32nd Bienal de São Paulo (2016) - Guide

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I  ncerteza Viva 1



Fundação Bienal de São Paulo Francisco Matarazzo Sobrinho · 1898–1977 · Chairman Emeritus

Management Board Tito Enrique da Silva Neto · President Alfredo Egydio Setubal · Vice President Lifetime Members Adolpho Leirner Alex Periscinoto Álvaro Augusto Vidigal Beno Suchodolski Carlos Bratke Carlos Francisco Bandeira Lins Cesar Giobbi Jens Olesen Julio Landmann Marcos Arbaitman Pedro Aranha Corrêa do Lago Pedro Franco Piva Pedro Paulo de Sena Madureira Roberto Muylaert Rubens José Mattos Cunha Lima Members Alberto Emmanuel Whitaker Alfredo Egydio Setubal Ana Helena Godoy de Almeida Pires Andrea Matarazzo · Licensed Antonio Bias Bueno Guillon Antonio Bonchristiano Antonio Henrique Cunha Bueno Beatriz Pimenta Camargo Cacilda Teixeira da Costa Carlos Alberto Frederico Carlos Augusto Calil Carlos Jereissati Filho Claudio Thomas Lobo Sonder

Danilo Santos de Miranda Eduardo Saron Elizabeth Machado Emanoel Alves de Araújo Evelyn Ioschpe Fábio Magalhães Fersen Lamas Lambranho Geyze Marchesi Diniz Heitor Martins Horácio Lafer Piva Jackson Schneider Jean-Marc Robert Nogueira Baptista Etlin João Carlos de Figueiredo Ferraz Joaquim de Arruda Falcão Neto José Olympio da Veiga Pereira Kelly Pinto de Amorim Lucio Gomes Machado Marcelo Araujo · Licensed Marcelo Eduardo Martins Marcelo Pereira Lopes de Medeiros Maria Ignez Corrêa da Costa Barbosa Marisa Moreira Salles Meyer Nigri · Licensed Miguel Wady Chaia Neide Helena de Moraes Paula Regina Depieri Paulo Sérgio Coutinho Galvão Ronaldo Cezar Coelho Sérgio Spinelli Silva Jr. Susana Leirner Steinbruch Tito Enrique da Silva Neto Tufi Duek

Audit Board Carlos Alberto Frederico Carlos Francisco Bandeira Lins Claudio Thomas Lobo Sonder Pedro Aranha Corrêa do Lago



Fundação Bienal de São Paulo Board Luis Terepins · President Andreas Ernst Mirow Flavia Buarque de Almeida João Livi Justo Werlang Lidia Goldenstein Renata Mei Hsu Guimarães Rodrigo Bresser Pereira Salo Kibrit Advisor Emilio Kalil


It is through the medium of art that we can successfully break with indifference and stimulate reflection and the critical spirit. With great sensitivity, artists offer us interpretations of reality that stimulate our emotional and sensorial development, tracing the paths of our own understanding and empowerment as a civilizing experience. In its 32nd edition, the Bienal de São Paulo proposes new visions of the world in transformation and the uncertainties arising from it. The public visiting the Ciccillo Matarazzo Pavilion during the Bienal’s three-month duration will have the opportunity to connect with nuances unveiled by artists from 33 nations. The exchange of languages proposed by the Bienal de São Paulo reinforces a diversity of thought. It is urgent to reflect on intolerance and discourses of hate. The dynamics of “likes,” “emojis” and “selfies” have direct impact on one’s relationships with others and his or her own way of reading the world. At this time of extreme connectivity, we look to the analogue world of printed books, notebooks, painted canvases and other physical media for a sense of security and encouragement. The stroke on the drawing board connects my own per-


sonal trajectory with the history of the Fundação Bienal de São Paulo. While I was leading the Rio450 Committee, I read and studied a lot about the importance of graphic symbols and their role in commemorations. I became immersed in the work of Aloísio Magalhães, a designer and graphic artist from Pernambuco, who created the logo for the commemoration of Rio de Janeiro’s 4th anniversary, combining four rotational numeral 4s to form a kind of windmill. His precise stroke inspired the open call for the selection of the symbol for Rio’s 450th anniversary. The genius of the artist, who also worked as the National Secretary of Culture, is imprinted on countless other logos that were, and continue to be, part of the lives of millions of Brazilians, including that of the Fundação Bienal de São Paulo. The stylized letter B which represents the Bienal has a fond place in the memory of all admirers of the visual arts and synthesizes the avant-garde spirit of this foundation which, along with so many others, comprises a national network of institutions that are essential to the development of culture and arts in Brazil. Each and every visitor can exit the exhibition with the certainty that the Bienal de São Paulo will continue to count on the full support of the Ministry of Culture, which sponsors this event that is so vital to Brazil’s cultural itinerary through the Rouanet Law. May the Bienal de São Paulo live forever! — Marcelo Calero Minister of Culture


Inaugurated in 1954 as part of the celebrations for São Paulo’s 4th Centenary, Ibirapuera Park was designed with the intention of uniting nature and culture in the same public space. The Bienal de São Paulo’s location in a site with such a background, the most widely visited park in São Paulo, and recently voted the best urban park in the world, is without a doubt one of the event’s unique traits. Ever since the start of the work for the 32nd Bienal – Incerteza viva, the curatorial team has shown interest in strengthening the connection between the Bienal and the park and the people who frequent it. Throughout the year 2016, activities were realized to bring it closer to other institutions based in the park, including actions geared toward the park’s employees and the public, involving the participation of artists. The course for the mediators working at the exhibition also featured activities for exploring the park, as a way of acknowledging its potential as part of the school visiting program to the Bienal. It is important to emphasize that the exhibition design for the 32nd Bienal was conceived with a garden as its inspiration – a garden in which visitors are invited to different types of experiences, at times with more physical participation and involvement, at others with more contemplation in contact with a large amount of brand new works of art and those commissioned for the exhibition. In addition, some artistic projects occupy areas outside the Bienal Pavilion, establishing a direct dialogue with the park’s public. The Bienal’s movement toward the setting in which it is in-


stalled is accompanied by an increasingly clearer awareness of its history and its role as an institution committed to experimentation on several levels. In recent years, Fundação Bienal’s institutional structure has shifted to an increasingly horizontal management model, with engagement from all the teams who participate in the work flow. Furthermore, we have sought to build our strength as a research institution. Initiated in 2015, the Archives Project has been developing integrated actions to organize, catalogue and make available information on the documentation and events realized by the foundation, promoting qualitative public access to the collections and thus consolidating the Bienal Archive’s role as a center of reference for the research of contemporary art in Brazil and around the world. The realization of the 32nd Bienal depends on crucial support from the Ministry of Culture and co-realization of Itaú. The Bienal’s Itinerancy Program, made possible thanks to a consolidated cultural partnership with Sesc São Paulo and its extension to Sesc Nacional, will once again allow for the dissemination of the Bienal de São Paulo’s content to other cities in 2017. At a historical moment governed by uncertainty in the most diverse fields, the Bienal believes that contemporary art can contribute, in innovative ways, to opening up possibilities, strategies and models of dialogue for us to face a world in constant change. — Luis Terepins President of the Fundação Bienal de São Paulo



Itaú Unibanco believes that culture changes people and that people change the world. That’s why we invest in and support different forms of artistic manifestations. For us, access to cultural activities and events brings people closer to the arts and complements the educational process, contributing to the development of critical thinking. This is so because the cultural repertoire that we build throughout our lives helps us understand who we are, what are our values are and what we want from the world. Citizens who are more critical and aware ask questions and become agents of transformation, capable of influencing and changing the society in which they live. This is why we are sponsoring the 32nd Bienal de São Paulo, an event that is renewed with each edition, receiving new ideas and variations of artistic expressions that expand the horizons of those who participate and visit the exhibition. Investing in culture_ #thischangestheworld Itaú. Made for you.


For CTEEP – Companhia de Transmissão de Energia Elétrica Paulista [The São Paulo Electrical Energy Transmission Company] – people are the main catalysts for transformation in society, and investing in cultural education is our contribution toward a more conscientious human race. The valorization of human beings has always been the guiding principle of our project sponsorship policy. This premise has underpinned in our support for the 32nd Bienal de São Paulo and its educational actions, which are aligned with our commitment to the nation’s cultural and social development. Just as electricity – conducted through our 18,000 kilometers of transmission lines – is essential for people’s lives, we believe that access to actions that foster cultural and intellectual development is also vital for the population. The work carried out by Fundação Bienal certainly fulfills this role and is an example of dedication and commitment to the enrichment of our nation’s culture. CTEEP. Your energy inspires us.


Bloomberg Philanthropies operates in over 120 countries all over the world in order to guarantee greater longevity and a higher quality of life for the greatest number of people. The organization concentrates on five key areas – arts and culture, education, the environment, government innovation and public health – to generate long-term change. Bloomberg Philanthropies encompasses all of Michael R. Bloomberg’s charitable giving activities, including his foundation and his personal donations. In 2015, Bloomberg Philanthropies contributed over half a billion dollars to the execution of a variety of projects. Bloomberg was founded with one main mission: to bring transparency to the capital market via access to information. Today, Bloomberg has over 15,500 employees at 192 locations in 73 countries. The company’s great strength – quickly and accurately delivering data, news and analytics through innovative technology – is at the core of the Bloomberg Professional service, which supplies financial information in real time to over 325,000 subscribers around the world. For more information, visit www.bloomberg.org, www.bloomberg.com/professional or follow us on Facebook, Instagram, Snapchat: Bloombergdotorg and Twitter @BloombergDotOrg.


For the Brazilian Development Bank (BNDES), culture, aside from being the combined set of the expressions of a people, is an important asset to be employed as a vector for sustainable development. Based on that vision, the Bank works to strengthen creative businesses and agents, fomenting the growth of the market of cultural assets and services through economic sustainability and social improvements. BNDES provides the cultural sector with a diversified set of instruments of financial support – including non-refundable resources, financing and venture capital –, enabling projects in the segments of historical heritage, audiovisual production, publishing, recording and live shows. Furthermore, the Bank sponsors film, music and literary festivals, editorial publishing, exhibitions and other projects which focus on spreading and decentralizing the offer of cultural assets. At its headquarters in Rio de Janeiro, it also hosts a lineup of Brazilian music performances and visual art exhibitions free to the public. It is in this context that the BNDES is once again sponsoring the Bienal de São Paulo, one of the most important contemporary art events in Latin America. Besides to uniting significant works produced by artists from several different countries, the Bienal develops a wide educational program, contributing to the democratization of access to art and culture. This is one other action which demonstrates that culture is also synonymous with development and, as such, it can count on our support.


Living in the present as it is, taking on the difficulties and insecurities we are faced with, is a constant challenge. To a greater or lesser extent, each individual feels the urgency to search for new ways to relate to a world that seems to escape us. In this way, learning about artistic proposals that see contingencies as possibilities rather than limits can expand opportunities for interpretation and action in the world. Based on the perception of this potential, in 2010, Sesc and Fundação Bienal de São Paulo initiated a meaningful partnership, the fruit of the compatibility of their missions to spread and foster contemporary art. Focusing on the development of new artistic projects, this edition of Bienal de São Paulo consolidates this partnership through the coproduction of works and by planning traveling exhibitions of artworks selected for the Sesc cultural centers throughout the state, as well as the development of educational actions. This endeavour action between Sesc and Fundação Bienal de São Paulo reaffirms the conviction of both institutions in encouraging the sensitive education and autonomy of people as vectors of collaboration between diverse parties, enabling individuals to transform and perhaps even pointing to possibilities for society’s transformation. — Danilo Santos de Miranda Regional Director of Sesc São Paulo


Curators Jochen Volz Gabi Ngcobo Júlia Rebouças Lars Bang Larsen Sofía Olascoaga

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Ministry of Culture, Bienal and Itaú present

32nd bienal de são paulo

I  ncerteza Viva 7 SEPt — 11 DEC 2016

Guide

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Contents 2 0 Incerteza Viva

2 6 Alia Farid 2 8 Alicia Barney 3 0 Ana Mazzei 3 2 Anawana Haloba 3 4 Antonio Malta Campos 3 6 Bárbara Wagner 3 8 Bené Fonteles 4 0 Carla Filipe 4 2 Carlos Motta 4 4 Carolina Caycedo 4 6 Cecilia Bengolea & Jeremy Deller 4 8 Charlotte Johannesson 5 0 Cristiano Lenhardt 5 2 Dalton Paula 5 4 Dineo Seshee Bopape 5 6 Donna Kukama

5 8 Ebony G. Patterson 6 0 Eduardo Navarro 6 2 Em’kal Eyongakpa 6 4 Erika Verzutti 6 6 Felipe Mujica 6 8 Francis Alÿs 7 0 Frans Krajcberg 7 2 Gabriel Abrantes 7 4 Gilvan Samico 7 6 Grada Kilomba 7 8 Güneş Terkol 8 0 Heather Phillipson 8 2 Henrik Olesen 8 4 Hito Steyerl 8 6 Iza Tarasewicz 8 8 Jonathas de Andrade 9 0 Jordan Belson


9 2 Jorge Menna Barreto 9 4 José Antonio Suárez Londoño 9 6 José Bento 9 8 Kathy Barry 1 0 0 Katia Sepúlveda 1 0 2 Koo Jeong A 1 0 4 Lais Myrrha 1 0 6 Leon Hirszman 1 0 8 Lourdes Castro 1 1 0 Luiz Roque 1 1 2 Luke Willis Thompson 1 1 4 Lyle Ashton Harris 1 1 6 Maria Thereza Alves 1 1 8 Mariana Castillo Deball 1 2 0 Maryam Jafri 1 2 2 Michael Linares 1 2 4 Michal Helfman 1 2 6 Misheck Masamvu 1 2 8 Mmakgabo Helen Sebidi 1 3 0 Naufus Ramírez-Figueroa 1 3 2 Nomeda & Gediminas Urbonas 1 3 4 Oficina de Imaginação Política 1 3 6 OPAVIVARÁ! 1 3 8 Öyvind Fahlström 1 9 0 Credits 2 0 0 Acknowledgements

1 4 0 Park McArthur 1 4 2 Pia Lindman 1 4 4 Pierre Huyghe 1 4 6 Pilar Quinteros 1 4 8 Pope.L 1 5 0 Priscila Fernandes 1 5 2 Rachel Rose 1 5 4 Rayyane Tabet 1 5 6 Rikke Luther 1 5 8 Rita Ponce de León 1 6 0 Rosa Barba 1 6 2 Ruth Ewan 1 6 4 Sandra Kranich 1 6 6 Sonia Andrade 1 6 8 Susan Jacobs 1 7 0 Till Mycha 1 7 2 Tracey Rose 1 7 4 Ursula Biemann & Paulo Tavares 1 7 6 Víctor Grippo 1 7 8 Vídeo nas Aldeias 1 8 0 Vivian Caccuri 1 8 2 Wilma Martins 1 8 4 Wlademir Dias-Pino 1 8 6 Xabier Salaberria


Incerteza Viva The title of the 32nd Bienal de SĂŁo Paulo, INCERTEZA VIVA (Live Uncertainty), proposes to look at notions of uncertainty and the strategies offered by contemporary art to embrace or inhabit it. While stability is understood as a remedy against anxiety, uncertainty is generally avoided or denied. The arts, though, have always played on the unknown. Historically, art has insisted on vocabularies that allow for fiction and otherness, and it dwells on the incapacity of existing means to describe the systems we are part of. Uncertainty in art points to creation, taking into account ambiguity and contradiction. Art feeds off chance, improvisation

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and speculation. It leaves room for error, for doubt and even for the most profound misgivings without evading or manipulating them. Art is grounded on imagination, and only through imagination will we be able to envision other narratives for our past and new ways into the future. INCERTEZA VIVA recognizes uncertainties as a generative guiding system and is built on the conviction that in order to confront the big questions of our time objectively, such as global warming and its impact on our habitats, the extinction of species and the loss of biological and cultural diversity, rising economic and political instability, injustice in the distribution of the Earth’s natural resources, global migration and the frightening spread of xenophobia, it is necessary to detach uncertainty from fear. INCERTEZA VIVA is clearly connected to notions endemic to the body and the earth, with a viral quality in organisms and ecosystems. Though it is commonly associated with the word crisis, it is not equivalent to it. Uncertainty is, above all, a psychological and affective condition linked to individual or collective decision-making processes, describing the varying levels of understanding and doubt in a given situation. Discussing uncertainty also includes processes of unlearning and requires an understanding of the boundless nature of knowledge. Describing the unknown always implies interrogating what we take for

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granted as known, an openness to learn from indigenous and local knowledge systems, and valuing scientific and symbolic codes as complementary rather than exclusionary. Art promotes an active exchange between people, recognizing uncertainties as guiding generative and constructive systems. Art appropriates a transdisciplinary approach to research and education. But how can art’s numerous methods of reasoning be applied to other fields of public life? Setting out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies, INCERTEZA VIVA is built as a garden, where themes and ideas are loosely woven into an integrated whole, structured in layers, an attempt at ecology in itself. It is not organized in chapters, but rather based on dialogues between distinct explorations by 81 artists from 33 countries. The exhibition looks to a series of historical artists, who have provided a set of strategies that are now perhaps more relevant than ever before. That said, the majority of the artistic projects has been especially commissioned for the 32nd Bienal de São Paulo, not to illustrate a theoretical or thematic framework, but to unfold the creative principles of uncertainty in many different directions. Numerous artworks look directly at nature and biological, botanical or alchemical processes, which can teach us about diversification and multiplicity. Other works incorporate or examine the multitude of narratives and forms of knowledge. Oth-

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ers critically examine political, economic and media structures of power and representation. And again others trigger the imagination and test alternative paths forward. The 32nd Bienal de São Paulo understands itself as permeable and accessible, actively participating in the continuous construction of Ibirapuera Park as a public space, expanding its sense of community; the exhibition as an extension of the park inside the pavilion. And the garden thus becomes a model, both metaphorically and methodologically, promoting a diversity of spaces, favouring experiences and activation through the public. INCERTEZA VIVA is a collective process that started in early 2015 and involved teachers, students, artists, activists, educators, scientists and thinkers in São Paulo, in Brazil and beyond. But it is also a collective process about to begin. Just as art naturally joins thinking with doing, reflection with action, it is only through the audience’s encounter with the works, the many performances and the Bienal’s public and educational programs over the coming months that the real wealth of INCERTEZA VIVA emerges. Today, it is the Bienal’s role to be a platform that actively promotes diversity, freedom and experimentation, while exercising critical thought and producing other possible realities. — Jochen Volz, Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

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1985, Kuwait. Lives in Kuwait and Puerto Rico

A  lia Farid 26

Alia Farid works in a hybrid field between art and architecture, encouraging critical thinking about urban spaces. Her projects are manifested in the form of interventions, videos and installations. For the 32nd Bienal, the artist produced a video on the constructions of the Rashid Karami International Fair in Tripoli, Lebanon (1963), which was designed by Brazilian architect Oscar Niemeyer, who also designed some of the Ibirapuera Park’s buildings on the occasion of São Paulo’s 4th centennial. Both are projects of great proportions made for gatherings and public use. However, the history of each city resulted in very different developments. The park is known as one of the major cultural and leisure venues in São Paulo, whereas the fair in Tripoli had its construction interrupted in 1975 due to financial problems and the onset of the Lebanese Civil War, which lasted until 1990. In a perpetual state of ruin, these structures have housed ammunition, militias, and refugees and are used for concerts and as a recreational space. Farid’s film, Ma’arad Trablous [The Exhibition of Tripoli] (2016), addresses the adaptation, translation, and uses of architectural concepts for distinct geographic regions and how these constructions perform in different cultural, social and political circumstances.


Frames from Ma’arad Trablous [The Exhibition of Tripoli], 2016

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1952, Cali, Colombia. Lives in Bogotá, Colombia

A  licia Barney 28

Alicia Barney’s work raises questions related to ecology, strongly criticizing the capitalist model of development and its relationship with nature. Some of her works link elements of the landscape to environmental issues, such as when she exhibits polluted water collected from the Cauca River in Colombia (Río Cauca, 1981-1982) or air collected from an industrial zone and exposed in glass cubes (Yumbo, 1980). Convinced that aspects of daily life integrate into artistic practice, Barney also developed installations consisting of objects and materials gathered from her surroundings (Diario objeto I and II, 1977 and 1978-1979, and Un día en la montaña [A Day at the Mountain], a piece from series II). Through the idea of a female-shaman artist, she underscores the magical or ritualistic character of her connection with these objects, reclaiming the acts of the Pre-Hispanic indigenous peoples. In Valle de Alicia [Valley of Alicia] (2016), Barney interferes with the scenery of the Ibirapuera Park, constructing an instrument out of tubes, resembling an organ, to be randomly played by the wind. Along with the instrument, sculptures of mushrooms made of paper and resin are also installed, adding a psychedelic layer to the landscape, linking action to chance, stimulating the senses and altering our perception of everyday life.


Sketch for Valle de Alicia [Valley of Alicia] 2016

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1980, São Paulo, Brazil. Lives in São Paulo

A  na Mazzei 30

In her works, Ana Mazzei draws on literature and theater to bring instances of observation and acting into her installations, sculptures, drawings, photographs and performances. By making use of the imaginary of epic or mythological narratives, her installations suggest a performance where it is not clear who is observing and who is being observed. Mazzei’s objects and sculptures are understood in relation to the body and make us reflect on how our notion of orientation, positioning and organization impact on the way we relate to space. The artist uses images that evoke the history of painting, many of which are Biblical metaphors but also political symbolisms and scientific and philosophical speculations about the universe. For instance, when examining the expression of ecstasy – so widely present in Western art history – she correlates the sacred gesture with early psychiatry studies, where the same expression was linked to hysteria cases. With Espetáculo [Spectacle] (2016), the artist proposes a new territory for action in which objects are placed in the ambiguous position of being the main characters of a theater play with no action, or the audience of an act that takes place in the body of the visitor. Her forms relate to astrological studies or devices for a science unlike the one we know.


Installation view of Avistador de pรกssaros [Birdwatcher], 2014

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1978, Livingstone, Zambia. Lives in Oslo, Norway

A  nawana Haloba 32

Anawana Haloba’s artistic practice is an ongoing investigation process into positions of different societies within varied political, social, economic and cultural contexts, ideological and post-independence frameworks. Her artistic practice is symbiotically linked to and through her preparatory exercise in drafting poetry in the forms of sketches from which the artist abstracts to performative based artworks within moving image, installation, and sound, while creating situations where the material culture of any given place can be probed and reconsidered within the scheme of rapidly shifting contemporary subjectivities. For the 32nd Bienal, Haloba presents Close-Up (2016), an installation with sound elements revolving around salt rocks that, over a period of time, undergo a process of liquefaction. Close-Up makes reference to the bodily fluids of humans, minerals found in landscapes and the historical significance of salt as a means of exchange. The melting and trickling of the salt is a slow, timed, and amplified process that ultimately leads to relief on the one hand and extinction on the other.


Detail of the installation This and Many More, 2013

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1961, São Paulo, Brazil. Lives in São Paulo

A  ntonio Malta Campos 34

In Antonio Malta Campos’ trajectory, which began in the mid-1980s, we see a continuous plastic research around drawing and painting into which he applies a vast repertoire that ranges from modernist artistic paradigms to the languages of mass culture. Both his large diptychs, and his set of small graphic exercises – called Misturinhas [Little Mixtures] – reveal the artist’s technical refinement and his insurgency against the visual comfort of geometric precision and the distinctions between the abstract and the figurative. In the 32nd Bienal, Malta presents two sets of paintings, one created between 2015 and 2016, and another from the Misturinhas series produced between 2000 and 2016. In the first, with the assistance of Antonia Baudouin, the artist confronts the harmonic tradition of pictorial formalism with a graphic irony, evoking anamorphisms, chromatic contrasts and changes in scale. The Misturinhas, in turn, are central in his research. Little compositions in gouache and colored pencil; unrestrained strokes of drawing in pencil, pen, or India ink; and cutouts of prints and stickers, they resist to easy classification.


Mapa-mĂşndi [World Map], 2015

DimensĂŁo [Dimension], 2016

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1980, Brasília D.F., Brazil. Lives in Recife, Pernambuco, Brazil

B  árbara Wagner 36

Brazilian Brega is a style of music, dance, cultural scene and creative economy from the periphery of Recife, in the northeast of Brazil. Broken up into two trends, Funk and Romantic, it consists of networks of MCs, DJs, dancers, producers, entrepreneurs, and followers. Its hits – erotic, ironic, whining and, in some cases, even chauvinistic – extrapolate the socioeconomic boundaries of neighborhoods and participate in the soundscape of a city that is convulsive in its differences. Taking a documentary approach, Mestres de Cerimônias [Masters of Cerimony] (2016) records the making of Brega music videos, a powerful element for the propagation of imagery on the border of precarity and ostentation. Brega becomes the voice and self-esteem in the face of the dominating parameters of identity and taste. Bárbara Wagner, in partnership with Benjamin de Burca, deconstructs this phenomenon in the film Estás vendo coisas [You Are Seeing Things] (2016) in order to reveal its uniqueness, its circulation, as well as existing relationships between its agents. The Planeta Show nightclub hosted the experiment of a collective, photographed and filmed portrait, which, as such, challenges photography’s accuracy. The result, while still documentary, is partially obscured by the artificial studio lighting, dressing room, stage and screen, with characters who play themselves.


Bรกrbara Wagner & Benjamin de Burca Frames from Estรกs vendo coisas [You Are Seeing Things], 2016

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1953, Bragança, Pará, Brazil. Lives in Brasilia D.F., Brazil

B  ené Fonteles 38

Marked by an interest in rituals, Bené Fonteles’ artistic productions include installations, sculptures and manifestos that are in dialogue with environmental issues, popular knowledge, and the desire to merge the ‘Brazilian being’ and the ‘universal being’. Since the 1970s, Fonteles has undertaken transdisciplinary projects that go beyond art boundaries, calling himself an ‘artivist’. Ágora: OcaTaperaTerreiro (2016) gathers important traces of his trajectory, such as symbolic syncretism and co-creation. Inside the Bienal Pavilion, Fonteles proposes a thatched roof building with taipa [clay] walls, material typically used in indigenous and caboclo housing. The title of the work carries the desire to merge many times and knowledges, having the terreiro as a reference for a place for celebrations and offerings. The installation includes compositions of organic materials, remnants from the sea, traditional artifacts and objects collected by Fonteles during his journeys through different regions of the country. Textures, sounds and smells constitute the space that harbors exchanges between artists, musicians, shamans, educators and the public by means of a continuous program. The terreiro and the practices developed in it are an invitation for everyone to act on the transmutation of reality and the re-enchantment of the world.


Documentation of the ritual performance Antes arte do que tarde [Before Art Than Later], 1977

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1973, Aveiro, Portugal. Lives in Porto, Portugal

C  arla Filipe 40

Carla Filipe’s production draws on the appropriation of objects and documents, or is constructed by means of the permeable relationship between art objects, popular culture and activism. In her research the artist uses a range of materials and elements such as flags, posters, newspapers and railroad artifacts, and she also makes interventions in abandoned and decayed places. In Migração, exclusão e resistência [Migration, Exclusion and Resistance] (2016), Filipe’s point of departure is a project that began in 2006, which proposed the construction of vegetable-gardens and parks in urban environments, establishing the collective use of private spaces or the appropriation of public ones destined for other purposes. By articulating different ways of life, the artist questions the idea of property and broadens the notion of survival. This work tells us about little-known edible plants, and plants that grow in unexpected places. In this proposal, the artist creates the conditions to think about spontaneous forces of resistance that act as self-managed cells, and which represent reactions to the capitalist rules of urban life, derived from hierarchical and private initiatives.


View of installation and performance Saloio [Yokel], 2011

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1978, Bogotá, Colombia. Lives in New York, USA

C  arlos Motta 42

Carlos Motta investigates forms of representation of subjectivities and the construction of visual and cultural discourses that originate from them, focusing on identities and politics transversed by sexuality and gender. In his works, memory and history not only correspond to the past, but are also critical tools for the present, through which an oppressive idea of normativity is questioned while providing an opening to other practices and subjectivities. Towards a Homoerotic Historiography (2013-2014) examines the role of colonization in the processes of oppressing native peoples’ sexuality. By addressing the relationships between religion, law, sin and crime, the work exposes the way in which practices and discourses of violence affected these peoples’ bodies and subjectivities, erasing customs and behaviors at odds with the colonizing Christian morals. In the series Untitled Self-Portraits (1998/2016), Motta explores the creation of hybrid personifications of gender and race. The fictional characters present the body as material subject to transformations, evincing the malleability of identity, the politics of difference, and the broadening of the horizons of representation.


Figure from the installation Towards a Homoerotic Historiography #1 #6, 2013

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1978, London, United Kingdom. Lives in La Jagua, Colombia, and Los Angeles, California, USA

C  arolina Caycedo 44

Carolina Caycedo’s artistic practice focuses on discussing contexts impacted by large-scale, infrastructure construction projects of a developmental nature. In her recent research, she analyzes the environmental and social damage resulting from the building of dams and the controlling of the natural courses of water. By means of her involvement with groups and communities affected by these transformations, the artist investigates ideas of flow, assimilation, resistance, representation, control, nature and culture. A Gente Rio – Be Dammed [The People River – Be Dammed] (2016) is a project that consists of research in archives, field studies and activities with the riverside communities affected by the privatization of waters. The work produced for the 32nd Bienal addresses the life involved in these rivers and their shores, and is comprised of distinct elements: montages of satellite photographs of the Itaipu Power Plant, the Belo Monte Dam and the Bento Rodrigues Dam before and after the disaster (Mariana, Minas Gerais); a video shot by Caycedo in these regions; cast nets collected during her field research inserted in the gaps between the levels of the Bienal Pavilion; and drawings that tell the narrative of the rivers Yuma (Colombia), Yaqui (Mexico), Elwha (USA), Watu, also known as Doce River and Iguaçu (Brazil), as living entities possessing their own histories.


Yaqui, Yuma, Elwha, 2016

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1979, Buenos Aires, Argentina. Lives in Paris, France / 1966, London, United Kingdom. Lives in London

C  ecilia Bengolea & Jeremy Deller 46

Choreographer, dancer and performer Cecilia Bengolea collaborates with artist Jeremy Deller in this project that explores contemporary pop culture phenomena, mainly music and dance, to think about their relationships with the economy, work conditions, and political systems. In a complex entanglement of traditional and modern influences and aligned with specific cultural and political contexts, the artists examine movements of identitarian resistance and affirmation of gender, sexuality and behavior. Popular dance associated with musical styles has produced a variety of trends within urban culture in recent decades. In the same manner as Break, Voguing and Twerk, the dance and music style Dancehall spotlights body language, and formulates a peculiar, combative and, at times, sexualized choreography. This genre, extremely popular in Jamaica, is the subject of Bengolea and Deller’s video Bombom’s Dream (2016).


Frames from Bombom’s Dream, 2016

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1943, Malmö, Sweden. Lives in Skanör, Sweden

Ch   arlotte Johannesson 48

Trained as a weaver, Charlotte Johannesson began to make tapestries as art in the 1970s. Her works satirised mainstream politics and often consisted of feminist and engaged commentaries on global events. In Chile Echoes in My Skull (1973/2016), for instance, she appears as a tormented witness who weaves an image of blood flowing from the open veins of Latin America on the occasion of General Augusto Pinochet’s 1973 military coup. In 1978, Johannesson traded her loom for an Apple II Plus, the first generation of personal computers. Teaching herself to program she used the same dimensions on the computer as she had on the weave (239 pixels on the horizontal side and 191 pixels on the vertical). Funded by The National Swedish Board for Technology and Development, she started the Digital Theatre with her partner, Sture Johannesson, in Malmö, Sweden. Existing between 1981 and 1985, the Digital Theatre was a techno-utopia in miniature and Scandinavia’s first digital arts laboratory. Here Charlotte Johannesson set out to create ‘micro-performances’ with artistic as well as commercial purposes: digital graphics on screen and in print, and computer experiments in real time.


No Future, 1977

49


1975, Itaara, Rio Grande do Sul, Brazil. Lives in Recife, Pernambuco, Brazil

C  ristiano Lenhardt 50

With ordinary materials and an attentive eye, Cristiano Lenhardt creates an ‘animal world’. Animal, because it invests in the rudimentary, simple and poor, disconsidering the idea of erudition that for white Western civilization often depends upon wealth. Animal, because it is kept in a savage state, uncivilized, oblivious to aesthetic habits, as well as those of power and class. In the outskirts of a Brazil taken over by monocultures and cycles of exploitation, this made-up place, half real, half imaginary, builds up vital energy for creating that survives and is able to transgress through sheer kindness rather than conflict. In Trair a espécie [To Betray the Species] (2014-2016), a herd of inhuman beings spreads out and expands throughout the building. Even if made from yams, they cease to be food and gain a physical body, and transcendence. Regarding their state, only time will tell, since they are as much a life in decay as a root that consolidates and grows. Uma coluna [A Column] (2016), in turn, took shape out of a performance on the opening of the 32nd Bienal, when sixty dancers braided the building’s architectural columns with multi-colored ribbons, in a folkloric dance known as the maypole of ribbons. The choreography creates a handcrafted web spanning the building’s three floors, resulting in a sort of infinite column, a mantra of continuity inwards and outwards, even if, after the action, it is stabilized as a sculpture.


Sketch for Uma coluna [A Column], 2016

51


1982, Brasília, D.F., Brazil. Lives in Goiânia, Goiás, Brazil

D  alton Paula 52

In Dalton Paula’s work objects are deprived of their original functions to become paintings. First, the covers of encyclopedias, those old-fashioned keepers of universalist knowledge, are painted over with representations of subjects and facts often omitted from their content, such as black and indigenous history and peoples. Now this procedure is repeated on a set of ceramic bowls used for food and also offerings in African-Brazilian religious rituals. With the painting on the inside, these objects confront the hegemonic discourses of art and politics, search for new characters, and reenact passages from our history. Piracanjuba (in the State of Goiás), Cachoeira, (in the State of Bahia) and Havana (in Cuba) are three cities that produce tobacco. This economic activity dates back to the colonial past and the migration of Africans enslaved in the Americas. Paula traveled to the three points on this Rota do tabaco [Tobacco Route] (2016) to research how this heritage appears today. He found everything from the precarious work conditions in the cigarillo factories to the use of cigars as an icon of the communist revolution. In the vast imagery portrayed, tobacco is an omitted context, which reveals the contrast between black bodies and white clothes, between the invisibility of African-Brazilian culture and the curative legacies – medicinal and spiritual – extracted from tobacco.


Rota do tabaco [Tobacco Route], 2016

53


1981, Polokwane, South Africa. Lives in Johannesburg, South Africa

Di   neo Seshee Bopape 54

For the 32nd Bienal, Dineo Seshee Bopape presents a site-specific installation titled :indeed it may very well be the___________itself (2016). The installation is comprised of unevenly distributed compressed soil structures of various sizes in which assorted emotive objects are placed in pit constellations that resemble the structure of the Morabaraba (Mancala) and Diketo games. The objects include casts of an uterus, gold leaves, minerals, healing herbs and pieces of clay molded by a clenched fist. The work is a contemplation of ideas and forms of containment and displacement, occupation and hosting, as well as the implied socio-historical politics of landlessness.


Installation view of We Need the Memories of All Our Members, 2015

55


1981, Mafikeng, South Africa. Lives in Johannesburg, South Africa

D  onna Kukama 56

Donna Kukama uses performance as a means of resistance to the established artistic practices and, through it, seeks to deconstruct methods and invent procedures. Along with performance, she develops writings, videos and sound installations that use the public sphere in order to insert into the field of art voices that are foreign to this realm. Her questioning often addresses current events through the construction of narratives and the manner in which they play out socially. It is in this sort of context that Kukama introduces her body to create imagens of counter-enactments that disavow hegemonic reports. At the 32nd Bienal, the artist presents three chapters that comprise an extensive process in the creation of a book. The concept of book, however, does not refer to the object we know, but unfolds into performance, drawing, sculpture, video, text and oral history. This work then takes the form of a series of public announcements accompanied by projections produced in a direct relationship with the political contexts of each of the places she has been. The chapters that Kukama presents in Brazil are: C: The Genealogy of Pain, A: The Anatomy of History and B: I, Too, which will take place in different spaces and on different days.


Documentation of the performance What We Caught We Threw Away, What We Didn't Catch We Kept, 2015

57


1981, Kingston, Jamaica. Lives in Kingston and Lexington, Kentucky, USA

Eb   ony G. Patterson 58

Ebony G. Patterson draws from references in painting to compose scenes and portraits that relate to street culture and the violent contexts of communities in Kingston, Jamaica. Transiting through various techniques, the artist uses photography as the first step in developing her compositions. She transforms the images into tapestries, which receive layers of fabrics and ornaments creating collages in mixed media. The large panels resulting from this process explore the excess of materials, sparkle, and color as a way to shed light on the need for setting oneself apart amid consumer goods and opulence, which is so closely linked to mechanisms of social oppression. Despite the colored surfaces, the scenes depict – in an almost mimetic manner – bodies lying on the ground, as well as casual moments of social interaction on the street. The set of panels presented in the 32nd Bienal is an attempt to draw parallels between the socio-cultural contexts of Brazil and Jamaica. As a reaction to the high murder rates of black children and youths in both countries, Patterson portrays a childhood that has potential for creating and transforming, but that at the same time suffers in the face of violent and exclusionary systems.


Detail of ...they were discovering things and finding ways to understand... (...when they grow up...), 2016

59


1979, Buenos Aires, Argentina. Lives in Buenos Aires

E  duardo Navarro 60

Eduardo Navarro explores different levels of perception and forms of changing reality and time. At times, his work fits into the delicate relationship between art and the spiritual. At others, the artist uses apparatuses and information from the field of science. Thereby he leads the public into a kind of trance through mental states that explore non-rational forms of communication, going beyond verbal language. Navarro seems to test the transformative potential of art, creating situations where behavior, ways of thinking, and belief systems are put to the test or driven to exceed their limits. Sound Mirror (2016), presented at the 32nd Bienal, is a kind of instrument built to acoustically connect a palm tree, located outside the Bienal Pavilion, to the exhibition space. The plant and the visitors are placed in equivalent positions, in a sonorous exchange that challenges the meanings of communication and listening. Navarro’s work points to an emotional technology capable of making us reflect on the connections that art triggers through the permeable relationship between living beings, the artist and the audience, the actors and the objects of art.


Sketch for Sound Mirror, 2016

61


1981, Mamfe, Cameroon. Lives in South West Region of Cameroon and Amsterdam, The Netherlands

Em   ’kal Eyongakpa 62

Em’kal Eyongakpa creates installations, videos and performances based on the concepts of network and system as applied in the fields of biology, botany and technology. His artworks examine the notions of balance and interference by inter-relating objects of different origins. Rustle 2.0 (2016) consists of the creation of an environment where organic elements are confronted with others considered artificial or resulting from humankind’s impact on nature. Walls covered in mycelium evoke the idea of interconnected networks, in reference to the Internet; digital bronchi are shaped to resemble Africa and Latin America. The ‘2.0’ in the title refers to a cybernetic system update, placing nature and culture as parts of the same whole, and not as separate or autonomous entities. Eyongakpa suggests the idea of something organic in the survival and conservation of different systems – whether digital, ecological or political – revealing an uncanny familiarity between them.


Breathe II, 2013

63


1971, São Paulo, Brazil. Lives in São Paulo

E  rika Verzutti 64

In her sculptures, drawings, photographs, paintings and installations, Erika Verzutti offers the viewer a world that seems to be suspended between fantasy and reality, abstraction and figuration, heaven and earth, building a kind of archaeo-cosmological catalog. The artist works with real objects, from which she produces casts and replicas that she then modifies, cuts, paints and juxtaposes. Construction materials and tools, tropical fruit and vegetables are constantly present in her sculptural collages, whose titles often refer to traditional elements from the history of Western and Brazilian art. Verzutti also explores other possibilities of construction, combining materials such as styrofoam, paper and fiber glass to form monumental sculptures and paintings. Examples are the three panels commissioned for the 32nd Bienal: floating blocks that exhibit a mysterious set of inscriptions and symbols that hark back to a primordial idea of writing furrowed into the heavy rock walls of a cave. At the same time, the works take us in the opposite direction of this pre-historical reference, as if they represented the night sky. Between painting and sculpture, these works give a new scale to a set of reliefs, formerly in bronze, which now are molded in papier-mâché.


Ouro branco [White Gold], 2015

65


1974, Santiago, Chile. Lives in New York, USA

F  elipe Mujica 66

Felipe Mujica’s projects derive from two main processes: his visual research, which involves creating spatial installations made of mobile and interactive fabrics; and the collaborative organization of exhibitions, publications, and management of cultural spaces. His research on the recent history of Latin American art, with a specific interest in experiences that connect education and modern art, permeates these practices. A fundamental aspect of his work method is opening up his art to dialogue with other artists, visitors, and communities. In the project Las universidades desconocidas [The Unknown Universities] (2016), Mujica works in partnership with Brazilian artists Alex Cassimiro and Valentina Soares, in addition to a group called Bordadeiras do Jardim Conceição [Embroiderers of Jardim Conceição] formed by about forty female residents of this neighborhood in the city of Osasco, São Paulo. Based on drawings by the artist both groups of collaborators created and sewed the curtains that form the installation. Produced using the same materials and different techniques, the curtains are stitched by the personal knowledge formed by different repertoires and experiences, united as complementary sides of the same reality: the collective creative work.


Installation view of Untitled (El Quisco), 2013

67


1959, Antwerp, Belgium. Lives in Mexico City, Mexico

F  rancis Alÿs 68

The work of Francis Alÿs is based on actions proposed or practiced by the artist that unfold into videos, photographs, drawings, and paintings. Often evoking a feeling of absurdity or unreason, his works critically research political, social, and economic situations in contemporary life. The installation conceived for the 32nd Bienal is organized into three moments and investigates the notion of catastrophe in a series of drawings of mental schemes, phenomena and ideas entitled In a Given Situation (2010-2016); landscape paintings and animated film, all Untitled (2016). These elements are installed on the back of other images, facing mirrored walls, set at a degree of inclination. The reflected images of the public, the pavilion, and the park, also become an integral part of the project, which invites us to question our relationship – and the institutional and urban environment in which we operate – to the different situations and notions of catastrophe discussed by Alÿs.


From the series In a Given Situation, 2016

69


1921, Kozienice, Poland. Lives in Nova Viçosa, Bahia, Brazil

F  rans Krajcberg 70

In his artistic and ecological experience, which is marked by his decision in the 1970s to establish residence in Nova Viçosa, Bahia, Frans Krajcberg finds in the diversity and exuberance of the flora, the raw materials and plasticity that qualify and compose his sculptural work, as well as his prints, paintings, drawings and photographs. The use of nature as theme and material for his works is consistent with his defense of the environment. Among the numerous works developed throughout his career, three sets of sculptures – dubbed Gordinhos, Bailarinas and Coqueiros – gain prominence in the exhibition space of the Bienal’s modernist pavilion by occupying part of the ground floor and creating a transitional environment between the park’s outdoor area and the building’s interior. Remnants of charred wood, trunks, vines and roots are transformed through whittling, carving, decomposing and painting. Emerging from this labor, these self-supporting pieces of varying scales and dimensions are created and then arranged amidst the rational elements of this monumental architecture.


Installation view of the series Sem tĂ­tulo (Gordinhos) [Untitled (Gordinhos)], n.d.

71


1984, Chapel Hill, North Carolina, USA. Lives in Lisbon, Portugal

G  abriel Abrantes 72

Gabriel Abrantes explores cinematographic language in his production of films and videos – he writes, directs, and produces and often acts in them. He addresses historical, political and social matters while discussing postcolonial, gender and identity issues. His works create layers of unlikely readings by altering traditional narratives and touch upon the absurd, folklore, humour and politics. Os humores artificiais [The Artificial Humours] (2016), was shot in Mato Grosso (Canarana and the Yawalapiti and Kamayura villages inside the Xingu Indigenous Park) and São Paulo. Blending a certain Hollywood aesthetic with typical approaches found in documentaries, the film tells the story of a journey of an indigenous comedian who joins a robot and becomes famous in Brazil’s mainstream cultural industry. The uncanny film makes an issue of the humorous habits of various indigenous groups in contrast to progress and artificial intelligence.


Frames from Os humores artificiais [The Artificial Humours], 2016

73


1928, Recife, Pernambuco, Brazil – 2013, Recife

Gi   lvan Samico 74

Gilvan Samico presents myths and cosmologies replete with symbologies in his engravings. His compositions’ symmetry and verticality are the values that organize narratives about nature – an environment which men and women are part of – and sacred events that relate to earthly life. He began his practice as a self-taught artist in Recife, but studied under the tutelage of Lívio Abramo and Oswaldo Goeldi. Samico’s printmaking was done in a meticulous and manual process. The production of each print featured at the 32nd Bienal took Samico a year of work – all of them made between 1975 and 2013. Influenced by folk art from the Northeast of Brazil, his work makes reference to cordel literature and the Movimento Armorial – with his meeting with Brazilian writer Ariano Suassuna being an important turning point in his career. Based on local stories, Samico draws a visual history that includes several cosmologies on the formation of the world, as well as a study of works such as the Memoria del Fuego trilogy, by Uruguayan writer Eduardo Galeano published between 1982 and 1986. The titles of the works function as keys for interpretation that, along with the images, reveal layers that belong to and populate the imaginary of so many cultures.


A AscensĂŁo [The Ascension], 2004

75


1968, Lisbon, Portugal. Lives in Berlin, Germany

G  rada Kilomba 76

Grada Kilomba is a writer, theorist and artist who activates and produces decolonial knowledge by weaving relationships between gender, race, memory and trauma. Her oeuvre consists of different formats, such as publications, staged readings, performances and video installations, creating a hybrid space between academic knowledge and artistic practice. From the dual gesture of decolonizing thought and performing knowledge Kilomba leaps from text to performance and gives body, voice and image to her writings. At the 32nd Bienal, the artist presents two distinct projects. The Desire Project (2015-2016), a video installation divided into three moments: While I Walk, While I Speak and While I Write, videos whose only visual element is the written word and which indicates the emergence of a speaker who has been historically silenced by colonial narratives. Illusions (2016) is a performance which employs video projections and the African tradition of storytelling. The reading introduces the myths of Narcissus and Echo as metaphors for a colonial past and politics of representation that only reflect themselves.


Frames from The Desire Project, 2015-2016

77


1981, Ankara, Turkey. Lives in Istanbul, Turkey

G  üneş Terkol 78

Güneş Terkol challenges imaginaries related to the feminine based on personal or collective histories shared by women at workshops organized as part of her research and work process. Embroidering, a practice culturally attributed to the domestic setting and the labor of women, takes on public and political layers in her production. At the 32nd Bienal, she presents the series Couldn’t Believe What She Heard (2015) and The Girl Was Not There (2016). In the former, Terkol creates images in which elements related to the stereotype of the ‘feminine world’ – polished fingernails, hair, shoes – are contrasted with fragments of bodies whose gender is undefined, in an open montage, while in the latter series she reclaims the mystical and idyllic character of nature. The coloring comes from organic materials such as onions, tobacco leaves, avocados and beetroots, composing landscapes or scenes that blend ornamental elements, empty frames and invented figures. The fabric used by Terkol subverts the apparent fragility of the works and their transparency allows us to glimpse the compositions, multiplying and deconstructing the imaginaries of the feminine and nature.


From the series The Girl Was Not There, 2016

79


1978, London, United Kingdom. Lives in London

H  eather Phillipson 80

The language mobilized by physical and digital objects that populate the imagery of contemporary consumerist society is the main raw material in Heather Phillipson’s installations and videos. Images of online advertising, plush toys, and emojis used in virtual messaging apps appear in the spaces the artist creates through collages, collisions, superimpositions, and unexpected associations. The installations reveal the artist’s investigation of the ways that the subjective articulation of emotions, affections, and desires is constructed and manipulated within this heterogeneous set of cultural references. Phillipson also works as a writer and a poet, often presenting readings of text in her videos, juxtaposed with soundtracks constructed according to the same fragmentary logic. TRUE TO SIZE (2015-2016) consists of videos and audio recordings produced in this way, combined with life-size sculptures. It is a suite of scenes that deals with devastation – extreme weather, extreme hygiene, virtual sex, over-communication, warfare, imminent extinction, afterlife, floods and, in their broadest sense, consumption and desire. Due to the scale of the objects and images, they momentarily escape the banality with which they are consumed on a daily basis.


Installation view of TRUE TO SIZE, 2016

81


1967, Esbjerg, Denmark. Lives in Berlin, Germany

H  enrik Olesen 82

Henrik Olesen works across various media and materials. Through his art he critically portrays social life, deconstructs the canonical foundations of official narratives, and re-writes history without the boundaries and taboos of oppressive cultural dualities. In this practice of resistance, in which he questions the patriarchal, heteronormative Eurocentric subject – the basis of Western political and cultural traditions – Olesen encourages a different reading of art history, literature and science. He discusses sexualities and genders, identities and ethnicities, and demystifies the body, making its place in society evident and promoting its reinvention. The works commissioned by the 32nd Bienal consist of collages in which the artist deconstructs universal knowledge surrounding the place or concept of Hell and its representations, from classical literature such as The Divine Comedy, the epic poem by the Dante Alighieri, to modern and subcultural imaginaries of darkness and confusion.


4, 2016

83


1966, Munich, Germany. Lives in Berlin, Germany

H  ito Steyerl 84

From writing to producing films and installations, Hito Steyerl addresses issues concerning art, philosophy and politics. The artist makes film essays, a genre that reinforces a practice in which texts, conferences and image production border on theoretical and artistic practices. Steyerl deals with the arena of confrontation between art and politics in a world that is overpopulated with images. The video installation Hell Yeah Fuck We Die (2016), commissioned for the 32nd Bienal, resembles a parkour training module – a sport dedicated to overcoming obstacles – and features synchronized videos, whose images were collected from various online sources. In these videos, robots are provoked and scourged in different ways in product quality-testing environments. Based on the five most common words used in Englishlanguage song titles from the current decade (hell, yeah, we, fuck and die), Steyerl draws attention to a kind of anthem for our time, accompanied by a soundtrack, composed by German DJ Kassem Mosse using these words. Steyerl’s works comment on the constant search for speed and efficiency that governs contemporary life practices, revealing a sense of reality that is absurd, articulated by the tension created in the confrontation between images and texts.


Installation view of Factory of the Sun, 2015

85


1981, Kolonia Koplany, Poland. Lives in Bialystok, Poland, and Munich, Germany

I  za Tarasewicz 86

Iza Tarasewicz’s practice includes sculpture, performance, and drawing, often exploring dualities such as permanence and ephemerality, the organic and the artificial, the common and the extraordinary. At the 32nd Bienal, Tarasewicz presents TURBA, TURBO (2015), a sculpture consisting of a display structure inspired by both a modernist plant stand and CERN’s Large Hadron Collider, in Switzerland. Experiments with raw materials are placed on this structure as if the giant machine were to accelerate their particles to the speed of light and collide them with each other, provoking chaos to study the origins of the universe. Connecting the infinitely large to the infinitesimally small by using prosaic proportions, TURBA, TURBO suggests an affiliation between the scientific and the domestic. Additionally, Tarasewicz developed a research project entitled Mbamba Mazurek, which traces the influence that the rhythm and dance of the Mazurka —whose origins date back to 16th century Poland in a rural region called Mazovia — has had across the world. The Mazurka is a musical form that has blended with many Brazilian regional styles; traces can be found in forró and coco, for example. Inviting local performers to collaborate and share their knowledge, the project explores the circular relationships between labor, dance, rhythm, and community in global folk practices.


Installation view of TURBA, TURBO, 2015

87


1982, Maceió, Alagoas, Brazil. Lives in Recife, Permambuco, Brazil

J  onathas de Andrade 88

Jonathas de Andrade works with a variety of media, including installation, photography, and film, and in research processes that have a profound collaborative character. His art discusses the failure of utopias, ideals, and world projects, especially in the context of Latin America, speculating on its late modernity. In his work, affections that oscillate between nostalgia and eroticism, as well as historical and political criticism, are employed in addressing such themes as the world of labor and workers, and the identity of the contemporary subject, almost always represented by the male body. The film O peixe [The Fish] (2016), a piece presented for the first time at the 32nd Bienal, accompanies fishermen on the tides and mangroves of the State of Alagoas, in the northeast region of Brazil, as they utilize traditional fishing techniques like nets and harpoons waiting the necessary amount of time to capture their prey. Each fisherman acts out a form of ritual: they hold the fish in their arms until the moment of death in an embrace between predator and prey, life and death, worker and the fruit of his labor, in which the gaze – of the fisherman, the fish, the camera and the spectator – plays a crucial role. Situated in a hybrid territory between documentary and fiction, the film dialogues with the audiovisual ethnographic tradition.


Frames from O peixe [The Fish], 2016

89


1926, Chicago, Illinois, USA – 2011, San Francisco, California, USA

J  ordan Belson 90

After studying painting in the 1940s, Jordan Belson engaged in musical and visual experiments to expand the concept of non-objective or abstract art to film, and completed in 1947 the first of his 33 films. Called by some ‘cosmic cinema’, Belson’s films explore the dynamic relationship between form, movement, color, and sound. Belson used optical printing, frameby-frame, and basic animation techniques, mirrors, kaleidoscopes, and a variety of low-tech equipment. His lesser-known graphic works were often studies for scenes in his films, such as the use of scroll paintings in his early works. The film Samadhi (1967), featured at the 32nd Bienal, is fundamental in Belson’s body of work. The word Samadhi, according to Buddhism and Yoga, refers to states of concentration or deep meditation. With this Belson explores the relationship between spiritual perception and scientific theory, drawing from Oriental philosophy and religion as well as Johannes Kepler’s astronomical theories. The result of two years of work, the film – ‘a documentary of the human soul’, according to the artist – is accompanied by Belson’s ambient score. Most of the graphic works presented are being shown to the public for the first time.


From the series Brain Drawings EW.0109, 1952

91


1970, Araçatuba, São Paulo, Brazil. Lives in Rio de Janeiro, Brazil

J  orge Menna Barreto 92

Modern crop and livestock farming is the human activity that impacts and transforms the planet the most, affecting biodiversity, compacting the soil, polluting rivers and clearing forests. The Restauro [Restoration] (2016) project raises questions about the development of eating habits and their relationship with the environment, landscape, climate and life on Earth. The work operates as a restaurant, in partnership with Vitor Braz, whose menu, prepared with the nutritionist and chef Neka Menna Barreto and the Escola Como Como de Ecogastronomia (São Paulo) prioritizes the diversity of the plant kingdom originating in agro-forestry. This space for nutrition proposes a metabolic and digestive experience that is both physical and mental. Its ambience, carried out in partnership with O Grupo Inteiro, emerged from the idea of microclimates. The audios connected to the work were made by Marcelo Wasem, mainly in agro-forests, where you can perceive another moment in the life of the foods that are brought for our consumption. Restauro encourages awareness about how we use our land and the global consequences of our choices. By understanding our digestive system as a sculptural tool, diners become participants in an environmental sculpture in progress where the act of nourishing oneself regenerates and shapes the landscape in which we live.


Research for Restauro, 2016

93


1955, Medellín, Colombia. Lives in Medellín

J  osé Antonio Suárez Londoño 94

The work of José Antonio Suárez Londoño consists of a large set of drawings and engravings that emphasize detail and illustrate, through tiny depictions, elements found in literature, music, visual culture, or in the everyday experiences of the artist. His collection of sketchbooks resembles a methodical record of what is observed or witnessed, having an annotative character and sometimes assuming the role of a visual diary – as in the series Planas: del 1 de enero al 31 de diciembre del año 2005 [Exercises: from January 1 to December 31, 2005], presented at the 32nd Bienal. In its pages, there are shared symbolic records, landscape details, bodies, boats, animals, plants, writings and dates that populate the sheets as discontinuous elements. They are small parts that relate to each other without producing linear narratives or concatenated reports of experiences, thus approximating drawing to the concept of collage. His work is a type of memorial made-up of many parts, like a trace of Londoño’s passage through the world, or wanderings on the part of the living that can be transformed into images or saved from oblivion and destruction.


Pages of Planas: del 1 de enero al 31 de diciembre del aĂąo 2005 [Exercises: from January 1 to December 31, 2005], 2005

95


1962, Salvador, Bahia, Brazil. Lives in Belo Horizonte, Minas Gerais, Brazil

J  osé Bento 96

Since the 1980s José Bento has been experimenting with wood sculptures on different scales, as well as with video, installation and photography. His recent production has gone beyond the practice in the studio with site-specific works, such as Chão [Floor] (2004/2016), originally presented at the Museu de Arte da Pampulha (Belo Horizonte), in 2004, and now occupying a 627m2 space in the Bienal Pavilion during the 32nd Bienal. Parquet flooring covers an area that stretches from one end of the pavilion to the other. The repurposed material – salvaged from demolitions and renovations – is overlaid on springs, changing the surface and producing instability when walked upon. Therefore, a camouflaged topography is created suggesting ambiguity in the landscape. Do pó ao pó [From Dust to Dust] (2016), exhibited here for the first time, is made of matchboxes displayed on mobile street-stands with retractable legs. These are entirely made of Brazilian woods – such as cedar, brauna and redwood – including the matchsticks inside the boxes. The title evokes fire and proposes a reflection on the relationship between time and matter that makes-up beginnings and ends.


Installation view of ChĂŁo [Floor], 2004/2016

97


1969, Christchurch, New Zealand. Lives in Auckland, New Zealand

K  athy Barry 98

Accessing alternative planes as a condition for creation, Kathy Barry’s drawings anchor energetic frequencies, which could be encountered as flickering gateways to multidimensional subjectivities. The watercolor series, 12 Energy Diagrams (2015-2016), are recordings of a process that deals with what lies outside of the narrow band of human perception. Essentially diagrammatic, they operate as a form of notated choreography, corresponding with the sequence of movement represented by the artist in the video 12 Minute Movement (2016). The dancelike sequence engages physical motion to funnel and manipulate energy in the process of building and activating a ‘Merkaba energy field’. According to Jewish mystical tradition, the Merkaba creates a spinning, high frequency vortex of energy that allows human consciousness to access higher dimensions, folding pockets in time and space. This rotation, close to the Sufi way of creating energy vortexes by spinning, also releases a power that is meaningful in the process of world-making.


From the series 12 Energy Diagrams, 2015-2016

99


1978, Santiago, Chile. Lives in Cologne, Gemany, and Tijuana, Mexico

K  atia Sepúlveda 100

The work of Katia Sepúlveda draws from decolonial theory with a transfeminist and mestizo feminist bias, meaning that it transcends the idea of ‘woman’ as a political subject and white feminist theory, discussing gender, race, class, and subjective practices. The artist works with video, performance, collage, drawing, photograph, and sculpture. At the 32nd Bienal, she displays two works: Dispositivo doméstico [Domestic Device] (2007-2012 / 2016) and Feminismo Mapuche [Mapuche Feminism] (2016). The first one has three parts: a series of collages using Playboy magazines from 1953 to 2000, the video The Horizontal Man (2016), and an installation. The collages show how the visual language of desire is constituted, whereas the video and installation broaden this critique and demonstrate how the magazine, as a device, has contributed to creating an imaginary for the mechanisms of the body regarding design, technology, household devices, and architecture. Feminismo Mapuche, on the other hand, is an event, a live dialog between two activists from the Chilean Mapuche people, Margarita Calfio and Angélica Valderrama. Taking Bolivian communal feminism as its starting point, the artist questions whether there would also be a Mapuche feminism, adding other struggles, other enunciation spaces, and other cosmopolitics to the term ‘feminism’.


From the series Dispositivo domĂŠstico [Domestic Device], 2007-2012

101


1967, Seoul, South Korea. Lives in Berlin, Germany, and everywhere

K  oo Jeong A 102

Koo Jeong A’s installation ARROGATION (2016) is a skatepark designed for public use that can be seen from inside the Bienal Pavilion. Built in the Ibirapuera Park, the skate park phosphoresces every night, inviting skateboarders to experience a different kind of space. Having previously designed two skate parks, the artist is drawn to their sculptural form and their ability to promote human interactions and combine different contexts. In her investigation for the piece, Jeong A examined the transition of light during sunset. The skate park changes color as in the twilight, providing a live and mutable dynamic to the concrete structure. The skatepark’s shape derives from one of her drawings, in which two circles are juxtaposed, suggesting a continuous spiral. In general, Jeong A’s works intend to provoke experiences that overcome rationality and cognition in order to activate the present and the sensibility. Her practice includes installations, videos, sculptures, and drawings.


Project for ARROGATION, 2016

Installation view of EVERTRO, 2015

103


1974, Belo Horizonte, Minas Gerais, Brazil. Lives in São Paulo, Brazil

L  ais Myrrha 104

Lais Myrrha investigates the instruments and forms of knowledge that construct our experience in the world from the place we occupy in it. Dictionaries, maps, flags, anthems, newspapers and newscasts are a few of the elements in which the artist intervenes. For her, art is an opportunity to throw oneself into areas of instability, into situations where the familiar becomes odd and conventional logic seems to fail. In her works, Myrrha explores the idea of impermanence and history told from the perspective of the ‘defeated’, as well as the precariousness of the concepts of equivalence and balance. An important aspect of her creative process is the selection and precise use of materials, which reveal her attention to their ability to signify, to function symbolically and condense narratives. In Dois pesos, duas medidas [Double Standard] (2016), the artist builds two towers with the same dimensions composed of stacked materials. For one of the towers, she uses materials found in indigenous constructions (woody vines, logs, straw), for the other, those used in typical Brazilian construction (bricks, cement, steel, glass, pipes) – two methods that embody ways of life and two different projects of society that, even if they are possibilities for construction, already declare their forms of ruin.


From the series Estados intermediรกrios [Transitional States], 2014 ongoing

105


1937, Rio de Janeiro, Brazil – 1987, Rio de Janeiro

L  eon Hirszman 106

The concept of work is a raw material and guiding principle in Leon Hirszman’s films. Assuming that the worker is the agent responsible for transforming history, Hirszman considered his task as a cinematographer to be that of organizing the records of the various forms of struggle and resistance of this social class, turning these into its memory. The artist’s films bear the mark of concrete historical experiences, such as the strikes of metalworkers in São Paulo’s ABC region in the 1970s. This is also the case in Cantos de trabalho [Work Songs], a trilogy filmed between 1974 and 1976 in the Brazilian cities of Chã Preta, Itabuna and Feira de Santana. In each location, rural workers were filmed performing their activities: collectively kneading clay, harvesting and crushing cocoa, and harvesting sugarcane, respectively. While working, they sing songs that set their rhythm while establishing the sociability involved in the collective physical effort. Filmed in a language that seeks precise times and frames to reveal work in all its details, the documentaries are accompanied by a narration that emphasizes the importance of recording this cultural practice that, even then, was starting to disappear.


Frames from Cantos de trabalho – Cana-de-açúcar [Work Songs: Sugarcane], 1976

107


1930, Funchal, Portugal. Lives in Ilha da Madeira, Portugal

L  ourdes Castro 108

Since the 1950s, Lourdes Castro has dedicated herself to the creation of artist’s books, objects, drawings, prints, videos and performances based on her contact with elements from her daily life, especially landscapes and plants grown at her home-studio in Madeira, Portugal. Alongside this, her interest in methods of dematerialization of the art object led to her research on shadows, a central theme in her production. In the series Sombras à volta de um centro [Shadows Around a Center] (1980-1987), the artist places a vase with flowers over a sheet of paper, underneath a spotlight; the base of the vase is the center of the shadows that Castro carefully traces with crayons, colored pencils or China ink. This simple procedure leads to an herbarium of topographic traces, with colors that emphasize different areas in each piece. Another strategy adopted by the artist consists of collecting materials and creating a type of inventory around a topic of interest. Un Autre livre rouge [Another Red Book], started in 1973 in partnership with Manuel Zimbro, consists of gathered and cataloged objects extracted from different cultural contexts, united by the characteristic predominance of red. The result puts us in contact with the erratic movement of a color that is loaded with symbolism in the contemporary imaginary.


Detail of Un Autre livre rouge [Another Red Book], 1973-1974

109


1979, Cachoeira do Sul, Rio Grande do Sul, Brazil. Lives in São Paulo, Brazil

L  uiz Roque 110

Whereas conservatism grows and incites prejudice based on race, class, and gender, the future is strengthened as a recurring place in Luiz Roque’s work. Not because the artist wants to omit himself from the present or exercise progress as a way of erasing the past. When he projects what life will be in thirty to sixty years, he searches for that which traverses time as hope, promise, and possibility. At the boundary between catastrophe and redemption – two recurring narrative structures in his cinematographic language – Roque creates films that express the unfinished and cyclical nature of social disputes in history. At the 32nd Bienal, the artist presents HEAVEN (2016), which takes place during the second half of the 21st century, when news of an epidemic of unknown origin causes health agencies to hypothesize over the possibility of a virus transmitted through the saliva of transsexuals. The premature choice of suspects repeats the prejudiced and accusatory rhetoric of anti-AIDS campaigns in the 1980s. Thus, fears persist in this view of the future, as well as an eloquence applied to make people believe in something. Science fiction fascinates precisely because of its assertions.


Frames from HEAVEN, 2016

111


1988, Auckland, New Zealand. Lives in Auckland

L  uke Willis Thompson 112

Sucu Mate – Born Dead (2016) is the result of an extended investigative process into the Old Balawa Estate Cemetery with a history of slavery in the Pacific island nation of Fiji. Luke Willis Thompson applied for custodial rights to a small selection of gravestones within the racially zoned site. In 2015, official approval was given to the artist from Fiji’s governing institutions to excavate anonymous material from the worker’s section, itself a former sugarcane plantation. The concrete markers were permitted to travel out of Fiji for a period of 24 months to be exhibited as art objects, and are presented here after being shown in Auckland and Brisbane. The work is, in this way, a mobile cemetery, and one that questions how human lives and dead bodies are inscribed in the order of power. The project will continue with the gravemarkers’ repatriation to Fiji and resituated within the same field from which they came. In such a way the project simultaneously prototypes both a historical continuity and the performance of dislocation; two cultural operations with national relevance as the islands within Fiji face ecological change and the continuing submergence of their lowlands.


Research for Sucu Mate – Born Dead, 2015

113


1965, New York, USA. Lives in New York

L  yle Ashton Harris 114

Lyle Ashton Harris’ multimedia installation, Uma vez, uma vez [Once, Once] (2016), is comprised of Ektachrome images shot between 1986 and 1998, photographic prints from the artist’s journals, and diaristic video works, all excavated from the artist’s expansive archive. The resulting assemblage serves not only to memorialize, but also to evoke lived moments at the intersection of the personal as the political, presenting a dynamic experience that re-engages time past to affectively impact the present. Bearing witness to a period of seismic cultural shifts – the emergence of multicuturalism, the second wave of AIDS activism, and the intersections of the contemporary art scene with LGBTQ and African diasporic communities – the installation uniquely documents the artist’s personal life, friends, family and lovers, embedded in a pivotal social landscape. By documenting intimate moments alongside landmark events in USA (Black Popular Culture Conference in 1991, the truce between the Crips and the Bloods in 1992, Black Male exhibition in 1994, and the Black Nations / Queer Nations conference in 1995) the installation constructs collective and private narratives intertwined both with public events and the subjective realm, to discuss identity, desire, sexuality and loss.


Gail and Alex, San Francisco, 1992, from the series Today I shall judge nothing that occurs: Ektachrome Archive, 2015-2016

115


1961, São Paulo, Brazil. Lives in Berlin, Germany

M   aria Thereza Alves 116

The work of Maria Thereza Alves involves aspects of current life or traces found in the present which point to actions taken in the past. Emphasizing the situation of indigenous peoples in America, the artist develops works that address issues of territory, cultural heritage and colonial history. Uma possível reversão de oportunidades perdidas [A Possible Reversal of Missed Opportunities] (2016) generates a discussion about aspects of autochthonous knowledge that are ignored by Brazilian institutions and their non-indigenous researchers due to a context still marked by a colonial imaginary. Alves, together with a group of indigenous university students, encourages the proposing of topics that are not addressed at the conferences of various research fields, such as health, engineering, education, science, art, culture and philosophy. From these topics, which take into account not only the knowledge of native peoples, but also their scientific demands, the artist produces posters for fictitious conferences whose dates provoke the idea that they have been held. By means of these posters, her action aims at confronting the absence of this debate and the silencing of indigenous peoples in a systematic exclusion of their culture and knowledge in the Brazilian academic sphere and public life.


Uma possĂ­vel reversĂŁo de oportunidades perdidas [A Possible Reversal of Missed Opportunities], 2016

117


1975, Mexico City, Mexico. Lives in Berlin, Germany, and Mexico City

M   ariana Castillo Deball 118

Mariana Castillo Deball works at the intersection of fields such as archeology, literature and the sciences, appropriating methodologies and practices common to these areas. She also often establishes partnerships with professionals and institutions from different disciplines to develop her works, promoting convergencies peculiar to the visual arts. Her installations, publications, and performances construct objects and narratives for breaking down the categorical barriers and bringing science and fiction closer together. For the 32nd Bienal, the artist partnered with the Geosciences Institute of the University of São Paulo and the Araripe Geopark in Ceará State, Brazil, to build the installation Hipótese de uma árvore [Hypothesis of a Tree] (2016), which consists of a spiral-shaped bamboo structure that refers to a structure for the evolutionary representation of species. The work contains dozens of frottages, a transfer technique widely used in paleontology, performed by the artist on Japanese paper, of fossil and geological materials found in archaeological sites, institutional collections, and building facades in the city of São Paulo. By spirally juxtaposing the records of different elements from different time periods, Deball puts ideas of evolution, extinction and history into perspective.


Project for Hipรณtese de uma รกrvore [Hypothesis of a Tree], 2016

119


1972, Karachi, Pakistan. Lives in New York, USA, and Copenhagen, Denmark

M   aryam Jafri 120

Maryam Jafri works with installations, films, photography, texts and archives in projects that employ art’s critical potential to dramatize or investigate archaeologies of knowledge, the production of spaces, and the politics of images. Based in research and archive materials, her works examine the methods and conditions of production and movement of goods in the globalized capitalist economy, and the psychological dimension of consumer culture produced by this economy. In Product Recall: An Index of Innovation (2014-2015), Jafri examines private collections linked to the food industry and to advertising. Her interest focuses on products and their ads, developed in the United States from 1970s onwards, which were regarded as innovative but were recalled from the market for various reasons. Next to images and objects from this archeology of consumer culture, the artist juxtaposes informative captions – a museographical strategy for representing artifacts and an approach adopted by the language of appropriation art. The clean display contrasts with the visual appeal commonly associated with product design and advertising campaigns. This contrast causes these strategies of manipulation and production of emotions and desires to be neutralized and put at a critical distance.


Detail of the installation Product Recall: An Index of Innovation, 2014-2015

121


1979, Bayamón, Puerto Rico. Lives in San Juan, Puerto Rico

M   ichael Linares 122

Michael Linares works with installation, video, painting and sculpture. His oeuvre often reflects on the manner in which an object may become or cease to be considered a work of art. Linares investigates artistic narratives through appropriation practices to recover the proposals from other artists and humorously reactivate them in a critical manner. Una historia aleatoria del palo [An Aleatory History of the Stick] (2014) and Museu do Pau [Museum of the Stick] (2013-2016) are part of some extensive research on how one object or material is given different roles and meanings over time and in various cultures. By using a large collection of sticks and objects derived from this rudimentary element – including a video that depicts its different uses – Linares creates a type of inventory associating the artistic gesture to an anthropological meaning, in an effort to interpret culture in a specific museological context. The artist acts as the collector who removes objects from their contexts and inserts them into the seemingly neutral space of the museum, connecting them to museological aesthetic values and distancing them from their utilitarian quality.


Detail of the installation Museu do Pau [Museum of the Stick], 2013-2016

123


1973, Tel Aviv, Israel. Lives in Tel Aviv

M   ichal Helfman 124

Michal Helfman works with sculpture, drawing, installation, performance, dance and filmmaking. At the 32nd Bienal, the artist presents the video installation Running Out of History (2015-2016), a fiction film which script is based on real interviews made by the artist with Israeli activist Gal Lusky, founder of an NGO that works in places where local political regimes raise difficulties to the access of international humanitarian aid. The film brings a narrative about justice, historical construction, art, politics, and activist practices. These discussions revolve around smuggling issues and the similarities and differences between activists and artists, as figures that can inspire and influence reality. The talks are moderated by a pair of 3D-printed dice, each side containing a word from the sentence ‘we will not forgive, we will not forget’ – coined in Israel in relation to the Holocaust but also used to justify the acts of violence perpetraded by State authorities. On the same 3D printer where the dices are printed, a dancer moves according to the directions of the machine. The movie is part of an installation that includes barriers and devices, such as transportation boxes and sculptures. In the anteroom there is a flat curved metal sculpture with the image of a scale, suggesting a representation of weighing and weights in face of the historical and political condition dealt with by Helfman.


Frame from Running Out of History, 2015-2016

125


1980, Mutare, Zimbabwe. Lives in Harare, Zimbabwe

M   isheck Masamvu 126

Misheck Masamvu is known for his provocative paintings which are undertaken to reflect and comment on the post-independence socio-political landscape of Zimbabwe and the nation’s place in the imagination of the political world. Born during the infancy of Zimbabwe’s independence from the British Empire, Masamvu’s scenes visualize a chaotic world similar to the one portrayed in The House of Hunger (1978) by the late Zimbabwean writer Dambudzo Marachera – the artist described his writing as a form of ‘literary shock treatment’. The same can be ascribed to Masamvu’s paintings: they are a declaration of a stagnant and fractured political state. Though seductive in their rendition of color and form, the paintings can be read as a form of combat. The war here is both political and spiritual, it is waged to redeem humanity’s apathy towards suffering and pain, conditions which lead to spiritual exhaustion. Commissioned by the 32nd Bienal, Midnight (2016) and Spiritual Host (2016) are created amidst Zimbabwe’s changing political backdrop, where recent anti-government protests bear witness to the people’s demand for a new reality.


Ngoma ndiyo ndiyo (Beating the Same Drum), 2014

127


1943, Marapyane, South Africa. Lives in Johannesburg, South Africa

M   makgabo Helen Sebidi 128

Born in the village of Marapyane, Mmakgabo Helen Sebidi learned the traditional techniques of wall painting and ceramics from her grandmother. She moved to Johannesburg as an adolescent. Between the 1970s and 80s, she participated in courses and workshops in spaces that put her in contact with other artists and a politicized environment, which would impact the theme of her works. Sebidi portrays everyday experiences and ancestral wisdom, as well as the suffering caused by apartheid, especially for black women. From her teachers and fellow artists she absorbed techniques of collage and abstract elements, germinating and developing into the emblematic diptych Tears of Africa (1987-1988), presented at the 32nd Bienal. The work, produced in charcoal, ink and collage, deals with continental conflicts as well as the harshness of human relations in the daily life of the big city and its disappointments, aggravated by the breakdown of family structures and the regime of segregation officialy in place in South Africa from 1948 to 1994. Also showing is new work created during an artistic residency and research program in Salvador, Bahia, Brazil. The work creates a conversation connecting Brazil and the continent of her birth, and activates a dialogue between the two works.


Detail of Tears of Africa, 1987-1988

129


1978, Guatemala City, Guatemala. Lives in Berlin, Germany, and Guatemala City

N  aufus Ramírez-Figueroa 130

Precinding from using archives and documents to create his works, Naufus Ramírez-Figueroa attempts to confront historical narratives with his memory or testemony, making use of mediums such as woodcut, drawing, installation and performance. His relationship with the past, mainly the past of Latin America, is comprised of individual and collective experiences, as well as recurring references to myths. For the 32nd Bienal, Ramírez-Figueroa retrieves the play Corazón del espantapájaros [Heart of the Scarecrow] (2015-2016), written in 1962 by Guatemalan playwright Hugo Carrillo. Based on a new script – inspired by the original text and written by poet and fellow Guatemalan Wingston González – and in partnership with craftsmen and costume designers, RamírezFigueroa created masks, garments and props based on the play’s original elements: an oligarch, a dictator, a soldier, a cardinal and a scarecrow. Throughout the exhibition, actors reenact excerpts from the play with these objects inside the pavilion and in Ibirapuera Park. With this project, the artist reclaims not only the memory of censorship in Guatemala, but also the actual content of the play, which is vital to the history of the theater and the leftwing political resistance practiced by his nation’s artists.


Sketch for costume of Corazรณn del espantapรกjaros [Heart of the Scarecrow], 2016

131


1968, Kaunas, Lithuania. Lives in Cambridge, Massachusetts, USA / 1966, Vilnius, Lithuania. Lives in Cambridge, Massachusetts, USA

N  omeda & Gediminas Urbonas 132

Nomeda and Gediminas Urbonas develop an interdisciplinary study where they investigate the role of political, cultural, and scientific imaginations as tools for social transformation and the discussion of public spaces. In 2014, they initiated the Zooetics project to explore new ways of connecting human knowledge to other life forms. This is what we see in Psychotropic House: Zooetics Pavilion of Ballardian Technologies (2015-2016): the installation draws inspiration from the short-stories found in Vermilion Sands (1971), a science fiction book by English author J. G. Ballard, which imagines a world where technological devices would be alive and sentient, such as a house capable of responding to the emotional states of its inhabitants. The work presented at the 32nd Bienal provides the concept of a future in which objects can not only be constructed but also cultivated by its human inhabitants and users – and vice versa. Using mycelium, the part of the fungus responsible for the absorption of nutrients, oxygen, and energy in a symbiotic relationship with other cultures and materials, participants can create their own biotechnological artifacts (mycomorphs), promoting mycelium’s interaction with coffee skin, sugar cane bagasse, corn pollard or eucalyptus saw dust.


Installation views of Psychotropic House: Zooetics Pavilion of Ballardian Technologies, 2015-2016

133


Created in 2016. Based in São Paulo, Brazil

Ofi   cina de imaginação política 134

Oficina de Imaginação Política is Amilcar Packer’s proposal for the 32nd Bienal. Using the words in the project’s name – workshop, imagination and political – and along with a group of collaborators consisting of Diego Ribeiro, Jota Mombaça (Monstra Errátika), Rita Natálio, Thiago de Paula and Valentina Desideri, Packer has planned work sessions, public presentations, and debates throughout the exhibition’s threemonth duration. Installed in the pavilion, the Oficina combines research, production, and learning in a single locale, emphasizing the use of the space as a venue for coexistence and the collective development of tools to intervene in the public sphere. By creating a temporary autonomous zone with the participants, the actions designed by the Oficina aim to occupy spaces in the city, the park, and the media, going against attempts at macro-political seizure and control. Understanding that the imagination has the potential to reinvent conceptual territories and reformulate questions, narratives and practices within that which we understand as politics, and faced with current socio-political conditions in Brazil and abroad, the Oficina seeks to reclaim the power of images in action as a tool for political resistance and activism, and to re-qualify the art experience.


Research for Oficina de Imaginação Política, 2016

135


Created in 2005, Brazil. Based in Rio de Janeiro, Brazil

O  PAVIVARÁ! 136

OPAVIVARÁ! is an artist collective that makes use of everyday elements to modify the dynamic of the spaces in which they are found. They intervene in objects and habits, altering their functions and proposing other mechanisms whose use requires us to unlearn that which we take for granted, reaffirming pleasure and affection as political values. These objects and habits take on new meaning when they are brought to the public and inhabited by participants, yielding situations, encounters and experiences that aim to short-circuit the values and protocols of the systems in which they operate, be they a city square or a museum. For the 32nd Bienal, the collective presents Transnômades [Transnomads] (2016), a set of mobile devices that interact with the public, circulating inside the exhibition, the park and specific spots in the city, seeking to dialogue with the forms of expression of street commerce. OPAVIVARÁ! redefines the man-powered carts, conferring upon them uses related to the vendors and cart operators’ work breaks, transforming these devices into a bed, a cabin, a library and a sound system. This reflects on the conditions of the city’s nomads, whether camelôs (street vendors) or trash collectors: their situation sits somewhere between law and improvisation, makeshift resourcefulness as livelihood and their permanent state of migration.


Research for TransnĂ´mades [Transnomad], 2016

137


1928, São Paulo, Brazil – 1976, Stockholm, Sweden

Ö  yvind Fahlström 138

Öyvind Fahlström was the first to write a defense of concrete poetry. His point of departure was Pierre Schaeffer’s musique concrète and he wrote poems meant to be heard as music and to make the Swedish language more complex. Den svåra resan [The Difficult Journey] (1954) was performed in 1972 by an 18-part voice choir, and is an example of concrete poetry taking language as its material and reducing it to syllables. Fahlström invented variable painting in 1962 shortly after moving to New York. Painted elements could be attached to a painted panel with magnets, string or inserted in slits in the panel. Theoretically these elements could be arranged in any configuration. By 1965 he had extended variability to a three-dimensional structure, Sitting…Blocks (19651966). For Fahlström, character-forms should stand for ‘something new and unknown, something that prompts a laborious search for words’. Packing the Hard Potatoes (Chile 1: Last Months of the Allende Regime. Words by Plath and Lorca) (1974) is a variable situated between the Surrealist and Concretist traditions. His tribute to Salvador Allende’s shortlived socialist government in Chile integrates images and poetry on shapes derived by automatic drawing.


Installation view of Garden – A World Model, 1973

139


1984, North Carolina, USA. Lives in New York, USA

P  ark McArthur 140

By exposing discourses and structures that organize bodies and shape subjectivities, Park McArthur addresses the materialization of the politics of circulation and mediation of individual and collective bodies. McArthur’s artistic operations occupy border zones and spotlight the tensions and negotiations of power between public and private, between one body and another. By exposing this system, the artist introduces tension to discourses of accessibility, inclusion, protection and care. For the 32nd Bienal, McArthur created Sometimes You’re Both (2016), comprised of stainless steel columns inside and around the pavilion containing items that mediate intimate contact – latex gloves and finger protectors. Varying in depth, the columns regulate access according to the visitors’ physical conditions. Items contained in the installation are available to the public and will not be replaced. All that will be left is the structure that dispenses them, like a totem open to spontaneous uses. Ideas of encounter and separation are central to this installation, concerning the relationships of the body and its fluids with industrial, antiseptic material, and between one body and another, the institution and the park, and the work and the public.


Detail of the installation Contact A, 2015

141


1965, Espoo, Finland. Lives in Fagervik, Finland

P  ia Lindman 142

In her projects, Pia Lindman makes use of native methodologies and traditional knowledge. When investigating alternative modes of acting that overcome rigid patterns of knowledge, the artist seeks to rethink the conventions of behavior regarding how we feel, live, study or heal ourselves. Nose Ears Eyes (2016) shows the active relationship between different beings in a multisensory environment. The work is based on the Finnish Kalevala, an ongoing oral tradition, first recorded in the middle ages, but gathered into a cohesive epic in the 19th century. Kalevala brings together songs and popular myths, whose section on medicinals impart the knowledge of centuries-old practices of rural communities, including different healing techniques. At the 32nd Bienal, Lindman will give visitors a treatment focused on joints and bones while proposing that therapy be a collaboration between bodies and minds. The flow of energy is also present in the colors and shapes of the drawings in China ink and pastels based on the images appearing to the artist during the treatment. The potential for new relationships is expanded to the space thanks to the construction of a mud hut in bamboo and clay that literally branches out to a tree in the park and other floors of the Bienal Pavilion. By paving the way for real and imaginary circulation, the artist challenges our senses and ideas of reality beyond what is accepted or expected.


Project outline for Nose Ears Eyes, 2016

143


1962, Antony, France. Lives in Santiago, Chile, and New York, USA

P  ierre Huyghe 144

Pierre Huyghe’s works push the limits between fiction and reality. His work materializes in a variety of media including film, live situation or exhibition, at times operating as ecosystems – gardens, aquariums, or even a museum with programmed microclimate. In his practice, the artist uses elements that challenge the notion of the artistic object. Both the visitor and other organisms can be incorporated into a dynamic network, in order to create a large living organism in constant evolution. De-Extinction (2016) is a navigation into an amber stone, into an instant frozen in time, in which a living network – suddenly, randomly – come to a stop. The film was made with motion control cameras that capture microscopic images of a piece of amber – a fossilized tree resin which holds the remains of living things intact for 30 millions of years. What at the beginning might present itself as a ‘cosmos’ takes on another aspect as the film leads to the interior of the translucent material, revealing imprecise forms and textures, eventually focusing on the earliest known specimen caught in copulation, in the act of potential reproduction. In the next space, De-Extinction (S.P. Evolution) (2016), live insects, descendants of the same species seen in the film are self-organizing in their new environment.


Frames from De-Extinction, 2016

145


1988, Santiago, Chile. Lives in Santiago

P  ilar Quinteros 146

Pilar Quinteros avails of her relationship to drawing as a starting point for developing actions that reconfigure public spaces and landscapes through interventions. The artist turns her attention to abandoned or destroyed places in order to promote restorations, reconstruction, replacement, or to intervene in the architectural elements of public buildings. She also looks to debris and ruins as elements of live content linked to the present. In the video Smoke Signals (2016) Quinteros recovers the story of the 1925 expedition led by Percy Harrison Fawcett in search of a lost city that he called ‘Z’, supposedly located in Mato Grosso State, Brazil. The artist revisits an imaginary that finds in Latin America fertile ground for the discovery of lost paradises and hidden civilizations, staging a search for the city’s remains and forging an encounter with its ruins. Quinteros questions historical accounts, memory, and the human ability of re-inventing the past, emphasizing the fragile yet powerful nature of the narratives of expeditions like Fawcett’s by appropriating their shortcomings as creative possibilities.


Sketches for Smoke Signals, 2016

147


1955, Newark, New Jersey, USA. Lives in Chicago, Illinois, USA

P  ope.L 148

Using a variety of supports and formats such as performance, installation, painting, sculpture and drawing since the mid-1970s, Pope.L has made use of humor and irreverence as some of his critical tools. Some of his core research topics are the issue of race in the United States, the reflection of social structures in public spaces and the privileges of certain social groups. For the 32nd Bienal, the artist developed a pedestrian circuit for SĂŁo Paulo in the performance Baile [Ball] (2016). From September 7 to 10, a group of participants walks through the city, crossing areas marked by deep socioeconomic disparities. The performance dialogues directly with Blink (2011), an action that took place in New Orleans, USA, after Hurricane Katrina. On that occasion, the artist gathered volunteers to push a truck whose rear was used as a screen for the projection of photos of the city, calling attention to the need for collective action after the disaster.


Documentation of the performance Pull!, 2013

149


1981, Coimbra, Portugal. Lives in Rotterdam, The Netherlands

P  riscila Fernandes 150

In her production Priscila Fernandes reflects on the impact of industrial and post-industrial contexts in the lives of individuals and their sensory perceptions. In videos, publications, drawings, paintings, performances and sound installations, the artist addresses social disputes central to the aesthetic decisions of different modern movements. At the 32nd Bienal Fernandes presents three photographic images, a set of furniture and a film in the installation entitled GOZOLĂ‚NDIA E OUTROS FUTUROS [Cuckoo-land and Other Futures] (2016). The mixed-media images are the result of negative prints exposed to light and altered with paint, perforations and scratches. The furniture, a set of beach chairs, invites the public for a brief but ambiguous pause, seeing as somewhere faced with the works, visitors find themselves in a state between contemplation and analysis, distraction and attention, rest and work. The film, shot entirely in Ibirapuera Park, references Cockaigne, a medieval myth about a land of plenty, a place with an abundance of food, nice weather, and no need for work. The installation articulates relationships between the aesthetic of abstraction and the work/inactivity dichotomy, updating this discussion to the context of the present day.


Ahahah, 2016

151


1986, New York, USA. Lives in New York

R  achel Rose 152

In her videos and installations Rachel Rose constructs narratives through the editing process and by employing a free and abundant circulation and association of videos and images. The process of overlapping layers, common in painting, is applied here to digital files, creating a hybrid imagery with strong kinesthetic potential. A Minute Ago (2014) is a reflection on the experience of catastrophe that combines a video found on YouTube of a sudden hail storm on a beach with statements made by American architect Philip Johnson in his Glass House, which in turn are contrasted with a reproduction of the painting The Funeral de Phocion (1648) by Nicolas Poussin, among other elements. Also present at the 32nd Bienal, Everything and More (2015) explores the sensation of total displacement from the Earth as related by an astronaut. Rose expresses the idea of the infinite through abstractions created out of chemistry experiments conducted with household substances juxtaposed with images from an astronaut training center. The limits between inside/ outside, front/back and weight/lightness are tested by the artist to the point that distinctions are no longer recognizable – like the presence of Ibirapuera Park, the view of which merges with the installation.


Frames from A Minute Ago, 2014

153


1983, Ashqout, Lebanon. Lives in Beirut, Lebanon

R  ayyane Tabet 154

Rayyane Tabet’s project Sósia (2016 ongoing) for the 32nd Bienal originated in the fiction created by the artist about the Lebanese diaspora in Brazil and the narrative surrounding it, culminating in the hope for eventual return and rescue. The work consists in the commissioning of a translation from Portuguese to Arabic of the novel Um copo de cólera [A Cup of Rage] (written in 1970 and published in 1978) by Brazilian author Raduan Nassar, the son of Lebanese immigrants, and its publication in Beirut. The novel was translated by Mamede Jarouche, the man responsible for the first full Portuguese edition of One Thousand and One Nights, and it will be released by Lebanese publisher Al-Kamel Verlag. Tabet’s work can be viewed as a circular collaboration between the artist, the author, the translator, and the publishing house; an encounter between narratives and people. The artist himself takes the role of provocateur, pushing forward an idea that has the potential to change the cultural understanding of two related but distinct societies. A recording of the artist reading the book’s famous chapter ‘The Explosion’ in Arabic can be heard at several locations throughout the exhibition. Nasser wrote the novel at the height of Brazil’s military dictatorship, addressing themes of love, lust and anger.


155


1970, Aalborg, Denmark. Lives in Copenhagen, Denmark, and Berlin, Germany

Rikk   e Luther 156

In Overspill: Universal Map (2016), Rikke Luther explores the organic and concrete nature of our world, presenting the results of a study that combines a variety of interests and references to the collapse of modern concepts of progress. The installation is composed of tile panels with drawings that relate natural landscapes and environmental catastrophes to the Global Commons (High Sea, Atmosphere, Outer Space and Antartica), the exploitation of which can no longer be regulated by agreements established by the United Nations after World War II. The installation also contains samples of oil and toxic mud taken from Mariana, in the State of Minas Gerais (Brazil). Along with these elements that examine our relationships with the places we inhabit (house, nation, planet), we also find a growth of myxomycetes, beings whose biological classification is uncertain. Having a peculiar type of intelligence, they are able to form into networks and feed off heavy metals, capable of depolluting contaminated soil. The final piece in the ensemble is a sculpture of a prototaxites fossil – a possible ancestor of fungi, which inhabited the Earth around 400 million years ago. These beings can be traced back to an era when the planet was dominated by other forms of intelligence.


Detail of diagram for the installation Overspill: Universal Map, 2016

157


1982, Lima, Peru. Lives in Mexico City, Mexico

Ri   ta Ponce de León 158

Rita Ponce de León creates installations that engage their viewers, inviting visitors to try different postures and ways of relating to their senses and to the collective. Her projects gather drawings, sculptures, and proposals for dialog that trigger exchanges between bodies, and the reinvention of spaces. En forma de nosotros [In the Shape of Ourselves] (2016) invites visitors to place their arms, legs, face and torso inside cavities covered with clay. The positions were defined by exercises of movements guided by the dancer Emile Sugai and then the molds of the spaces to be filled were developed from the bodies of different collaborators which are working in the 32nd Bienal’s educational program. Thus the artist creates a common landscape for us to assume various postures capable of leading to a perception of what we carry, sustain, and push forward with us by means of our bodies. The sculptural space includes audio recordings that describe what the lives of seeds would be like, such as their connections with the land and germination, and drawings that evoke the idea of movement inside the image. In an attempt to disorganize states of consciousness and automated habits, Ponce de León invites our thoughts and feelings to resonate, be shared and transformed.


From the series Intercambios [Exchanges], 2015-2016

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1972, Agrigento, Italy. Lives in Berlin, Germany

R  osa Barba 160

Rosa Barba uses film as the medium and raw material for her art. With her camera the artist tracks the vestiges of mankind’s actions in landscapes, and tries to understand how they relate to reality – how they are inscribed in the unconscious, and how they are manifest collectively in society. The film Disseminate and Hold (2016) establishes a dialogue with the content and imaginary meanings that pervade the structure known as Minhocão (literally ‘the big worm’), the 3.5-kilometer concrete overpass built in the city of São Paulo in 1970 under the military dictatorship. Barba’s installations and site-specific works combine image, sound and text. The artist creates spaces that represent a mental state of suspension and liminal situations in which there is no separation between politics and poetry. Mechanisms of projection, including the actual cellulose film, are turned into performative sculptures, the actors in her work. The installation White Museum (São Paulo) (2010/2016) is a projection of white light at the entrance ramp of the Bienal Pavilion, whose frame, common in photography and cinema, becomes a physical presence, an open framework that provides a visual experience of the space and interferes with the passersby.


Installation view of White Museum (Hirsch Observatory) , 2010/2015

161


1980, Aberdeen, United Kingdom. Lives in Glasgow, United Kingdom

R  uth Ewan 162

Ruth Ewan is particularly interested in how ideas take shape and transform reality in specific contexts. Her projects are based on archival research, collaboration with experts, cataloging and resignifying objects and historical documents. Ewan uses these strategies for reflecting politically and critically in the present about the past of European modernity. Back to the Fields (2015/2016) refers to the French Republican Calendar, which existed between 1793 and 1805 as a way of organizing time based on rational principles, thus renouncing the religious influence of the Gregorian calendar. The year’s subdivision into days, weeks, and months was modified to a decimal structure and the names of the months and days were changed so that they referred to aspects of the climate and agriculture of each season of the year. The French Republican Calendar is made up of twelve months of thirty days. Each month is divided into three weeks, each week is ten days long. The final five (or six) days of the year are festival days. The numbers relate them to their corresponding day and month on the Republican Calendar. The work questions our relationship with time and life, when time no longer refers to any concrete experience with the natural world, making it an abstract unit of measurement for regulating our activities.


Detail of the installation Back to the Fields, 2015

163


1971, Ludwigsburg, Germany. Lives in Frankfurt, Germany

S  andra Kranich 164

Out of interest in their complex geometries and transformation in time and space, Sandra Kranich has used fireworks in her sculptures, pictures, and installations since the late 1990s. Pyrotechnics are momentary and sensational spectacles that divide our perception into the clear stages of before, during, and after. They are events lasting a few minutes that engrave themselves in the memory of spectators, yet generally remain visible as mere traces and remnants in exhibitions. Within the framework of museum or gallery spaces, Kranich’s practice criticizes a logic based on stability, referring instead to the moment of change and chance. Her works blur the lines between creation and destruction, construction and deconstruction. For the 32nd Bienal, Kranich developed the series of colorful geometrical metal pictures entitled R. Relief 7, 8, 9, 10 (2016), and Times Wire (2010), work made of knitted pictures made of electric wire. Both have been propped with explosives carefully connected to each other for an ignition choreographed by the artist. The fireworks as such occur at the opening of the exhibition, confronting the viewer with a presentation clearly marked by the transformative force of the explosion.


Installation views of Echo Return 1, 2, 2014

165


1935, Rio de Janeiro, Brazil. Lives in Rio de Janeiro

S  onia Andrade 166

A pioneer of video art in the 1970s, Sonia Andrade’s career spans mail art, drawing, photography and installation. Her work exists outside the rules of the market and the prevailing system of Brazilian art from that period. Her experimental videos place the body at the center of the action, constructed in direct relation to television as a medium. Without spectacularization, her body engages in confrontation with the screen and the television set, at times placed at the center of the image, at others presented inside of a cage – a metaphor for the broadcast image as imprisonment. Andrade participates in the 32nd Bienal with the piece Hydragrammas (1978-1993), a set of around one hundred objects and their respective reproductions constructed out of collected materials, organizing the vocabularies of art forms and of everyday life. The objects are part of a kind of writing in which the characters are things found in the world; scrap material that the artist provides with new place and meaning. With a neologistic title formed from the combination of the name of a writing style and that of an indomitable hybrid monster (the Lernaean Hydra), Hydragrammas is an intersection of words and images – a visual alphabet.


Installation view of Hydragrammas, 1978-1993

167


1977, Sydney, Australia. Lives in Melbourne, Australia, and London, United Kingdom

S  usan Jacobs 168

Susan Jacobs’s art evokes imaginaries related to alchemy and magic, employing physical-chemical phenomena as transformation agents for the materials used in her sculptures, installations and videos. Through the Mouth of the Mantle (2016) is an installation based on household experiments in which inanimate bodies seem to magically come to life. By displacing this mechanism to other contexts the artist shows that the relationships between species, systems and gestures are capable of making us recognize life in forms considered dead, thus disrupting fundamental certainties. In a kind of arena structured out of compressed sand, Jacobs combines a series of small experiments, videos, sculptures and objects, among them: a squid’s head-shaped-shovel being corroded by Gallium; the same liquid metal element transformed into a parabolic mirror by rotating inside a cup over a marble Lazy Susan; videos of the ink and mucus of a squid moving over the deck of a rocking boat; and the homemade chemistry experiment ‘black snake’. The act of observing and understanding these experiments as parts of a whole challenges our notions of what we see, perceive and feel.


Research for Through the Mouth of the Mantle, 2016

169


1986, Lawrence, Kansas, USA. Lives in Philadelphia, Pennsylvania, USA / 1983, Sansepolcro, Italy. Lives in St-Erme, France and London, UK

Till Mycha Helen Stuhr-Rommereim & Silvia Mollicchi 170

Till Mycha is a duo of writers and researchers interested in recent developments in psychedelia as a method and mode of thought. Although existing as an independent agent, Till Mycha has a continued involvement with the publishing platform Fungiculture (www.fufufo.com). For the 32nd Bienal, Till Mycha present The First Decade of June (2016), a text structured around specific scenes of Homer’s 8th century BC epic the Odyssey, but drawing upon a much broader imaginary that defamiliarizes the original myth and uses the form of the epic to initiate a reflection on the adventure. Through a set of encounters with abstract spaces that present unfamiliar environments, tasks, and thinking entities, the text explores what could constitute an aesthetic of adventure, and how this might be put to work to produce a new collective imaginary. Set to work on the Odyssey as a foundational narrative of Hellenistic and European culture, Till Mycha’s psychedelic method here allows for the forging of other perspectives and visions through which new relationships with myth and cosmogony can come into being.


Printed pamphlet of Manifesto for a Psychedelic Method – A Set of Stories, 2015

171


1974, Durban, South Africa. Lives in Johannesburg, South Africa

Tracey Rose 172

Inspired by A Dream Deferred, a poem by Langston Hughes, a poet writing at the time of the NorthAmerican Harlem Renaissance movement in the 1920’s, Tracey Rose’s series of sculptures titled A Dream Deferred (Mandela Balls) (2013 ongoing) is constructed as a commentary on the slow disintegration of ideals upheld in the construction of a new South Africa. In his poem, Hughes asks if a dream deferred dries up like a raisin in the sun. The image of a dried raisin is interpreted by Rose, who constructs the balls using unconventional materials: butcher’s paper, packaging tape, cling wrap, newspapers, paper towels, glue, etc. The balls carry with them accumulations of a lifetime and provoke uncertainties lugged by a nation still under construction. The work makes reference to Mandela’s testicles: his real and mythologized legacy. It also alludes to the act of castration or crushing of African males’ testicles during the colonial period. The work is still ongoing and will result in a total of 95 pieces, a reference to Mandela’s age at the time of his death.


A Dream Deferred (Mandela Balls), 4 / 95 Genghis Khan Cack Handed Sperm, 2014

173


1955, Zurich, Switzerland. Lives in Zurich / 1980, Campinas, São Paulo, Brazil. Lives in Campinas, Brazil, and Quito, Ecuador

U  rsula Biemann & Paulo Tavares 174

Forest Law draws on research carried out in the frontiers of the Ecuadorian rainforest, at the transition between the Amazon floodplains and the Andean mountains. This border zone is one of the most biodiverse and resource-rich regions on Earth, and is currently under extreme pressure from the dramatic expansion of large-scale mineral and oil extraction activities. Guiding the work is a series of landmark legal cases that bring the forest and its indigenous leaders, lawyers, and scientists to court – including a particularly paradigmatic trial, won by the Sarayaku people, whose case argued for the centrality of the ‘Living Forest’ in their community’s cosmology, modes of being and ecological survival. No longer the background of political disputes, in these conflicts nature appears as a subject of rights in its own terms.


Research for Forest Law, 2014

175


1936, Junín, Argentina – 2002, Buenos Aires, Argentina

Víctor Grippo 176

Víctor Grippo’s installations are composed of everyday objects like food, tables and work tools removed from their usual functions and arranged in such a way as to generate systems that follow a logic of their own. The artist created such systems based on the alchemical idea of analogy, which projects hidden meanings in the physical properties of elements and materials. In Analogía I, (2da. versión) [Analogy I, (2nd version)] (1970 / 1977), the table and the dirt suggest the idea of cycle: the energy contained in the potatoes on the table returns to the earth and is renewed to once again be transformed into energy and food. In Naturalizar al hombre, humanizar a la naturaleza, or Energía vegetal [Man Naturalization, Nature Humanization, or Vegetal Energy] (1977), instead of wires and electrodes, we see a table covered in potatoes and lab vials containing colored liquids that represent matter’s distinct properties and stages of physical transformation. In these works, the confirmation of the existence of energy in potatoes – released in the decaying process – allows us to imagine human conscience as energy collectively produced and transformed over time. Therefore, by analogical interpretation, our consciousness about the world is expanded and, with it, our understanding of how we are able to modify it.


Installation view of Naturalizar al hombre, humanizar a la naturaleza, or EnergĂ­a vegetal [Man Naturalization, Nature Humanization, or Vegetal Energy], 1977

177


Created in 1986. Based in Olinda, Pernambuco, Brazil

Vídeo nas Aldeias 178

For three decades Vídeo nas Aldeias have mobilized discussions central to indigenous peoples and to audiovisual production and distribution. One of the project’s objectives is the training of indigenous filmmakers, destabilizing the forged narratives based on external perspectives. Ethical matters and aesthetic choices are intertwined in their productions, which address such issues as rituals, myths, cultural and political manifestations, as well as experiences of contact and conflict with whites. Founded by the indigenist Vincent Carelli, Vídeo nas Aldeias also fundraise and circulate its productions, conduct screenings in indigenous communities, film festivals, television, and on the internet and produce educational materials. In the 32nd Bienal, the new installation O Brasil dos índios: um arquivo aberto [The Brazil of the Indians: An Open Archive] (2016) – produced by Ana Carvalho, Tita and Vincent Carelli – sets up a space for an immersion in the images, gestures, chantings and languages of twenty different peoples, including the Xavante, Guarani Kaiowá, Fulni-ô, Gavião, Krahô, Maxakali, Yanomami and Kayapó. United by their power of discourse and image, the excerpts constitute yet another point of collective resistance against attempts to erase and make indigenous peoples inivisible and to provoke a broad reflection on otherness and the conventions of cultural perspectives.


Frame from Ritual Kateoku; povo Enawenê-Nawê [Kateoku ritual; Enawenê-nawê people], 1995-1996

179


1986, São Paulo, Brazil. Lives in Rio de Janeiro, Brazil

Vivian Caccuri 180

Vivian Caccuri uses sound as the vehicle to cross experiments in sensory perception with issues related to history and social justice. Through objects, installations, and performances, her pieces create situations that disorient everyday experience and, by extension, disrupt meanings and narratives seemingly as ingrained as the cognitive structure itself. At the 32nd Bienal, the artist presents TabomBass (2016), a sound system composed of stacked speakers, similar to those used at street parties. Placed in front of them, lit candles move with the displaced air and dance to the rhythm of the deep sounds – basslines composed by artists from the city of Accra, who collaborated with Caccuri after her research in Ghana. Accra received groups of AfricanBrazilians after the Malê Revolt, a slave rebellion that took place in Salvador in 1835. To this day, their descendants are known as ‘Tabom’ – because, not knowing the local languages, they answered all questions with ‘tá bom’ [roughly translated as ‘okay’]. Caccuri takes this historical background, seeking to expand connections and meanings to consider the Africa-America trajectory, proposing an encounter in which Brazilian musicians and performers improvise based on the African sounds and, through this combination, create a hybrid work of art.


Model for TabomBass, 2016

181


1934, Belo Horizonte, Minas Gerais, Brazil. Lives in Rio de Janeiro, Brazil

Wilma Martins 182

Wilma Martins relates to her surroundings through drawings, engravings and paintings. In the series Cotidiano [Everyday] (1975-1984), her work process consists of various stages in which drawings and paintings come and go to and from her notebooks like visitations – at times they are sketches for later paintings, at others they are registers of compositions born on the canvas. Seemingly ordinary domestic spaces are inhabited by wild animals and covered by forests and rivers that spring from the cracks of day-to-day life, such as a sink filled with dishes or the folds of a blanket. Playing with scale and colors, the artist makes the coexistence of supposedly incompatible worlds visible. In her work, that which may be lurking in the unconscious comes to the surface to unexpectedly cross over into the everyday routine and occupy it with an uncanny atmosphere. Residing in Rio de Janeiro since the 1960s, Martins admires views from her home, a practice she uses to create her landscape paintings. Santa Teresa com elefantes [Saint Theresa with Elephants] (1984) and Rio de Janeiro com cristais [Rio de Janeiro with Crystals] (1986) depict new possibilities for revelation or disturbance amidst the lush vegetation and urban structures of supposedly trivial places.


From the series Cotidiano [Everyday], 1982

183


1927, Rio de Janeiro, Brazil. Lives in Rio de Janeiro

Wlademir Dias-Pino 184

Wlademir Dias-Pino is an artist, poet, graphic designer, and window dresser. As early as the 1940s, he made his first forays into poetry and, througout the 1950s and 60s, he participated in the founding of the visual poetry movement Poema / Processo and the literary avant-guarde movement Intensivismo. His practice challenges the relationship between image and language by proposing a reading of the world through images. At the 32nd Bienal, Dias-Pino presents a selection from EnciclopÊdia Visual Brasileira [Brazilian Visual Encyclopedia] (1970-2016), an inventory of images containing 1001 volumes divided into 28 series. The images are created with visual materials appropriated from different sources and periods. The artist works this iconography by means of collage, cropping, xerox, overlaying, and digital manipulation, resulting in industrially-made figures that consist of multiple layers: a repository of visual content formed by an amalgam of images amid the shapes and colors employed by the artist. Outdoors (2015-2016), in turn, consists of a series of plates with geometric abstractions produced after landscapes, amongst architectural elements and social habits. The plates are placed at different spots in Ibirapuera Park.


From the series EnciclopĂŠdia Visual Brasileira [Brazilian Visual Encyclopedia], 1970-2016

185


1969, Donostia-San Sebastián, Spain. Lives in Donostia-San Sebastián and Barcelona, Spain

Xabier Salaberria 186

Xabier Salaberria works through and recombines syntaxes of sculpture, architecture, and industrial design. He explores processes of formalization, as well as the potentials of artistic media to become something else given their shifting material, ideological, and institutional contexts. Oscillating between signs and materials, art and something other than art, his works open up to contemplation as displaced or intransigent objects and situations. A kind of vanishing point for what objects normally are and the norms they uphold, Salaberria’s works question their time and place in history. At the Ciccillo Matarazzo Pavilion, the venue that has housed the Bienal de São Paulo since 1957, the artist explores the relationships between the building’s architecture and the reality of its surroundings, while mobilizing local elements of the city of São Paulo and the history of the Bienal itself. The installation Restos materiales, obstáculos y herramientas [Material Remains, Obstacles and Tools] (2016), deals with what Salaberria defines as the ‘abstract materiality’ of objects, which conditions and alters people’s circulation in the space, yielding unexpected connections between visitors, objects and the site. Images and elements of different natures seek to expand the exhibition context, stretching the limits of the exhibition room towards the city and the streets.


4th Bienal in 1957, flooding in the Ciccillo Matarazzo Pavilion. Research image for Restos materiales, obstรกculos y herramientas [Material Remains, Obstacles and Tools], 2016

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Image Credits 27

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Alia Farid Ma’arad Trablous Courtesy: Galerie Imane Fares, Paris Image: Alia Farid Alicia Barney Valle de Alicia Collection: Yamile Velosa / Maria Belén Saes de Ibarra / Departamento Cultural Universidad Nacional de Colombia Image: Alicia Barney Ana Mazzei Avistador de pássaros Artist’s collection Courtesy: Galeria Jaqueline Martins, São Paulo Image: Eduardo Ortega Anawana Haloba This and Many More Courtesy: the artist and Sharjah Art Foundation, Al Mareija. Image: Anawana Haloba

Antonio Malta Campos 35 Dimensão Artist’s collection Courtesy: the artist Image: Antonio Malta Campos Mapa-múndi Artist’s collection Courtesy: the artist Image: Antonio Malta Campos

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Bárbara Wagner Estás vendo coisas Courtesy: Solo Shows, São Paulo Image: Bárbara Wagner and Benjamin de Burca

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Bené Fonteles Antes arte do que tarde Image: Milton Mendes

Carla Filipe 41 Saloio Artist’s collection Courtesy: the artist and Galeria Murias Centeno, Lisbon Image: Pedro Magalhães and Susana Pomba

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Carlos Motta Towards a Homoerotic Historiography #1 #6 Courtesy: the artist and P.P.O.W., New York Image: Carlos Motta Carolina Caycedo Yuma, Elwha, Yaqui Courtesy: Instituto de Visión, Bogota Image: Carolina Caycedo Cecilia Bengolea & Jeremy Deller Bombom’s Dream Image: Cecilia Bengolea & Jeremy Deller Charlotte Johannesson No Future Courtesy: the artist Image: Charlotte Johannesson Cristiano Lenhardt Uma coluna Courtesy: the artist Image: Cristiano Lenhardt Dalton Paula Rota do tabaco Courtesy: Sé Galeria, São Paulo Image: Paulo Rezende


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Dineo Seshee Bopape We Need the Memories of All Our Members Courtesy: the artist Image: Hordalend Kunstsenter Donna Kukama What We Caught We Threw Away, What We Didn’t Catch We Kept Courtesy: the artist Image: Christine Clinckx Ebony G. Patterson ...they were discovering things and finding ways to understand... (...when they grow up...) Courtesy: the artist and Monique Meloche Gallery, Chicago Image: Ebony G. Patterson Eduardo Navarro Sound Mirror Courtesy: the artist Image: Eduardo Navarro Em’kal Eyongakpa Breathe II Courtesy: the artist Image: Em’kal Eyongakpa Erika Verzutti Ouro branco Courtesy: Galeria Fortes Vilaça, São Paulo Image: Ding Musa Felipe Mujica Untitled (El Quisco) Courtesy: the artist Image: Felipe Mujica Francis Alÿs In a Given Situation Courtesy: the artist Image: Francis Alÿs Frans Krajcberg Sem título (Gordinhos) Image: Frans Krajcberg

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Gabriel Abrantes Os humores artificiais Collection: Fundação de Serralves, Porto and Colección Intelcom de Arte Contemporáneo, Madrid Courtesy: the artist Image: Gabriel Abrantes Gilvan Samico A Ascensão Collection: Museu de Arte Moderna Aloisio Magalhães, Recife Courtesy: Museu de Arte Moderna Aloisio Magalhães, Recife Image: Gilvan Samico Grada Kilomba The Desire Project Image: Grada Kilomba Güneş Terkol The Girl Was Not There Courtesy: the artist Image: Ozan Eras Heather Phillipson TRUE TO SIZE Arts Council Collection, London Courtesy: the artist and Arts Council Collection, London Image: Heather Phillipson / Arts Council Collection, London

Henrik Olesen 83 4 Courtesy: the artist and Galerie Buchholz, Berlin/Cologne/New York Image: Galerie Buchholz

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Hito Steyerl Factory of the Sun Courtesy: the artist and Andrew Kreps Gallery, New York Image: Manuel Reinartz

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Iza Tarasewicz TURBA, TURBO Collection: Zachęta Narodowa Galeria Sztuki, Warsaw Courtesy: the artist and Zachęta Narodowa Galeria Sztuki, Warsaw Image: Maciej Landsberg Jonathas de Andrade O peixe Image: Jonathas Andrade Jordan Belson Brain Drawings EW.0109 Collection: Catherine Heinrich Courtesy: Catherine Heinrich Image: Jordan Belson

Jorge Menna Barreto 93 Restauro Image: Joélson Bugila

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José Antonio Suárez Londoño Planas: del 1 de enero al 31 de diciembre del año 2005 Courtesy: the artist and Galería Casa Riegner, Bogotá Image: Miguel Suárez

José Bento 97 Chão Image: Eduardo Eckenfels and Eduardo Ortega

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Kathy Barry 12 Energy Diagrams Courtesy: the artist Image: Kathy Barry Katia Sepúlveda Dispositivo doméstico Courtesy: the artist Image: Katia Sepúlveda

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Koo Jeong A 103 ARROGATION Courtesy: the artist Image: Koo Jeong A EVERTRO Courtesy: the artist Image: Koo Jeong A Lais Myrrha 105 Estados intermediários Courtesy: the artist Image: Lais Myrrha Leon Hirszman 107 Cantos de trabalho – Cana-de-açúcar Courtesy: Leon Hirszman Family Image: Leon Hirszman Cantos de trabalho – Mutirão Courtesy: Leon Hirszman Family Image: Leon Hirszman Lourdes Castro & Manuel Zimbro 109 Un Autre livre rouge Lourdes Castro’s Collection Courtesy: Lourdes Castro Image: Carlos Azevedo Luiz Roque 111 HEAVEN Courtesy: the artist Image: Joana Luz

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Luke Willis Thompson Sucu Mate – Born Dead Courtesy: the artist; Hopkinson Mossman, Auckland; Nagel Draxler, Cologne Image: Luke Willis Thompson Lyle Ashton Harris Today I shall judge nothing that occurs: Ektachrome Archive: Gail and Alex, San Francisco, 1992 Courtesy: the artist; David Castillo Gallery, Miami; JMM Gallery, Brussels Image: Lyle Ashton Harris Studio


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Maria Thereza Alves Uma possível reversão de oportunidades perdidas Image: Kai-Morten Vollmer Mariana Castillo Deball Hipótese de uma árvore Image: Mariana Castillo Deball Maryam Jafri Product Recall: An Index of Innovation Courtesy: Galleria LaVeronica, Modica Image: Phillip Hänger

Michael Linares 123 Museu do Pau Courtesy: the artist and Galería Agustina Ferreyra, San Juan Image: José López Serra Michal Helfman 125 Running Out of History Courtesy: the artist and Sommer Contemporary Art, Tel Aviv Image: Asi Oren

Nomeda & Gediminas Urbonas 133 Psychotropic House: Zooetics Pavilion of Ballardian Technologies Courtesy: the artists Image: Nomeda Urbonas / Urbonas Studio Oficina de Imaginação Política 135 Image: Oficina de Imaginação Política OPAVIVARÁ! 137 Transnômades Courtesy: the artists Image: OPAVIVARÁ! Öyvind Fahlström 139 Garden – A World Model Collection Sharon Avery-Fahlström Collection Courtesy: The Öyvind Fahlström Foundation Image: Tony Coll © 2016 Sharon Avery-Fahlström

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Park McArthur Contact A Eleanor and Bobby Cayre Collection Courtesy: the artist; ESSEX STREET, New York; Lars Friedrich, Berlin Image: Mark Blower

Misheck Masamvu 127 Ngoma ndiyo ndiyo (Beating the Same Drum) Courtesy: the artist and Black Projects, Cape Town Image: Blank Projects

Pia Lindman 143 Nose Ears Eyes Image: Pia Lindman

Mmakgab0 Helen Sebidi 129 Tears of Africa Artist’s collection Courtesy: the artist Image: Mmakgabo Helen Sebidi

Pierre Huyghe 145 De-Extinction Courtesy: the artist and Hauser & Wirth, London Image: Pierre Huyghe

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Naufus Ramírez-Figueroa Corazón del Espantapájaros Courtesy: the artist Image: Naufus Ramírez-Figueroa

Pilar Quinteros 147 Smoke Signals Courtesy: the artist Image: Pilar Quinteros

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Pope.L 149 Pull! Courtesy: the artist Image: Pope.L Priscila Fernandes 151 Ahahah Courtesy: the artist Image: Priscila Fernandes Rachel Rose 153 A Minute Ago Courtesy: Gavin Brown’s Enterprise, New York; Pilar Corrias Gallery, London Image: Rachel Rose Rayyane Tabet 155 Note on Sósia

Sonia Andrade 167 Hydragrammas Courtesy: the artist Image: Vicente de Mello Susan Jacobs 169 Through the Mouth of the Mantle Courtesy: the artist Image: Susan Jacobs

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Till Mycha (Helen Stuhr-Rommereim & Silvia Mollicchi) Manifesto for a Psychedelic Method – A Set of Stories Courtesy: the artist Image: Till Mycha

Rikke Luther 157 Overspill: Universal Map Courtesy: the artist Image: Rikke Luther

Tracey Rose 173 A Dream Deferred (Mandela Balls), 4 / 95 Genghis Khan Cack Handed Sperm Courtesy: the artist and Dan Gunn, Berlin Image: Tracey Rose

Rita Ponce de León 159 Intercambios Courtesy: the artist and 80M2 Galería Livia Benavides, Lima Image: Rafael Nolte

Ursula Biemann & Paulo Tavares 175 Forest Law Courtesy: the artists Image: Ursula Biemann and Paulo Tavares

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Rosa Barba White Museum (Hirsch Observatory) Courtesy: the artist Image: Rosa Barba

Ruth Ewan 163 Back to the Fields Courtesy: Camden Arts Centre, London Image: Marcus J Leigh Sandra Kranich 165 Echo Return 1,2 Courtesy: the artist and PPC, Philipp Pflug Contemporary, Frankfurt Image: Wolfgang Günzel

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Víctor Grippo 177 Naturalizar al hombre, humanizar a la naturaleza, or Energía vegetal Image: Rômulo Fialdini Vídeo nas Aldeias 179 Ritual Kateoku; povo Enawenê-nawê Collection: Vídeo nas Aldeias Archive, Olinda Courtesy: Vídeo nas Aldeias, Olinda Image: Vincent Carelli / Vídeo nas Aldeias Vivian Caccuri 181 TabomBass Image: Vivian Caccuri


Wilma Martins 183 Series Cotidiano Courtesy: the artist Image: Wilma Martins Wlademir Dias-Pino 185 Enciclopédia Visual Brasileira Courtesy: the artist Image: Wlademir Dias-Pino Xabier Salaberria 187 4th Bienal de São Paulo, 1957, flood in the Ciccillo Matarazzo Pavilion Image: Extracted from the book “As Bienais de São Paulo, de 1951 a 1987” written by Leonor Amarante. São Paulo: Publisher Project, 1989, p.70

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32nd Bienal de São Paulo Fundação Bienal de São Paulo – Permanent Team Superintendency Luciana Guimarães General Projects Coordination Dora Silveira Corrêa · Coordinator Communications Felipe Taboada · Manager Adriano Campos Ana Elisa de Carvalho Price Diana Dobránszky Eduardo Lirani Gabriela Longman Julia Bolliger Murari Pedro Ivo Trasferetti von Ah Victor Bergmann

Bienal Archive Ana Luiza de Oliveira Mattos · Manager Ana Paula Andrade Marques Fernanda Curi Giselle Rocha Melânie Vargas de Araujo

Special Projects Eduardo Sena

Research and Content Thiago Gil

Institutional Relations and Fundraising Emilia Ramos · Manager Flávia Abbud Gláucia Ribeiro Marina Dias Teixeira Raquel Silva

Production Felipe Isola · Manager of planning and logistics Joaquim Millan · Manager of artwork production and exhibition design Adelaide D’Esposito Gabriela Lopes Graziela Carbonari Sylvia Monasterios Veridiana Simons Vivian Bernfeld Viviane Teixeira Waleria Dias

General Secretariat Maria Rita Marinho Carlos Roberto Rodrigues Rosa Josefa Gomes

Editorial Cristina Fino

Educational Program Laura Barboza · Manager Bianca Casemiro Claudia Vendramini Helenira Paulino Mariana Serri Regiane Ishii

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Administrative and Financial Coordination Paulo Rodrigues · Coordinator Legal Counsel Ana Carolina Marossi Batista Finance Amarildo Firmino Gomes · Manager Fábio Kato Building Management and Maintenance Valdomiro Rodrigues da Silva · Manager Angélica de Oliveira Divino Larissa Di Ciero Ferradas Vinícius Robson da Silva Araújo Wagner Pereira de Andrade Financially Supported Projects Eva Laurenti Danilo Alexandre Machado de Souza Rone Amabile Human Resources Albert Cabral dos Santos Information Technology Leandro Takegami · Manager Jefferson Pedro Outsourced Services Fire Brigade Empresa Atual Serviços Especializados Maintenance and Hygiene Empresa Tejofran Saneamento e Serviços Reception Desk Empresa Plansevig Tercerização de Serviços Eireli


32nd Bienal de São Paulo Fundação Bienal de São Paulo – Project Team

Curators Curator Jochen Volz Co-curators Gabi Ngcobo Júlia Rebouças Lars Bang Larsen Sofía Olascoaga Assistants Catarina Duncan Isabella Rjeille Sofia Ralston Achitecture Alvaro Razuk Team Daniel Winnik Isa Gebara Juliana Prado Godoy Paula Franchi Ricardo Amado Silvana Silva Communications Personnel National press office Pool de Comunicação

Documentation and Audiovisual Content Carolina Barres, Fernanda Bernardino, F For Felix Photographic Documentation Leo Eloy, Ilana Bar, Tiago Baccarin General Projects Coordination Personnel Editorial Rafael Falasco Production Dorinha Santos Tarsila Riso Clarissa Ximenes Felipe Melo Franco Audio-visual MAXI Áudio, Luz, Imagem Scenography Metro Cenografia

Internacional press office Rhiannon Pickles PR

Conservation Ana Carolina Laraya Glueck Bernadette Baptista Ferreira Cristina Lara Corrêa Tatiana Santori

Soundfield (Audio Guide) Matheus Leston

Lighting Samuel Betts

Design Roman Iar Atamanczuk

Assembly Gala Elastica

Marketing CP+B

Insurance Axa-Art

Educational Program Mediation Maria Eugênia Salcedo · Consultant Supervisors Anita Limulja Juliana da Silva Sardinha Pinto Paula Nogueira Ramos Silvio Ariente Valéria Peixoto de Alencar Mediators Affonso Prado Valladares Abrahão Alexandre Queiroz Alonzo Fernandez Zarzosa Ana Carolina Porto da Silva Ana Lívia Rodrigues de Castro Ananda Andrade do Nascimento Santos André Luiz de Jesus Leitão Ariel Ferreira Costa Barbara Martins Sampaio da Conceição Bianca Leite Ferreira Bruno Coltro Ferrari Bruno Elias Gomes de Oliveira Bruno Vital Alcantara dos Santos Carina Nascimento Bessa Carlos Eduardo Gonçalves da Silva Carmen Cardoso Garcia Carolina Rocha Pradella Cláudia Ferreira Daiana Ferreira de Lima Danielle Sallatti Danielle Sleiman

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Danilo Pêra Pereira Diane Ferreira Diran Carlos de Castro Santos Divina Prado Eduardo Palhano de Barros Eloisa Torrão Modestino Erica da Costa Santos Felipe Rocha Bittencourt Flávia de Paiva Coelho Flávio Aquistapace Martins Ian da Rocha Cichetto Janaina Maria Machado Jorge Henrique Brazílio dos Santos José Adilson Rodriguês dos Santos Jr Julia Cavazzini Cunha Juliana Biscalquin Karina da Silva Costa Karina Gonçalves de Adorno Leonardo Masaro Letícia Ribeiro de Escobar Ferraz Lia Cazumi Yokoyama Emi Ligia Marthos Lívia Costa Monteiro Luara Alves de Carvalho Lucas Francisco Delfino Garcia da Silva Lucas Itacarambi Lucia Abreu Machado Luciana Moreira Buitron Lucimara Amorim Santos Ludmila Costa Cayres Luiz Augusto Citrangulo Assis Manoela Meyer S de Freitas Manuela Henrique Nogueira Marcia Falsetti Viviani Silveira Marco Antonio Alonso Ferreira Jr María del Rocío Lobo Machín

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Maria Fernanda B Rosalem Maria Filippa C. Jorge Marília Souza Dessordi Marina Baffini Marina Colhado Cabral Mateus Souza Lobo Guzzo Nei Franclin Pereira Pacheco Nina Clarice Montoto Paula Vaz Guimarães de Araújo Pedro Félix Ermel Pedro Wakamatsu Ogata Renato Ferreira Lopes Roberta Maringelli Campi Rogério Luiz Pereira Rômulo dos Santos Paulino Thiago da Silva Pinheiro Thiago Franco Tiago Rodrigo Marin Tiago Souza Martins Vinícius Fernandes Silva Booking Diverte Logística Cultural

Promotion Elaine Fontana · Consultant Valquíria Prates · Educational Material Consultant Articulators Ana Luísa Nossar Célia Barros Celina Gusmão Gabriela Leirias Maurício Perussi

Guest Curators (Wlademir Dias-Pino) Leandro Nerefuh and Tobi Maier Co-Curator (Öyvind Fahlström) Sharon Avery-Fahlström Administrative and Financial Coordination Personnel

Ambulance Premium Serviços Médicos

Administration Lays de Souza Santos Silvia Andrade Simões Branco

Fire Brigade Local Serviços Especializados

Supplies Daniel Pereira Nazareth Leandro Cândido de Oliveira

Legal Olivieri Sociedade de Advogados

Maintenance MF Serviços de Limpeza e Conservação

Security Empresa Atual Serviços Especializado


Publication Credits Edited by Jochen Volz Júlia Rebouças Curatorial Assistant for Publications Isabella Rjeille Editorial Coordination Diana Dobránszky Graphic Design and Layout Adriano Campos Ana Elisa de Carvalho Price Roman Iar Atamanczuk Editorial Assistant Rafael Falasco

Authors Ana Maria Maia Catarina Duncan Cristina Fino Diana Dobránszky Diego Matos Gabi Ngcobo Gabriela Longman Hortência Nunes Abreu Isabella Rjeille Jochen Volz Júlia Rebouças Lars Bang Larsen Marilia Loureiro Regiane Ishii Thiago Gil

Copyediting and Proofreading Anthony Doyle Gareth Peard Jeffery Hessney John Ellis-Guardiola Lívia Azevedo Lima Mariana Mendes Matthew Rinaldi Sandra Brazil

Translation Adriana Francisco Alexandre Barbosa de Souza Mariana Mendes Matthew Rinaldi

Cover Image Equipe Bienal

Images Management Pedro Ivo Trasferetti von Ah Graphic Production Signorini Produção Gráfica Eduardo Lirani

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Acknowledgements Individual Acácio Piedade, Adriano Pedrosa, Agustín Pérez Rubio, Ailton Krenak, Alberto Tsuyoshi Ikeda, Alejandro Cevallos, Alexandre Sacchi Di Pietro, Alexandre Sampaio, Alexandre Viana, Alexia Tala, Alexie Glass-Kantor, Allan Alves, Cel. Alvaro Camilo, Alvaro Puntoni, Alvaro Tukano, Amer Huneidi, Ana Garzón Sabogal, Ana Laíde Barbosa, Ana Maria Maia, Andre Bergamin, André Mesquita, Andrea Pacheco, Annick Kleizen, Annika Leimann, Antonio Paucar, Arnaldo Antunes, Áurea Carolina, Barbara Saavedra, Ben Vickers, Benjamin Seroussi, Burkhard Riemschneider, Caio Bourg de Mello, Camila Marambio, Camila Rocha, Carlos MouraCarvalho, Carolina Dal Ben Padua, Carolyn Alexander, Catalina Casas, Catherine Münger, Célida Peregrino, Cesar Gyrão, Charles Green, Chen Tamir, Christopher Cozier, Cildo Meireles, Claudinéia Baroni, Craig Higginson, Cuauhtémoc Medina, Daniel Birnbaum, Daniela Berger, Daniela Castro, Deborah Anzinger, Diego Matos, Dimitrina Sevova, Dominique GonzalezFoerster, Dorota Kwinta, Dulcídio Caldeira, Edison de Souza, Eduardo de Jesus, Eliana Otta, Elke aus dem Moore, Emiliano Valdés, Enock Pessoa, Eungie Joo, Fábio Bolota, Fabio de Alencar Iorio, Fabio Pugliese, Fabio Zuker, Família Geld, Fátima Faria Gomes, Felipe Chaimovich, Felipe Villada, Felippe Crescenti, Fernanda Brenner, Fernanda Nogueira, Filipa Oliveira, Flávio Motta, Florencia Loewenthal, Frederico Morais, Fredrik Liew, Fulvio Giannella Junior, Gabriel Lemos, George Awde, George Rotatori, Gladys Faiffer, Glaucia Barros Xavier, Grimaldo Rengifo, Guilherme Boulos, Guiliana Furci, Gustavo Esteva, Hans Ulrich Obrist, Heraldo Guiaro, Heron Werner Jr., Hilton Haw, Ibis Hernandez, Inês Grosso, Iracema Schoenlein Crusius, Isabel Diegues, Ivo Mesquita, Jacinta Arthur, Jair Batista da Silva, James Rondeau, Jared McCormick, Jimena Lara, Joana Fins Faria, João Campos, João Ribas, Joca Reiners Teron, Joe Osae-Addo, Jorge Baradit, Jorge Fernandez, José Roberto Sadek, Juan Pablo Vergara Undurraga, Juan Varela, Julia Peyton-Jones, Juliana Manso Sayão, Julie Lomax, Jürgen Bock, Karen Cunha, Katharina von Ruckteschell-Katte, Kiki Mazzucchelli, Kwasi Ohene Ayeh, Laise de Holanda Cavalcanti Andrade, Larissa Silva Freire, Lena Malm, Libia Posada, Ligia Nobre, Lisette Lagnado, Ludmila Brandão, Luisa Elvira Belaunde, Luiz Eduardo Anelli, Luiz Marchetti, Macarena Areco Morales, Mamede Jarouche, Mantse Aryeequaye, Manuel Silveira Corrêa , Marcello Nietsche, Marcio Harum, Marcos Moraes, Margarita González, Maria Angelica Melendi, Maria Cristina Donadelli Pinto, Maria del Carmen, Maria do Carmo Pontes, Maria Lafayette Aureliano Hirszman, Mario Friedlander, Martin Bach, Mauricio de la Puente, Mavis Tetteh-Ocloo, Melissa Rocha, Merve Caglar, Michelle Marxuach, Miguel Lopez, Moacir dos Anjos, Mohammed Hafiz, Morgana Rissinger, Nadia Somekh, Naine Terena, Nana Oforiatta-Ayim, Nancy La Rosa Saba, Nat Amartefeio, Nathalie Morhange, Óscar Gonzalez, Övül Ö. Durmusoglu, Pablo Lafuente, Paula Zasnicoff, Paulina del Valle Vera, Paulo Bogorni, Paulo Pires do Vale, Pedro de Niemeyer Cesarino, Pedro Montes, Raduan Nassar , Rafael Ortega, Ralph Rugoff, Rana Sadik, Raúl Matta, Rebecca Coates, Regina Pouchain, Renato Corch, Ricardo Ohtake, Richard Fletcher, Rivane Neuenschwander, Rodolfo Walder Viana, Rodrigo Bueno, Rodrigo Moura, Rodrigo Nunes, Rodrigo Pimentel Pinto Ravena, Rodrigo Tavares, Samer Younis, Senam Okudzeto , Serge Attukwei Clottey, Sergio Ide, Sergio Parra, Shrook Al Ghanim, Silvan Kaelin, Silvia Ambrogi, Sinethemba Twalo, Smiljan Radic, Solange Farkas, Stefan Benchoam, Suely Rolnik, Suzanne Cotter, Tali Cherizli, Tatiana Oliveira, Tatiane Kaiowa, Testinha, Tete Espíndola, Thiago de Paula Souza, Thyago Nogueira, Tim Neuger, Tiyoko Tomikawa, Tonico Benites Guarani, Valeria Galarza, Valéria Rossi Domingos, Veerle Poupeye, Virginija Januskeviciute, Vivian Ziherl, Waman Wasi, Wilson Díaz, Yale Reinhard, Yann Chateigne, Yavuz Parlar, Yessica Hernandez, Ziad Mikati, Zohra Opoku, Zoraida Maria Lobato Viotti.

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Institutions Acción Cultural Española, AC/E, Administração do Parque Ibirapuera, Al-Kamel Verlag, Alta Excelência Diagnóstica, ANO, Arquivo Multimeios - Centro Cultural São Paulo, Artis Grant Program, Arts Council Korea (ARKO), Artspace - Auckland, Associação Quilombola de Piracanjuba, Auditório Ibirapuera, Australia Council, Australia Council for the Arts, Bisagra, Blank Projects, Bug Agentes Biológicos, Bull Produtora Digital, Câmara Municipal do Porto, CECI Jaraguá, Cemitério da Consolação, Centro Cultural Dannemann, Centro de Ciências Biológicas - UFPE, Cinemateca Brasileira, Clube de Atletismo BM&F BOVESPA, Coleção Moraes-Barbosa, Companhia das Letras, Companhia de Engenharia de Tráfego de São Paulo (CET), Conpresp, Conselho Gestor do Parque Ibirapuera, Conselho Municipal de Preservação do Patrimônio Histórico, Cultural e Ambiental da Cidade de São Paulo (Conpresp), Consulado Geral do México em São Paulo, Contemporary Art Centre (CAC), Cooperativa de Catadores da Baixada do Glicério, CP+B, Creative New Zealand , Dan Gunn Gallery, Departamento do Patrimônio Histórico (DPH), Educativo do MAM-SP, Escola Municipal de Astronomia e Astrofísica - UMAPAZ, Etxepare, Everard Read Gallery - JHB, Faculdade de Artes Plásticas - FAAP, Faculdade de Comunicação - FAAP, Fazenda da Toca, Fortaleza de San Carlos de La Cabaña, Frame Visual Art Finland, Fundação Armando Alvares Penteado, Fundação Calouste Gulbenkian, Fundación Funghi, Galeria Fortes Vilaça, Galeria Pilar, Galeria Sé, Galerie Imane Farès, Gallery 1957, GCM - Parque Ibirapuera, Goethe-Institut Salvador-Bahia, Grupo Ecolyzer, IASPIS, Institute of Modern Art - Brisbane, Instituto Biológico de São Paulo, Instituto de Botânica de São Paulo, Instituto de Geociências da Universidade de São Paulo, Instituto de Patrimônio Histórico e Artístico Nacional (Iphan), Instituto Identidade Brasil, Instituto Nacional de Bellas Artes de México, Instituto Tomie Othake, Itaú Cultural, Kempinski Hotel, KONE, Lugar a Dudas, Más Arte Más Acción, Melbourne University, Ministério da Cultura, Ministério da Cultura da República Argentina, Museo de la Memoria Santiago de Chile, Museo de la Solidaridad Salvador Allende, Museo Universitario Arte Contemporáneo MUAC-UNAM, Museu Afro Brasil, Museu da Cidade de São Paulo, Museu da Imigração do Estado de São Paulo / Governo do Estado de São Paulo, Museu de Anatomia Veterinária da Faculdade de Medicina Veterinária e Zootecnia - USP, Museu de Arte Moderna Aloísio Magalhães (MAMAM), Museu de Arte Moderna de São Paulo, Museu Valdemar Lefèvre (MUGEO) , Nubuke Foundation, Obrera Centro, ONG Social Skate, Peter Kilchmann Galerie, Polícia Militar do Estado de São Paulo, Pratec, Prefeitura de Lisboa, Pro-Helvetia, Procolombia, Programa de Aventura Ambiental - UMAPAZ, Rhiannon Pickles PR, SAHA, São Paulo Transporte S.A. - SPTrans, Scape Public Art, Secretaria da Cultura do Governo do Estado de São Paulo, Secretaria da Educação do Estado de São Paulo, Secretaria Estadual de Logística e Transportes, Secretaria Municipal de Cultura, Secretaria Municipal de Educação, Secretaria Municipal de Transportes, Secretaria Municipal do Verde e do Meio Ambiente, Serviço Funerário do Município de São Paulo, Sesc São Paulo, Sesc - Serviço Social do Comércio Administração Regional no Estado de São Paulo, Sol Henaro, SP-Trans, Subprefeitura Sé, The Henry Moore Foundation, The Office for Contemporary Art Norway (OCA), Trelleborg Wheel Systems, Universidad de las Artes - ISA, Cuba, Universidade de São Paulo (USP), Universidade Federal da Grande Dourados, Universidade Federal de Pernambuco, Universidade Federal do Acre , Universidade Federal do Reconcavo Bahiano , Wits School of Arts – JHB.

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Co-realization

Master Sponsorship


Sponsorship

Cultural Partnership


Support

Media Support

Communication Support


International Support

Embajada de Colombia en Brasil

Institutional Support Project supported by the State of SĂŁo Paulo Government, Secretariat of Culture, Program of Cultural Action 2016

Realization ministĂŠrio da cultura


© Publication Copyright: Fundação Bienal de São Paulo. All rights reserved. Images and texts reproduced in this publication were granted by permission from the artists, photographers, writers or their legal representatives, and are protected by law and licence agreements. All texts and images in this document are protected by copyright. Any use is prohibited without the permission of the Bienal de São Paulo, the artist and the photographers. All efforts were made to find the copyright owners, although this was not always successful. We will be happy to correct any omission in case it comes to our knownledge. This guide was published on the occasion of the 32nd Bienal de São Paulo – INCERTEZA VIVA, held from 7 September through 11 December 2016 at the Ciccillo Matarazzo Pavilion, Ibirapuera Park, São Paulo. www.bienal.org.br

Cataloguing in Publication - (CIP) 32nd Bienal de São Paulo : Incerteza Viva : Guide / Edited by Jochen Volz and Júlia Rebouças. -- São Paulo : Fundação Bienal de São Paulo, 2016. Curators: Jochen Volz, Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen, Sofía Olascoaga. ISBN: 978-85-85298-54-8 1. Art – Exhibitions – Guides. I. Volz, Jochen. II. Ngcobo, Gabi. III. Rebouças, Júlia. IV. Larsen, Lars Bang. V. Olascoaga, Sofía. CDD-700.74 1. Art : Exhibitions : Guides 700.74

Fonts: Sabon (Linotype), and Knockout (Hoefler & Co.) Papers: Cartão Super 6 Plus 240 g/m² and Off Set 75 g/m² Pre-printing and Printing: Ipsis Print run: 1,500


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3  2nd bienal de são paulo

Ministry of Culture, Bienal and Itaú present

i  sbn  978-85-85298-54-8