List of works – Santiago

Page 1

Though it’s dark, still

Santiago Santiago Santiago
I sing 34th Bienal de São Paulo Traveling exhibitions program
Centro Nacional de Arte Contemporáneo Cerrillos October 1 – November 27, 2022 List of works

Statement

Tikmũ’ũn Songs

Installation with audios of the Tikmũ’ũn ritual songs, 9 books and transcriptions and translations of the songs.

The songs Piabinha, Cabeça branca, Você aguenta, Cabeça vermelha e Tié-preto envergonhado were recorded with the community of women, men and Yãmĩyxop from Pradinho in the Maxakali Indigenous Land (Bertópolis-MG), in October 2003.

Song Recording, Editing and Mastering: Leonardo Pires Rosse Editing Assistant: Eduardo Pires Rosse. Research Coordinator: Rosângela Pereira de Tugny.

The songs Sobrinho, Papa-mel and Beija-flor were recorded with the community of women, men and Yãmĩyxop from Água Boa in the Maxakali Indigenous Land (Santa Helena de Minas-MG), in October 2003.

Song Recording, Editing and Mastering: Leonardo Pires Rosse Editing Assistant: Eduardo Pires Rosse. Research Coordinator: Rosângela Pereira de Tugny.

The approach to the Tikmũ‘ũn songs was only possible due to multiple conversations with: Charles Bicalho, Isael Maxacali, Paula Berbert, Roberto Romero and Sueli Maxacali, whom the curators of the 34th Bienal de São Paulo are thankful to.

Adrián Balseca

Participation in the 34th Bienal supported by: PCAI

– Polyeco Contemporary Art Initiative

BadYear, 2020-2021

Natural rubber, metal clips Dimensions variable

Commissioned by Fundação Bienal de São Paulo for the 34th Bienal

Alfredo Jaar

Participation in the 34th Bienal supported by: Ministerio de Relaciones Exteriores y Ministerio de las Culturas, las Artes y el Patrimonio – Gobierno de Chile

Chiaroscuro, 2021

Printed ink on paper

90 × 60 cm

Courtesy of the artist and Galeria Luisa Strina, São Paulo

Alice Shintani

Mata (series), 2019-2021

Forest / Kill

Gouache on paper 18 pieces, 75 × 55 cm (each) and one diptych (150 × 55 cm)

Commissioned by Fundação Bienal de São Paulo for the 34th Bienal

Frida Orupabo

Participation in the 34th Bienal supported by: Nordic Culture Fund and Office for Contemporary Art Norway (OCA)

Untitled, 2018

Video installation

Courtesy of the artist and Galerie Nordenhake Stockholm AB

Untitled, 2020

Collage with paper pins mounted on aluminium 89 × 20 × 40 cm

Courtesy of the artist and Galerie Nordenhake Stockholm AB

Untitled, 2020

Collage with paper pins mounted on aluminium, 43 × 25 × 30 cm

Courtesy of the artist and Galerie Nordenhake Stockholm AB

Untitled, 2020

Collage with paper pins mounted on aluminium 70 × 63 × 30 cm

Courtesy of the artist and Galerie Nordenhake Stockholm AB

Untitled, 2021 Collage

97 × 117 cm

Courtesy of the artist and Galerie Nordenhake Stockholm AB

Untitled, 2021 Collage

79 × 171 cm

Courtesy of the artist and Galerie Nordenhake Stockholm AB

Untitled, 2021 Collage

2 pieces, 69 × 112 cm (each)

Courtesy of the artist and Galerie Nordenhake Stockholm AB Gala Porras-Kim

Leaving the Institution through cremation is easier than as a result of a deaccession policy, 2021

Printed ink on paper, ashes on napkin Commissioned by Fundação Bienal de São Paulo for the 34th Bienal

Whistling and Language Transfiguration (WaLT), 2012

LP album, cyanotype print, sound 30,5 × 30,5 cm

Artist’s collection

Courtesy of the artist and Commonwealth and Council, Los Angeles

Gustavo Caboco and Lucilene Wapichana

Extensão Wapichana, 2021

Wapichana Extension Embroidery on fabric Artist collection

Commissioned by Fundação Bienal de São Paulo for the 34th Bienal

Hanni Kamaly

Participation in the 34th Bienal supported by: Nordic Culture Fund, Office for Contemporary Art Norway (OCA) and Iaspis – the Swedish Arts Grants Committee’s International Program for Visual and Applied Artists

HeadHandEye, 2017-18

Video 17’45”

Courtesy of the artist

Jaider Esbell

Carta ao velho mundo, 2021

Letter to the Old World Book and digitised printed book 37,5 × 27,7 cm (each)

Artist’s collection

Joan Jonas

Wind, 1968

16 mm film transferred into video, b&w, silent 5’37”

Courtesy: Electronic Arts Intermix (EAI), New York

León Ferrari

Palabras Ajenas: León Ferrari Y la Retórica en Tiempos de Guerra, 2017

Words of Others: León Ferrari and the Rhetoric in Times of War Video, color 46’16”

A project conceived for the Pacific Standard Time: LA / LA (2012-2017), with the initiative and support by the Getty Foundation in Los Angeles, CA. Special thanks to Fundação Augusto y León Ferrari, Buenos Aires and Leopoldo Maler

Palabras ajenas. Conversaciones de Dios con algunos hombres y de algunos hombres con algunos hombres y con Dios

Facsimile of the 1967 original edition Published by Licopodio, Buenos Aires, 2008

Photographs and flyer: Staging of Operativo Pacem in Terris, 1972

Operation: Pacem in Terris

Adaptation of Palabras ajenas [The Words of Others] by León Ferrari, directed by Pedro Asquini at the Teatro Larrañaga in Buenos Aires. Archives of Adriana Banti and Horacio Paoletta, Buenos Aires.

Script and voice assignments for the reading of Palabras ajenas at Museo Nacional Centro de Arte Reina Sofia, MNCARS, Madrid, 2018

The Words of Others (Palabras ajenas), 2017

English version published by X Artists’ Books, Los Angeles, CA

Published to accompany Leon Ferrari’s exhibition at REDCAT, Los Angeles. Published by JRP/Ringier, 2017

Noa Eshkol

Participation in the 34th Bienal supported by: Artis and the Consulado Geral de Israel em São Paulo

Heavy Soil Fields, 1980

Wool, cotton, rayon 300 × 196 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Leaves on Tiles, 1979

Wool, cotton, viscose 220 × 136 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Musical Carpet – Fugue, 1978

Cotton and synthetic fibers

225 × 149 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Sunset at Edom Mountains, 1989

Wool, cotton, cotton-linen, cotton crepe, percale, bark crepe, calico 231 × 248 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Sunset by the Lake, 1995

Wool, cotton, corduroy, silk, polyamide, polyester 254 × 221 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Tree With Sparrows, 1982

Wool, cotton, polymers, rayon

224 × 117 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Wild Tree II, 1989

Cotton and stretch cotton jersey 260 × 205 cm

The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin

Seba Calfuqueo

Participation in the 34th Bienal supported by: Ministerio de Relaciones Exteriores y Ministerio de las Culturas, las Artes y el Patrimonio – Gobierno de Chile

Tantas veces apümngeiñ, 2016

So many times apümngeiñ

Installation: resin, mud and video 6’28”

Private collection Victor Anicet

Participation in the 34th Bienal supported by: Institut français à Paris and Ministère de la Culture et de la Communication – DAC Martinique

Accouplement, 2017

Coupling

Enamelled lava plate 52 × 43 × 1 cm

Bambou, 2017 Bamboo Ceramic 45 × 25 × 10 cm

Bonbon Chouval, 2010 Horse biscuit Ceramic 15 × 15 cm

Chaos Monde, 2003

Chaos world

Enamelled lava plate 50 × 50 × 2 cm

The Words of Others: León Ferrari and Rhetoric in Times of War

Chaos Monde, 2003

Chaos world

Enamelled lava plate

50 × 50 × 2 cm

Chaos Monde, 2013

Chaos world

Ceramic and lava plate

42 × 45 × 5 cm

Coui, 2015

Ceramic

23 × 42 cm

Grêve, 2010 Strike

Ceramic

50 × 50 cm

Les Marrons, 2017

The maroons

Enamelled lava plate

50 × 43 × 1 cm

Présence de l’Est multiple, 2000

East multiple presence

Enamelled lava plate

50 × 50 × 3 cm

Présence de l’Est Multiple, 2000

East multiple presence

Enamelled lava plate

12 x 20 x 2 cm

Sans titre, 2019

Untitled

Ceramic

30 × 40 × 5 cm