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32nd Bienal de são paulo list of works The present list was completed after the exhibition had opened, which meant we could match it work-for-work against the original list compiled during production, thus trying to avoid errors, omissions and undue additions. We were able to have some of the information and translations revised by the artists and owners, which made the final list as complete and precise as possible. This is the second version of the list of works (October 2016).

Alia Farid

Series Misturinhas, 2000-2016. [Little Mixtures]. Mixed media on

Ma’arad Trablous, 2016. [The Exhibition of Tripoli]. Video 2K.

cardboard. 20 × 25 cm (249 pieces). Artist’s collection.

14’26’’. Support: Shrook Al Ghanim; Rana Sadik & Samer Younis; Galerie Imane Farès; marra.tein; Amer Huneidi; Mohammed Hafiz;

BÁrbara Wagner & benjamin de burca

Ziad Mikati. Director: Alia Farid; Director of Photography: Mark

Estás vendo coisas, 2016. [You Are Seeing Things]. Video installation,

Khalife; Editing: Malek Hosni, Vartan Avakian; Sound Consultant:

4K HD video (color, sound). 16’. Support: The Arts Council of

Amin Fari; Music and Sound Design: Nadim Mishlawi; Producer:

Ireland; Fundo de Incentivo à Cultura do Estado de Pernambuco,

Jowe Harfouche; Cast: Nowar Yusuf; Sound Engineer: Karine Basha;

FUNCULTURA. Casting: MC Porck, Dayana Paixão and Alan Ka

Colouring: Belal Hibri; Production Manager: Jennifer Haddad;

(Banda Mais Amor), Leydson Dedesso, Singleds Cass, MC Meta

Production Assistant: Rosette Stephan; 1st Camera Assistant: Ziad

Safadão, Dany Bala, Allany Carvalho, Jurema Fox, Joás Junior

Choucha; 2 Camera Assistant: Joseph Rai; Key Grip: Hatem

(JJ Óculos), Lucas Santos, Neguin do Charme, DJ Jadson, Fernando

Chayna; Grip Assistant: Boudi Said; Technical Equipment and Crew

Pato, Victor Ronã, Italo Monteiro (ProRec Filmes); Cinematographer:

Supplied by: Platform Studios; Distribution: Galerie Imane Farès.

Pedro Sotero; Assistant Director: Jerônimo Lemos; Camera Assistant:

Acknowledgements: Iman Farés; George Awde; Jared McCormick;

Raphael Malta Clasen; Sound Recordist: Phelipe Joannes, Sálua

Kristine Khoury; George Arbid; Amal Khalaf; Sarah Chalabi;

Oliveira; Electricians: Alexandre Aranha, Fernando Marinho;

Wassim Naghi; Farida Sultan; Ginger Beirut Productions; Ziad

Executive Production: Carol Vergolino, Daiana Dultra (Alumia);

Mikati. Commissioned by the Fundação Bienal de São Paulo for the

Production Assistant: Lara Mafra; Editing: Rodrigo Carneiro;

32nd Bienal (2016).

Finishing: Frederico Benevides; Original Soundtrack: Dany Bala,

nd

Tiquinho Lira (Studio Grife); Sound Mixing and Mastering: Daniel

Alicia Barney

Turini, Fernando Henna; Sound Effects: Henrique Chiurciu, Sérgio

Valle de Alicia, 2016. [Valley of Alicia]. Installation composed of

Abdalla, João Victor Coura; Dialogue Editing: Cauê Shimoda,

metal, wood, paper, PVC, acrylic emulsion. Dimensions variable.

Mariana Vieira; Sound Studio: Confraria de Sons & Charutos;

Yamile Velosa / Maria Belén Saes de Ibarra / Departamento Cultural

Transcription, translation and subtitles: Daniel Chediek (4Estações).

Universidad Nacional de Colombia Collection. Commissioned by the

Acknowledgments: Thiago Leal (Planeta Show), Vanclécio

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Vasconcelos, Júlio Propaganda, MC Leozinho, MC Kaio da Corea, MC Joaozinho da Patrão, MC Tróia, Lipinho Dantas, Elvis and PP,

Ana Mazzei

Kelly Alves, Scarllet Lima, Sara Ferreira, Rita Azevedo, Marcelo

Espetáculo, 2016. [Spectacle]. Installation composed of wood,

Caetano, Gisela Domschke, Edouard Fraipont, Marcio Harum. Shot in

painted wood, felt, iron, industrial rubber. 4.30 × 14 m (approx. 70

Planeta Show, Recife, Pernambuco, Brazil, June 2015.

pieces). Commissioned by the Fundação Bienal de São Paulo for the

Presentation produced in partnership with Sesc-SP.

32 Bienal (2016). nd

BÁrbara Wagner Anawana Haloba

Series Mestres de Cerimônias, 2016. [Masters of Ceremony]. Mineral

Close-Up, 2016. Installation composed of rock salts, dishes, contact

pigment on cotton paper. 16 pieces, 80 × 120 cm each. Project carried

microphones and sound. Dimensions variable. Support: The Office for

out with incentive of the ZUM / IMS Photography Grant, 2015.

Contemporary Art Norway (OCA), Nordic Culture Fund.

Presentation produced in partnership with Sesc-SP.

Antonio Malta Campos

Bené Fonteles

Capacete, 2015. [Helmet]. Oil on canvas. 230 × 360 cm (diptych).

Ágora: OcaTaperaTerreiro, 2016. Installation with straw roof and clay

Assistance by Antonia Baudouin. Artist’s collection.

walls, collection of objects and artworks; performative activations.

Dimensão, 2016. [Dimension]. Oil on canvas. 230 × 360 cm (diptych).

5.2 × 18 × 8 m.

Assistance by Antonia Baudouin. Artist’s collection. Mapa-múndi, 2015. [World Map]. Oil on canvas. 230 × 360 cm

Carla Filipe

(diptych). Assistance by Antonia Baudouin. Artist’s collection.

Migração, exclusão e resistência, 2016. [Migration, Exclusion and

Sim Não, 2015. [Yes No]. Oil on canvas. 230 × 360 cm (diptych).

Resistance]. Installation composed of plastic canisters, metal barrels,

Assistance by Antonia Baudouin. Artist’s collection.

concrete rings with two different measures, tires, unconventional food

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plants and popular plants. Overall dimensions variable. Support:

Towards a Homoerotic Historiography #2 #3, 2014. Gold washed

Fundação Calouste Gulbenkian; Trelleborg Wheel Systems; República

silver figure (tumbaga). 1.27 × 0.95 × 0.64 cm. Based on sculpture

Portuguesa – Cultura | Direção-Geral das Artes. Acknowledgments:

attributed to a culture from Central Mexico. Courtesy: the artist and

Peter Webb, Vera Pezzini, Pedro Coelho, Mafê Vieira, Rafael Flaborea,

P.P.O.W., New York.

Pedro Allioto. Commissioned by the Fundação Bienal de São Paulo

Towards a Homoerotic Historiography #2 #4, 2014. Gold washed

for the 32nd Bienal (2016).

silver figure (tumbaga). 1.58 × 0.93 × 0.93 cm. Based on sculpture

Presentation produced in partnership with Sesc-SP.

attributed to a culture from Ecuador. Courtesy: the artist and P.P.O.W., New York.

Carlos Motta

Towards a Homoerotic Historiography #2 #5, 2014. Gold washed

Nefandus, 2013-2016. Archival inkjet print in Hahnemühle Photo

silver figure (tumbaga). 1.27 × 0.95 × 0.31 cm. Based on sculpture

Rag Satin paper. 76.2 × 50.8 cm. Courtesy: the artist and P.P.O.W.,

attributed to a culture from Ecuador. Courtesy: the artist and

New York.

P.P.O.W., New York.

Towards a Homoerotic Historiography #1 #1, 2013. Gold washed

Towards a Homoerotic Historiography #2 #6, 2014. Gold washed

silver figure. 0.5 × 1.5 × 1 cm. Based on graphic illustration of the

silver figure (tumbaga). 1.58 × 0.95 × 0.37 cm. Based on sculpture

Maya culture. Courtesy: the artist and P.P.O.W., New York.

atrtributed to the Moche culture from Peru. Courtesy: the artist and

Towards a Homoerotic Historiography #1 #2, 2013. Gold washed

P.P.O.W., New York.

silver figure. 0.7 × 2 × 1.5 cm. Based on sculpture of an unidentified

Towards a Homoerotic Historiography #2 #7, 2014. Gold washed

ethnic Mexican group. Courtesy: the artist and P.P.O.W., New York.

silver figure (tumbaga). 1.58 × 0.95 × 0.95 cm. Based on a sculpture of

Towards a Homoerotic Historiography #1 #3, 2013. Gold washed

Xochipilli, the Aztec god of art, dance, flowers and song. Courtesy:

silver figure. 0.8 × 1.7 × 1.5 cm. Based on sculpture attributed to

the artist and P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Towards a Homoerotic Historiography #2 #8, 2014. Gold washed

New York.

silver figure (tumbaga). 1.85 × 1.9 cm. Based on an ancient drawing

Towards a Homoerotic Historiography #1 #4, 2013. Gold washed

of an unidentified ethnic Mexican group. Courtesy: the artist and

silver figure. 0.5 × 1.7 × 2 cm. Based on sculpture attributed to

P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Towards a Homoerotic Historiography #2 #9, 2014. Gold washed

New York.

silver figure (tumbaga). 1.58 × 0.35 × 0.35 cm. Based on sculpture

Towards a Homoerotic Historiography #1 #5, 2013. Gold washed

atrtributed to the Moche culture from Peru. Courtesy: the artist and

silver figure. 0.5 × 0.5 × 1 cm. Based on sculpture attributed to

P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Towards a Homoerotic Historiography #2 #10, 2014. Gold washed

New York.

silver figure (tumbaga). 1.27 × 0.64 × 0.32 cm. Based on an ancient

Towards a Homoerotic Historiography #1 #6, 2013. Gold washed

sculpture of an undentified ethnic Mexican group. Courtesy: the artist

silver figure. 1.3 × 1.5 × 1 cm. Based on sculpture attributed to

and P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Series Untitled Self-Portraits, 1998 / 2016. Courtesy: the artist and

New York.

P.P.O.W., New York.

Towards a Homoerotic Historiography #1 #7, 2013. Gold washed

Untitled, 1998. Silver gelatin print. 27.94 × 21.59 cm.

silver figure. 0.7 × 1.5 × 1.5 cm. Based on sculpture attributed to

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

New York.

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

Towards a Homoerotic Historiography #1 #8, 2013. Gold washed

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

silver figure. 0.7 × 1.5 × 1.5 cm. Based on sculpture of an unidentified

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

ethnic Mexican group. Courtesy: the artist and P.P.O.W., New York.

Untitled, 1998. Archival inkjet print. 88.9 × 101.6 cm.

Towards a Homoerotic Historiography #1 #9, 2013. Gold washed

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

silver figure. 2 × 1 cm. Fictional depiction. Courtesy: the artist and

Untitled, 1998. Archival inkjet print. 50.8 × 60.96 cm.

P.P.O.W., New York.

Untitled, 1998. Archival inkjet print. 50.8 × 60.96 cm.

Towards a Homoerotic Historiography #1 #10, 2013. Gold washed silver figure. 0.7 × 1.5 × 2.5 cm. Based on sculpture attributed to the

Carolina Caycedo

Quimbaya culture from Colombia. Courtesy: the artist and P.P.O.W.,

A Gente Rio, 2016. [The People River]. From the series A Gente Rio –

New York.

Be Dammed. [The People River – Be Dammed]. HD video (color,

Towards a Homoerotic Historiography #2 #1, 2014. Gold washed

sound). 30’. Support: MAB Movimento dos Atingidos por Barragens –

silver figure (tumbaga). 1.27 × 0.64 × 0.32 cm. Based on an ancient

Coordenação Nacional (São Paulo), MAB Amazônia (Altamira),

sculpture of the Tolita culture. Courtesy: the artist and P.P.O.W.,

MAB Minas Gerais (Mariana, Barra Longa, Rio Doce), Movimento

New York.

Xingu Vivo Para Sempre (Altamira, Belém), Comissão dos Atingidos

Towards a Homoerotic Historiography #2 #2, 2014. Gold washed

pelo Rompimento da Barragem de Fundão (Mariana), Jornal A

silver figure (tumbaga). 2.22 × 1.58 × 0.64 cm. Based on an ancient

Sirene (Mariana), MOAB Movimento dos Ameaçados por Barragens

sculpture of an undentified ethnic Mexican group. Courtesy: the artist

(Vale do Ribeira), EAACONE Equipe de Articulação e Assessoria

and P.P.O.W., New York.

às Comunidades Negras (Vale do Ribeira), Rodrigues Family –

2


Quilombo de Ivaporunduva (Vale do Ribeira), Neves Family (Ilha

for the 32nd Bienal (2016).

do Cardoso / Vale do Ribeira), Restaurante Comunitário Recanto dos

Presentation produced in partnership with Sesc-SP.

Golfinhos (Ilha do Cardoso), Dona Esperança Quilombo do Sapatu (Vale do Ribeira), Rios Vivos Colombia, Temporal Films, Veronica

Cecilia Bengolea & Jeremy Deller

Villa, Estúdio-9Voltios, Estúdio CVS, Cinedelia, Creative Capital, FAAP

Bombom’s Dream, 2016. HD video. 12’48’’. Support: British Council.

Fundação Armando Alvares Penteado, British Council. Commissioned

Camera: Justin Meekel; Additional Cameras: Cecilia Bengolea, Jeremy

by the Fundação Bienal de São Paulo for the 32 Bienal (2016).

Deller; Editing: Justin Meekel; Effects: Arnaud Dezoteux, Maru

A Gente Xingú, A Gente Doce, A Gente Paraná, 2016. [The People

Cantos; Dancers: BOMBOM DHQ JAPAN, Shelly Belly. Commissioned

Xingú, The People Doce, The People Paraná]. From the series

by the Fundação Bienal de São Paulo for the 32nd Bienal (2016) and

A Gente Rio – Be Dammed. [The People River – Be Dammed].

the Hayward Gallery, London.

nd

Satellite photographs, UV print on aluminum dibond. 900 × 300 cm. Support: FAAP Fundação Armando Alvares Penteado, British

Charlotte Johannesson

Council. Commissioned by the Fundação Bienal de São Paulo for the

Achtung – Actions Speak Louder Than Words, 1976. [Attention –

32nd Bienal (2016).

Actions Speak Louder Than Words]. Tapestry. 100 × 150 cm. Artist’s

Cosmotarrafas con Cosmotarrayas, 2016. [Cosmotarrafas with

collection. Support: Swedish Arts Grants Committee; Moderna

Cosmofishing Nets]. From the series A Gente Rio – Be Dammed.

Museet, Stockholm; Nordic Culture Fund.

[The People River – Be Dammed]. Installation composed of

Attack Attitude, 1977. Tapestry. 200 × 100 cm. Malmö

fishing nets, dyeing, ceramics, seeds, bats, candles, oil, fishing rods,

Konstmuseum / Malmö Art Museum Collection. Support: Swedish

alpargatas, wool, cotton, embroidery, oars, arpilleras. Dimensions

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

variable. Support: MAB Movimento dos Atingidos por Barragens –

Culture Fund.

Coordenação Nacional (São Paulo), MAB Amazônia (Altamira), MAB

Chile eko i skallen, 1973 / 2016. [Chile Echoes in My Skull].

Minas Gerais (Mariana, Barra Longa, Rio Doce), Atingidas Bordando

Tapestry, branches, cinnamon branch. 55 × 100 cm. Support: Swedish

a Resistência, Movimento Xingú Vivo Para Sempre (Altamira / Belém),

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

Neves Family − Ilha do Cardoso (Vale do Ribeira), Restaurante

Culture Fund.

Comunitário Recanto dos Golfinhos (Ilha do Cardoso), Centro do

Drop Dead, 1977. Tapestry. 190 × 100 cm. Malmö Konstmuseum / 

Artesanato Quilombo do Sapatu (Vale do Ribeira), ISA Instituto

Malmö Art Museum Collection. Support: Swedish Arts Grants

Socioambiental (Altamira / Pará), Rios Vivos Colombia, Creative

Committee; Moderna Museet, Stockholm; Nordic Culture Fund.

Capital, Instituto de Visión (Bogotá), British Council. Commissioned

Frei Die RAF, 1976. [Free the RAF]. Tapestry. 100 × 150 cm. Artist’s

by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

collection. Support: Swedish Arts Grants Committee; Moderna

Iguaçu, 2016. From the series A Gente Rio – Be Dammed [The People

Museet, Stockholm; Nordic Culture Fund.

River – Be Dammed]. Marker over Canson paper. 173.3 × 66.2 cm

Longing, 1972. Tapestry. 200 × 100 cm. Private collection. Support:

each. Support: Ana Laide Soares, Ailton Krenak, Yuli Diana, British

Swedish Arts Grants Committee; Moderna Museet, Stockholm;

Council. Commissioned by the Fundação Bienal de São Paulo for the

Nordic Culture Fund.

32nd Bienal (2016).

New Wave, 1977. Tapestry. 107 × 156 cm. Private collection. Support:

Watu, 2016. From the series A Gente Rio – Be Dammed [The People

Swedish Arts Grants Committee; Moderna Museet, Stockholm;

River – Be Dammed]. Marker over Canson paper. 173.5 × 66.4 cm

Nordic Culture Fund.

each. Support: Ana Laide Soares, Ailton Krenak, Yuli Diana, British

No Choice Amongst Stinking Fish, 1976. Tapestry. 60 × 90 cm.

Council. Commissioned by the Fundação Bienal de São Paulo for the

Support: Swedish Arts Grants Committee; Moderna Museet,

32 Bienal (2016).

Stockholm; Nordic Culture Fund.

Yuma, 2016. From the series Be Dammed. Marker over Canson

No Future, 1977. Tapestry. 105 × 94 cm. Courtesy: Det Nya Museet,

paper. 173.8 × 47 cm each. Support: Instituto de Visión (Bogotá),

Sundbyberg. Support: Swedish Arts Grants Committee; Moderna

Cesar Reyes Collection (Puerto Rico), British Council.

Museet, Stockholm; Nordic Culture Fund.

Yaqui, 2016. From the series Be Dammed. Marker over Canson

Series Original Computer Graphics Art, 1981-1986. Artist’s

paper. 174.5 × 47.1 cm each. Support: Instituto de Visión (Bogotá),

Collection. Support: Swedish Arts Grants Committee; Moderna

Cesar Reyes Collection (Puerto Rico), British Council.

Museet, Stockholm; Nordic Culture Fund.

nd

Elwha, 2016. From the series Be Dammed. Marker over Canson

Ahmad Shah Massoud. Apple II and computer (Digital Theatre

paper. 173.5 × 47.2 cm each. Support: Instituto de Visión (Bogotá),

Studio). 29.7 × 42 cm.

Cesar Reyes Collection (Puerto Rico), British Council.

Ahmad Shah Massoud. Apple II and computer (Digital Theatre

Jornadas de Debate Modelo Energético – Geocoreografias, 2016.

Studio). 29.7 × 42 cm.

[Journeys of Debate Energy – Geochoreography Model]. Public

Arab. Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

space intervention. Event held within the 32 Bienal de São

Björn Borg. Apple II and computer (Digital Theatre Studio).

Paulo. Support: MAB Movimento dos Atingidos por Barragens –

29.7 × 42 cm.

Coordenação Nacional (São Paulo), Um Minuto de Sirene (Mariana),

Black Hole. Apple II and computer (Digital Theatre Studio).

MOAB Movimento dos Ameacados por Barragens (Vale do Ribeira),

29.7 × 42 cm.

Restaurante Comunitário Recanto dos Golfinhos (Ilha do Cardoso),

Boy George. Apple II and computer (Digital Theatre Studio).

British Council. Commissioned by the Fundação Bienal de São Paulo

29.7 × 42 cm.

nd

3


Communication. Apple II and computer (Digital Theatre Studio).

Texture 6. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

David Bowie. Apple II and computer (Digital Theatre Studio).

Texture 7. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Design. Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

Texture 8. Apple II and computer (Digital Theatre Studio).

Dragon. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

There. Apple II and computer (Digital Theatre Studio).

Guardian? Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

To Space. Apple II and computer (Digital Theatre Studio).

Guardian? Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Transformation. Apple II and computer (Digital Theatre Studio).

I Went. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Victoria Benedictsson. Apple II and computer (Digital Theatre

Identity. Apple II and computer (Digital Theatre Studio).

Studio). 29.7 × 42 cm.

29.7 × 42 cm.

Vote for Me. Apple II and computer (Digital Theatre Studio).

Joseph Beuys. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Vote? Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

Me and My Computer. Apple II and computer (Digital Theatre

Walk 2. Apple II and computer (Digital Theatre Studio).

Studio). 29.7 × 42 cm.

29.7 × 42 cm.

nr.77. Gösta. Apple II and computer (Digital Theatre Studio).

Walk 3. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Our World. Apple II and computer (Digital Theatre Studio).

Walk 4. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Parliament. Apple II and computer (Digital Theatre Studio).

Where. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Programs. Apple II and computer (Digital Theatre Studio).

World. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Programs. Apple II and computer (Digital Theatre Studio).

World. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42 cm.

Rainer Werner Fassbinder. Apple II and computer (Digital Theatre

Terror, c.1972 / 2016. Tapestry, barbed wire. 55 × 110 cm. Support:

Studio). 29.7 × 42 cm.

Swedish Arts Grants Committee; Moderna Museet, Stockholm;

Revelation. Apple II and computer (Digital Theatre Studio).

Nordic Culture Fund.

29.7 × 42cm.

Trampa entre på gräset, 1971 / 2016. [Don’t Step on the Grass].

Richard Wagner. Apple II and computer (Digital Theatre Studio).

Tapestry, branches. 100 × 100 cm. Artist’s collection. Support: Swedish

29.7 × 42 cm.

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

Rocket. Apple II and computer (Digital Theatre

Culture Fund.

Studio). 29.7 × 42 cm.

Utmätt Gods (Make a Distress), 1975. [Distressed Goods (Make a

Safe. Apple II and computer (Digital Theatre Studio). 29.7 × 42cm.

Distress)]. Tapestry. 100 × 150 cm. Private collection. Support: Swedish

Save Us. Apple II and computer (Digital Theatre Studio).

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

29.7 × 42 cm.

Culture Fund.

Self-Portrait 1. Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

Cristiano Lenhardt

Self-Portrait 2. Apple II and computer (Digital Theatre Studio).

Trair a espécie, 2014-2016. [To Betray the Species]. Sculpture made

29.7 × 42 cm.

from cará with internal metal rods. Dimensions variable.

Self-Portrait 3. Apple II and computer (Digital Theatre Studio).

Uma Coluna, 2016. [A Column]. Performance / site specific, various

29.7 × 42 cm.

materials weaved by people. Dimensions variable. Assistance: Luiz

Texture 1. Apple II and computer (Digital Theatre Studio).

Henrique Chipan; Vocal Preparation: Luciana Freire; Performers:

29.7 × 42cm.

Cupuaçu Group. Commissioned by the Fundação Bienal de São Paulo

Texture 2. Apple II and computer (Digital Theatre Studio).

for the 32nd Bienal (2016).

29.7 × 42cm. Texture 3. Apple II and computer (Digital Theatre Studio).

Dalton Paula

29.7 × 42cm.

Series Rota do tabaco, 2016. [Tobacco Route]. Oil painting and

Texture 4. Apple II and computer (Digital Theatre Studio).

leaves of gold and silver on alguidar. 15 cm, 30 cm and 50 cm ⌀ (51

29.7 × 42 cm.

pieces). Courtesy: Sé Galeria, São Paulo. Support: Sé Galeria, UFRB,

Texture 5. Apple II and computer (Digital Theatre Studio).

Dannemann, Instituto Identidade Brasil, Associação Quilombola

29.7 × 42 cm.

de Piracanjuba Ana Laura, Fortaleza de San Carlos de La Cabaña,

4


ISA – Universidad de las Artes. Commissioned by the Fundação Bienal

tool that connects the sound from a palm tree located outside the

de São Paulo for the 32nd Bienal (2016).

building with the inside of the Bienal Pavilion. Support: Consulado

Presentation produced in partnership with Sesc-SP.

Geral da República Argentina em São Paulo. Acknowledgments: M.A.T.A; Daina Leyton, Leonardo Catilho (MAM Educational Team);

Dineo Seshee Bopape

Elaine Fontana. Commissioned by the Fundação Bienal de São Paulo

:indeed it may very well be the _______ itself, 2016. Installation

for the 32nd Bienal (2016).

composed of compressed soil, ceramics, ash, charcoal, fertility and restorative herbs, brass, crystals, rope, seeds, flowers, sheepskin,

Em’kal Eyongakpa

leather, glass. Dimensions variable. Commissioned by the Fundação

Breathe II, 2013. Mixed media installation. Dimensions variable.

Bienal de São Paulo for the 32nd Bienal (2016).

Artist’s collection, Intermedia Studios / KHaL!SHRINE. Support: Em’kal Eyongakpa Intermedia Studios; KHaL!SHRINE; Mondriaan Fund.

Donna Kukama

Rustle 2.0, 2016. From the series Rustle. Installation composed of

A: The Anatomy of History, 2016. Performance at the Museu

plant fibre, surroundsound, metal, kinetic sculpture, text, cables,

Afro Brasil (9 September, 2016). 15’ approx. Commissioned by the

plastic, light, electronic interfaces, magnetism. Dimensions variable.

Fundação Bienal de São Paulo for the 32 Bienal (2016).

Support: Em’kal Eyongakpa Intermedia Studios; KHaL!SHRINE;

B: I, Too, 2016. Performance (10 September, 2016). 3h approx.

Mondriaan Fund. Commissioned by the Fundação Bienal de São

Commissioned by the Fundação Bienal de São Paulo for the

Paulo for the 32nd Bienal (2016).

32nd Bienal (2016).

Untitled XXIV, 2016. From the series Memory Maps for an

C: The Genealogy of Pain, 2016. Performance in the Cemetery of

Overload. Installation composed of camera obscura, ambient sound,

Consolação (7 September, 2016). 20’ approx. Commissioned by the

kinetic sculptures, text, episcope, electronic interface. Dimensions

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

variable. Support: KHaL!SHRINE; Mondriaan Fund. Commissioned by

nd

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Ebony G. Patterson ...doing what they always do... (…when they grow up…), 2016. Hand

Erika Verzutti

cut Jacquard woven tapestry with beads, appliques, embellishments,

Branco, 2016. [White]. Oil on papier-mache and expanded

broaches, plastic, glitter, fabric, toys, embellished knapsack, book

polystyrene. 335 × 900 × 20 cm. Commissioned by the Fundação Bienal

and handmade shoes. 314.96 × 1092.20 × 30.48 cm. Courtesy: the

de São Paulo for the 32nd Bienal (2016).

artist and Monique Meloche Gallery, Chicago. Commissioned by the

Halo, 2016. Oil on papier-mache and expanded polystyrene.

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

300 × 300 × 20 cm. Commissioned by the Fundação Bienal de São

...he was only 12... (...when they grow up...), 2016. Mixed media

Paulo for the 32nd Bienal (2016).

print on hand cut, watercolor paper with beads, appliques,

Nova, 2016. Oil on papier-mache and expanded polystyrene.

embellishments, broaches, plastic, glitter, fabric and toys.

335 × 800 × 20 cm. Commissioned by the Fundação Bienal de São

193.04 × 337.82 cm. Courtesy: the artist and Monique Meloche

Paulo for the 32nd Bienal (2016).

Gallery, Chicago. Commissioned by the Fundação Bienal de São

Presentation produced in partnership with Sesc-SP.

Paulo for the 32 Bienal (2016). nd

...love… (…when they grow up…), 2016. Hand cut Jacquard woven

Felipe Mujica

tapestry with beads, appliques, embellishments, broaches, plastic,

Las universidades desconocidas, 2016. [The Unknown Universities].

glitter, fabric, and stuffed toys. 284.48 × 308.61 × 30.48 cm. Courtesy:

From the series Cortinas, 2016. [Curtains]. Cotton fabric and

the artist and Monique Meloche Gallery, Chicago. Commissioned by

thread. 30 pieces, 295 × 160 cm each. Support: Consejo Nacional de

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

la Cultura y las Artes; Alex Cassimiro & Valentina Soares (Platô);

...they were discovering things and finding ways to understand... (...

Galeria Metrópole; Grupo Bordadeiras do Jardim Conceição.

when they grow up...), 2016. Hand cut Jacquard woven tapestry

Commissioned by the Fundação Bienal de São Paulo for the

with beads, appliques, embellishments, broaches, plastic, glitter,

32nd Bienal (2016).

fabric, toys, embellished knapsack, book and handmade shoes.

Presentation produced in partnership with Sesc-SP.

208.28 × 287.02 cm. Courtesy: the artist and Monique Meloche Gallery, Chicago. Commissioned by the Fundação Bienal de São

Francis AlŸs

Paulo for the 32 Bienal (2016).

Series In a Given Situation, 2010-2016. Oil, pencil and collage on

...they were filled with hope, desire, and beauty... (...when they grow

tracing paper; mirrors. 14 pieces, 43 × 32.3 cm (framed). Courtesy: the

up...), 2016. Mixed media print on hand cut, watercolor paper with

artist and Galerie Peter Kilchmann, Zurich.

beads, appliques, embellishments, broaches, plastic, glitter, fabric and

Untitled, 2016. Oil on canvas. 25.3 × 32.3 cm. Courtesy: the artist and

toys. 232.41 × 378.46 cm. Courtesy: the artist and Monique Meloche

Galerie Peter Kilchmann, Zurich. Commissioned by the Fundação

Gallery, Chicago. Commissioned by the Fundação Bienal de São

Bienal de São Paulo for the 32nd Bienal (2016).

Paulo for the 32nd Bienal (2016).

Untitled, 2016. Oil on canvas. 25.3 × 32.3 cm. Courtesy: the artist and

nd

Galerie Peter Kilchmann, Zurich. Commissioned by the Fundação

Eduardo Navarro

Bienal de São Paulo for the 32nd Bienal (2016).

Sound Mirror, 2016. Mixed media. Dimensions variable. Acoustic

Untitled, 2016. Oil on canvas. 25.3 × 32.3 cm. Courtesy: the artist and

5


Galerie Peter Kilchmann, Zurich. Commissioned by the Fundação

57.1 × 90.8 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Bienal de São Paulo for the 32nd Bienal (2016).

Collection.

Untitled, 2016. Drawings and animated paintings; 16mm

A Primeira Homenagem ao Cometa, 1985. [The First Tribute to

projection. Courtesy: the artist and Galerie Peter Kilchmann, Zurich.

the Comet]. Woodcut. 55 × 90 cm. Museu de Arte Moderna Aloisio

Collaborators: Emilio Rivera, Federico Navarrete, Felix de Smedt and

Magalhães – MAMAM Collection.

Elena Pardo. Commissioned by the Fundação Bienal de São Paulo for

O Senhor do Dia, 1986. [The Lord of the Day]. Woodcut.

the 32 Bienal (2016).

55.7 × 90.3 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

nd

Collection.

Frans Krajcberg

O Sonho de Matheus, 1987. [Matheus's Dream]. Woodcut.

Sem título (Bailarinas), n.d. [Untitled (Bailarinas)]. Sculptures

90.5 × 50.2 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

of wood from burnings and natural pigments. 10 pieces,

Collection.

dimensions variable.

O Diálogo, 1988. [The Dialogue]. Woodcut. 90.3 × 55.3 cm. Museu de

Sem título (Coqueiros), n.d. [Untitled (Coqueiros)]. Sculptures

Arte Moderna Aloisio Magalhães – MAMAM Collection.

of wood from burnings and natural pigments. 62 pieces,

O Enigma, 1989. [The Enigma]. Woodcut. 89.8 × 50.3 cm. Museu de

dimensions variable.

Arte Moderna Aloisio Magalhães – MAMAM Collection.

Sem título (Gordinhos), n.d. [Untitled (Gordinhos)]. Sculptures

A Fonte, 1990. [The Fountain]. Woodcut. 89.5 × 53.5 cm. Museu de

of wood from burnings and natural pigments. 8 pieces,

Arte Moderna Aloisio Magalhães – MAMAM Collection.

dimensions variable.

Virgem dos Cometas, 1991. [Virgin of the Comets]. Woodcut.

Presentation produced in partnership with Sesc-SP.

90.7 × 53.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM Collection.

Gabriel Abrantes

A Queda, 1992. [The Fall]. Woodcut. 35.7 × 20.2 cm. Museu de Arte

Os humores artificiais, 2016. [The Artificial Humours]. S16mm

Moderna Aloisio Magalhães – MAMAM Collection.

transferred to HD. 30’. Courtesy: of the artist and Galeria Francisco

A Criação – Homem e Mulher, 1993. [The Creation – Man and

Fino, Lisbon. Support: Fundação Calouste Gulbenkian; República

Woman]. Woodcut. 90.7 × 49.7 cm. Museu de Arte Moderna Aloisio

Portuguesa – Cultura | Direção-Geral das Artes. Commissioned by the

Magalhães – MAMAM Collection.

Fundação de Serralves, Colección Inelcom, and the Fundação Bienal

A Dama da Noite, 1994. [The Lady of the Night]. Woodcut.

de São Paulo for the 32 Bienal (2016).

90.5 × 49.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Presentation produced in partnership with Sesc-SP.

Collection.

nd

O Retorno, 1995. [The Return]. Woodcut. 55.5 × 90.3 cm. Museu de

Gilvan Samico

Arte Moderna Aloisio Magalhães – MAMAM Collection.

No Reino da Ave dos Três Punhais, 1975. [In the Kingdom of the

A Bela e a Fera, 1996. [The Beauty and the Beast]. Woodcut.

Three Daggers Bird]. Woodcut. 74.7 × 41 cm. Museu de Arte Moderna

91.5 × 47 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Aloisio Magalhães – MAMAM Collection.

Collection.

Recordação de um Malabarista, 1976. [Recollection of a Juggler].

O Sagrado, 1997. [The Sacred]. Woodcut. 56 × 81 cm. Museu de Arte

Woodcut. 90 × 35.5 cm. Museu de Arte Moderna Aloisio Magalhães –

Moderna Aloisio Magalhães – MAMAM Collection.

MAMAM Collection.

Fruto Flor, 1998. [Flower Fruit]. Woodcut. 90 × 50.2 cm. Museu de

A Luta dos Homens, 1977. [The Struggle of Men]. Woodcut.

Arte Moderna Aloisio Magalhães – MAMAM Collection.

84.5 × 46 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

O Devorador de Estrelas, 1999. [The Star Eater]. Woodcut.

Collection.

93.2 × 55 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

O Encontro, 1978. [The Encounter]. Woodcut. 73.5 × 50 cm. Museu

Collection.

de Arte Moderna Aloisio Magalhães – MAMAM Collection.

A Espada e o Dragão, 2000. [The Sword and the Dragon]. Woodcut.

O Guardião, 1979. [The Guardian]. Woodcut. 91 × 40.2 cm. Museu de

91.5 × 48.7 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Arte Moderna Aloisio Magalhães – MAMAM Collection.

Collection.

O Outro Lado do Rio, 1980. [The Other Side of the River]. Woodcut.

Rumores de Guerra em Tempos de Paz, 2001. [War Rumors in Times

90 × 47 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

of Peace]. Woodcut. 91.5 × 50.5 cm. Museu de Arte Moderna Aloisio

Collection.

Magalhães – MAMAM Collection.

A Mãe dos Homens, 1981. [The Mother of Men]. Woodcut.

Criação das Sereias – Alegorias Barrocas, 2002. [Creation of the

52.4 × 69.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Sirens – Baroque Allegory]. Woodcut. 55.5 × 91 cm. Museu de Arte

Collection.

Moderna Aloisio Magalhães – MAMAM Collection.

O Fazedor da Manhã, 1982. [The Morning Maker]. Woodcut.

A Caça, 2003. [The Hunt]. Woodcut. 92.7 × 47 cm. Museu de Arte

57.5 × 70.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Moderna Aloisio Magalhães – MAMAM Collection.

Collection.

A Ascensão, 2004. [The Ascension]. Woodcut. 93 × 53 cm. Museu de

O Segredo do Lago, 1983. [The Secret of the Lake]. Woodcut.

Arte Moderna Aloisio Magalhães – MAMAM Collection.

56.2 × 92 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Júlia e a Chuva de Prata, 2005. [Júlia and the Silver Rain]. Woodcut.

Collection.

93 × 50 cm. Samico Family Collection.

O Rapto do Sol, 1984. [The Abduction of the Sun]. Woodcut.

A Árvore da Vida e o Infinito Azul, 2006. [The Tree of Life and the

6


Infinite Blue]. Woodcut. 93 × 49.5 cm. Samico Family Collection.

British art and includes important examples by all of the UK’s

A Pesca, 2007. [The Fishery]. Woodcut. 93 × 52 cm. Samico Family

prominent artists.

Collection.

TRUE TO SIZE – Fire, 2015-2016. Monitors, speakers, giant soft

Via Láctea – Constelação da Serpente II, 2008. [Milky Way –

toy bears, prom dress, umbrella, digital prints on cardboard, digital

Constellation Snake II]. Woodcut. 116 × 80 cm. Samico Family

prints on vinyl, cardboard, timber, bungee, pillows, fishing wire and

Collection.

gaffer tape. Dimensions variable. Support: British Council; The Henry

Criação das Estrelas, 2009. [Creation of the Stars]. Woodcut.

Moore Foundation. TRUE TO SIZE, 2016 by Heather Phillipson

93 × 50 cm. Samico Family Collection.

is a 70th anniversary commission for the Arts Council Collection.

A Conquista do Fogo e do Grão, 2010. [The Conquest of Fire and

Founded in 1946, the Arts Council Collection is the largest national

Grain]. Woodcut. 94.8 × 51.3 cm. Samico Family Collection.

loan collection of modern and contemporary British art and includes

Criação – O Sol, a Lua e as Estrelas, 2011. [Creation – the Sun,

important examples by all of the UK’s prominent artists.

the Moon and the Stars]. Woodcut. 92.5 × 53 cm. Samico Family Collection.

Henrik Olesen

O Delírio ou as Sete Luas de Ícaro, 2012. [The Delirium or the Seven

1, 2016. Acrylic paint, edding marker, paper, high-density

Moons of Icarus]. Woodcut. 92.5 × 53 cm. Samico Family Collection.

fiberboard. 210 × 193 cm. Courtesy: the artist and Galerie Buchholz,

Estudo colorido para xilogravura, 2013. [Colorful Study for

Berlin / Cologne / New York. Support: Danish Arts Foundation;

Woodcut]. Acrylic on cardboard. 116 × 80 cm. Samico Family

Nordic Culture Fund; Nordic Culture Point; ifa (Institut für

Collection.

Auslandsbeziehungen). 2, 2016. Inkjet print on photo paper, self-adhesive film, edding

Grada Kilomba

marker, acrylic paint, oil paint, high-density fiberboard. 243 × 210 cm.

The Desire Project, 2015-2016. Video installation composed of 3

Courtesy: the artist and Galerie Buchholz, Berlin / Cologne / New York.

video channels with sound, 3 “print form” prints with image and

Support: Danish Arts Foundation; Nordic Culture Fund; Nordic

text. 3 monitors with total dimensions 204 cm × 115 cm. 2’37” loop.

Culture Point; ifa (Institut für Auslandsbeziehungen).

Support: Goethe-Institut São Paulo; República Portuguesa – Cultura |

3, 2016. Acrylic paint, edding marker, paper, high-density

Direção-Geral das Artes. Music: Moses Leo; Text Revision: Júlia

fiberboard. 220 × 210 cm. Courtesy: the artist and Galerie Buchholz,

Soares Correia; Assistance: Anne Wiegmann; Special thanks: Lann

Berlin / Cologne / New York. Support: Danish Arts Foundation;

Hornscheidt, Babalaô Fábio Felipe Maia.

Nordic Culture Fund; Nordic Culture Point; ifa (Institut für

Illusions, 2016. Performance with screen video projection (1 channel,

Auslandsbeziehungen).

sound), table, texts, microphone. Screen stage size of 4 meters.

4, 2016. Inkjet print on photo paper, self-adhesive film, edding

Approx. 45’. Support: Goethe-Institut São Paulo; República

marker, acrylic paint, oil paint, high-density fiberboard. 210 × 193 cm.

Portuguesa – Cultura | Direção-Geral das Artes. Commissioned by the

Courtesy: the artist and Galerie Buchholz, Berlin / Cologne / New York.

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Support: Danish Arts Foundation; Nordic Culture Fund; Nordic Culture Point; ifa (Institut für Auslandsbeziehungen).

GuGuOu (Güneş Terkol, Güçlü Öztekin & Oğuz Erdin)

5, 2016. Inkjet print on photo paper, self-adhesive film, edding

Along Song, 2016. Sound performance. Support: SAHA – Supporting

marker, acrylic paint, oil paint, high-density fiberboard. 210 × 830 cm.

Contemporary Art from Turkey. Commissioned by the Fundação

Courtesy: the artist and Galerie Buchholz, Berlin / Cologne / New York.

Bienal de São Paulo for the 32nd Bienal (2016).

Support: Danish Arts Foundation; Nordic Culture Fund; Nordic Culture Point; ifa (Institut für Auslandsbeziehungen).

Güneş Terkol Series Couldn’t Believe What She Heard, 2015. Embroidery and

Hito Steyerl

drawing on fabric. 14 pieces, dimensions variable. Artist’s collection.

Robots Today, 2016. HD video, environment. 8’. Support: Bariş

Support: SAHA – Supporting Contemporary Art from Turkey.

Şehitvan; Zelal Özmen; Sümer Kültür Merkezi Diyarbakır;

Series The Girl Was Not There, 2016. Embroidery and drawing on

Goethe-Institut São Paulo; ifa (Institut für Auslandsbeziehungen).

fabric. 16 pieces, dimensions variable. Artist’s collection. Support:

Camera: Savaş Boyraz; Translation: Rojda Tugrul, Övül Durmosoğlu;

SAHA– Supporting Contemporary Art from Turkey. Commissioned by

Production: Misal Adnan Yıldız, Şener Özmen; Protagonists: Nevin

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Soyukaya (archaeologist, researcher, writer head of the Department Cultural Heritage and Tourism, Diyarbakır); Researcher, Writer:

Heather Phillipson

Abdullah Yaşin, Cizre; Dancers: Ibrahim Halil Saka, Vedat Bilir,

TRUE TO SIZE – Wind, 2015-2016. Monitors, speakers, giant

Sezer Kılıç. Music: Kassem Mosse; Postproduction: Christoph

soft toy bears, prom dress, umbrella, digital prints on cardboard,

Manz, Maximilian Schmoetzer; Assistant: Milos Trakilović.

digital prints on vinyl, cardboard, timber, bungee, pillows, fishing

Acknowledgements: Alice Conconi, Andrew Kreps, Sümer Kültür

wire and gaffer tape. Dimensions variable. Support: British Council;

Merkezi, Diyarbakir, Sanat Merkezi, Gunnar Wendel, Esme Buden.

The Henry Moore Foundation. TRUE TO SIZE, 2016 by

Hell Yeah We Fuck Die, 2016. 3 channel video installation,

Heather Phillipson is a 70th anniversary commission for the Arts

environment, HD video. 4’. Support: Goethe-Institut São Paulo; ifa

Council Collection. Founded in 1946, the Arts Council Collection

(Institut für Auslandsbeziehungen). Original Soundtrack: Kassem

is the largest national loan collection of modern and contemporary

Mosse; based on research by David Taylor identifying the 5 most

7


popular words in English song titles since 2010. Robot push recovery,

Américo dos Santos (Zé), José Caetano Santos (Juquinha), José

AI falling simulation and bipedal gait footage with many thanks by:

Neoson dos Santos (Neo), Manuel Jacinto de Oliveira (Mãozinha);

Thomas Geijtenbeek (www.goatstream.com), Michiel van de Panne,

Special Acknowledgements: Redfish. Acknowledgements: Agnês, Ana

Frank van der Stappen, Natural Motion, MIT Darpa Robotics Team

Maria Maia, Antônio Amorim, Antônio José Pereira (Baixinho), Arto

(http://drc.mit.edu), Siyuan Feng (The Robotics Institute, Carnegie

Lindsay, Bruno Corrêa Meurer, Barbara Wagner, Camile Reis, Camila

Mellon University Team), WPI-CMU, Benjamin Stephens Ph.D work

Salgado, Colônia dos Pescadores de Piaçabuçu Z19, Cristina Gouvêa,

(Carnegie Mellon University), Zhibin (Alex) LI, PhD (Assistant

Cristiano Lenhardt, Eduardo Serrano, Esdras Bezerra de Andrade,

Professor, School of Informatics, University of Edinburgh), Mr. Noel

Gabriel Mascaro, Gilberto Falbo, Hernani Heffner, Jairo Dornelas,

Maalouf and Dr. Imad Elhajj (members of the Vision and Robotics

Lelo (Olinda), Marie Carangi, Miguel Alencar, Naná Vasconcelos,

Laboratory at the American University of Beirut), Seedwell Media.

Pelado, Pousada Santiago, Pousada Rosa dos Ventos, Priscila de

Dancers: Ibrahim Halil Saka, Vedat Bilir, Sezer Kılıç; Postproduction:

Souza Gonzaga, Rodrigo Tavares; Produced by: Desvia Wexner

Christoph Manz, Maximilian Schmoetzer; Line Producer:

Center for the Arts.

Lawren Joyce; Producer and Director Photography California

Presentation produced in partnership with Sesc-SP.

Robotic Challenge: Kevan Jenson. Assistant: Milos Trakilovic. Acknowledgements: Alice Conconi, Andrew Kreps, Gunnar Wendel,

Jordan Belson

Esme Buden. Commissioned by the Fundação Bienal de São Paulo for

Abraxas, c.1950. Paper, pigment, cut board, tape. 18.41 × 15.24 cm.

the 32nd Bienal (2016).

Courtesy: Catherine Heinrich. Elephant Parts, n.d. Paper, pigment, glass, mashing tape, cardboard.

Iza Tarasewicz

20.95 × 17.14 cm (framed). Courtesy: Catherine Heinrich.

TURBA, TURBO, 2015. Installation composed of a modular system

Gordian Knot, n.d. Paper, pigment, glass, black tape, cardboard.

and the elements: white titanium, yellow iron, red iron, brown iron,

24.13 × 18.42 cm (framed). Courtesy: Catherine Heinrich.

black iron, green chrome, cobalt iron, ash, metal, cement, hemp

Horns of Unplenty, n.d. Masonite, pigment, wood, stain.

fibre, resin, asphalt, rubber mass, water glass, glue; 25 metal hoops

30.48 × 40.64 cm. Courtesy: Catherine Heinrich.

connected to 75 shelves / frames. 1000 cm x 1000 cm x 150 cm.

Phoenix, n.d. Paper, pigment, matboard, tape. 18.41 × 15.24 cm.

Courtesy: of the artist. Support: Deutsche Bank; Zachęta National

Courtesy: Catherine Heinrich.

Gallery; Adam Mickiewicz Institute; Culture.pl; Goethe-Institut

Red Cosmic Egg, n.d. Mixed media drawing. 20.32 × 15.24 cm

São Paulo.

(framed). Courtesy: Catherine Heinrich.

Mbamba Mazurek, 2016. Music and dance performance. 50’.

Samadhi, 1967. 16 mm film transferred to digital HD. 5’. Courtesy:

Support: Adam Mickiewicz Institute; Deutsche Bank; Zachęta

Center for Visual Music, Los Angeles.

National Gallery; Adam Mickiewicz Institute; Culture.pl; Goethe-

Snake, n.d. Paper, pigment, matboard. 18.41 × 15.24 cm. Courtesy:

Institut São Paulo. Participants: Cachuera Group, string-player

Catherine Heinrich.

Filpo Ribeiro, accordionist Gabriel Levy and Iza Tarasewicz.

Spools, n.d. Masonite, pigment, wood, stain. 30.48 × 40.64 cm.

Acknowledgments: Willian Fernandes, Barbara Alge, Prof. Alberto

Courtesy: Catherine Heinrich.

Tsuyoshi Ikeda, Acácio Piedade, Pula Leme, Piotr Zgorzelski, “All

Turbine Wheel, n.d. Masonite, pigment, wood, stain.

the World’s Mazurkas” – Festival in Poland. Commissioned by the

30.48 × 40.64 cm. Courtesy: Catherine Heinrich.

Fundação Bienal de São Paulo for the 32nd Bienal (2016)

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy: Catherine Heinrich.

Jonathas de Andrade

Untitled, n.d. Mixed media, drawing. 22.86 × 30.48 cm. Courtesy:

O peixe, 2016. [The Fish]. 16mm film transferred to digital HD.

Catherine Heinrich.

38’. Support: Funcultura; Governo do Estado de Pernambuco.

Untitled, n.d. Mixed media, drawing. 22.86 × 30.48 cm. Courtesy:

Fishermen: Carlos dos Santos (Menezes), Cícero dos Santos (Ciço),

Catherine Heinrich.

Cipriano Batista Alves (Cipriano), Genivaldo Santos de Lima

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

(Irmão), Gileno Cândido Bezerra (Leno), José Ailton Almeida de

Catherine Heinrich.

Liza (Xau), José Dalmo dos Santos (Curió), José Elenildo Oliveira

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

dos Santos (Keno), Romerig Francisco dos Santos (Rom), Ronaldo

Catherine Heinrich.

Vieira Santos (Ronaldo); fishes: Pirarucu, Tambuacu, Tilápia.

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

Assistant Director: Jeronimo Lemos; Production: Rachel Daisy

Catherine Heinrich.

Ellis; Co-production: Jennifer Lange; Production Director: Vanessa

Untitled (Scroll), n.d. Mixed media drawing. 190.5 × 30.48 cm.

Barbosa; Cinematographer: Pedro Urano; Cinematographer Assistant:

Courtesy: Catherine Heinrich.

Leandro Gomes, Camila Freitas; Editing: Tita, Ricardo Pretti; Sound

Untitled (Scroll), n.d. Mixed media drawing. 190.5 × 30.48 cm.

Design: Mauricio d’Orey; Sound Mixing: Paul Hill; Color Correction:

Courtesy: Catherine Heinrich.

Mike Olenick; Finishing: Film / Video Studio Program, Wexner

Untitled (Scroll), n.d. Mixed media drawing. 190.5 × 30.48 cm.

Center for the Arts; Fish providers: Fernando (Coruripe), Galindo

Courtesy: Catherine Heinrich.

(Piaçabuçu), Wellinton (Coruripe); Camera Boat Pilots: Carlos

Untitled, 1952. From the series Brain Drawings. Paper, ink.

Roberto Bento e Silva, Chico Pescador, Ronaldo Vieira Dos Santos;

19.68 × 19.68 cm. Courtesy: Catherine Heinrich.

Driver: Marcinho; Set helpers: Gileno Cândido Bezerra (Leno), José

Untitled, 1952. From the series Brain Drawings. Paper, ink.

8


19.68 × 19.68 cm. Courtesy: Catherine Heinrich.

Katia Sepúlveda

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Dispositivo doméstico, 2007-2016. [Domestic Device]. Installation

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

composed of: 2 channels video (The Horizontal Man, 2016), model

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

(White House Lego) and collages (made in 2007-2012) and cut-out

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

vinyl on the floor. Collages: 140 × 70 cm; video: 3’23’’; model:

Untitled, c.1952. From the series Brain Drawings. Paper, pigment,

11 × 2 × 8 cm. Acknowledgements: Felipe González. Commissioned by

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Feminismo Mapuche, 2016. [Mapuche Feminism]. Performance.

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

Action with the participation of the artist, Margarita Calfio and

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Maria Angelica Valdemarra. Acknowledgements: Marta Ormazabal.

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

Commissioned by the Fundação Bienal de São Paulo for the

Untitled, n.d. Paper, pigment, plastic, tape, cardboard.

32nd Bienal (2016).

20.32 × 15.24 cm (framed). Courtesy: Catherine Heinrich. Untitled, n.d. Paper, pigment, glass, mashing tape, cardboard.

Koo Jeong a

20.32 × 15.24 cm (framed). Courtesy: Catherine Heinrich.

ARROGATION, 2016. Skatepark. Concrete, metal, paint and luminescent dust. 1700 cm ⌀. . Support: Arts Council Korea (ARKO);

Jorge Menna Barreto

ifa (Institut für Auslandsbeziehungen). In collaboration with

Restauro, 2016. [Restoration]. Restaurant designed for the

Aleksandrina Rizova. Commissioned by the Fundação Bienal de São

32nd Bienal, in which the menu prioritizes the diversity of the plant

Paulo for the 32nd Bienal (2016).

kingdom of agroforestry origin. Eaters become participants of an environmental sculpture in the process, to the extent that the act

Lais Myrrha

of feeding regenerates and shapes the landscape in which we live.

Dois pesos, duas medidas, 2016. [Double Standard]. Concrete,

Support: Lab.SONAR – Laboratório de Sonoridades, Organicidades,

brick, mortar, roof tile, glass, PVC tubes, conduits, wires, metal,

Nomadismos, Artes e Radiofonias (UERJ); Extension Project “Arte

wood, palm fiber, bamboo and compacted soil. 800 × 300 × 300 cm

Colaborativa, Sonoridades e Biopolítica” (UERJ); Extension Project

each. Commissioned by the Fundação Bienal de São Paulo for the

“Consciência Contextual: entre o artístico e o ambiental” (Secretaria

32nd Bienal (2016).

do Meio Ambiente do Estado de São Paulo). Collaborators: Neka Menna Barreto, Marcelo Wasem, O Grupo Inteiro, Escola Como

Leon Hirszman

Como de Ecogastronomia, Vitor Braz. Commissioned by the

Cantos de trabalho – Cacau, 1976. [Work Songs – Cocoa]. 16 mm

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

film transferred to video. 11’. Production: Leon Hirszman Produções; Brazilian Product Certificate: 233 / 10.1979; Directed by: Leon

José Antonio Suárez Londoño

Hirszman; Photography: José Antônio Ventura; Video-editing: Sérgio

Series Planas: del 1 de enero al 31 de diciembre del año 2005, 2005.

Sanz; Sound: Francisco Balbino; Narration: Ferreira Gullar; Final

[Exercises: from January 1 to December 31 of the year 2005]. Mixed

coordination: Marcos Farias; Image lab: Líder (RJ); Sound studio:

media on paper. 365 pieces, dimensions variable. Series performed

Tecnisom (RJ). Courtesy: Leon Hirszman Family.

daily by the artist in exercise pages for one year (2005). Support:

Cantos de trabalho – Cana-de-açúcar, 1976. [Work Songs – Sugar

Embassy of Colombia in Brazil. Acknowledgments: Emiliano Valdés –

Cane]. 16 mm film transferred to video. 10’. Production: Leon

MAMM, Medellín; Miguel Suárez Londoño; Ana Mercedes Suárez

Hirszman Produções, Marcos Farias; Brazilian Product Certificate:

Londoño; Casas Riegner.

234 / 10.1979; Written and directed by: Leon Hirszman; Photography: José Antônio Ventura; Video-editing: Sérgio Sanz. Courtesy: Leon

José Bento

Hirszman Family.

Chão, 2004 / 2016. [Floor]. Slats of various woods, iron, steel cables

Cantos de trabalho – Mutirão, 1975. [Work Songs – Joint Effort].

and springs. Dimensions variable.

35 mm film transferred to video. 12’. Production: Departamento

Do pó ao pó, 2016. [From Dust to Dust]. 25 wood types from

de Assuntos Culturais (Plano de Ação Cultural – MEC); Executive

Brazilian biomas that were and are marketed: Angelim, Angico,

Producer: Leon Hirszman; Directed by: Leon Hirszman; Adivisory

Santos Mahogany, Bicuíba, Baraúna, Caixeta, Canela, Oak, Spanish

text: Vicente Salles; Photography, Camera: José Antônio Ventura;

cedar, Eucalyptus, Garapa, Jatobá, Brazilian rosewood, Jequitibá

Camera Assistant: Francisco Balbino; Video-editing: Raul Soares;

Rosa, Itapicuru, Oiticica, Brazilwood, Pau-pereira, White Peroba,

Sound: Francisco Balbino; Location: Chã Preta, Alagoas; Image

Peroba-rosa, Roxinho, Tumujú, Vinhático, Sapucaia, Sucupira. 25

Lab: Revela (SP); Sound Studio: Tecnisom (RJ); Photo Compositing:

parts of 57 × 42 × 91 cm.

Movedoll (SP). Courtesy: Leon Hirszman Family.

Kathy Barry

Lourdes Castro

Series 12 Energy Diagrams, 2015-2016. Watercolor and pencil on

Series Sombras à volta de um centro, 1980-1987. [Shadows Around

paper. 12 pieces of 70 × 72 cm. Support: Creative New Zealand.

a Center]. Artist's collection deposited in the Fundação de Serralves –

12 Minute Movement, 2016. HD video. 12’12’’. Support: Creative

Museu de Arte Contemporânea, Porto. Support: Fundação Calouste

New Zealand.

Gulbenkian; República Portuguesa – Cultura | Direção-Geral das Artes.

9


Aucuba japónica, 1985. Colored pencil on paper. 50 × 70 cm.

Strelitzia, 1985. Crayon on paper. 37.5 × 55 cm.

Beladonas, 1987. [Amaryllis]. Marker pen on tracing paper.

Strelitzia, 1985. Colored pencil on paper. 55 × 37.8 cm.

76 × 76 cm.

Tulipas II, 1980. [Tulips II]. Crayon on paper. 66 × 50 cm.

Camélia, 1985. [Camellia]. Crayon on paper. 55 × 37.5 cm.

Tulipas III, 1980. [Tulips III]. Crayon on paper. 66 × 50 cm.

Cearas / Lentilhas, 1985. [Cearas / Lentils]. Crayon, colored pencil and collage on paper. 48 × 76.7 cm.

Lourdes Castro & Manuel Zimbro

Cearas / Lentilhas, 1985. [Ceara / Lentils]. Marker pen and crayon

Un Autre livre rouge I, 1973. [Another Red Book I]. Artist book.

on paper. 39 × 61.5 cm.

164 p.; 47 × 35 cm. 82 sheets of white cardboard and various

Cesto rosas, 1986. [Basket Roses]. Crayon on paper. 56.5 × 76 cm.

shades of red, with various thicknesses; all sheets with collages

Cesto rosas, 1986. [Basket Roses]. Crayon on paper. 50.3 × 70.3 cm.

whose common theme is the “red” (clippings from newspapers

Cyclamen, 1980. China Ink on paper. 50 × 66 cm.

and magazines, postcards, packaging paper, photocopies with text

Cyclamen de perse, 1980. Crayon and colored pencil on paper.

excerpts); 2 serigraphs: sheet 56 ex. 39 / 50, 1968, and sheet 58 ex.

66 × 46 cm.

14 / 35, n.d. Packed in a carton cover, red, tied by two ribbons. Signed.

Folha de palmeira, 1986. [Palm Leaf]. Colored pencil on paper.

Artist’s collection; Fundação Calouste Gulbenkian – Biblioteca

90 × 68.3 cm.

de Arte. Support: Fundação Calouste Gulbenkian; República

Folha de palmeira, 1986. [Palm Leaf]. Pencil and colored pencil on

Portuguesa – Cultura | Direção-Geral das Artes.

paper. 90 × 68.3 cm.

Un Autre livre rouge II, 1974. [Another Red Book II]. Artist book.

Folhas, 1980. [Leaves]. Crayon on paper. 66 × 50 cm.

188 p. ; 40 × 30.5 cm 94 sheets of white cardboard with various

Folhas, 1985. [Leaves]. Colored pencil on paper. 37.5 × 55 cm.

thicknesses, except: 10 sheets black; 15 sheets red and 1 sheet green;

Geranium Robert, 1984. China Ink and colored pencil on paper.

cutout of the sheets painted red. All sheets with collages: clippings

38.5 × 57 cm.

from newspapers and magazines, postcards, packaging paper,

Goivos, 1980. [Brassicaceae]. Colored pencil on paper. 57 × 76 cm.

photocopies with excerpts from texts in which the common theme is

Íris, 1980. [Iris]. Crayon on paper. 66 × 50 cm.

the “red”. Packed in a red carton cover, tied with six ribbons. Artist’s

Íris, 1980. [Iris]. Colored pencil on paper. 50 × 66 cm.

collection; Fundação Calouste Gulbenkian – Biblioteca de Arte.

Íris Azul, 1980. [Blue Iris]. Crayon and colored pencil on paper.

Support: Fundação Calouste Gulbenkian; República Portuguesa –

50 × 66 cm.

Cultura | Direção-Geral das Artes.

Liláses I, 1980. [Lilacs I]. Pencil and colored pencil on paper. 50 × 66 cm.

Luiz Roque

Liláses II, 1980. [Lilacs II]. Crayon on paper. 50 × 66 cm.

HEAVEN, 2016. HD video (5.1 sound, color). 9’. Cast: Mavi Veloso,

Liláses III, 1980. [Lilacs III]. Colored pencil on paper. 50 × 66 cm.

Glamour Garcia, Danilo Grangheia, Danna Lisboa, Gretta Starr,

Malmequeres, 1980. [Marigolds]. China Ink on paper. 45.5 × 66 cm.

Maitê Schneider, Latoya Prado, Dani Pinheiro, Bruno Mendonça;

Malmequeres, 1980. [Marigolds]. Litograph, natural elements.

Executive Production: Camila Groch; Written by: Josefina Trotta

65 × 50 cm.

& Luiz Roque; Cinematography: Joana Luz; Casting preparation

Malmequeres, 1980. [Marigolds]. Pencil of 4 colors on paper.

for “Debate”: Tomás Rezende; Production Direction: Mary Garske;

50 × 66 cm.

Direction Assistant: Thiago Villas Boas; Art Production: Adriana

Malmequeres, 1980. [Marigolds]. Pencil of 4 colors on paper.

Michalski & Tyaga Sá Britto; Costume: Alex Cassimiro & Tina

50 × 66 cm.

Soares; Make-up: Carlinhos Rosa; Electrician: Bruno Homem de

Malmequeres, 1980. [Marigolds]. Silver pencil on paper. 57 × 76 cm.

Mello; Machinist: Weber Cunha “Cabelo”; Platô: Bruno Possati

Miosótis, 1984. [Myosotis]. Pencil on paper. 37.5 × 55 cm.

& Erik Vítor; Direct Sound: Tiago Bittencourt; Editing: Manga

Muguet, 1980. [Lily of the Valley]. China Ink on paper. 50 × 66 cm.

Campion; Original Soundtrack: Márcio Biriato; Artist’s Assistant:

Narcisos, 1980. [Narcissus]. Crayon and colored pencil on paper.

Pedro Gallego; Artists Collaborators: Bruno 9li, Erika Verzutti,

48.2 × 64 cm.

Rodolpho Parigi; Executive Assistant: João Metzner; Set Assistant:

Narcisos secos, 1980. [Dry Narcissus]. Colored pencil on paper.

Raphael Matos; Contra Regra: Marcão Araújo; 1st Camera Assistant:

50.3 × 66 cm.

André Keller; 2nd Camera Assistant: Lucas Lourenço; 3rd Camera

Primaveras I, 1980. [Bougainvillea I]. China Ink and cutout on

Assistant: Gabriel Silveira; Logger: Guilherme Castelli; Electrical

paper. 66 × 50 cm.

Assistants: Joel Santos, Nigéria; Machinery Assistants: Ferpa, Nick,

Primaveras II, 1980. [Bougainvillea II]. Colored pencil on paper.

Vinicius Ribeiro da Cunha; Camera: A. Ermel, Base 1 Locadora; Light

66 × 50 cm.

and Motion: Electrica Cinema & Vídeo; Drone: Disk Films; Set’s

Ranúnculos, 1980. [Ranunculus]. China Ink on paper. 50 × 66 cm.

Infrastructure: Estrutura Cine; Image Finishing: Lilit Laboratório

Rosa, 1985. [Rose]. Colored pencil on paper. 56 × 38.5 cm.

Digital; Coordination of Post Production: Laura Futuro; Editing

Salsa, 1980. China Ink and cutout on paper. 61 × 39 cm.

Assistant: Joana Reis; Colouring: Julia Bisilliat; Composition and

Sem título, 1980. [Untitled]. China Ink and cutout on paper.

VFX: Uriel Arakilian; Sound Editing and Foley Recording: Effects

50 × 66 cm.

Filmes; Sound Design and Mixing: Ricardo Reis, ABC; Sound

Sem título, 1984. [Untitled]. China Ink on paper. 50.5 × 70.5 cm.

Editing: Débora Morbi, Vitor Moraes, Camila Mariga; Secretary of

Sem título, 1984. [Untitled]. Colored pencil on paper. 37.2 × 55 cm.

Production: Andreia da Silva; Sound Editing Coordination: Miriam

Strelitzia, 1985. Crayon on paper. 50 × 70.5 cm.

Biderman, ABC. Acknowledgments: Alberto Youssef & Bruna Macedo,

10


Aldeia / Julia Bock & Simone Elias, Alexandre Ermel, Auditório

Dourados). Digital print on paper, 2 × 1.47 m each. Versions for

Ibirapuera / Alexandre Sacchi di Pietro & team, Bar Fama, Big

distribution: 55 posters, 4 × 0 colors, 60 × 90 cm, offset high brightness

Bonsai, Breno Trindade, Caio César, Casa Juisi, Clarice Cunha, Dudu

120g paper; 150 posters, 4 × 0 colors, A3 (42 × 29.7 cm), offset high

Quintanlha / MEXA, FAAP – Sergio Moussali & team, Fernanda Gassen,

brightness 120 g paper; 5100 posters, 4 × 0 colors, A3 (42 × 29.7 cm),

Fernando Cozendey, Filmland, Gabriel Base 1, Guaraná Turismo

matte couche 115 g paper. Commissioned by the Fundação Bienal de

(Andréa Grynszpan), Jacob Solitrenik, José Roberto Eliezer, Márcia

São Paulo for the 32nd Bienal (2016).

Rocha, Maxwell Jackson, Michel Zózimo, Nadezhda Rocha, Núcleo

Presentation produced in partnership with Sesc-SP.

de Pesquisa & Curadoria / ITO, Ovo Design, Pedro Farkas & team, Psycho’ n’ Look, Ricardo Tapajós, Rita Faustini, Rogerio Francisco

Mariana Castillo Deball

& Laika team, Ruy Ohtake, Sabrina Wilkins, Tereza Zózimo, Tiago

Hipótese de uma árvore, 2016. [Hypothesis of a Tree]. Installation

Guiness. Commissioned by the Fundação Bienal de São Paulo for the

composed of bamboo structure based on a phylogenetic tree; paper

32nd Bienal (2016).

rubbings from fossil sediments in the Crato Formation (Araripe

Presentation produced in partnership with Sesc-SP.

Basin), Museu and Instituto de Paleontologia (Universidade Regional do Cariri), Museu, Instituto and Oficina de Réplicas (Universidade

Luke Willis Thompson

de São Paulo); linocut stamps. 9.2 m ⌀. Support: ifa (Institut für

Sucu Mate – Born Dead, 2016. Installation composed of concrete

Auslandsbeziehungen). Assistants: Alberto Abascal, Anna Szaflarski.

headstones. 9 pieces, 800 × 400 × 60 cm each (approx.). Courtesy:

Special thanks to: Gabriela Aguileta. Antonio Alamo Feitosa, Luiz

the artist and Hopkison Mossman, Auckland. Support: Creative

Eduardo Anelli. Renan Machado Bantim, Juliana Manso Sayao,

New Zealand.

Flaviana Jorge de Lima. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Lyle Ashton Harris Uma vez, uma vez, 2016. [Once, Once]. Installation.

Maryam Jafri

Ektachrome Archives (Brazil Mix), 2016. 3-channel video

Product Recall: An Index of Innovation, 2014-2015. Installation

installation with sound component, continuous loop. 221 × 124 cm,

composed of framed photos, framed texts, plinths and objects.

148 × 263 cm, 124 × 221 cm.

Dimensions variable. Courtesy: the artist and Laveronica Arte

Journal #1, 1997 (An Educated Heart), 2016. Archival inkjet print

Contemporanea, Modica. Support: Danish Arts Foundation; Nordic

on Epson lustre paper. 127 × 183 cm.

Culture Point.

Journal #1, 1997 (Forever), 2016. Archival inkjet print on Epson lustre paper. 127 × 183 cm.

Michael Linares

Journal #1, 1997 (Haile Selassie), 2016. Archival inkjet print on

Museu do Pau, 2013-2016. [Museum of the Stick]. Installation

Epson lustre paper. 127 × 183 cm.

composed of various materials collected by the artist. Dimensions

Orange Journal, 1997, 2016. 90 archival inkjet prints on Epson

variable.

lustre paper. 29 × 42 cm each.

Una historia aleatoria del palo, 2014. [An Aleatory History of the

Untitled (Beachwood Canyon, circa mid 1990’s), 2016. Video

Stick]. Video (sound). 53’25’’. The duration of this video refers to

installation, MiniDV video (color), video projection onto four silk

Brian Panky’s world record obtained by holding a stick in balance

panels. 304.8 × 114.3 cm each.

for 53’25”. Acknowledgments: Beta-Local, Olga Casellas, Fabián

Untitled (Blue Snow), 2016. MiniDV video on broadcast monitor

Wilkins, Michelle Marxuach, Galería Agustina Ferreyra, Museu Afro

(color and sound). 4’.

Brasil, Clube de Atletismo BM&F BOVESPA.

Untitled (Silver Lake, 1994), 2016. Hi8 video (color). 25’. Untitled (Obsessão), 2016. [Untitled (Obsession)]. Mixed-media

Michal Helfman

collage. Dimensions variable.

Running Out of History, 2015-2016. Video. 21’. Private collection,

Untitled (Prelude to The Watering Hole), 1991-1996. Gold leaf on

Israel. Courtesy: the artist and Sommer Contemporary Art, Tel Aviv.

magazine covers. 27 × 20 cm each.

Support: Artis Grant Program; Consulado Geral de Israel em São

Untitled (for Tommy), 2016. Two-channel video installation, Hi8

Paulo; Mifal Hapais for art and culture; Nathalie and Jean-Daniel

video (color and sound). 38’.

Cohen-Luxembourg; Myriam and Jacques Salomon collection, Paris;

Acknowledgements: Tommy Gear, Producer; Parissah Lin, Studio

Ayelet and Yair Landau; Art Partners; Diane Henin.

Manager; Gregory Carideo, Joseph Imhauser, John Edmonds, Eric Santoscoy-Mckillip and Dorothy Chi Hung Lam, Assistants; Bonnie

Misheck Masamvu

Lane and Mayid Guerrero, Video Editors; Billy Gerard, Video

Spiritual Host, 2016. Oil on canvas. 175 × 450 cm. Commissioned by

Consultant; Aniyah McNeal, Intern. Commissioned by the Fundação

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Bienal de São Paulo for the 32 Bienal (2016).

Midnight, 2016. Oil on canvas. 175 × 450 cm. Commissioned by the

nd

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Maria Thereza Alves Uma possível reversão de oportunidades perdidas, 2016. [A Possible

Mmakgabo Helen Sebidi

Reversal of Missed Opportunities]. 6 posters, 3 different models, 3

Tears of Africa, 1987-1988. Collage, charcoal and pastel on paper.

formats, versions in Portuguese and English (Rio Branco, Aquidauana,

195 × 390 cm (diptych). Support: Everard Read Gallery.

11


Untitled, 2016. Support: Goethe-Institut Salvador-Bahia.

Column no. 4 (IB-Affair), 1974. Silkscreen (26 colors). 75.9 × 56.4 cm.

Commissioned by the Fundação Bienal de São Paulo for the

Deichtorhallen Hamburg / Falckenberg Collection.

32 Bienal (2016).

Den svåra resan (för blandad talkör), 1954. [The Difficult Journey

nd

(for mixed voice choir)]. Mixed voice choir. Performance recorded

Naufus Ramírez-Figueroa

live by Swedish National Radio, April, 1972 at Fylkingen, Stockholm.

Series Corazón del Espantapájaros, 2015-2016. [Heart of the

Installation with wall text suggested by Antonio Sergio Bessa in 2001.

Scarecrow]. Acquatint. 9 pieces, 37 × 29 each. Courtesy: the artist

5’25’’. Collection Sharon Avery-Fahlström.

and Proyectos Ultravioleta, Guatemala. Support: Goethe-Institut

Elements from “Masses”, 1976. Baked enamel on metal with

São Paulo.

magnets. 69.9 × 69.9 × 1.4 cm. Collection Sharon Avery-Fahlström.

Corazón del Espantapájaros, 2016. [Heart of the Scarecrow].

Mao-Hope March, 1966. 16mm film. 4’5’’. Collection Sharon

Performance and installation (props and costume). Support: Proyectos

Avery-Fahlström.

Ultravioleta, Guatemala; Goethe-Institut São Paulo. Collaborators:

Packing the Hard Potatoes (Chile 1: Last Months of Allende Regime.

Wingston González (poem); Co-directed by: Martha Kiss Perrone;

Words by Plath and Lorca), 1974. Variable structure. Painted

Interpreters: Felipe Riquelme, Jaya Batista, Lowri Evans, Natália

forms attached to spring wires and magnets. Acrylic and India ink

Mendonça, Ricardo Januário; Costume: Valentina Soares, Alex

on vinyl. Painted metal panel. 112 × 211 × 10 cm. Museo Nacional

Cassimiro. Acknowledgements: Byron Figueroa, Wingston González,

Centro de Arte Reina Sofia Collection, Madrid. Long-term of

José Luis Blondet, Rita González, Pilar Tompkins, Stefan Benchoam,

Sharon Avery-Fahlström.

Dominique Ratton. Commissioned by the Fundação Bienal de

Sketch for World Map, 1973. Silkscreen print. 55.9 × 106 cm.

São Paulo for the 32 Bienal (2016) and Los Angeles County

Collection Helena Tatay.

Museum of Art (LACMA).

Sketch for World Map Part 1 (Americas. Pacific), 1972. Offset

nd

lithograph on newsprint. 85.4 × 101.6 cm. Deichtorhallen

Nomeda & Gediminas Urbonas

Hamburg / Falckenberg Collection.

Psychotropic House: Zooetics Pavilion of Ballardian Technologies,

Sitting...Blocks, 1965-1966. Tempera on vinyl mounted on wood. 10

2016. From the series Mycomorph Laboratory. Climate chambers,

blocks, 38 × 38 × 38 cm (each). Collection Sharon Avery-Fahlström.

series of workshops, mycelium, agricultural waste, metal and PVC.

Courtesy: Galerie Aurel Scheibler, Berlin.

Dimensions variable. Support: Lithuanian Council for Culture;

Sitting...Directory, 1962-1963. Tempera, ink and pencil on paper.

Contemporary Art Centre (CAC); School of Architecture and

30 × 38.3 × 1 cm (closed), 66 pages (front and back). Collection Sharon

Planning, MIT; Creative Arts Council, MIT; HASS Fund Award, MIT.

Avery-Fahlström.

Acknowledgements: Assistant Architects: Paulius Vaitiekūnas, Jautra

Sitting...Dominoes, 1966. Silkscreen in colors on vinyl, plexiglass,

Bernotaitė; Design: Goma Oficina; Platô (Valentina Soares, Alex

magnets, enamel on metal. Framed: 115 × 83.5 × 10.5 cm, no frame:

Cassimiro); Research Assistance, São Paulo: Luiza Schulz; Scientific

71.8 × 102.6 × 1.8 cm. Collection Sharon Avery-Fahlström. Courtesy:

Research Assistance, São Paulo: Edison de Souza / Brasmicel.

Galerie Aurel Scheibler, Berlin. Study for “Sitting...The Stamp”, 1963. Tempera and India ink on

Oficina de imaginação política

canvas mounted on wood panel. Framed: 52.8 × 58 cm. Collection

Oficina de Imaginação Política, 2016. [Workshop on Political

Sharon Avery-Fahlström. Courtesy: Galerie Aurel Scheibler, Berlin.

Imagination]. Installation and intervention in the form of a public

Study for World Model (Garden), 1974. Silkscreen in colors.

program (workshops, presentations and debates). Proposer: Amilcar

69.2 × 99.4 cm. Deichtorhallen Hamburg / Falckenberg Collection.

Packer; Collaborators: Diego Ribeiro, Jota Mombaça (Monstra Errátika), Rita Natálio, Thiago de Paula,Valentina Desideri.

Park McArthur

Commissioned by the Fundação Bienal de São Paulo for the

Sometimes You’re Both, 2016. Stainless steel, various products

32nd Bienal (2016).

made of latex rubber. 25 plinths, 86.4 × 48.3 × 83.8 cm each. Acknowledgments: ESSEX STREET, New York; Lars Friedrich,

OPAVIVARÁ!

Berlin. Commissioned by the Fundação Bienal de São Paulo for the

TRANSNÔMADES, 2016. [Transnomads]. Ambulant relational

32nd Bienal (2016).

devices. 7 devices, dimensions variable. Support: Cooperativa de Catadores da Baixada do Glicério, São Paulo. Commissioned by the

Pia Lindman

Fundação Bienal de São Paulo for the 32 Bienal (2016).

Nose Ears Eyes, 2016. Structure of Bamboo and mud; treatment

Presentation produced in partnership with Sesc-SP.

bench, ink, oil crayon, paper, plants, air, mycorrhiza, tree, soil;

nd

and performative activations. Dimensions variable. Support:

Öyvind Fahlström

Arts Promotion Centre; KONE Foundation; Aalto University;

Column no. 1 (Wonder Bread), 1972. Offset lithograph. 71 × 59 cm.

Nordic Culture Fund; Frame Visual Art Finland; Nordic

Deichtorhallen Hamburg / Falckenberg Collection.

Culture Point.

Column no. 2 (Picasso 90), 1973. Silkscreen (26 colors). 76 × 55.9 cm. Deichtorhallen Hamburg / Falckenberg Collection.

Pierre Huyghe

Column no. 3 (Chile F), 1974. Silkscreen in colors. 99.5 × 69.5 cm.

Cerro Indio Muerto, 2016. [Dead Indian Hill]. Photograph.

Deichtorhallen Hamburg / Falckenberg Collection.

80 × 120 cm. Support: Consulado Geral da França em São Paulo;

12


Institut Français. Commissioned by the Fundação Bienal de São Paulo

Everything and More, 2015. HD video. 10’31’’. Courtesy: Gavin

for the 32nd Bienal (2016).

Brown’s Enterprise, New York; Pilar Corrias Gallery, London.

De-Extinction, 2016. Film (color, 5.1 sound). 12’38’’. Support:

Support: U.S. Consulate General in São Paulo.

Consulado Geral da França em São Paulo; Institut Français. De-Extinction (S.P. Evolution), 2016. Insects. Dimensions variable.

Rayyane Tabet

Support: Consulado Geral da França em São Paulo; Institut Français.

Sósia, 2016–ongoing. Publication and narration in Arabic of the book

Commissioned by the Fundação Bienal de São Paulo for the

Um copo de cólera [A Cup of Rage] by Raduan Nassar, translated

32nd Bienal (2016).

from Portuguese by Mamede Jarouche. The novel was written in 1970 and first published in 1978. Commissioned by the Fundação

Pilar Quinteros

Bienal de São Paulo for the 32nd Bienal (2016).

Smoke Signals, 2016. Video. Approx. 45’. Support: Consejo Nacional de la Cultura y las Artes de Chile (CNCA), Dirección de Asuntos

Rikke Luther

Culturales del Ministerio de Relaciones Exteriores de Chile (DIRAC),

Overspill: Universal Map, 2016. Drawings printed on tiles, original

Mário Eduardo de Cico. Director: Pilar Quinteros; Camera: Alexis

tiles for the Ciccillo Matarazzo Pavilion, toxic mud from Mariana,

Llerena; Video Editor: Pilar Quinteros; Video Editing Assistant: Alexis

slime molds with biotopes, and found and modelled objects.

Llerena; Assistants: Ignacio Helmke, Héctor Vergara; Tour Guide and

Overall dimensions: 3.88 × 30.6 m (approx.). Support: Danish

Host: Maurinhio Ferreira da Silva; Boat Driver: Fabio Delcio Tonin

Arts Foundation; Nordic Culture Fund; Nordic Culture Point; ifa

Tanhadera; Locations: Serra do Roncador (Mato Grosso, Brazil);

(Institut für Auslandsbeziehungen). Acknowledgements: Instituto de

Rio das Mortes (Mato Grosso, Brazil); Original Soundtrack: Diego

Geociências – USP; Museu Valdemar Lefèfre (MUGEO). Commissioned

Lorenzini. Commissioned by the Fundação Bienal de São Paulo for

by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

the 32nd Bienal (2016).

Outer Space, 2016. Panel of tiles. 210 × 375 cm. Antarctica, 2016. Panel of tiles. 210 × 375 cm.

Pope.L

High Sea, 2016. Panel of tiles. 210 × 375 cm.

Baile, 2016. [Ball]. Endurance performance. 4 days, 24 hours per day.

Atmosphere, 2016. Panel of tiles. 210 × 375 cm.

Support: U.S. Consulate General in São Paulo; Mitchell-Innes & Nash Gallery. Commissioned by the Fundação Bienal de São Paulo for the

Rita Ponce de León

32 Bienal (2016).

En forma de nosotros, 2016. [In the Shape of Us]. Installation

Baile: Document, 2016. [Ball: Document]. “Landscape that

composed of sculptures made of plywood sheets, reinforced mortar

Michel Temer may have drawn with framed Festa de Debutante

of cement and sand, wire mesh, wood, kraft paper, structured

photograph”, latex skull, plaster dust, pen, and cut paper in

plaster with burlap and jute canvas, cement finish, clay, glue, audio

conjunction with 72-hour performance of resistance. Dimensions

recordings and 8 drawings (China ink and pencil on paper). Overall

variable. Support: U.S. Consulate General in São Paulo; Mitchell-Innes

dimensions: 1650 × 800 cm (approx.). Aknowledgements: Educational

& Nash Gallery. Commissioned by the Fundação Bienal de São Paulo

Program (Bienal de São Paulo); Emilie Sugai; Peter Webb; Dorothy

for the 32nd Bienal (2016).

Lenner; Michiko Okano; Tilsa Otta; Yaxkin Melchy; Mauricio de

nd

la Puente; participants of the Dias de Estudo (Lamas, Peru); team of

Priscila Fernandes

Waman Wasi, Pratec; communities of Alto Pucalpillo, El Naranjal,

GOZOLÂNDIA E OUTROS FUTUROS, 2016. [Cuckoo-land and

Anaq Churuyacu; Elaine Fontana; Joelle Gruenberg; Arnulfo Rendón;

Other futures]. Installation with video projection, Inkjet Fine Art

Víctor Florido; Livia Benavides; Associação Tochigi; Fundação

prints, beach chairs and printed fabric. Support: Fundação Calouste

Armando Alvares Penteado (FAAP). Commissioned by the Fundação

Gulbenkian; Mondriaan Fund; República Portuguesa – Cultura |

Bienal de São Paulo for the 32nd Bienal (2016).

Direção-Geral das Artes. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Rosa Barba

Ahahah, 2016. Inkjet Fine Art Print. 200 × 150 cm, framed.

Disseminate and Hold, 2016. 16 mm film transferred to digital,

Ergonomia do abstracionismo, 2016. [Ergonomics of

archival material, sound. 20’ approx. Courtesy: the artist.

Abstractionism]. Teka wood and print on fabric. 120 × 100 × 70 cm.

Commissioned by Fondation Prince Pierre de Monaco, XLVIème Prix

Gozolândia, 2016. [Cuckoo-land]. Full HD video projection (color

International d’Art Contemporain.

and sound). 17’35’’.

White Museum (São Paulo), 2010 / 2016. 35 mm white film,

O salto, splash, 2016. [The Jump, Splash]. Inkjet Fine Art Print.

projector. Dimensions variable. 30’. Support: ifa (Institut für

200 × 150 cm, framed.

Auslandsbeziehungen).

Uma vista em fuga, 2016. [A Vanishing View]. Inkjet Fine Art Print. 200 × 150 cm, framed.

Ruth Ewan Back to the Fields, 2015 / 2016. Installation composed of plants,

Rachel Rose

bones, agricultural tools and minerals. Dimensions variable. Support:

A Minute Ago, 2014. HD video. 8’43’’. Courtesy: Gavin Brown’s

British Council; The Henry Moore Foundation; Arts Council

Enterprise, New York; Pilar Corrias Gallery, London. Support: U.S.

England. Acknowledgments: Museu da Imigração do Estado de São

Consulate General in São Paulo.

Paulo / Governo do Estado de São Paulo; Museu do Vinho Wine

13


Weekend – Vinho Magazine – Vinícola Goes; Museu Afro Brasil;

cling wrap, air. 40 × 50 × 53 cm. Courtesy: the artist and Dan Gunn.

Manuel Silveira Corrêa; Helena Isola; Museu de Geociências IGc / USP;

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

Fabio Pugliese; Família Geld; Museu de Anatomia Veterinária da

Handed Sperm, 2014. Butchers paper, The International Herald

Faculdade de Medicina Veterinária e Zootecnia da Universidade de

Tribune, blank newsprint, The Mercury Racing Tab, packaging tape,

São Paulo; Museu do Instituto Biológico do Estado de São Paulo.

acrylic gel, plastic bags. 43 × 75 × 52 cm. Courtesy: the artist and Dan Gunn.

Sandra Kranich

A Dream Deferred (Mandela Balls), 5 / 95 Placebo Domino, 2014.

Times Wire, 2010. Knitted electric cable, firework and electric

Powered stones, wire, plastic bags, blank newsprint, The Sunday

ignition. Dimensions variable. Support: ifa (Institut für

Times, The International Herald Tribune, paper towel, acrylic paint,

Auslandsbeziehungen); Goethe-Institut São Paulo.

packaging tape, acrylic gel and conservation glue. 42 × 66 × 55 cm.

R. Releif 7, 2016. Lacquered metal reliefs, fireworks and

Courtesy: the artist and Dan Gunn.

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

A Dream Deferred (Mandela Balls), 7 / 95 Eye & I (maquette),

Auslandsbeziehungen); Goethe-Institut São Paulo. Commissioned by

2016. Cardboard box cameras, monster ball, acrylic paint, elastic

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

band. Dimensions variable. Courtesy: the artist and Dan Gunn.

R. Relief 8, 2016. Lacquered metal reliefs, fireworks and

Commissioned by the Fundação Bienal de São Paulo for the

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

32nd Bienal (2016).

Auslandsbeziehungen); Goethe-Institut São Paulo.

A Dream Deferred (Mandela Balls), 9 / 95 For the Olive People: How

R. Relief 9, 2016. Lacquered metal reliefs, fireworks and

long is a peace of string?, 2013 – ongoing. Medium: Floss, string,

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

cord, ribbon, thread, rope, line, drawstring. Dimensions variable.

Auslandsbeziehungen); Goethe-Institut São Paulo.

Courtesy: the artist and Dan Gunn. Commissioned by the Fundação

R. Relief 10, 2016. Lacquered metal reliefs, fireworks and

Bienal de São Paulo for the 32nd Bienal (2016).

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

A Dream Deferred (Mandela Balls), 10 / 95 Viral virus: The Mandela

Auslandsbeziehungen); Goethe-Institut São Paulo.

Effect, 2016. Acrylic paint, glue, beach ball, newspaper, drawings and prints on Hahnemühle paper, plastic domes. Dimensions variable.

Sonia Andrade

Courtesy: the artist and Dan Gunn. Commissioned by the Fundação

Hydragrammas, 1978-1993. Set composed of approx. 110 objects

Bienal de São Paulo for the 32nd Bienal (2016).

and their reproductions in slide with a word in Portuguese or French.

A Dream Deferred (Mandela Balls), 11 / 95 Mud on [the] Dan’s

Dimensions variable.

floor, 2016. Charcoal, chalk, mosaic tiles and mirrors, rubber ball,

Presentation produced in partnership with Sesc-SP.

chains, tape, soil. Dimensions variable. Courtesy: the artist and Dan Gunn. Commissioned by the Fundação Bienal de São Paulo for the

Susan Jacobs

32nd Bienal (2016).

Through the Mouth of the Mantle, 2016. Installation composed

FALSE FLAG: A deed in 2 acts (Mandela Balls) 8 / 95, 2016. From

of compressed sand, HD video (sound), glass, motor, lazy susan,

the series Mandela Balls. Rubber, glass, tape, glue, pen, air, plastic.

aluminium, gallium. Dimensions variable. This project was supported

Dimensions variable. Courtesy: the artist and Dan Gunn, Berlin.

by the Victorian Government through Creative Victoria and the

Mandela Balls 6 / 95 (Strange Fruit #JeSuisPatriceLumumba), 2015.

Victorian College of the Arts, Australia. Commissioned by the

Plastic, plant (strelitzia reginae), tape, Belgian chocolate on wood

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

board. 30 × 60 × 42 cm. Courtesy: the artist and Dan Gunn. Portrait for a Young Black Man, 2013. Mixed media on paper.

Till Mycha (Helen Stuhr-rommereim & Silvia Mollicchi)

240 × 210 cm. Courtesy: the artist and Dan Gunn.

The First Decade of June, 2016. Text, print. Poster graphic design by Eliza Koch. 59 × 84 cm. Support: Consulado-Geral dos Estados Unidos

Ursula Biemann & Paulo Tavares

da América em São Paulo. Commissioned by the Fundação Bienal de

Forest Law – Selva jurídica, 2014 / 2016. 2 channel video projection,

São Paulo for the 32 Bienal (2016).

assemblage of documents, soil samples and publication. 41’. Support:

nd

Pro-Helvetia. Commissioned by Ely and Edythe Broad Art Museum,

Tracey Rose

State University of Michigan.

A Dream Deferred (Mandela Balls), 1 / 95 Health Vitality Skin & Care, 2013-2014. Papier collé, plastic and tape. Dimensions variable.

Víctor Grippo

Museo Nacional Centro de Arte Reina Sofía Collection, Madrid.

Analogía I, (2da. versión), 1970 / 1977. [Analogy I, (2nd Version)].

Courtesy: the artist.

Installation composed of 400kg of potato, zinc electrodes and copper

A Dream Deferred (Mandela Balls), 2 / 95 A Rock and Hard Place:,

electrodes, electrical cables, electric meter DC voltage, electric push,

A TRIBUTE #16061976, 2013-2014. Papier collé, plastic and tape.

chair, white linen tablecloth, text, wood, wooden easels, synthetic

Dimensions variable. Museo Nacional Centro de Arte Reina Sofía

enamel and white paint. Dimensions variable. Jointly acquired

Collection, Madrid. Courtesy: the artist.

by The Art Institute of Chicago, prior gift of Adeline Yates; and

A Dream Deferred (Mandela Balls), 3 / 95 An Exercise in Colour

the Philadelphia Museum of Art, with funds contributed by the

Control, 2014. Handmade Paper Capellades 100% cotton, butchers

Committee on Modern and Contemporary Art. Support: Consulado

paper, newsprint, acrylic paint, packaging tape, black garbage bag,

Geral da República Argentina em São Paulo.

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Naturalizar al hombre, humanizar a la naturaleza, o Energía

Cotidiano, 1984. [Everyday]. Acrylic on canvas. 70 × 50 cm. Artist’s

vegetal, 1977. [Man Naturalization, Nature Humanization, or

collection.

Vegetal Energy]. Installation composed of 400kg of potato, 8 or 10

Santa Teresa 1 – com elefantes, 1984. [Santa Teresa 1 – with

kinds of lab flasks, rubber stoppers, cotton swabs, drawing ink of

Elephants]. Acrylic on canvas. 100 × 73 cm. Artist’s collection.

different colors diluted with water, white linen tablecloth, bronze

Santa Teresa 2, 1984. Acrylic on canvas. 100 × 73 cm. Artist’s

plaque with text, wood, sawhorses and white paint. Dimensions

collection.

variable. Courtesy: the Estate of the Artist and Alexander and Bonin,

Santa Teresa 3 – com cristais, 1984. [Santa Teresa 3 – with Crystals].

New York. Support: Consulado Geral da República Argentina em

Acrylic on canvas. 100 × 73 cm. Artist’s collection.

São Paulo.

Rio de Janeiro com cristais, 1986. [Rio de Janeiro with Crystals]. Acrylic on canvas. 160 × 190 cm. Artist’s collection.

Vídeo nas Aldeias

Cotidiano, 1993. [Everyday]. Ink and ecoline on paper. 100 × 72 cm.

O Brasil dos Índios: um arquivo aberto, 2016. [The Brazil of the

Artist’s collection.

Indians: An Open Archive]. Installation with 81 video fragments

Cotidiano, 1993. [Everyday]. Ink and ecoline on paper. 100 × 72 cm.

from the archive material of Vídeo nas Aldeias, produced in its

Artist’s collection.

30 years of experience with the indigenous peoples in Brazil, and

Morro Dona Marta 24 horas, 2016. [Dona Marta Hill 24 hours].

sequences of films of filmmakers, activists, indigenous leaders, partner

Colored pencils on paper Fabriano. 25 pieces, 25 × 23 cm each.

institutions and collaborators, between the years 1911 and 2016.

Artist’s collection.

Concept, research and video-editing: Ana Carvalho, Tita and Vincent Carelli. Commissioned by the Fundação Bienal de São Paulo for the

Wlademir Dias-Pino

32nd Bienal (2016).

Enciclopédia Visual Brasileira, 1970-2016. [Brazilian Visual

Presentation produced in partnership with Sesc-SP.

Encyclopedia]. Digital collages and collages on paper installed on 6 painted walls. 14 reproductions and 397 original collages, A3

Vivian Caccuri & KEYZuZ, Ghalileo, Kuvie, MensaHighlife,

format approx.

Mutombo Da Poet, Panji Anoff, Sankofa, Steloo, Wanlov,

Outdoors, 2015-2016. Acrylic on wood. 20 images, 220 × 160 cm.

Yaw P

Invited Curators: Tobi Maier, Leandro Nerefuh; Assistance: Caetano

TabomBass, 2016. Subwoofers, amplifiers, software, wood, candles

Carvalho, Octávio Ferran; Collaborator: Regina Pouchain.

and stereo audio. Dimensions variable. Support: Dubversão Sistema

Presentation produced in partnership with Sesc-SP.

de Som. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Xabier Salaberria

Presentation produced in partnership with Sesc-SP.

Restos materiales, obstáculos y herramientas, 2016. [Material Remains, Obstacles and Tools]. Wood, iron, concrete, mineral

Wilma Martins

water, photography; artwork from the Fundação Bienal de São

Cotidiano, 1975-1984. [Everyday]. Artist’s notebook, 144

Paulo Collection (Animal, 1963, by Liuba Wolf. Bronze sculpture,

p. / 18 × 15.6 × 2 cm; 62 fac-simile prints. Artist’s collection.

96 × 61 × 49 cm). Dimensions variable. Support: Acción Cultural

Interior, 1974. [Inside]. Acrylic on canvas. 100 × 73 cm. Artist’s

Española, AC / E; Etxepare.

collection. Cotidiano, 1974. [Everyday]. Acrylic on canvas. 100 × 73 cm. Collection Frederico Morais. Cotidiano, 1976. [Everyday]. Acrylic on canvas. 100 × 73 cm. Artist’s collection. Cotidiano, 1978. [Everyday]. Acrylic on canvas. 100 × 73 cm. Collection Frederico Morais. Cotidiano, 1979. [Everyday]. Acrylic on canvas. 75 × 50 cm. Private collection. Cotidiano, 1979. [Everyday]. Acrylic on canvas. 75 × 50 cm. Artist’s collection. Cotidiano, 1981. [Everyday]. Acrylic on canvas. 100 × 73 cm. Collection Frederico Morais. Sem título, 1982. [Untitled]. Vinyl paint on canvas. 100.3 × 73.3 cm. Collection Gilberto Chateaubriand Museu de Arte Moderna do Rio de Janeiro. Sem título, 1983. [Untitled]. Oil on canvas. 65.3 × 54.3 cm. Collection João Leão Sattamini Netto (Museu de Arte Contemporânea de Niterói). Cotidiano, 1984. [Everyday]. Acrylic on canvas. 70 × 50 cm. Artist’s collection.

15


32nd Bienal de São Paulo - List of Works (2016)