Having chosen this path, the Foundation wished to carry out preparatory activities, ali ofwhich would aim to givethe publicthe opportunity to arrive atthe best possible enjoymentofthe 19th Biennial. We proposed to exhibit sculptures in public sites, organized musical events in the Ibirapuera Park, publish relevant literature and manufacture products. But, as is well known, the revenues of the Foundation are scarce and inconstant, arising from four different sources: Government subsidies (approx. 6% of the total costs for the 1986-87 administration), donations for the use ofthe Foundation's building (approx. 47%), private donations directly linked to the Biennials (42%), and savingsarisingfrom discounts and donations (5%). The nature and the rhythm of such revenues, aggravated by under-standable corporate hesitations and by the economic recession which set in with the new onset of inflation, in 1986, uptotheconfention and readjustement measures taken bythe Federal GovernmentinJune 1987, hindered us from carrying out our projects to the desired extent. In view of the difficulties in obtaining donations, despite the stimulus afforded bythe Sarney Statute, we directed our main efforts towards ensuring an optimal use of the building, negotiating donations which would enable us to face the situation. In this we were successful: the users were willing to cooperate, and the Exhibiton building was intensely used by the public Thus, despite the finàncial difficulties ofthe period, we were able, even in the absençe of sponsorship, to exhibit sculptures in Subway stations, manufacture certain products 'and publish, in the form of postcards, the full series ofthe posters ofthe eighteenprevious Biennials. Thanks to the generous collaboration ofthe Vitae Foundation, we were able to set up a permanent educational sector, which has already developed projects involving fifteen schools and two institutions, and which willlead upto guided visitstothe 19th Biennial for approx. 40 schools and 4 institutions, tothe benefitfo 12,000 children and teenagers. Bearing in mind the intent of preparing the publicforthe 19th Biennia!, the 'WeftofTaste" exhibit was set up in January this year, under the curatorship of Sonia Fontanezi, in which, by 'offording a new insight in daily life", visitors were stimulated to refine their own visual perception and to attempt to respond to radical questionnings of art, spaces, invention, creation, reproduction and reality. This provoking exhibit was seen by 24,000 visitors, with a daily average equivalent to that of the 18th Biennial. Concurrently, thanks to the efforts of the General Curator. Sheila leirner. with the assistance ofthe other members ofthe Art and Culture Commitee, the project of the Biennial we are now'inauguration matured. The Utopia VS. Realily theme offered a general setofguidelines, bufalso stimulated a rich variety of interpretations. The appeal for international participation receive an exceptionàlly enthusiastic response, evidencing the prestige ofthe exhibit. There are 54 countries represented, seven more than in the preceding edition, including a first-timer - Mozambiqui - and the return ofSweden, Poland andYugoslavia, which were absent in 1985. As for Brazilian participation, we organized a national contest for the poster which announces the 19th Biennia!, under the sponsorship of C&A and we received 450 suggestions, from ali parts ofthe country: This same national coverage can be observed in the origin of the 23 artists which represent Brazi!, selected bythe M andCulture Committee from over 500 dossiers submitted by artists from ali over the country, based on suggestions of critics and surveys conducted by the Foundation, including
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visits to ateliers in other cities. The Brazilian artistic production is also represented in two exh ibits which are complementary to and integrated in the research conducted underthe theme Utopia VS. Realily. These are the exhibits under the curatorship of Gabriela Wilder. Ivo Mesquita and Sonia Salzstein-Goldberg, dedicated to the Search for the Essence and to the Unique Ima{)inaries, and which afford a reexaminatlon, according to specific criteria, of the Brazilian artistic production, showing 236 works of 31 artists. The afore mentioned financiai difficulties alone have hindered the timely implemen-· tation of a fascinating proposal: the "Utopian City': organized by Jorge Glusberg, and which intended to present the works of renowned architects. The industrial objects presented by designers, underthe curatorship of Joice leal and Angela de Carvalho, integrate in the collection of works of this Biennial.ln a similarfashion, music curated by Ana Maria Kieffer, appears in an articulate manner: the European minimalism and the collective creatio-events correspond to the search for the essence in the musical field. Thus, the project of the São Paulo Bienniai consolidates the concept of severa I concurrent exhibits, each with its own character, atttempting, through the diversity of national and individual contributions, atan articulation which will enable visitars to apprehend a portrait of the contemporary in art production. , At the 19th Biennial, the boundaries between architecture and industrial design, on one hand, and the objects produced by plostic artists, on the other, are deliberately revealed as fragile: the languages adopted as well as the frequency of installations point out the importance of reviewing and enriching the everydayspaces: the homes, the streets, the cities. Furthermore, a large number of the works presented aredestinated, bytheir nature, dimensions and dynamics, for public spaces, for the enjoyment of many. Thereby, the cultural relevance ofthe Biennial is enhanced, since, besides providing information about the contemporary aspects of art, it also provides the space, the opportunity and the structure capable of receiving and, indeed, of affording the actual creation of works which art galleries and private premises would find itdifficult to room. Among the severa I highlights ofthe exhibition, it should be stressed thatthe homage we render to Marchei Duchamp, on the occasion ofthe 1st centenary of his birth, does not represent a circumstancial evento The efforts made to bring to latin America, for the first time, a representative sample of his works, correspond to the intent of evidencing the role of this artist, who is to be f6und at the root of 50 many movements and trends in the art of the current century. Two other parallel events which round off the criticai and didactic efforts which have been the main concern of the durrent Administration of the Foundation should be mentioned. We refer to the Meeting of Critics, co-sponsored by the São Paulo chapterofthe ABCA - Associação Brasileira de Críticos de Arte (Brazilian Association of Art Critics) - and the important exhibition organized bythe MAC - Museu de Arte Contemporãnea (Contemporary Art Museum) of theUniversity of São Paulo - curated by Maria Alice Milliet de Oliveira. This exhibit will presentthe main works andcollections which resulted from the awards and purchases ofthe preceding Biennials, demonstrating another major role of our Foundation: to contribute towards the enrichment of'the collections of related institutions. Finally, I wish to thank for the enthusiasm and performance of my colleagues and collaborators in this task, under the direction of the Gener91 Secretary, Luiz Norberto C
loureiro, who were responsible for the organization and assembly of an exhibition of great complexity, and who, even under adverse circumstances, at ali times gave witness of their dedication, inventiveness and engagement. In the name of the Board, I thank for the work carried out by the Curator. Sheila leirner, by the Assistant Curators and by the Art and Culture Committee, chairpersoned by Ulpiano T. Bezerra de Meneses, and bythe Administrative Board, under the direction of José E. Mindlin, whose support and trust hove never failed uso Myfinal thanks I extendto myfellow members ofthe Board, without whom it would not have been possible to carry out the complex task of administrating and procuring the material resources which have ensured theachievementofthe 19th Biennia!, forthe obtention ofwhich we received, at a crucial moment, thefOrceful personal engagement of His Excellency the Governor. Mr. Orestes Quércia. 1987 isthe Biennial Vear, forthe nineteenth time, demonstrating the performing capacity of São Paulo, of the Biennial Foundation, and of its large number offriends and wellwishers. I am convinced that the Biennial Foundation, once again, is rendering a relevant service to culture and to the public. bringing to São Paulo a precious portrait of contemporarv creativity.