of poetry and sculpture, Finlay created an artistic landscape that challenges and stimulates poetic, philosophical and political thought.
Icaro Zorbar 1977, Bogota, Colombia. Lives in Bogota.
Off, Away from the Place in Question 2011
Icaro Zorbar adopts lo-fi technology such as monitors, projectors, typewriters, fans and magnetic tape to create hybrid machines. He rescues discarded technology reanimating it in order to supply these objects with new meaning – or in his own words, “one voice, one destiny.” At the essence of his work, permeated as it is by elements of fragility and nostalgia that stem from the presence of discarded technology, there is a melancholy associated with memory that seems, paradoxically, to accentuate human contact and contexts.
Ilene Segalove 1950, Los Angeles, United States. Lives in Santa Barbara, United States.
Secret Museum of Mankind 2011
Ilene Segalove is an artist, author, a teacher and has also been an independent producer for National Public Radio. During the 1970s, Segalove edited artistic documentaries that ranged from dealing with American TV culture to her family life in Beverly Hills. She often appears in these films as a narrator and uses her distinctly dry sense of humor to emphasize the criticism of culture. Besides her films, Segalove has produced collages and photomontages that question the potential the arts have for social change and their role as sophisticated entertainment. For the last years, she has produced work that champions stories of women's lives.
Iñaki Bonillas 1981, Mexico City, Mexico. Lives in Mexico City.
Todas las fotografías verticales del Archivo J. R. Plaza documentadas fotográficamente 2004
Iñaki Bonillas uses photography as a point of departure for an extremely personal, intimate body of work. Concentrating on the origins of photography and conceptual aesthetics, the artist expands on the elements that constitute the photographic process and connects them with other visual approaches. Employing the discourse of documentary photography, Bonillas juxtaposes images and creates original combinations based on almost scientific procedures of compilation, classification, editing and archiving.
Ivรกn Argote & Pauline Bastard Ivรกn Argote: 1983, Bogota, Colombia. Pauline Bastard: 1982, Rouen, France. Live in Paris, France.
Home Cinema 2012
Ivรกn Argote and Pauline Bastard reflect on the relationship between public and private, and on the impersonal nature of people's intimate lives. In their work they invite spectators to participate and to pay attention to what otherwise remains invisible in everyday life. Behind much of their approach is the idea of having fun with activities and a disarmingly DIY quality, which allows spectators to identify immediately with works that are in many ways about their own lives.
Jerry Martin 1976, Bogota, Colombia. Lives in Lima, Peru.
Resurrection of the Flesh Series: The Last Judgement 2010-
Jerry Martin's drawings are reminiscent of the reading process: stories take shape when letters are placed on top of one another to form elaborate images. The words used come from texts that focus on themes of interest to the artist â&#x20AC;&#x201C; classicist societies, racism, identity and justice. Martin is also interested in debating the value of art, the work of the artist and the current state of the art market. In using carbon paper to type and copy his text-images, he impregnates the material itself with his poetry as a metaphor for transition between notions of origin and representation.
Jiří Kovanda 1953, Prague, Czech Republic. Lives in Prague.
Since the early 1970s, Jiří Kovanda has produced a vast body of drawings, paintings, collages, actions and installations. Appropriating found objects or his own body, Kovanda's work spans between commenting on the minimalist tradition and scrutinizing the normalized world of everyday existence. His work touches on interpersonal relations, is ephemeral, humorous and can be so tenuous that it often goes unnoticed by the passerby. Opposed to an exclusively political reading of his performances, Kovanda affirms that he strives to define himself through his artistic practice.
John Zurier 1956, Santa Monica, United States. Lives in Berkeley, United States.
Icelandic Painting (Watching the Summer) 2011
Inspired by the conditions of light and color he observes in everyday life, John Zurier creates paintings that explore luminosity, chromaticity and space in a simple and direct manner. In producing work that is monochromatic in form, his style is characterized by a conscious systematic investigation of the pictorial process. Ethereal and surreal in quality, Zurier's paintings reveal an atmosphere of silence and solitude capable of generating an experience of revelation that is both evocative and unique.
JosĂŠ Arnaud Bello 1976, Oaxaca, Mexico. Lives in Mexico City, Mexico.
Todas las formas de estar juntos Series: Proyecto trabajos en el cauce 2008-2011
By means of a methodical process of identification, manipulation and classification, JosĂŠ Arnaud Bello's work explores the construction of connections between diverse fields of knowledge. Interested in the elaboration of an artistic discourse and the processes that alter situations and objects (not only presently but also historically) the artist records his projects in photographs, films, drawings and texts, creating collections of documents in which aesthetic experience and poetic construction take on epistemological value.
Juan Iribarren 1956, Caracas, Venezuela. Lives in New York, United States.
Juan Iribarren's work emerged in the public domain in his home country, Venezuela, in the mid-1980s. Iribarren's painting is characterized by a strict register of atmospheric conditions – light, density and distance – in apparently abstract structures. It is a form of abstract realism that is also developed through drawing and digital photography, and in which abstraction emerges in the form of perceptive readymades. Like truth encountered in the material conditions of representation.
Juan Luis MartĂnez 1942, Valparaiso, Chile. 1993, Villa Alemana, Chile.
Campo de cerezas 1975
The works of Juan Luis MartĂnez invite readers and spectators to abandon the references they employ to understand the world. His visual poems are like collages in which word and meaning come apart, often resulting in new connotations. In his works, language no longer crystallizes knowledge and the universe. Instead it functions like a set of meanings that are constantly undergoing transformation and are at times absent and inaccessible, receptive to interpretation and the vulnerability of knowledge.
Jutta Koether 1958, Cologne, Germany. Lives in New York, United States, and in Berlin, Germany.
Embrace/ Ă&#x2030;treinte/ Umarmung, II 2012
Jutta Koether is a painter, performer, musician, critic and theoretician. Her works defy norms and seek to break away from conventional notions of what art can be, inviting the spectator to reflect on their own expectations in relation to painting, display and the context within which the work is presented. Inspired by artists and intellectuals who established alternatives to the mainstream culture of the 1970s and 80s, Koether challenges the limits of language. In her work, disciplines overlap one another, reflecting her influences from decades past and a strong involvement with contemporary theory and pop culture.
Katja Strunz 1970, Ottweiler, Germany. Lives in Berlin, Germany.
Zeittraum #10 2003-2012
In her so-called “Constructed Fragments”, Katja Strunz makes use of recycled materials combined with industrial or handmade elements. Taking the formal geometric considerations, such as folds, as a starting point for her sculptures, the artist's work addresses notions such as time and transformation. For a recent retrospective of abstract constructivist artist Władysław Strzemiński in Lodz, Strunz conceived a labyrinthine display support structure, which, when seen from above, formed the neologism Zeittraum (after Walter Benjamin's “Dream of Time”).
Kirsten Pieroth 1970, Offenbach am Main, Germany. Lives in Berlin, Germany.
Inflated Dinghy 2009
Kirsten Pieroth plays with perceptive interpretation, with the tension between an event and its representation. In taking objects and everyday situations from her surroundings, and isolating and reorganizing them in an alternative narrative, her works discuss displacement and transformation, conceptuality and materiality, evidence and interpretation. Having researched the accounts of inventors like Marconi or Edison, for example, and more recently the history of consumer products and their representation in print advertising, Pieroth asks us to reorder our systems of reference in favor of a multitude of open and ambiguous readings.
Kriwet 1942, DĂźsseldorf, Germany. Lives in Dresden, Germany.
Button 11 1967
Kriwet is a multimedia artist and poet who offers a radical slant on reading. In his film montages, Kriwet dissects the aesthetics and dialectics of early television broadcasts. The antagonistic stance of language that dominates his film and audio works continues in Kriwet's visual texts. Often designed in layers and circles without direction, the work liberates the reader from the hierarchies of text and stimulates a new experience in language.
Leandro Tartaglia 1977, Buenos Aires, Argentina. Lives in Buenos Aires.
Ref.: La esquina indicada 2010-2012
For Leandro Tartaglia every street corner can become a theater stage. The spectator travels in a time machine discovering lost or forgotten phenomena in a struggle against collective amnesia. In his performances and plays the artist often treats the city as a playground in the search for new locations that serve as inspiration and backdrop for his storytelling. In many of these works, Tartaglia blends his ingredients: the city and its architecture, literature, music and field recordings. As such he creates alternative frameworks for the viewer to reflect the history of a given place, as well as the role of the public space in our day and age.
Lucia Laguna 1941, Campos de Goytacazes, Brazil. Lives in Rio de Janeiro, Brazil.
Paisagem n. 58 2012
Landscape provides the main theme for Lucia Laguna's artistic research. She blends the concrete and the fictitious in pictorial work that evokes the rigour of formal abstraction and the classic gestures of representational painting. By overlapping dense layers of paint, Laguna connects urban landscapes with images that stem from her imagination. Her works bear evidence of the expansion of time and the interference of the many hands involved in their creation. Laguna either starts or concludes the paintings, which remain long periods in the hands of her collaborators. Awaiting a new intervention â&#x20AC;&#x201C; that of the viewer â&#x20AC;&#x201C; their permanent renewal continues.
Marcelo Coutinho 1968, Campina Grande, Brazil. Lives in Recife, Brazil.
Driven by a yearning to understand what takes place outside of language, Marcelo Coutinho has concentrated his artistic and audio-visual research around the creation of words that seek to define sensations opposed to the preestablished codes of the Portuguese language. Since 1997, the artist has dedicated himself to neologisms â&#x20AC;&#x201C; which are brought to life in performances, objects, films and installations â&#x20AC;&#x201C; that seek to define events caused by perceptual deviations, spatial ruptures, bodily lapses, temporary absences and the sudden invasion of another logic.
Marco Fusinato 1964, Melbourne, Australia. Lives in Melbourne.
Imperical Distortion 2012
Marco Fusinato is a musician and visual artist whose work resists categorization. He has been fascinated by the political attitude of punk icons and his early influences include The Clash, Sex Pistols and The Ramones. In parallel to a series of light and sound installations, Fusinato works with musical scores in a largely pictorial manner. In his Mass Black Explosion (2007) series he appropriated scores by Mauricio Kagel, John Cage, Morton Feldman and Iannis Xenakis, among many others. By connecting notation at disparate points in the score, he creates alternative readings and his own imaginary performance of the historical compositions.
Mark Morrisroe 1959, Malden, United States. 1989, Jersey City, United States.
Figure Study 1985
Armed with a Polaroid camera Morrisroe began his artistic career placing photos of prostitutes alongside X-rays of his thorax, or combining photos of his own body and those of his friends and lovers, with images scrawled with dedications, notes and documentations of everyday life. What began in a carefree spirit of freedom and spontaneity took on an air of sadness when Morrisroe found out he was HIV positive. In his final days in hospital he improvised a makeshift photo lab and still managed to find channels for artistic experimentation, adapting his medical exams and X-rays, and turning them into a colorful series of abstracts.
Martín Legón 1978, Buenos Aires, Argentina. Lives in Buenos Aires.
Fragmentos de la serie Sin título 2011
Falling within what some might term “socially explicit sadism,” Martín Legón's work is characterized by its rapid development and its blend of nostalgia and cynicism. His works look at the perversion of social systems, and tackle issues of authorship and the modus operandi of the contemporary art scene. Legón develops aesthetic experiences as language propositions to be placed in conflict with other forms of language. He explores the gratuitous aspects of artistic endeavors and asserts that art, as an immaterial activity directed at thought, tests resistance to objectivity and should serve as a tool for transforming the world.
Capela do Morumbi
Maryanne Amacher 1938, Kane, United States. 2009, Rhinebeck, United States.
Microphone Installation on a Window at the New England Fish Exchange, Boston Harbor, City-Links #4 (Tone and Place, Work I) and City-Links #14
Maryanne Amacher was a composer, performer and multi-media artist known for her original thought and dramatic architectural staging of music and sound. While Amacher was living, her work was made on site in a highly experimental dialogue between audio materials she developed from the late 60s to 2009, the architectural acoustics of the site, and themes often derived from present-day science, science fiction, and aspects of the site's history. Visual materials were used to â&#x20AC;&#x153;stageâ&#x20AC;? the audio by establishing links to extra-sonic themes and to bring the audience into particular listening vantage points.
Meris Angioletti 1977, Bergamo, Italy. Lives in Paris, France.
The Curious and the Talkers 2010
Meris Angioletti's work seeks to translate the invisible. She explores the territory between art and science, and investigates the mechanisms of perception, memory and the unconscious. In an analytical process in which image and written work complement and confound one another, Angioletti creates installations of light and sound, video projections, publications and photographs. Her objective is to establish a relationship between physical and mental space in a way that drives the spectator to generate internal visions in a transitory zone between what is visible and what can only be manifested on a mental level.
Michel Aubry 1959, Saint-Hilaire du HarcouĂŤt, France. Lives in Paris, France.
La marionette Erich 2008
A connoisseur of music and of musical instrument manufacture, designer and visual artist Michel Aubry works with furniture, instruments, fabrics and tapestry. In his installations, animations and objects, tables, chairs or uniforms become musical sculptures based on a sound-to-metrics conversion table. The length of wooden flutes used in his works corresponds to the pitch of the tones, allowing for the formation of groups of chords in geometric constructions. Aubry engages the perception of the public by acting on discrete political and social symptoms that permeate world culture and history, and by combining traditional elements and current conflicts.
Mobile Radio Knut Aufermann: 1972, Hagen, Germany. Sarah Washington: 1965, Redhill, England. Live in Ă&#x153;rzig, Germany.
Do You Listen to Two Radio Stations while Falling Asleep?
As members of the London Musicians' Collective (LMC), Sarah Washington and Knut Aufermann were cofounders of London's first art radio station, Resonance 104.4FM, in 2002. The station has created a new model for community media and has established itself as a platform for experimental art practice for thousands of artists, writers and thinkers across a range of different communities. Following their experience at Resonance FM, Washington and Aufermann started Mobile Radio in September 2005. They perform as part of media and art festivals, conferences and universities, and contribute to one-off events with short-lived radio stations, special live broadcasts and edited pieces.
Moris 1978, Mexico City, Mexico. Lives in Mexico City.
La muerte viaja rรกpido 2011
In an attempt to embrace the ephemeral and spontaneous qualities of what is commonly seen, but which is too close to the banal to be effective as an aesthetic strategy or artistic raw material, Moris sets himself up as a type of visual ethnographer of the urban space. He observes the Mexican working class and populations on the margins and is interested in visual language, popular writing and the processes behind the construction of utilitarian objects on the streets. Moris appropriates and rehabilitates these elements, asking fundamental questions about social violence, imbalances of power and possible forms of resistance.
Moyra Davey 1958, Toronto, Canada. Lives in New York, United States.
Newsstand 2 1994
As a photographer and filmmaker, Moyra Davey portrays empty domestic spaces and accidental arrangements of objects. The photographs she takes are not staged but rather discoveries: a radiator pipe in her apartment, a half empty shelf taken while her family moves house or a box of cornflakes atop a refrigerator. Davey's films reflect her passion for literature. In My Necropolis, for instance, she films the PĂ¨re Lachaise cemetery in Paris and the tombstones of Simone de Beauvoir, Marguerite Duras, Gertrude Stein and Jean-Paul Sartre while a voice-over discusses the philosophical notions of time.
Nascimento/Lovera Juan Nascimento: 1969, Caracas, Venezuela. Daniela Lovera: 1968, Caracas. Live in Caracas.
Archivo nacional 1997â&#x20AC;&#x201C;
Juan Nascimento and Daniela Lovera are interested in the idea of history as fiction and in the analogies between the construction of narrative in film and historical discourse. Taking the form of printed matter and of moving image, their works deconstruct commercial film and video by means of insertion and removal of entire sequences to produce dense poetic work with a strong social conscience. According to a statement from the artists, â&#x20AC;&#x153;fiction is equivalent to history: History with a capital H is a greater narrative construction that operates on terms that are contradictory to alternative micro-histories.â&#x20AC;?
Nicolรกs Paris 1977, Bogota, Colombia. Lives in Bogota.
The works of Nicolรกs Paris are playful exercises in creative experimentation. Constructed using simple compositions, they involve subtle interference with ordinary objects. They take the form of works on paper and objects that have the potential to be brought to life by the public, and seek to reinterpret collective life and the possibilities for human communication in social contexts. Paris invites the spectator to reflect and creates visual experiences that open up new and unexpected spaces in the construction of knowledge.
Nino Cais 1969, SĂŁo Paulo, Brazil. Lives in SĂŁo Paulo.
Sem tĂtulo 2009
Nino Cais takes the domestic world and his interest in banal aspects of everyday life as his point of departure, associating his body with household utensils in an artistic approach open to endless combinations. In an attempt to extract poetry from his physical relationship with everyday objects, Cais removes them from their usual context and rearranges them in photographic and video compositions that blend strangeness, affection and irony. In divesting the human body of its singularity and juxtaposing it with objects that resist the acquisition of a symbolic role, Cais presents an aesthetic game in which the individual becomes capable of assuming countless identities.
Nydia Negromonte 1965, Lima, Peru. Lives in Belo Horizonte, Brazil.
Nydia Negromonte works within a variety of media, including drawing, sculpture, installation, photography, video and on-site interventions. She questions the power of the object and the limits of artistic language, and uses a broad artistic repertoire to dismantle immediate expectations of the understanding of an artistic project and how it is received. She turns interstices of an exhibition space into platÂ forms for existential inquiries into the instability of the substances that constitute physical bodies and the way that humans relate to the spaces they happen to inhabit.
Odires Mlรกszho 1960, Mandirituba, Brazil. Lives in Sรฃo Paulo, Brazil.
Butcher Series: Mestres Aรงougueiros e seus Aprendizes 2007
The appropriation of forgotten images covered in dust or hidden in books, and their reconstruction that allows for anachronistic encounters among them, is central to Odires Mlรกszho's artistic approach. He modifies images and re-photographs them, transforming visual content into collages that thus become detached from their own memories. Books also serve as objects ripe for manipulation, and Mlรกszho transforms encyclopaedias, photo editorials, reports and botanical compendiums into book-sculptures with the potential to be read and appreciated anew.
Olivier Nottellet 1963, Algiers, Algeria. Lives in Lyon, France.
Olivier Nottellet's work is faithful to the idea of drawing as form of poetry. He creates a particular world in which certain obsessions with figures â&#x20AC;&#x201C; a fragmented body, subjected to extremes â&#x20AC;&#x201C; gives way to a language of illogical forms, precarious balancing acts and tectonic fields that are allegories for the graphic media itself and of the fragility of human existence. With ties to a generation of artists that emerged in France in the late 1980s, his work has developed into installations and mural paintings, in which drawings are freed from their conventional limits and supports and become three-dimensional.
Pablo Accinelli 1983, Buenos Aires, Argentina. Lives in Buenos Aires.
Encastres Series: Todo el tiempo 2012
Pablo Accinelli primarily works in drawing, sculpture and installation, and uses analytical mechanisms to generate his artistic investigations. By using the language and tools of geometry, he explores the dichotomy between order and chaos, the external and internal, the present and the past, and the literal and metaphorical. Influenced by the works of Alejandro Puente, who performed systematic studies of color through the use of mathematics, color scales, and codified charts, Accinelli applies his own visual tools in a similar way to create geometric microcosms: models or systems that are analogous to a larger system in terms of configuration or development.
Pablo Pijnappel 1979, Fontenay-aux-Roses, France. Lives in Rotterdam, The Netherlands, Berlin, Germany, and Rio de Janeiro, Brazil.
Shot mostly on 16 mm film, Pablo Pijnappel's films have been influenced by the history of psychoanalysis and the trajectories of people with great importance in his life. In a montage style, Pijnappel creates biographies of individuals, some from his immediate surroundings, some who played a key role in his family life. Multiple narratives construct and trace paths of memory, identity and dislocation, trade facts with fiction and generate infinite possibilities for associations and readings that the viewer must help complete by filling in the gaps in an often-labyrinthine narrative.
Patrick Jolley 1966, Bangor, Ireland. 2012, New Delhi, India.
Fog Series 2010
Composed of hypnotic images that resist conventional narrative structures, the work of Patrick Jolley is characterized by dense sequences of fragmentary and oblique visuals in which uncanny situations take on an almost supernatural feel. His films create an atmosphere of the improbable, investing everyday experiences with fantasies, elevating the physical, and undermining conceived notions of reality.
Paulo Vivacqua 1971, Vitรณria, Brazil. Lives in Rio de Janeiro, Brazil.
The Triple Ohm 2012
Paulo Vivacqua's works meet somewhere on the border between the language of sound and vision. In seeking out a hybrid territory between the intangibility of sound in time and the physicality of the context of the work, his installations are fused to the spaces that they inhabit and suggest invisible pathways in which sounds, in space and time, give rise to imaginary narratives. Vivacqua produces work that is singular and dynamic, in which the material and the atmosphere establish the parameters of sound.
PPPP 1955, Lima, Peru. Lives in Lima.
La acción en la playa de Agua Dulce Series: ¡Esa Indescriptible Sensación Marina! 1997
PPPP (Productos Peruanos para Pensar) is a collective of just one man: Alberto Casari. His alter egos – the writer and visual poet Alfredo Covarrubias, the painters Arturo Kobayashi and El Místico, and art critic Patrick Van Hoste – produce material under the PPPP banner. In maintaining his own name as part of the collective, the artist plays with notions of authorship in an attempt to deny the fetishization of the work as a product of subjective and emotional expression and as a precondition for man's relationship with art.
Ricardo Basbaum 1961, São Paulo, Brazil. Lives in Rio de Janeiro, Brazil.
Você gostaria de participar de uma experiência artística? 1994-
Ricardo Basbaum's work occupies the invisible limits between word and image, text and work of art, spectator and artist. Diagrams are a fundamental aspect of his artistic production, intrinsically linked to his work as a theoretician and writer. His work invites the public to abandon automated behavior, to accept art as an experience and to actively participate in the creative process. Basbaum's art generates pluralistic experiences that break away from genres and styles and reveal the constructive tension between near and distant, inside and outside, thought and feeling, individual and collective.
Robert Filliou 1926, Sauve, France. 1987, Les Eyzies, France.
Danse-poĂ¨me collectif 1962
The search for a union of art and life, and an emphasis on experimentation and the creative process are central to Robert Filliou's artistic approach. The invitation to participate was a constant in his work and his view of artistic practice was that it functioned as a form of direct action in the world. Filliou aspired to integrate all acts in life into the artistic process. A member of Fluxus, a movement that placed emphasis on performance and that postulated that art should not be expressed in the form of objects, Filliou saw the practice of art as a type of game that could take place even when it involved unrealized projects.
Robert Smithson 1938, Passaic, United States. 1973, Amarillo, United States.
Spiral Jetty 1970
In his exploration of different genres and media, Robert Smithson is considered one of the most intriguing 20th-century artists. Best known for his provocative earthworks and his interventions in remote landscapes, his career was also characterized by investigations into language. His work sought to demystify the distinction between theory and practice and engender ways of approaching aesthetic experience â&#x20AC;&#x201C; such as dimensions of space and time â&#x20AC;&#x201C; that transcend individual cognitive experiences and abilities. Smithson's thoughts reached beyond their immediate context and for over forty years have had a profound impact on contemporary artistic thought.
Roberto Obreg贸n 1946, Barranquilla, Colombia. 2003, Tarma, Venezuela.
Disecci贸n real para rosa enferma 1993
Beginning in the early 1970s and up to his death in 2003, Roberto Obreg贸n elaborated an oeuvre that was obsessively centered on roses. He worked and lived on the edge: between the need to compensate for his profound personal pain and the desire to create universally shared symbols; between the dry, methodical resources of a conceptual formalism and the discursive and almost hermetic tools of an art that was clearly literary in origin. His methodical dissection of the rose was his main language tool and, with it, he broached the cyclical nature of time. With this almost secret way of dealing with human pain, Obreg贸n, without a doubt, made himself a fundamental figure in Venezuelan art of the second half of the 20th century.
Rodrigo Braga 1976, Manaus, Brazil. Lives in Rio de Janeiro, Brazil.
Simultaneously seductive, stunning, simple and exuberant, Braga's images challenge our notion of certainty. Dense, mysterious and disconcerting, they rally against objectivity and rationality. Existential questions are posed as reality is carved up and the artist enters his subconscious to create atmospheres that build on our collective imagination and broaden our understanding of the relationship between nature and culture. Braga gives himself up to the creative experience and in so doing unveils strange fragmentary situations that contaminate the memory and draw the viewer into a highly sensitive field of comprehension.
Runo Lagomarsino 1977, Lund, Sweden. Lives in SĂŁo Paulo, Brazil, and MalmĂś, Sweden.
Las Casas Is Not a Home 2008-2010
Runo Lagomarsino seeks to make visible the historical and discursive processes that sustain geopolitical relationships. He creates conceptual narratives that allow him to develop artistic and philosophical reflections on complex historical facts. His approach focuses on the different processes that shape the contemporary social and political environment. Lagomarsino's work presents a critical vision of the construction of our history through themes such as colonial inheritance and the relationships of conflict and rapprochement between different cultures.
Sandra Vásquez de la Horra 1967, Viña del Mar, Chile. Lives in Düsseldorf, Germany.
La vida dura un segundo 2010
Sandra Vásquez de la Horra's works on paper invite the viewer into an imaginary world comprising intimate notes on her own personal history. Culled from other sources such as literature, philosophy and anthropology, her works flow and cascade organically and are typically arranged in large, ethereal combinations. Each work tells a particular story based on myths and popular tales, and contains notions of religion, politics, sex and folk culture. Mostly figurative in nature, her drawings depict fantastical creatures or hybrid figures in surreal and macabre scenarios, and evoke irony and a dark humor.
Saul Fletcher 1967, Barton, England. Lives in London, England.
Untitled #250 (meat + 2 veg) 2012
Saul Fletcher's photographs portray an unconventional reality and form one long sequence of images. Akin to a visual notebook, Fletcher's photographs record the way in which he perceives, carves out and recreates reality. Shifting from winter landscapes to portraits of friends and family members, to compositions that bring together paintings, objects, annotations or scenes that focus on the places the artist inhabits, Fletcher's work seems to exist between places; in-between what is revealed and what is merely suggested, in-between secret and confession, in-between the real and the unreal.
Savvas Christodoulides 1961, Pafos, Cyprus. Lives in Nicosia, Cyprus.
Look, He's Fallen Flat on His Face 2010
Savvas Christodoulides develops his artistic approach in an attempt to register the way our conception of reality is also shaped by how things are displayed. By means of a conceptual approach, the artist sets up a series of austere and uncommon artistic combinations that confound our perception and expand on our conventional notions of the factual. Removing the memory and specific identity of aged objects Christodoulides transforms them into iconic symbols â&#x20AC;&#x201C; disguised yet tangible images of what is real.
Sergei Tcherepnin with Ei Arakawa Ei Arakawa: 1977, Iwaki, Japan.
Sergei Tcherepnin: 1981, Boston, United States.
Looking at Listening 2012
Live in New York, United States. Sergei Tcherepnin is a composer, musician and artist who explores the material nature of sound, and its physical and psychological effects on the listener. Ei Arakawa is an artist whose performances and multimedia installations are of a collaborative and improvised nature. Together, and with participants drawn from a large pool of artist friends, Tcherepnin and Arakawa create performances and installations that transcend the boundaries of any single medium. Fluctuating between sound, performance, sculpture and painting, their collaborations seek to engage the viewer as participant in experiences that are both intense and ephemeral.
Sheila Hicks 1934, Hastings, United States. Lives in Paris, France.
Ptera II 2011
Undoubtedly one of the world's most renowned artists working with textiles, Sheila Hicks rejects the traditional boundaries that surround art, craft and design. Her work moved towards textiles after being introduced to local weaving techniques as she travelled through Central and South America. For more than six decades she has been developing a body of work rooted in a creative exploration of traditional and non-traditional techniques associated with textiles in which she plays with patterns, divisions, asymmetry, varying degrees of tension in the fabric, and above all, color.
Sigurdur Gudmundsson 1942, Rejkjavik, Iceland. Lives in Amsterdam, The Netherlands, and Xiamen, China.
Study for Horizon 1975
Sigurdur Gudmundsson's work is based on deviations in meaning and unusual relationships between man and the environment. Collectively entitled Situations, his photographs bear influences from the Fluxus movement and from early conceptual art, and represent a simultaneously poetic and philosophical vision of existence. By establishing relationships of equilibrium and juxtaposition between his body and a variety of objects and contexts, the artist captures the harmony and tension between nature and culture.
Simone Forti 1935, Florence, Italy. Lives in Los Angeles, United States.
The work of Simone Forti emerged from the New York art scene of the 1960s â&#x20AC;&#x201C; a period dominated by minimalist art and performance dance. From her improvisational movement-and-speech works that she began in the 1980s to her recent focus on writing, Forti has developed new models and methods of composition to address the problematic relationship between abstraction and subjectivity. Forti's empathy for (re-) creating natural movements in which the plain body is the art object itself was inherited in part from one of her important influences, the choreographer Anna Halprin. These interests have crossed over into Forti's rarely exhibited drawings, which can be considered a prelude or postscript to her choreographies and improvisations.
Sofia Borges 1984, Ribeirão Preto, Brazil. Lives in São Paulo, Brazil.
Sofia Borges places the spectator at an intermediate point between the photograph and the space where it is established, creating a strangely seductive rarefied atmosphere, which leads the viewer into a state of suspense. In the explicit use and sophisticated manipulation of specific photographic procedures – exposure time, color temperature, quantity of light, composition – Borges' images evoke an atmosphere that is both distant and familiar, that evades definition and keeps us guessing about whether we are in the presence of a casual everyday portrait or an elaborate abstraction of form.
Studio 3Z 1949, Angola. Lives in Kinshasa, Democratic Republic of Congo.
Mannequins exposant le nouveau mode de pantalon dénommé pattes d'éléphant 1973-1974
Ambroise Ngaimoko opened his own studio in the city of Kitambo in 1971. The name Studio 3Z symbolizes the three Zaires: the country, the currency and the river. His studio gained recognition and renown due to an innovative technique he used in which two portraits were developed on the same sheet using the same negative twice. Young people who visited the studio remember him for the constant variation in the backdrops for his photos. Ngaimoko portrayed families and individuals in black-and-white photographs. Grounded in the philosophy of a pre-digital era in which the photograph was a far more orchestrated and self-conscious event, his pictures capture diversity of human character and the richness of human relationships.
Tehching Hsieh 1950, Nan-Chou, Taiwan. Lives in New York, United States.
One Year Performance 1980-1981, New York (Punching the Time Clock)
In the first of his One Year Performances Hsieh spent twelve months confined in a cell in his studio. Next, he punched a time clock every hour of every day for a year, documenting himself throught photographs. In his third experiment, he spent all 365 days living on the streets of New York. He went on to spend a year tied to fellow artist Linda Montano â&#x20AC;&#x201C; unable to touch her. Finally, between 1985 and 1986, he announced that he would distance himself from the world of art. He subsequently set out a plan to produce art for thirteen years without showing it. At the age of 49 he concluded his plan and chose to stop working as an artist.
Thiago Rocha Pitta 1980, Tiradentes, Brazil. Lives in SĂŁo Paulo, Brazil.
Monumento Ă deriva continental 2011
The work of Thiago Rocha Pitta places emphasis on the relationship between art and nature, by means of photography, drawing, video, painting, sculpture and installations. Through a dialogue with his natural environment, Rocha Pitta explores mutable patterns of air, fire and water, in interventions that are exposed to weather, and that speak of a variety of phenomena and events associated with the environment. His interest in exploring the natural processes of the elements is driven by his poetic perspective and is manifested in an attempt to reinforce nature as co-author of his artistic endeavors.
Thomas Sipp Lives in Paris and Toulouse, France.
Since the early 1990s, Thomas Sipp has been producing documentary-style work by way of cinema, video and radio. He follows the tradition of direct cinema and is the author of an intimate body of work whose themes, expressed with a surprising and moving lightness, revolve around figures from childhood and adulthood. They offer a post-humanist and poetic view on the limits of existence, the beginning and end of the life cycle, family relations, rites of passage and the fragility of the body. His approach reveals, through its documentary accuracy, the creative potential in everyday existence.
Tiago Carneiro da Cunha 1973, SĂŁo Paulo, Brazil. Lives in Rio de Janeiro, Brazil.
Retorno de zumbi 2009
In a manner that is both ironic and critical, Tiago Carneiro da Cunha tackles themes of violence, sex and exoticism, and explores the repulsive and bizarre aspects of stereotypes that inhabit our tragicomic human existence. His works present uncanny and deformed characters that evoke images of violence and abject impulses. Casting his eye over popular culture, politics, the media, horror films and art itself, the artist creates sculptural objects in resin that look as if they were modelled from layers of illusion, humor and madness.
Viola Yeşiltaç 1975, Hannover, Germany. Lives in New York, United States.
Untitled (I Really Must Congratulate You on Your Attention to Detail) 2012
Viola Yeşiltaç's work explores the boundaries between photography, drawing, sculpture, and performance, and emphasizes the relationship between representation and form. Her work is influenced by the constructivist tradition and her paper sculptures often carry found film stills or photos taken by the artist. Yeşiltaç folds and adjusts the sheets of paper until they attain form that merits photographic registration. The poetic nature of her work also reveals in her text-based works and drawings, which often bear exaggerated features, thus sometimes convey an almost comic quality.
Waldemar Cordeiro 1925, Roma, Italy. 1973, SĂŁo Paulo, Brazil.
Foto do Clube Esperia 1965
Before dedicating himself entirely to Computer Art, Cordeiro worked as a painter and landscape designer. Attributes of Concrete Art such as the structural focus on materials and processes, the appropriation of constructivist language, and the search for the general reduction of expressive means emanate from his practice. Logic and rationality became a founding principle of Ruptura group, which Cordeiro was involved with from 1952 onwards. Later he discerned in electronic art the possibility to form an artistic culture of international reach.
1955, Chongqing, China. Lives in Beijing, China, and New York, United States.
Forest Project 2005-
Symbols materialize, meanings are jumbled up and a new code emerges to challenge the spectator in the works of Xu Bing. The viewer is confronted by something that at first appears familiar, before realizing that it does not correspond to reality. Xu Bing plays a highly sophisticated semantic game, in which he brings out elements in words that limit and distance us from the material and spiritual world. With the boundaries between language and meaning blurred, we are led to distrust knowledge. By making the reading impossible, the artist explores the connection between man and the world of writing, and the function and limits of language.
Yuki Kimura 1971, Kyoto, Japan. Lives in Berlin, Germany, and Kyoto.
Yuki Kimura's installations combine her own and appropriated images with objects in an attempt to construct new spaces for the exploration of existential questions. The question, â&#x20AC;&#x153;Why am I alive here and now?â&#x20AC;? features among the thoughts that guide her often humorous work, in which she creates complex narrative systems that generate a delicate relationship between the spectator, the images and the installation space. With her eye on the past and the future, Kimura invites interlocutors to face their own mortality and, at the same time, comprehend the continuity of life as a whole.
Bienal in the City
AEM BU AV.
PRAÇA CHARLES MILLER
PARQUE BUENOS AIRES
ESTÁDIO DO PACAEMBÚ
Museu de Arte Brasileira da FAAP José Arnaud Bello (p. 097) Robert Smithson (p. 129) Xu Bing (p. 148) Rua Alagoas, 903, Higienópolis, São Paulo. +55 (11) 3662 7198 www.faap.br/museu Tue-Fri: 10a.m.-8p.m., Sat/Sun/Holidays: 1p.m.5p.m., closed on Mondays, including holidays. Taxi from Santa Cecília Metro Station (Line 3) or Paulista Metro Station (Line 4). 408A-10
INSTITUTO TOMIE OHTAKE
P. LA CE RD A FR AN CO
O OS DR PE
A NH CU
MA A LI
IS RA MO
METRÔ FARIA LIMA
Instituto Tomie Ohtake Bruno Munari (p. 057)
Av. Brigadeiro Faria Lima, 201, entrada pela R. Coropés, Pinheiros, São Paulo. +55 (11) 2245 1900 www.institutotomieohtake.org.br 3 October-18 November. Tue-Sun: 11a.m.-8.p.m. Faria Lima Metro Station (Line 4). 117Y-10, 477A-10, 802C-10, 875C-10, 875C-22, 957T-10, 958P-10, 5100-10, 6262-10, 6262-21, 8171-10, 9050-10, 9051-10,
RUMB AV. MO
PALÁCIO DOS BANDEIRANTES
PÇA. P. CARLOS DRUMMOND DE ANDRADE
CAPELA DO MORUMBI R. GEN. ALM ÉRIO DE MOU RA
AV. MORU MBI
Capela do Morumbi Maryanne Amacher (p. 110)
Avenida Morumbi, 5.387, Morumbi, São Paulo. +55 (11) 3772 4301 www.museudacidade.sp.gov.br/capeladomorumbi.php Tue-Sun: 9a.m.-5p.m. taxi from Butantã Metro Station (Line 4) or Morumbi CPTM Station (Line 9). 756A-10, 756A-21, 807J-10, 6291-10, 7040-10, 7040-21, 8020-10
AU GU ST A R.
GO MI DE
AR CL O
PE IX OT O
JU LH O
MASP Benet Rossell (p. 054) Jutta Koether (p. 100)
Avenida Paulista, 1.578, Bela Vista, São Paulo. +55 (11) 3251 5644 masp.art.br Tue-Sun: 11a.m.-6p.m. (box office closes at 5:30p.m.), Thur: 11a.m.-8p.m. (box office closes at 7:30p.m.). Trianon-Masp Metro Station (Line 2). 175P-10, 669A-10, 857P-10, 875H-10, 917M-10,
478P-10, 669A-41, 857R-10, 875M-10, 975A-10
478P-31, 714C-10, 874C-10, 875P-10,
508L-10, 715M-10, 874T-10, 877T-10,
577T-10, 775P-10, 875A-10, 917H-10,
IS RA MO DE OS DO MI NG R.
FR CI SC AB
R. JOEL JORGE DE MELO
R. PROF. TRANQUILLI
R. SANTA CRUZ
R. AFONSO CELSO
R. DOMINGOS DE MORAIS
R. JORG E
Casa Modernista Sergei Tcherepnin with Ei Arakawa (p. 136)
Rua Santa Cruz, 325, Vila Mariana, São Paulo. +55 (11) 5083 3232 www.museudacidade.sp.gov.br/casamodernista.php Tue-Sun: 9a.m.-5p.m. Santa Cruz Metro Station (Line 1). 375V-10, 476A-10, 4714-10, 5103-10, 5103-21
AT O B
DE DA CI E NT
MA CH AD O
E MI LWAR
. GU IL
R. P ROF
CASA DO BANDEIRANTE
MA CIDADE UNIVERSITÁRIA RG IN AL PI NH EI RO S
Casa do Bandeirante Hugo Canoilas (p. 088)
Praça Monteiro Lobato, s/n., Butantã, São Paulo. +55 (11) 3031 0920 www.museudacidade.sp.gov.br/ casadobandeirante.php Tue-Sun: 9a.m.-5p.m. taxi from Butantã Metro Station (Line 4) or Cidade Universitaria CPTM Station (Line 9). 809L-10, 7702-10, 7725-10
O IN UL PA
TOBI R. B RG.
CO AN BR
AV. PRES TES MAIA
AV. CÁ SPER
PARQUE DA LUZ
Estação Luz (Passarela Central) Charlotte Posenenske (p. 059)
Luz Train Station Closed from 00:00 to 5a.m. 2523-10, 7458-10 Lines 1, 3, 4, 7, next to Pinacoteca do Estado de São Paulo.
AU GU ST A R.
GO MI DE
AR CL O
PE IX OT O
JU LH O
Avenida Paulista Alexandre Navarro Moreira (p. 044)
Along the avenue, on newsstands displays.
RÔ MET A ROS
PAVILHÃO DA BIENAL
IB IR AP UE RA
ÁV M T
A ABR S C ARE IO ÁLV E MA D RO AL PED TRÊS ABR AV. E E S C T ARE VIN ÁLV RO AV. PED AV.
A M AD
Av. Pedro Álvarez Cabral, s.n., Parque Ibirapuera, Portão 3. +55 (11) 5576 7600 www.30bienal.org.br Tue, Thur, Sat, Sun, Holidays: 9 a.m.-7 p.m. (entrance until 6 p.m.); Wed, Fri: 9 a.m.-10 p.m. (entrance until 9 p.m.), Closed on Mondays. Free Admission. 175T-10, 5175-10, 5370-10, 7710-10,
477U-10, 509M-10, 5164-10, 5175-10, 5194-10, 5300-10, 5300-10, 5362-41, 5370-10, 5611-10, 6358-10, 6455-21, 857A-10
Program Spread throughout the city, the program of the 30th Bienal de SĂŁo Paulo-The Imminence of Poetics acknowledges the historical matter of the city in analogy with the present. The spaces for articulation and communication are diverse: the exhibition, education programs, conferences and lectures, performances, film screenings and radio programs. In collaboration with several partners and institutions in the city, the 30th Bienal has developed a side program, which departs from the work of artists participating in the exhibition whithout being limited to them. Between September and December, SESC (Commerce Social Service), MIS-SP (Museum of Image and Sound), cultural centre b_arco, the Planetarium inside Ibirapuera Park and other venues host a series of talks, readings, screenings and music performances. To learn more about the 30th Bienal's program, visit our website at www.30bienal.org.br, or, when at the Bienal Pavilion, look for the Educators or TV monitors.
Artworks Activation The activations are activities or interventions that compose the work or complement it. Whilst the works by Athanasios Argianas and Simone Forti are activated by performers and actors at a regular frequency inside the Bienal Pavilion, Leandro Tartaglia's work takes place as guided tours that departure daily from the Bienal and travel across the city of São Paulo. Of a different nature, the sound sculptures by the artists Sergei Tcherepnin with Ei Arakawa will be presented at the Casa Modernista and are jointly activated by musicians and spectators. Athanasios Argianas Music Sideways / Canon for Three Voices (Endless) · 2007-2012 Musical performance created by the artist Athanasios Argianas and performed by three choir singers. Where: Bienal Pavilion - spread through the exhibition space (without prior announcement). When: Wednesdays from 7p.m. to 8:35p.m. Sundays from 4p.m. to 5:30p.m. Leandro Tartaglia Tudo em sua mente. Viagem em dois atos [All in Your Mind. A Journey in Two Acts] · 2012 A music theater round trip journey to Capela do Morumbi. Duration of the trip: approx. 1 hour. Where: departure and arrival at Bienal Pavilion. When: Tuesdays to Fridays at 10 a.m. and 3 p.m.
Sergei Tcherepnin with Ei Arakawa Looking at Listening · 2011-2012 Sound and visual experience at Casa Modernista. Visitors will be invited to touch the sculptures assisted by educators. Where: Casa Modernista. When: Tuesdays and Thursdays at 10a.m. Wednesdays, Fridays and Saturdays at 3p.m. Simone Forti Dance Constructions · 1961 Series of dance performances in collaboration with groups of artists and ballet dancers of São Paulo. Where: Bienal Pavilion, Simoni Forti's room. When: Tuesdays, Thursdays, Saturdays and Sundays from 3p.m. to 5p.m. Wednesdays and Fridays from 6p.m. to 8p.m.
Mobile Radio Mobile Radio is formed by the artists Knut Aufermann and Sarah Washington. Mobile Radio BSP, a radio station at the 30th Bienal, collaborates with various radio stations in Brazil, Latin-America and the rest of the world. From this constellation a project of unique experimental radio is born, broadcasting live from Bienal, through AM and FM radio waves and the internet. To listen to Mobile Radio visit our website at www.30bienal.org.br or visit www.mobile-radio.net. To listen with a smartphone go to radio.30bienal.org.br The radio broadcasts 24hs. To colaborate and contribute write to email@example.com
Symposium Where: Sesc-Belenzinho. When: for schedule visit our website. November 6 Theme: Imminences Artistic practice produces meaning in a state of potential: history and artistic discourse in the light of imminence. November 7 Theme: Contemporary Art: Discipline and Antidiscipline Is art a discipline? What are its disciplinary boundaries? Does the modern tradition of the rupture still exist today? Is art an anti-discipline? November 8 Theme: Archiving the Future Archiving is a practice of memory, the consequences of which activate our understanding of the future: Does the archive guarantee a prophetic dimension of the past? Sesc Belenzinho Rua Padre Adelino, 1.000, Belém, São Paulo. +55 (11) 2076 9700 www.sescsp.org.br Tue-Sat: 9a.m.-10p.m., Sun/Holidays: 9a.m.-8p.m. Belém Station (Line 3).
Poetic Pragmatism – International Seminar on Education and Art Organized by the Educational Bienal as part of the program for the 30th Bienal de São Paulo. Where: Sesc-Belenzinho August 21 What happens when you walk? Displacement and violence. What happens every time you celebrate? Partnerships and networks. August 22 Why collect? Museums and cultural institutions and permanent collections. What happens everytime you consent? Education as negotiation. August 23 How can you measure the distance between yourself and what you say? A conversation on the speech of teachers, artists and curators. When there is nothing, what do we see? Audacious actions and innovative experiences. Does a thing mean something else when it moves from one place to another? Formal and informal education.
The 30th Bienal at SESI From September 2012 through 2016, Educativo Bienal and SESI-SP will be hosting a touring video art festival at SESI, taking some of the video-based work from the 30th Bienal de São Paulo to the public realm. The festival will visit all branches of SESI-SP and the Mobile Arts and Culture Unit. Some of the branches will also be hosting Encounters for Training and Development in Contemporary Art, held by Educativo Bienal and aimed at teachers and educators. More information at: educativo.30bienal.org.br.
Performances and Events Numerous artists will participate in activities at the pavilion and at other locations throughout the city during the 30th Bienal. They vary from performances, concerts, talks, lectures, sound interventions and more. Many events are unique and happen only once, visit the 30th Bienal's website for more information.
Educational Activities Stamps and image reproduction workshop Books and collage workshop Lights workshop Photography workshop Theatrical and Musical presentation Complete Program: Lecture + Guided tours Poetry reading for children and families Storytelling Workshop with guest artists Talks with artists for teachers Talks with artists for youngsters Teachers' Stories Experiences + Experiences: talks between teachers and educators Teachers' Week Children's Day
For more information, look for the reception staff at the entrance or the educators on all floors, or visit our website: educativo.30bienal.org.br. Important: some activities require registration on web.
Visitor information Guided and booked tours The guided tour are free for groups. The groups must have between 10 and 20 people - a responsible adult ought to accompany each group. We are prepared to receive visitors with disabilities. Book as many groups as you want, according to availability in schedule. The minimum age recommended is 6 years. The visits must be booked through Diverte Cultural, T: +55 (11) 3883-9090. Guided tours for general public (no booking required) From Tuesday to Sunday guided tours are available to small groups or individual visitors that are interested in talking about the artworks exhibited. Look for the Educators at the entrance of the exhibition for more information. We are prepared to receive visitors with disabilities. + 60 Tour Especially designed for senior citizens. They may or may not be followed by workshops. Booking with Diverte Cultural T: +55 (11) 3883-9090. For more information on booking the tour: www.divertecultural.com.br.
Important: We offer guided tours in English, French and Spanish. More information at the reception desk.
Reading Room Open every day, located in the Bienal Archive (2nd floor). Get to know the Bienal library, one of the most important art archives in the country, with books by and about artists, catalogues from biennials and other exhibitions, and much more.
The Educational Bienal will hold a special program at the Reading Room, learn more at our website and on the TV monitors at the pavilion.
Audio Guide Oi The audio guide for the 30th Bienal introduces the listener to the universe of the 30th Bienal. There are a few points of departure throughout the exhibition space; check the number of the audio and play it. The intention of these talks is not to guide the visitor work-by-work, but rather to offer enriching and inspiring routes.
To listen to them, you may: • Call Oi voice portal T: +55 (11) 8080-3300 and enter the code indicated in various points throughout the pavilion (cost: from Oi mobile phones, R$ 0.51 + taxes per minute; from other operators as per client's plan) • Use your smartphone or tablet to read the QR codes indicated on the signs • Or visit our website, www.30bienal.org.br, and download the audio files for free to your MP3 player or mobile phone (the website may only be accessed by computer, please do so before coming to the exhibition. The pavillion does not have wi-fi).
Catalogue Available for sale at the bookshop, the Catalogue contains images specially produced by the artists, followed by texts on their poetics, curatorial essays on the exhibition, and a essay by the historian Homi Bhabha about the the 30th Bienal.
To complement the Catalogue, the Coleção Bienal (available in Portuguese only) - published in partnership with the publishing house Hedra presents key texts to the curatorial concept, written by authors who cover an extent time span: Philostratus, Giordano Bruno, Giorgio Agamben, José Bergamin and Pascal Quignard.
Restrictions Indicates rooms featuring works that may be considered offensive. Put your cellphone in silent mode. Its use can disturb other visitors. If you need to use it, please do it outside the exhibition gallery. Leave backpacks, large bags and other objects in the lockers. Free yourself of unnecessary weight, you will enjoy the exhibition even better. Walk slowly. There are several objects in the exhibition space that can break and hurt you. Help children enjoy the exhibition, respect the works and other visitors. The flash of your camera damages the works on view, please shoot without it. The artworks are sensitive and their conservation requires care, so they should not be touched. The works that will allow interaction are indicated by Educators. Food waste makes the exhibition space unpleasent for visitors and may damage the artworks on view.
The exhibition space is full of objects and the pavilion is surrounded by glass windows, to avoid hurting yourself or damaging the artworks, leave your sporting goods at the Cloakroom.
Facilities Bookshop – first floor Restrooms – all floors Cloakroom – ground floor Café – mezzanine
Accessibility Telephones for wheelchair users - all floors Toilets for wheelchair users - ground, 1st and 2nd floors. Elevator for those with reduced mobility (access with assistance). Telephone for hearing impacted visitors - 1st floor
Credits BIENAL DE SÃO PAULO FOUNDATION Founder Francisco Matarazzo Sobrinho 1898–1977 (Chairman Emeritus) Honorary Board Oscar P. Landmann † (Chairman) • Honorary Board Members composed of 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 Alfredo Egydio Setubal, (Acting President) • Lifetime Members Adolpho Leirner Alex Periscinoto Benedito José Soares de Mello Pati Carlos Bratke Gilberto Chateaubriand Hélène Matarazzo Jorge Wilheim Julio Landmann Manoel Ferraz Whitaker Salles Miguel Alves Pereira Pedro Aranha Corrêa do Lago Pedro Franco Piva Roberto Duailibi Roberto Pinto de Souza Rubens José Mattos Cunha Lima
Álvaro Augusto Vidigal 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 Francisco Bandeira Lins Carlos Jereissati Filho Cesar Giobbi Claudio Thomas Lobo Sonder Danilo dos Santos Miranda Decio Tozzi Eduardo Saron 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 Marcos Arbaitman Maria Ignez Corrêa da Costa Barbosa Marisa Moreira Salles Meyer Nigri Nizan Guanaes Paulo Sérgio Coutinho Galvão Pedro Paulo de Sena Madureira Roberto Muylaert Ronaldo Cezar Coelho Sérgio Spinelli Silva Susana Leirner Steinbruch Tito Enrique da Silva Neto • Audit Board Carlos Alberto Frederico Gustavo Halbreich Tito Enrique da Silva Neto Pedro Aranha Corrêa do Lago
• Members Alberto Emmanuel Whitaker Alfredo Egydio Setubal Aluizio Rebello de Araujo
Executive Board Heitor Martins (President) Eduardo Vassimon (1st Vice President) Justo Werlang (2nd Vice President) • Directors Jorge Fergie Luis Terepins Miguel Chaia Salo Kibrit
30TH BIENAL DE SÃO PAULO Curatorship Luis Pérez-Oramas (Curator) André Severo (Associate Curator) Tobi Maier (Associate Curator) Isabela Villanueva (Assistant Curator) • Guest Curators Ariel Jimenez (Roberto Obregón) Helena Tatay (Hans-Peter Feldmann) Susanne Pfeffer (Absalon) Vasco Szinetar (Alfredo Cortina) Wilson Lazaro (Arthur Bispo do Rosário) • Curatorial Advice Andre Magnin (Frédéric Bruly Bouabré, Ambroise NgaimokoStudio 3Z) Beatrix Ruf (Mark Morrissoe) Joaquim Paiva (Alair Gomes) John Rajchman (Fernand Deligny, Xu Bing) Justo Pastor Mellado (Ciudad Abierta) Luciana Muniz (Alair Gomes) Micah Silver & Robert The (Maryanne Amacher) Pia Simig (Ian Hamilton Finlay) Sandra Alvarez de Toledo (Fernand Deligny) Teresa Gruber (Mark Morrisroe) Managing Director Rodolfo Walder Viana Advisor Emilio Kalil
General Production Coordination Dora Silveira Corrêa Bienal Educational Curatorship Stela Barbieri General Communication Coordination André Stolarski Projects and Production • Producers Felipe Isola Fernanda Engler Helena Ramos Janayna Albino Joaquim Millan Marina Scaramuzza Waleria Dias Arthur Benedetti (Transport Logistics) Grace Bedin (Transport) Viviane Teixeira (General Assistant) Luisa Colonnese (Assistant) Marcos Gorgatti (Assistant) • Set Design Metro Cenografia | Quindó de Oliveira • Artworks Handling William Zarella • Museology Macarena Mora Graziela Carbonari Bernadette Ferreira Heloísa Biancalana • Audio-visual Project for Artworks Maxi Áudio Luz Imagem • Light Design Project Samuel Betts • Transport Arte3 Log ArtQuality Exhibition Design Metro Arquitetos Associados Martin Corullon (Exhibition Architect) Helena Cavalheiro (Architect) Felipe Fuchs (Architect)
• Graphic Production Signorini
Bruno Kim (Architect) Marina Iioshi (Architect) Francisca Lopes (Intern) Rafael de Sousa (Intern) Communication • Communication Coordination Felipe Taboada (Coordinator) Júlia Frate Bolliger (Communication Assistant) Julia Bolliger Murari (Press Relations) • Design Coordination Ana Elisa de Carvalho Price (Coordinator) Felipe Kaizer (Graphic Designer) Roman Iar Atamanczuk (Design Assistant) André Noboru Siraiama (Intern) Douglas Higa (Intern) • Editorial Coordination Cristina Fino (Coordinator) Diana Dobránszky (Editor) Alícia Toffani (Editorial Assistant) • Internet Coordination Victor Bergmann (Coordinator)
• Audio-visual Documentation Mira Filmes (Coordination) Gustavo Rosa de Moura (General Director) Bruno Ferreira (Coordinator, Photographer and Editor) Francisco Orlandi Neto (Photographer and Editor) Rafael Nantes (Editor) Brunno Schiavon (Editing Assistant) Joana Brasiliano (Designer) Luciana Onishi (Executive Producer) Juliana Donato (Producer) Leo Eloy (Photographer) Nick Graham Smith (Soundtrack) • Visual Identity Workshop •
• Guest Designers Armand Mevis & Linda Van Deursen Daniel Trench Elaine Ramos Jair de Souza Rico Lins
• Workshop Participants Adriano Guarnieri Cecília Oliveira da Costa Daniel Frota de Abreu David Francisco Débora Falleiros Gonzales Miguel Nobrega Pedro Moraes Rafael Antônio Todeschini Renata Graw Renato Tadeu Belluomini Cardilli Tatiana Tabak William Hebling
• Bienal Team Ana Elisa de Carvalho Price André Stolarski André Noboru Siraiama Douglas Higa Felipe Kaizer Matheus Leston Roman Iar Atamanczuk Victor Bergmann
• Support to General Coordination Eduardo Lirani (Administrative Assistant and Graphic Producer) • Press Office A4 • Website Development Conectt • Educational Online Game Development Zira • Captions Editing and Translation Mariana Lanari • Audio-visual Documentation Management Rena Lanari • Research Manoel Veiga
• Production Coordinator Rena Lanari
Educational Bienal Carolina Melo (Curatorial Assistant) Guga Queiroga (Secretary) • General Supervision Laura Barboza • External Relations Helena Kavaliunas (Coordinator) Ana Lua Contatore (Assistant) Juliana Duarte (Assistant) Maíra Martinez (Assistant) • Volunteers Rosa Maia (Coordinator) Bárbara Milano Chynthia Rafael da Silva Daniela Fajer (Architecture) Débora Borba Gaelle Pierson Giuliana Sommantico Isadora Reis (Archive) Karla Shulz Sganga (Production) Lucia Abreu Machado Marcelle Sartori Maria Cecília Lacerda de Camargo Maria Fillipa Jorge Maria Varon (Archive) Marina Mesquita Paola Ribeiro Paula de Andrade Carvalho Paulo Franco Tereza Galler Vera Cerqueira
• Communication Daniela Gutfreund (Coordinator) Beatriz Cortés (Documentation/ Reading Room) Denise Adams (Photographer) Fernando Pião (Assistant Photographer) Sofia Colucci (Intern) Simone Castro (Journalist) Amauri Moreira (Audiovisual Documentation) • Production Valéria Prates (Coordinator) Bob Borges (Producer) Eduardo Saldanho (Producer) Elisa Matos (Producer) Marcelo Tamassia (Producer) Dayves Augusto Vegini (Producer Assistan) Mauricio Yoneya (Assistant) Danilo Guimarães (Intern) • Educators Training Team Laura Barboza (General Coordinator) •
• Coordinators Elaine Fontana Pablo Tallavera
• Supervisors Anita Limulja Carlos Alberto Negrini Carolina Velasquez Debora Rosa Marcos Felinto Mayra Oi Saito Pedro Almeida Farled Rodrigo De Leos Paula Yurie Talita Paes
• Teaching Carlos Barmak (Coordinator) Daniela Azevedo (Coordinator) •
• Research Marisa Szpigel
• Content Development and Talks Galciani Neves Guga Szabzon Leandro Ferre Caetano Matias Monteiro Otávio Zani Ricardo Miyada Tiago Lisboa
Bienal Archive Adriana Villela (Coordinator) Ana Paula Andrade Marques (Researcher) Fernanda Curi (Researcher) Giselle Rocha (Conservator) José Leite de A. Silva (Seu Dedé) (Administrative Assistant)
Legal Advisory Marcello Ferreira Netto Finance & Controlling Fabio Moriondo (Manager) Amarildo Firmino Gomes (Accountant) Bolivar Lemos Santos (Intern) Fábio Kato (Financial Clerk) Lisânia Praxedes dos Santos (Payroll Assistant) Thatiane Pinheiro Ribeiro (Financial Assistant) Marketing & Fundraising Marta Delpoio (Coordinator) Bruna Azevedo (Assistant) Gláucia Ribeiro (Assistant) Raquel Silva (Administrative Assistant) Human Resources & Maintenance Mário Rodrigues (Manager) Geovani Benites (Administrative Assistant) Rodrigo Martins (Human Resources Assistant) Manoel Lindolfo Batista (Electrical Engineer) Valdemiro Rodrigues da Silva (Supplies Coordinator) Vinícius Robson da Silva Araújo (Supplies Clerk) Wagner Pereira de Andrade (Caretaker) General Secretariat Maria Rita Marinho (Manager) Angélica de Oliveira Divino (Administrative Assistant) Maria da Glória do E.S. de Araújo (Kitchen-maid) Josefa Gomes (Kitchen Help) Information Technology Marcos Machuca (Special Advisor) Leandro Takegami (Coordinator) Jefferson Pedro (IT Assistant) Institutional Relations Flávia Abbud (Coordinator) Mônica Shiroma de Carvalho (Analyst)
Training Educators Adriano Vilela Mafra Aline de Cássia Silva Escobar Aparício Aline Marli de Sousa Moraes Amanda Capaccioli Salomão Aminah Barbara Martins Hamid Haman Ana Carolina Druwe Ribeiro Ana Paula Lopes de Assis André Benazzi Piranda Andrea Lins Barsi Anike Laurita de Souza Anna Livia Marques de Souza Anna Luísa Veliago Costa Anne Bergamin Checoli Bianca Panigassi Zechinato Bruna Amendola Dell Arciprete Bruno Brito Bruno Cesar Rossarola dos Santos Camila Sanches Zorlini Carlos Eduardo Gonçalves da Silva Carolina Brancaglion Pereira Carolina Laiza Boccuzzi Carolina Tiemi Takiya Teixeira Caroline Pessoa Micaelia Catharine Rodrigues Clarisse Gomes Valadares Danielle Sleiman Daphine Juliana Ferrão Desiree Helissa Casale Diego Castro da Silva Cavalcante Diran Carlos de Castro Santos Edivaldo Peixoto Sobrinho Elfi Nitze Elisabeth Costa Marcolino Erivaldo Aparecido Alves Nascimento Fabio Lopes do Nascimento Fábio Moreira Caiana Felipe Eduardo Narciso Vono Fernanda Dantas da Costa Fernando Augusto Fileno Filipe Monguilhott Falcone Flávia Marquesi de Souza Francisco Ferreira Menezes Frederico Luca L. e Silva Ravioli Gabriel de Aguiar Marcondes Cesar Gabriele Veron Chagas Ramos Gerson de Oliveira Junior Giovana Souza Jorqueira Giuliano Nonato Glaucia Maria Gonçalves Rosa
Guilherme Pacheco Alves de Souza Inaya Fukai Modler Isabella da Silva Finholdt Isabella Pugliese Chiavassa Isabelle Daros Pignot Isadora do Val Santana Isadora Fernandes Mellado Ísis Arielle Ávila de Souza Jailson Xavier da Silva Jaqueline Lamim Lima Jessica Cavalcante Santos João Ricardo Claro Frare Joice Palloma Gomes Magalhães Jonas Rodrigues Pimentel Juan Manuel Wissocq Juliana Meningue Machado Juliana Rodrigues Barros Laura da Silva Monteiro Chagas Leandro Eiki Teruya Uehara Letícia Scrivano Lívia de Campos Murtinho Felippe Luana Oliveira de Souza Lucas Itacarambi Lucas Ribeiro da Costa Souza dos Santos Luciano Wagner Favaro Luís Carlos Batista Luis Henrique Bahu Luísa De Brino Mantoani Luisa de Oliveira Silva Luiza Americano Grillo Marcela Dantas Camargo Márcia Gonzaga de Jesus Freire Marcos Paulo Gomide Abe Mariana Ferreira Ambrosio Mariana Peron Mariana Teixeira Elias Marília Alves de Carvalho Marília Persoli Nogueira Marina Ribeiro Arruda Mayara Longo Vivian Maysa Martins Mona Lícia Santana Perlingeiro Natalia da Silva Martins Natalia Marquezini Tega Nayara Datovo Prado Pedro Gabriel Amaral Costa Pedro Henrique Moreira Pyero Fiel Ayres da Silva Rachel Pacheco Vasconcellos Rafael de Souza Silva Rafael Ribeiro Lucio
Raphaela Bez Chleba Melsohn Raul Leitão Zampaulo Raul Narevicius dos Santos Renan Pessanha Daniel Ricardo Vasques Gaspar Richard Melo Rômulo dos Santos Paulino Roseana Carolina Ayres Lourenço Samantha Kadota Oda Sandra Costa Ferreira Sarah de Castro Ribeiro Simone Dominici Sofia do Amaral Osório Stella Abreu Miranda de Souza Suzana Panizza Souza Suzana Sanches Cardoso Taize Alves Santana Talita Rocha da Silva Thais Regina Modesto Victoria Pékny Viviane Cristina da Silva Viviane Cristina Tabach Wilson de Lemos V. Cabral Yolanda Christine Oliveira Fernandes Yudi Rafael Lemes Koike Yukie Martins Matuzawa
IMAGE CREDITS ABSALON Cellule Nr. 3 (Prototype, for New York) · 1992 · Installation view, KW Institute for Contemporary Art, Berlin · Wood, cardboard, white paint, fabric, neon, tubes · 202 × 410 × 280 cm · collection: Musée d'Art Moderne de Saint Etienne Métropole · courtesy: KW Institute for Contemporary Art, Berlin · Exhibition copy ALAIR GOMES Sonatinas, Four Feet nr. 21 · c.1977 · Silver gelatine paper · 11.5 × 17.5 cm each ALBERTO BITAR Sem título [Untitled]· 2012 · (series: Corte Seco) · Color photograph · 120 × 180 cm ALEJANDRO CESARCO Index (A Reading) · 2007-2008 · Digital c-prints, A-Z in ten pages · 61 × 76 cm · courtesy: Murray Guy, New York ALEXANDRE DA CUNHA Landmark I · 2011 · Installation view, Alexandre da Cunha Monolith, 30 April – 10 June 2011, Sommer & Kohl, Berlin · Parasols, flagpole and fittings · 250 × 250 × 706 cm · courtesy: Sommer & Kohl, Berlin ALEXANDRE NAVARRO MOREIRA Apócrifo [Apocryphal] · 2001– · Urban intervention · Dimensions variable · photo: Patricia Schreiner ALFREDO CORTINA Ortiz · 1955 · Fine art photography. Photo Rag Bright White, 3010 gsm, 100% cotton · 86 × 56 cm · collection: Private
ALI KAZMA Automobile Factory · 2012 · (series: Obstruction) · Singlechannel video installation with sound · 10′ · courtesy: Galeri Nev Istanbul ALLAN KAPROW Comfort Zones · 1975 · 16-mm film transferred to video on DVD, b&w, sound · 17′49″ · collection: Allan Kaprow Estate · courtesy: Hauser & Wirth, London · photo: Allan Kaprow · Activity booklet published by Gallery Vandrés, Madrid ANDREAS ERIKSSON A Second Time · 2007 · Bronze (two parts) · 130 × 100 × 100 cm · courtesy: Galleri Riis, Oslo, Stockholm · support: Moderna Museet; IASPIS · Edition 4/5 ANNA OPPERMANN Anders sein (“Irgendwie ist sie so anders…) [Being Different (“Somehow she's so different…”)] · 1970-1986 · Installation view, Württembergischer Kunstverein, Stuttgart, 2001 · Installation · Dimensions variable · courtesy: Estate of Anna Oppermann; Galerie Barbara Thumm, Berlin ARTHUR BISPO DO ROSÁRIO Carrinho – Arquivo II [Wheelbarrow – Archive II] · n.d. · Wood, metal plastic, thread and plastic wrap · 112 × 56 × 102 cm · collection: Bispo do Rosário Museum of Contemporary Art, Rio de Janeiro City Hall · photo: Rodrigo Lopes ATHANASIOS ARGIANAS The Length of a Strand of Your Hair, of the Width of Your Arms, Unfolded · 2010 · Installation · Dimensions variable · collection: National Museum of Contemporary Art (EMST), Athens · © Collection
of the National Museum of Contemporary Art (EMST), Athens AUGUST SANDER Bricklayer · 1928 · (series: People of the 20th Century) · Gelatine silver print · 26 × 19 cm · courtesy: Julian Sander – Feroz Gallery, Bonn · © Die Photographische Sammlung/SK Stiftung Kultur - August Sander® Archiv, Köln; VG-Bild Kunst, Bonn, 2011 BAS JAN ADER Broken Fall (Geometric), Westkapelle, Holland · 1971 · Color photograph · 41.28 × 29.21 cm · courtesy: Bas Jan Ader Estate; Mary Sue AderAndersen; Patrick Painter Editions · © 1971 Mary Sue Ader-Andersen · edition of 3 BENET ROSSELL La Santa Secuencia [The Holy Sequence] · 1992 · Plaster figures, films of different formats and film reels · Dimensions variable · photo: Eva Rodríguez BERNARD FRIZE OPA · 2007 · Acrylic on canvas · 240.5 × 310 cm · courtesy: Galerie Perrotin, Paris · photo: André Morin · © Bernard Frize/ Galerie Perrotin, Paris BERNARDO ORTIZ Untitled (Fragment) · 2010 · India ink on plain writing pad · collection: Private · photo: Bernardo Ortiz BRUNO MUNARI Libro illeggibile MN1 [Unreadable Book MN1] · 1984 · © Bruno Munari. All rights reserved Maurizio Corraini srl.
CADU O hino dos vencedores (compilação) [The Winners Hymn (Compilation)] · 2012 · Lottery tickets, music boxes and paper · Dimensions variable · photo: Rafael Adorján CHARLOTTE POSENENSKE Square Tubes, Series D (original) · 1967 · Traffic isle, Offenbach (Germany), 1967 · Steel sheet · Dimensions variable · collection: Estate of Charlotte Posenenske · courtesy: Bukhard Brunn; Estate of Charlotte Posenenske, Frankfurt am Main · © Burkhard Brunn CHRISTIAN VINCK Bombardeo a la Guaira [Bombardment at Guaira] · 2012 · (series: Según el Archivo General de Indias [According to the General Archives of India]) · Oil on canvas · 63 × 69 cm CIUDAD ABIERTA Ref.: Taller Amereida [Ref.: Atelier Amereida] · 2010 · Professor Architect Andres Garcés, March 31st, 2010 · photo: Architect Ivan Ivelic · © Archivo Histórico José Vial Armstrong, Escuela de Arquitectura y Diseño PUCV DANIEL STEEGMANN MANGRANÉ Lichtzwang (rombo) [Light Constraint] · 2010 · (series: Lichtzwang [Light Constraint] · 1998) · Watercolour on paper · 21 × 15.5 cm DAVE HULLFISH BAILEY Untitled (West by North) · 2007-2008 · (series: Working Approximation of a Conventional Form, Re-determined by Prevailing Conditions · 2007-2009)
DAVID MORENO Silence · 1995 · Found book, page and paper · Dimensions variable
Fernand Deligny, Monoblet, France · courtesy: Editions L'Arachnéen, Paris · © Archives Fernand Deligny
DIEGO MAQUIEIRA Confrontación de las Especies [Confrontation of the Species] · 2012 · (series: El Annapurna) · ”Poemaducto” of public knowledge images on photocopies. Annapurna's fragment · © Diego Maquieira
FERNANDA GOMES Sem título [Untitled] · 2012 · Mixed media · Dimensions variable · courtesy: Galeria Luisa Strina, São Paulo · photo: Fernanda Gomes
EDI HIROSE Nueva Esperanza #8 · 2010 · Photograph · 50 × 50 cm EDUARDO BERLINER Máscara [Mask] · 2011 · Oil on canvas · 176 × 150 cm EDUARDO GIL A Brief History of the End of the War · 2010 EDUARDO STUPÍA Sin titulo [Untitled] · 2007 · Oil on canvas · 200 × 200 cm ELAINE REICHEK There's No Need · 2011 · Hand embroidery on linen · 116.8 × 114.3 cm · collection: Private · courtesy: Shoshana Wayne Gallery, Santa Monica · photo: Paul Kennedy ERICA BAUM Nebulous 2 · 2011 · (series: Naked Eye II) · Archival pigment print · 45.72 × 27.94 cm · courtesy: Bureau Gallery, New York F.MARQUESPENTEADO Homem-veado do Rio de Janeiro [Deer-man of Rio de Janeiro] · 2004 · Embroidery (line and cotton strand), handmade on PVC, bread basket · 25 cm (diameter) FERNAND DELIGNY (JACQUES LIN) L'île d'en bas [The Bottom Island] · 1969 · Ink on cardboard · 60 × 50 cm · collection: Archives
FERNANDO ORTEGA Momentos después del clavado [Seconds After the Dive] · 2005 · Scaffolding and framed postcard · Dimensions variable · courtesy: Kurimanzutto, Mexico City FRANZ ERHARD WALTHER Für Zwei [For Two] · 1967 · (Nr. 31,1.Work set) · Sewn dyed canvas · 123.2 × 46 cm · courtesy: Peter Freeman, Inc., New York; Galerie Jocelyn Wolff, Paris · photo: Tim Rautert FRANZ MON Red/White · 1967 · Press text on blackboard · 50 × 64.5 cm FRÉDÉRIC BRULY BOUABRÉ Mythologie Bété «Génie Guié Guié Guié» «Génie couvert d'yeux» [Bété Mythology “Génie Guié Guié Guié” “Covered Eyes Genius”] · n.d. · Ballpoint pen on paper glue-backed on cardboard · 42 × 24.5 cm · courtesy: Magnin-A, Paris GEGO Sin titulo [Untitled] · 1987 · Plastic net, steel and metal · 24 × 24 × 8.5 cm · collection: MACBA; MACBA Consortium; Long-term loan of Fundación Gego GUY MADDIN Bing & Bela, One of the Hauntings · 2010 · (series: Hauntings I · 2010-) · Installation featuring 11 original adaptations of canonical lost, aborted and unrealized films · 11 channel installation, b&w and
colour, silent · collection: TIFF Bell Lightbox · photo: Guy Maddin HANS EIJKELBOOM Photo Note May 4, 2012, Centro, São Paulo · 2012 · (series: Photo Notes 1992-2012 – A selection from the photographic diary) · 207 works · C-print (Epson Premium Luster Paper with Epson Ultrachrome Ink) · 50 × 60 cm HANS-PETER FELDMANN Women Handbags · 2012 · Installation view, Hans-Peter Feldmann, Serpentine Gallery, London (11 April - 5 June 2012) · Five women handbags with contents · photo: Jerry Hardman-Jones HAYLEY TOMPKINS Watchbough · 2009 · Found object, gesso · 85 × 41 × 12 cm HELEN MIRRA Hourly Directional Field Notation 20 January, Superstition Wilderness · 2012 · (series: Field Notations) · Water-based ink on linen · 155 × 155 cm · courtesy: Peter Freeman, Inc. HÉLIO FERVENZA Apresentações do deserto [Introductions of the Desert] · 2001– · Proposition
HUGO CANOILAS Buraco [Hole] · 2012 · Sketch for Bienal de São Paulo · Pencil on paper IAN HAMILTON FINLAY Hommage to Malevich · 1974 · With Michael Harvey · Litograph in folder · 28 × 28 cm · courtesy: Wild Hawthorn Press, the Archive of Ian Hamilton Finlay ICARO ZORBAR Off, Away from the Place in Question · 2011 · Installation detail with 42 five-inches TV set · photo: Larry Muñoz ILENE SEGALOVE Secret Museum of Mankind · 2011 · 1 of 5 panels · Photograph · 99.06 × 73.7 cm · collection: Tom Jancar · courtesy: Jancar Gallery, Los Angeles IÑAKI BONILLAS Todas las fotografías verticales del Archivo J. R. Plaza documentadas fotográficamente [All the Vertical Photographs of the Archive J. R. Plaza Documented in Photographs] · 2004 · 990 C-prints on photograph paper· 28 × 23 cm (each) · collection: Fundación/ Colección Jumex, Mexico City IVÁN ARGOTE & PAULINE BASTARD Home Cinema · 2012 · Installation built with founded wood and sofas, video program · 270 × 400 × 300 cm
HORST ADEMEIT Untitled (“4821”) · 2002 · (series: Archive Photographs) · Mixed media on Polaroid · 11 × 9 cm · courtesy: Galerie Susanne Zander, Cologne HREINN FRIDFINNSSON Third House · 2011 · (series: House Project) · Detail · Photograph · courtesy: i8 Gallery, Rejkjavik
JERRY MARTIN Resurrection of the Flesh · 2010– · (series: The Last Judgement) · Work in progress to be completed in several years · Typewritten text drawings on paper, mounted on used books, wood, plexiglass · © Jerry Martin
JIŘÍ KOVANDA XXX · 1976 · November 19, 1976, Vaclavské Square, Prague (Detail) · B&w photo and text on paper · 29.7 × 21.3 cm · courtesy: Gb Agency, Paris JOHN ZURIER Icelandic Painting (Watching the Summer) · 2011 · Watercolor on linen · 30.5 × 20.3 cm · courtesy: Gallery Paule Anglim, San Francisco JOSÉ ARNAUD BELLO Todas las formas de estar juntos [All Forms of Being Together] · (series: Proyecto trabajos en el cauce [Project Works in the Channel] · 2008-2011) · 2 printed photographs, 16 stacks of posters · Dimensions variable · courtesy: Galería OMR, Mexico JUAN IRIBARREN Untitled · 2012 · Oil on linen · 122 × 122 cm JUAN LUIS MARTÍNEZ Campo de cerezas [Field of Cherry] · 1975 · Mixed media · 102 × 83 cm JUTTA KOETHER Embrace/ Étreinte/ Umarmung, II · 2012 · Oil on canvas · 170 × 220 cm · courtesy: Galerie Buchholz, Berlin/Cologne KATJA STRUNZ Zeittraum #10 [Period #10] · 2003-2012 · Wood, metal, paint · Dimensions variable · photo: Matthias Kolb KIRSTEN PIEROTH Inflated Dinghy · 2009 · Accordion, dinghy, hose · Dimensions variable
KRIWET Button 11 · 1967 · Cardboard, paint, glue · 66.5 × 66.5 (each) (framed) LEANDRO TARTAGLIA Ref.: La esquina indicada [Ref.: The indicated corner] · 2010-2012 · Theather of moving sound · Audio installation LUCIA LAGUNA Paisagem n. 58 [Landscape Nr. 58] · 2012 · Acrylic and oil on canvas · 160 × 160 cm MARCELO COUTINHO Soarsso · 2012 · Video · approx. 20′ · photo: Jane Pinheiro MARCO FUSINATO Imperical Distortion · 2012 · Fluorescent tubes, ballasts, aluminium frames, powered speakers, electrical cables · Dimensions variable · collection: Michael Buxton MARK MORRISROE Figure Study · 1985 · C-print, negative sandwich · 50.7 × 40.6 cm · courtesy: Fotomuseum Winterthur, Zurich · © The Estate of Mark Morrisroe MARTÍN LEGÓN Fragmentos de la serie Sin Título [Fragments of the Untitled Series] · 2011 · (series: Fragmentos de la serie Sin Título) · Oil on cardboard · 10 × 15 cm · support: General Consulate of the Argentina Republic in São Paulo MARYANNE AMACHER Microphone Installation on a Window at the New England Fish Exchange, Boston Harbor, CityLinks #4 (Tone and Place, Work I) and City-Links #14 · November 1973 – May 1976, Pier 6/ May 1976 – November 1978, Boston
Harbor · courtesy: Amacher Archive Kingston, New York MERIS ANGIOLETTI The Curious and the Talkers · 2010 · Installation view, La Galerie, Noisy-Le-Sec, France · Sound movie, stage lights, coloured gelatines (RGB) · Dimensions variable · photo: Cédrick Eymenier MICHEL AUBRY La marionette Erich [The Puppet Erich] · 2008 · Marionette · 116 cm · collection: FRAC BasseNormandie, France · support: Art Norac; General Consulate of France in São Paulo; Institut Français MOBILE RADIO Do You Listen to Two Radio Stations while Falling Asleep? · © Mobile Radio MORIS La muerte viaja rápido [Death Travels Fast] · 2011 · Adhesivo vinyl on windshield · 140 × 85 cm · collection: Arróniz Arte Contemporáneo MOYRA DAVEY Newsstand 2 · 1994 · C-print · 50.8 × 50.8 cm · collection: Murray Guy · courtesy: Murray Guy Gallery, New York NASCIMENTO/LOVERA Archivo Nacional [National Archive] · 1997– · Digital print, ink jet print, transfer and plotter · Dimensions variable NICOLÁS PARIS Verbo [Verb] · 2010 · Pencil on paper · 29.7 × 21 cm NINO CAIS Sem título [Untitled] · 2009 · Photograph · 110 × 80 cm
NYDIA NEGROMONTE Barrado [Border] · 2012 · Raw clay on wall · Dimensions variable ODIRES MLÁSZHO Butcher · 2007 · (series: Mestres Açougueiros e seus Aprendizes [Butcher Masters and Their Apprentinces]) · Ink jet pigment on Hahnemühle paper · 170 × 127.5 cm OLIVIER NOTTELLET Recadre [Crop] · 2006 · Wall painting · Dimensions variable · support: Art Norac; General Consulate of France in São Paulo; Institut Français PABLO ACCINELLI Encastres [Inserts] · 2012 · (series: Todo el tiempo [All the Time] · 2012) · Detail · Mixed media · Dimensions variable PABLO PIJNAPPEL Quirijn · 2011 · 16 mm film · 18′ · support: Mondriaan Fund PATRICK JOLLEY Fog Series · 2010 · (series: Fog) · · 12 digital photographc prints · 60 × 90 cm · collection: National Craft Gallery, Kilkenny · courtesy: Family of Patrick Jolley PAULO VIVACQUA The Triple Ohm · 2012 · Audio installation · Dimensions variable · courtesy: Galeria Moura Marsiaj, São Paulo · photo: Filipe Berndt PPPP (PRODUCTOS PERUANOS PARA PENSAR) La acción en la playa de Agua Dulce [The Action at Sweet Water Beach] · 1997 · (series: ¡Esa Indescriptible Sensación Marina! [This Indescribable Marine Sensation!]) · Photograph · 25 × 25 cm · collection: Casari & PPPP · photo: Paolo Cardone
RICARDO BASBAUM Você gostaria de participar de uma experiência artística? [Would You Like to Join an Artistic Experience?] · 1994– · Object to be used by participants · Painted steel · 125 × 80 × 18 cm · Work in progress since 1994 ROBERT FILLIOU Danse-poème collectif [Collective Dance-Poem] · 1962 · To perform two by two, each turning one wheel · Two metal wheels · 64 cm (diameter) · courtesy: Galerie Nelson-Freeman, Paris · photo: Florian Kleinefenn · support: Art Norac; General Consulate of France in São Paulo; Institut Français · Replica of a 1962 performance ROBERT SMITHSON Spiral Jetty · 1970 · Great Salt Lake, Utah · Mud, salt crystals, rocks, water · 522 × 4.57 m · collection: DIA Center for the Arts, New York · courtesy: James Cohan Gallery, New York/Shanghai · photo: Gianfranco Gorgoni · © Estate of Robert Smithson; licensed by VAGA, New York ROBERTO OBREGÓN Disección real para Rosa enferma [Real Dissection for the Diseased Rose] · 1993 · Dry petals, glue, paper, pencil · 34.3 × 23.4 cm · collection: Fundación Museos Nacionales/ Galería de Arte Nacional, Caracas · photo: Isabela Eseverri RODRIGO BRAGA Mina [Mine] · 2008 · Photograph · 120 × 180 cm RUNO LAGOMARSINO Las Casas Is Not a Home [Las Casas Is Not a Home] · 2008-2010 · Installation view, Elastic Gallery, Malmö · Objects, collages, photographies, video,
sculptures and shelfs · Dimensions variable · collection: Malmö Art Museum · photo: Terje Östlind · support: Moderna Museet SANDRA VÁSQUEZ DE LA HORRA La Vida Dura Un Segundo [Life Lasts One Second] · 2010 · Pencil and wax on paper · 70 × 59 cm · © Sandra Vásquez de la Horra, Gallery Rupert Pfab, Düsseldorf SAUL FLETCHER Untitled #250 (meat + 2 veg) · 2012 · C-print · 42 × 52.5 × 2.5 cm (framed) SAVVAS CHRISTODOULIDES Look, He's Fallen Flat on His Face · 2010 · Wood, oil colour on glass, rug · collection: Harry David, Greece SERGEI TCHEREPNIN WITH EI ARAKAWA Looking at Listening · 2011/2012 · Instalation and Performance · courtesy: Taka Ishii Gallery, Tokyo SHEILA HICKS Ptera II · 2011 · Cotton, silk, feathers · 29 × 14.5 cm SIGURDUR GUDMUNDSSON Study for Horizon · 1975 · C-print, letraset text on card · 53 × 62 cm · courtesy: i8 Gallery, Rejkjavik SIMONE FORTI Huddle · 2009 · Performance · courtesy: The Box, Los Angeles SOFIA BORGES Pepita [Nugget] · 2011 · Ink jet on cotton paper · 100 × 160 cm STUDIO 3Z Mannequins exposant le nouveau mode de pantalon dénommé pattes d'éléphant [Models Showing the New Trouser's Siluette Called Elephant
Pad] · 1973-1974 · Baryta-based silver gelatin paper print · 30 × 40 cm · courtesy: MAGNIN-A, Paris · © Ambroise Ngaimoko (Studio 3Z)
YUKI KIMURA Katsura · 2012 · One of 24 photographs (nr. 8) · Gelatin Silver Print · 45.6 × 70 cm
TEHCHING HSIEH One Year Performance 1980-1981, New York (Punching the Time Clock) · 1980-1981 · Performance · courtesy: Sean Kelly Gallery, New York · photo: Michael Shen · © 1981 Tehching Hsieh THIAGO ROCHA PITTA Monumento à deriva continental [Monument to the Continental Drift] · 2011 · Diptych · Cement on fabric · 260 × 120 × 220 and 188 × 191 × 180 cm · collection: Private · photo: Edouard Fraipont THOMAS SIPP Hôtel Humboldt [Humboldt Hotel] · Video · 52′ · courtesy: Doc & Film International · © Archipel 33 TIAGO CARNEIRO DA CUNHA Retorno de zumbi [Zumbi's Return] · 2009 · Multicolored stoneware · 23 × 30 × 27 cm · courtesy: Galeria Fortes Vilaça, São Paulo VIOLA YEŞILTAÇ Untitled (I Really Must Congratulate You on Your Attention to Detail) · 2012 · Color handmade c-type print · 61 × 71,12 cm · courtesy: Balice Hertling & Lewis, New York WALDEMAR CORDEIRO Foto do Clube Esperia [Clube Esperia Photo] · 1965 · B&w photograph · courtesy: Cordeiro Family XU BING Forest Project · 2005– · Largescale landscape painting · courtesy: Xu Bing Studio
© Copyright da publicação Fundação Bienal de São Paulo
Editors Luis Pérez-Oramas André Severo Isabela Villanueva Tobi Maier
All the right reserved. All images and texts reproduced in this publication were provided by the artists, writers and their legal representatives and are protected by copyright law. The reproduction is prohibited without the authorization of the artists, photographers and writers.
Editorial Coordination Editorial Bienal Research and writing André Severo Ariel Jimenez Daniela Gutfreund Galciani Neves Geaninne Guimarães Isabela Villanueva Júlia Frate Bolliger Luis Pérez-Oramas Tobi Maier
www.bienal.org.br This guide was published on the occasion of the 30th Bienal de São Paulo, 7 September-9 December, 2012.
Translation Cid Knipel Moreira Gênese Andrade da Silva Mariana Lanari Proofreading Editorial Bienal Anthony Doyle Christopher Mack Daniela Gutfreund Tobi Maier Graphic Design Design Bienal Image Management Renata Lanari Ctp, printing and finishing Imprensa Oficial do Estado de São Paulo
PHOTO CREDITS Avenida Paulista Acervo do Museu da Cidade de São Paulo Capela do Morumbi Acervo do Museu da Cidade de São Paulo Casa do Bandeirante Acervo do Museu da Cidade de São Paulo Casa Modernista Acervo do Museu da Cidade de São Paulo Estação da Luz CPTM – Companhia Paulista de Trens Metropolitanos Instituto Tomie Ohtake Eduardo Castanho Masp Luiz Hossaka / Acervo da Biblioteca e Centro de Documentação do MASP Museu de Arte Brasileira da FAAP Fernando Silveira / FAAP Pavilhão da Bienal Andrés Otero
Dados Internacionais de Catalogação na Publicação (CIP) (Câmara Brasileira do Livro, SP, Brasil)
Exhibition guide Thirtieth Bienal de São Paulo : The Imminence of poetics / curadores Luis Pérez-Oramas...[et al.]. – São Paulo: Fundação Bienal de São Paulo, 2012. Outros curadores: Tobi Maier, André Severo, Isabela Villanueva Título original: Guia da Exposição Trigésima Bienal de São Paulo : A Iminência poéticas Vários tradutores. 1. Arte - Exposições - Guias I. Pérez-Oramas, Luis. II. Maier, Tobi. III. Severo, André. IV. Villanueva, Isabela. 12-09544 CDD-700.74
Índices para catálogo sistemático: 1. Arte : Exposições : Guias 700.74