The Importance of

the Bienal de São Paulo to Brazil

The Bienal de São Paulo, the 29th edition of which will take place be-
tween September 25 and December 12 this year, plays a central role
in the development of Brazilian art. Its impact, however, transcends
the strictly cultural realm. Functioning as an instrument for education
and social inclusion and serving as a catalyst for the production and
consumption of cultural goods, the Bienal is an important catalyzer to
the creative economy and a symbol of the modernity not only of our
city, but of the nation as a whole.
Created in 1951, the Bienal de São Paulo, inspired upon its Ve-
netian counterpart, was the second mega-exhibition of contemporary
art in the world and the first in the southern hemisphere. Serving as a
link between Brazil and the international scene, the Bienal has been
fulfilling this function of promoting cultural interchange ever since,
stimulating the local artistic circuit and showcasing Brazilian art
abroad. Its impact over the last 60 years has been extremely positive,
attracting, and continuing to attract, the major international artists
of the post-war world. The quality and scope of our artistic output
have grown immensely and our artists have garnered international
projection. The Bienal has earned prestige beyond our borders and is
accompanied with great interest by the artistic community worldwide.
In a nation where only 10% of the population has ever visited a mu-
seum or gallery, the Bienal, with its monumental scale underscored
by Oscar Niemeyer's pavilion in the heart of Ibirapuera Park, is an
important mechanism for providing access to art. Every two years,
the event brings thousands of visitors into contact with contemporary
artistic production. This encounter, capable of generating disparate
feelings, from absolute pleasure to complete indignation, invariably
leads the public to reflect on art and its role in society, thus expand-
ing its horizons. It is in this sense that this year's Bienal is anchored in
the idea of the inseparability of art and politics.
 Believing in art's power to educate, the Bienal de São Paulo
maintains a pioneering presence in the educational field. For the
2010 edition, we celebrated partnerships with the State and Mu-
nicipal Education Secretariats of São Paulo and other authorities in
nearby cities and towns, as well as with innumerable private teaching
institutions and NGOs, with a view to training 35 thousand educators
to work with the Bienal as a theme in their class work, followed by
visits to the pavilion. In all, we hope to receive some 400 thousand
visitors on guided tours, making the Bienal one of the biggest and
widest-ranging educational programs ever implemented within the
field of the arts.
As the economic impact of the Bienal is difficult to gauge, it is
seldom discussed, but certainly should not be underestimated. Artis-
tic production is one of the activities with the highest aggregate value
in the economy. Works of art materialize intellectual capital. The
more value works by our artists acquire, the more wealth is generated
in the country. And this wealth ends up being distributed among all
those involved in the art world – artists, galleries, auction houses,
cultural institutions, schools, etc. Furthermore, the art circuit is a
major incentive for tourism.
On that ground, though the Bienal is essentially focused on
art, one cannot forget its impact on education, citizenship and the
economy. The incisive support the event receives from the Ministry of
Culture, as well as from São Paulo City Hall, company sponsors and
civil society derive from precisely this understanding of the range of
its impact. A strong and representative Bienal is in the interests of so-
ciety as a whole, insofar as it enables our city to position itself among
the world's major contemporary art hubs, generating wealth, progress
and material and symbolic benefit for all.

Heitor Martins
President of the Fundação Bienal de São Paulo
Being home to one of the main events in the global contemporary art
world, one entering its 60th year in 2011, is no small matter. A stand-
out on the post-war art scene that mediated the internationalization
of modern and contemporary art, it ensured the delectation of a vast
public with the creations emerging in the new West. Even today, the
Bienal de São Paulo is a point of reference in the history of 20th-cen-
tury art, plotted on an arc that swings from the Biennale di Venezia
to the Documenta in Kassel. In tandem with these two other great
periodical exhibitions, it interweaves a global network of curators and
concepts that engages public opinion in debate on the meaning and
actuality of a contemporary tradition.
In this 29th edition it will be important to redefine the scale and
importance of the event. The Bienal continues with its mission of pro-
viding a platform for knowledge exchange, creative economy and the
fostering of global networks, as well as research into artistic concepts
and production. If this platform serves as the locus for interchange
among various generations and traditions, whilst exercising functions
that are crucial to the development of the visual arts and Brazilian
cultural economy, it deserves to rank as a priority in public policy,
especially in this cycle of internationalization in which we presently
find ourselves.
The Ministry of Culture recognizes in this new management a
horizon of endeavor that ensures the role of the Bienal as the main
point of connection between Brazilian and world art.
We are experiencing a new phase in the professionalization and
organization of this kind of undertaking. We hope that our initiatives
collaborate with Brazilian society and the art milieu in doing justice
to our art, which is one of the nation's most striking cultural contribu-
tions to the contemporary world.

Juca Ferreira
Minister of Culture
More than manufacturing cars known for their quality and
beauty of design, Fiat's commitment to Brazil and Brazil-
ians is expressed in a range of social actions, which include
reinforcing social wellbeing and fostering education, art and
culture – permanent axes in our activities.
Our sponsorship of the 29th Bienal de São Paulo
sits within this frame, as it deals with an initiative that is a
reference on the international contemporary art scene and
that pursues the goal of broadening the opportunities for
reflection on, and the questioning of, the human condition
through artistic manifestation. Like the Bienal de São Paulo,
Fiat understands the need to celebrate artistic production
and affirm our responsibility to life and society.

Fiat Automóveis
Itaú has always believed in the transformative power of
cultural activity, and that is why we are sponsoring this 29th
edition of the Bienal. Our action in the cultural sphere has
assumed various forms: the formation of one of the most
important art collections in the country, with ongoing pro-
grams and actions developed by the Itaú Cultural Institute,
as well as the ItaúBrazil Platform, which, in 2009, celebrat-
ed the fiftieth anniversary of the musical career of Roberto
Carlos and supported such events as Flip (International
Literary Festival of Paraty), the Joinville Dance Festival and
the Curitiba Theater Festival.
In this context, our support of the 29th Bienal de São
Paulo is aligned with one of the bank's core beliefs: that
diversity and plurality of viewpoints and discourses inspire
people to see the world as in constant progress.

Itaú Unibanco
Fundação Bienal de São Paulo

Founder
Francisco Matarazzo Sobrinho (1898–1977)
Chairman Emeritus

COUNCIL Members Audit Board

Adolpho Leirner Manoel Ferraz Whitaker Salles
Honorary Board Alberto Emmanuel Whitaker Carlos Francisco Bandeira Lins
Oscar P. Landmann † Chairman Alfredo Egydio Setubal Tito Enrique da Silva Neto
Aluizio Rebello de Araujo
Honorary Board Members Álvaro Augusto Vidigal Substitutes
composed by former Presidents Angelo Andrea Matarazzo Pedro Aranha Corrêa do Lago
Alex Periscinoto Antonio Bias Bueno Guillon Carlos Alberto Frederico
Carlos Bratke Antonio Bonchristiano Gustavo Halbreich
Celso Neves † Antonio Henrique Cunha Bueno
Edemar Cid Ferreira Beatriz Pimenta Camargo
Jorge Eduardo Stockler Beno Suchodolski board of directors
Jorge Wilheim Cacilda Teixeira da Costa
Julio Landmann Carlos Alberto Frederico Executive Board
Luiz Diederichsen Villares Carlos Bratke Heitor Martins · President
Luiz Fernando Rodrigues Alves † Carlos Francisco Bandeira Lins
Maria Rodrigues Alves † Carlos Jereissati Eduardo Vassimon · 1st Vice-President
Manoel Francisco Pires da Costa Cesar Giobbi Justo Werlang · 2nd Vice-President
Oscar P. Landmann † Claudio Thomas Lobo Sonder
Roberto Muylaert Decio Tozzi Directors
Elizabeth Machado Jorge Fergie
Management Board Emanoel Alves de Araújo Lucas Melo
Elizabeth Machado · President Evelyn Ioschpe Luis Terepins
Alfredo Egydio Setubal · Vice-President Fábio Magalhães Miguel Chaia
Fernando Greiber Pedro Barbosa
Lifetime Members Fersen Lamas Lembranho Salo Kibrit
Alex Periscinoto Gian Carlo Gasperini
Benedito José Soares de Mello Pati Gustavo Halbreich Representative Directors
Ernst Guenther Lipkau Jackson Schneider Ambassador Celso Amorim
Giannandrea Matarazzo Jean-Marc Robert Nogueira Baptista Etlin Minister of Foreign Affairs
Gilberto Chateaubriand Jens Olesen
Hélène Matarazzo Jorge Gerdau Johannpeter Juca Ferreira
Julio Landmann José Olympio da Veiga Pereira Minister of Culture
Miguel Alves Pereira Marcelo Mattos Araújo
Jorge Wilheim Marcos Arbaitman João Sayad
Manoel Ferraz Whitaker Salles Maria Ignez Corrêa da Costa Barbosa State Secretary of Culture
Pedro Franco Piva Marisa Moreira Salles
Roberto Duailibi Nizan Guanaes Carlos Augusto Calil
Roberto Pinto de Souza Paulo Sérgio Coutinho Galvão City Secretary of Culture
Rubens José Mattos Cunha Lima Pedro Aranha Corrêa do Lago
Thomaz Farkas Pedro Paulo de Sena Madureira
Roberto Muylaert
Rubens Murillo Marques
Susana Leirner Steinbruch
Tito Enrique da Silva Neto
Chant I  ·  Poem II

The island no one found

because we all knew it.
Even to the eye it had
a clear geography.

Even at this sea's end

any island could be found,
even without sea and without end,
even without land and without me.

Even without ships and without bearings,

even without waves and sands,
there is always a cup of sea
for a man to sail in.

Not even found and not seen

neither described nor journey,
departures are ventured,
but never happen.

Close we never become

me and the wandering island.
Roving land, uncertain sky,
world never discovered.

Traces of cannibals,
signs of sky and sargasso,
here a world hidden,
moans in a lost shell.

Wind rose on forehead,

shallow tide, mist, pearls,
low Sundays.
And this sailboat without sails!

At last: island of beaches.

Would you want other findings
besides these high winds
so sad, such joys?

Orpheus' Invention  ·  Jorge de Lima

 A C
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R E I S de O FA R
T H E
B i enalG N
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 I N
A I L
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A L O S
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lo IR D KO HA
U P O S EG
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Editorial note

This catalogue contains information about the 159 artists whose

works will be exhibited throughout the Ciccillo Matarazzo Pavilion
and grounds between September 25 and December 12, 2010, as
well as reflections on the curatorial, educational and exhibition
design projects that combine as a single body to lend shape to this
29th Bienal de São Paulo. In tandem with the visual and written
descriptions of these works, this publication also contains a
selection of literary texts and excerpts of the most varied kinds, a
counterweight that underscores or tensions the issues and themes
suggested by the artists and that affirms the importance this
edition of the event places upon the faculty of imagination as an
indissociable aspect of critical thought.
In addition to installations, videos, drawings, sculptures,
paintings, photographs and engravings, six of the artistic
contributions featured here are also terreiros, spaces that will be
used over the course of the event to host performances, dances,
readings, music concerts, plays, film screenings, and any other
expressions artists may avail of in order to create or speak of artistic
interventions, besides debates and interviews about art and other
themes of contemporary life. Given the dynamic nature of the
terreiros and their open-ended programs, not all of those who will
be performing or presenting work in these spaces could be listed
or named in these pages, though each is very much a participant
in the 29th Bienal de São Paulo. We therefore decided to give due
credit to the artists and thinkers featured in the terreiros in a second
publication, one that, complete with an extensive photographic
record of the exhibition, will complement and add further weight to
the content presented herein.
Contents

18
There is always a cup of sea to sail in
Agnaldo Farias & Moacir dos Anjos

30 Artists & terreiros

402 A place to breathe

Stela Barbieri

412 On the construction of an archipelago

Marta Bogéa

422 Capacete Project

Helmut Batista

426 Works in exhibition

438 Image credits

440 Bibliographic credits and references

Artists

368 Adrian Piper 210 Carlos Zilio 206 Grupo Rex

94 Aernout Mik 66 Chantal Akerman 108 Gustav Metzger
281 Ai Weiwei 192 Chen Chieh-jen 140 Guy de Cointet
240 Albano Afonso 182 Chim Pom 234 Guy Veloso
40 Alberto Greco 397 Cildo Meireles 328 Harun Farocki
286 Alessandra Sanguinetti 83 Cinthia Marcelle 260 Hélio Oiticica
64 Alfredo Jaar 130 Claudia Joskowicz 212 Henrique Oliveira
72 Alice Miceli 186 Claudio Perna 176 High Red Center
68 Allan Sekula 306 Daniel Senise 312 Isa Genzken
114 Allora & Calzadilla 60 David Claerbout 133 Jacobo Borges
298 Amar Kanwar 386 David Cury 138 James Coleman
232 Amelia Toledo 90 David Goldblatt 36 Jean-Luc Godard
356 Ana Gallardo 288 David Lamelas 228 Jeremy Deller & Grizedale Arts
236 Andrea Büttner 80 David Maljković 392 Jimmie Durham
124 Andrea Geyer 81 Deimantas Narkevičius 238 Joachim Koester
100 Andrew Esiebo 136 Dora García 294 Jonas Mekas
324 Anna Maria Maiolino 290 Douglas Gordon 227 Jonathas de Andrade
320 Anri Sala 390 Eduardo Coimbra 256 José Leonilson
184 Antonieta Sosa 350 Eduardo Navarro 258 José Spaniol
378 Antonio Dias 254 Efrain Almeida 398 Joseph Kosuth
110 Antonio Manuel 296 Emily Jacir 230 Juliana Stein
170 Antonio Vega Macotela 329 Enrique Ježik 374 Julie Ault and Martin Beck
98 Apichatpong Weerasethakul 274 Ernesto Neto 188 Karina Skvirsky Aguilera
369 Archigram Group 82 Fernando Lindote 116 Kboco & Roberto Loeb
177 Artur Barrio 244 Filipa César 123 Kendell Geers
270 Artur Żmijewski 319 Fiona Tan 357 Kiluanji Kia Henda
353 CADA – Colectivo Acciones de Arte 202 Flávio de Carvalho 266 Kimathi Donkor
86 Cao Fei 336 Francis Alÿs 102 Kutluğ Ataman
180 Carlos Bunga 226 Gabriel Acevedo Velarde 146 Livio Tragtenberg
330 Carlos Garaicoa 150 Gil Vicente 58 Luiz Zerbini
214 Carlos Teixeira 376 Graziela Kunsch 169 Lygia Pape
198 Carlos Vergara 152 Grupo de Artistas de Vanguardia 332 Manfred Pernice

284 Manon de Boer
316 Marcelo Silveira
76 Marcius Galan
128 Maria Lusitano
221 Maria Thereza Alves
340 Marilá Dardot & Fabio Morais
352 Mario Garcia Torres
360 Marta Minujín
347 Mateo López
104 Matheus Rocha Pitta
246 Miguel Angel Rojas
252 Miguel Rio Branco
366 Milton Machado
144 Mira Schendel
388 Monir Shahroudy Farmanfarmaian
156 Moshekwa Langa
248 Nan Goldin
300 Nancy Spero
126 Nástio Mosquito / Bofa da Cara
318 Nelson Leirner
302 Nnenna Okore
200 NS Harsha
380 Nuno Ramos
190 Oscar Bony
384 Oswaldo Goeldi
194 Otobong Nkanga
92 The Otolith Group
362 Palle Nielsen
38 Paulo Bruscky
191 Pedro Barateiro
174 Pedro Costa
147 Pixação SP
terreiros
334 Qiu Anxiong 339 Far away, right here
292 Raqs Media Colective 161 I am the street
132 Roberto Jacoby 273 Remembrance and oblivion
308 Rochelle Costi 115 Said, unsaid, not to be said
158 Rodrigo Andrade 213 The other, the same
196 Ronald Duarte 43 The skin of the invisible
55 Rosângela Rennó
51 Runa Islam
145 Samuel Beckett
262 Sandra Gamarra
96 Sara Ramo
224 Simon Fujiwara
78 Sophie Ristelhueber
52 Steve McQueen
142 Sue Tompkins
372 Superstudio
304 Susan Philipsz
54 Tacita Dean
322 Tamar Guimarães
154 Tatiana Blass
34 Tatiana Trouvé
197 Tea Pavillion
44 Tobias Putrih
162 UNStudio
268 Wendelien van Oldenborgh
32 Wilfredo Prieto
272 Yael Bartana
139 Yoel Diaz Vázquez
396 Yonamine
74 Yto Barrada
242 Zanele Muholi
88 Zarina Bhimji
There is always a cup
of sea to sail in
Agnaldo Farias  &  Moacir dos Anjos

The exhibition and the institution

While the Bienal de São Paulo is one of the oldest and most rele-
vant institutions in the world devoted to contemporary art, its own
particular context has allowed it to retain an experimental char-
acter, alternative to the more consolidated centers of diffusion
in Europe and North America. With the needle of the compass
pointing straight at South America, the Bienal's propositions
branch into diverse geographical spaces, from the closest-by to
the farthest away. And as it takes place in Brazil, a nation where
there is, as yet, no rigid institutional compartmentalization to
brace the art field, it is an event that radiates out of the restricted
circle of artistic production into the ampler domains of culture
and politics.
Every two years it falls to a multidisciplinary team coordi-
nated by one or more curators to renew this importance and
affirm, from the most varied perspectives, the role an art exhibi-
tion of its kind and size should play simultaneously in the Brazilian
and international contexts. This was the first challenge the 29th
Bienal de São Paulo had to assume and tackle: to organize an
exhibition that is indispensable to the time and space in which
it exists. This commitment to the reality that surrounds it does
not imply, in any way, the subordination of its project to motiva- 19

tions or strategies alien to artistic creation. Quite the contrary,

in fact, as it is this insistence on the irreducible nature of art to
other ambits of life that guides this edition of the Bienal, as only
this singular character can grant it the power to change the order
of things in the world, thereby investing it with a truly public
dimension.

A concept

The 29th Bienal de São Paulo is organized around a discur-

sive platform that, without impinging upon the varied meanings
of each artistic project it contains, suggests a precise curato-
rial viewpoint. One core aspect of this platform is the recognition
of the ambiguous character art assumed the moment it was
released from the role of merely representing what was already
there and known. On the one hand, art is that which, in its own
peculiar way, upsets the usual coordinates for sensorial experi-
ence of the world. On the other, in virtue of possessing this power
to disrupt, art is capable of reconfiguring themes and attitudes
inscribable in spaces of cohabitation and exchange. In this sense,
it truly is impossible to dissociate art from politics.1 It is precisely
the amalgamation of these two dimensions that simultaneously
assures the unique place of art in the symbolic organization of
life and its capacity to clarify and rework the forms by which the
world is structured.
The choice of this organizing principle for the curatorial proj-
ect is justified for two main reasons: firstly, because we live in a
conflict-ridden world where paradigms of sociability are cease-
lessly questioned, and in which art affirms itself as a privileged
medium for the apprehension and simultaneous reinvention of
reality; and, secondly, because this movement of approximation 1 For more on the relationship between

between art and politics has been so extensive in recent decades, art and politics as defended here, see
Jacques Rancière, “Politics of Aesthetics.” In
it has once again become necessary to highlight the singularity Aesthetics and Its Discontents. Cambridge:
of the former in relation to the latter, as the two are sometimes Polity Press, 2009.
confused to the point of annulling all distinction. However, there
is no hint of nostalgia here for the idea of a supposedly autono-
mous art, removed from the ordinary world in which we live. Quite
the opposite, in fact, insofar as this motivation reflects the convic-
tion that it is only by affirming its unparalleled nature that art can
make a real difference in everyday life.
It is in this sense that the title of the exhibition, “There
is always a cup of sea to sail in” – taken from Invenção de
Orfeu,2 the masterwork by the poet Jorge de Lima – , encapsu-
lates exactly what this edition of the Bienal de São Paulo hopes
to achieve, namely, to affirm that the utopian dimension to art
is contained within art itself, not outside or beyond it; to affirm
the value of poetic intuition in the face of a “tamed thought” that
emancipates nothing, though it permeates political parties and
even formal educational institutions. It is in this “cup of sea”,
in this close infinite that artists insist on engendering, that the
power to press ahead actually lies, despite everything else, as the
poet says, “even without ships and bearings / even without waves
and sands.” As a forum for the reverberation of this commit-
ment in sundry other forms, the exhibition will put its visitors in
contact with ways of thinking and inhabiting the world beyond the
consensuses that organize it and keep it small, so small that not
everything or everyone can fit. The 29th Bienal will put its visitors
in touch with the politics of art.
As such, the 29th Bienal de São Paulo aims to be at once
a celebration of artistic production and an affirmation of its
responsibility before life; to be, simultaneously, a dismantling of
meanings and a generation of knowledge found nowhere else; to
involve the public in the sensible experience woven by the web
of works exhibited here, and in their capacity to critically reflect
the world in which they are inserted. For all of this it aims to offer
examples of how art weaves politics into itself. Politics that should
not be confused with parliamentary practice or social activism –
even if legitimate alliances between art and these domains can
and do occur – , but rather one that is capable of challenging 2 Jorge de Lima, Invenção de Orfeu. São
Paulo: Record, 2005; 1st edition 1952.
the established ways of understanding the world by articulating 21

discursive opacity and intelligibility.

In this context, artistic practices and works that showcase
already conceived ideas do not fall within the field of inter-
est prescribed by the curatorial project for this 29th Bienal de
São Paulo. And the reason for this is that they are incapable of
producing a purposeful or critical reaction on the part of the audi-
ence, merely confirming ideas already shared as to which stances
are expressly “right” or “wrong” in the face of conflict situations.
For the 29th Bienal de São Paulo, art truly does politics when it
produces knowledge that destabilizes long-entrenched certain-
ties as opposed to generating a sense of safety and comfort;
or when it leads those touched by it to unlearn politics as it is
conventionally understood. In this sense, the exhibition assumes
that a relationship between art and politics ought to be thought
out speculatively, where the formulation of precise questions
stands for more than offering diffuse answers. This is the measure
of its responsibility and ambition.

A time

The 29th Bienal de São Paulo eschews two frequently adopted

models for presenting contemporary art. First, that which is solely
concerned with the hasty demands of the market and the spec-
tacle, and the search for the supposedly new; and, second, the
strict museological model that inscribes artistic production within
an official and seamless historical narrative. If the first model
severs the articulations between the art produced in the present
and the production that preceded it, the second diminishes the
uncertainties and risks that nourish and characterize the condi-
tion of contemporary life.
Rather than privilege the new or, alternatively, only the
established, the exhibition will articulate works made at differ-
ent times in order to affirm temporal ties that evince, from the
conceptual platform here defined, the continuities that run
through the artistic creation of the last few decades. The impor-
tant point is that, whether brand new or decades old, the art
brought together at the 29th Bienal has the symbolic power to
open chinks of various sizes and durations in the consensuses
that ground our understanding of the ideas and things that orga-
nize the world.
As such, the temporality of relevance to the curatorial proj-
ect for the 29th Bienal de São Paulo is that which pertains to the
experiment; in other words, that which locates artistic produc-
tion not in the continuous and homogeneous time of the already
known, but in that fractured, porous, and urgent time in which
invention takes place. In the context of a world riddled with
doubts about its immediate future, the project therefore assumes
the need to return to the idea of art, beyond its particular forms of
existence, as “the experimental exercise of freedom,” an expres-
sion used by the critic Mario Pedrosa when reflecting upon the
Brazilian art of the 1960s.

A territory

By inviting 159 artists from all over the world, the 29th Bienal de
São Paulo maintains the tradition of internationalization estab-
lished since the first editions of the event. However, this does
not imply any thrall to the obsession so visible in exhibitions over
the last twenty years of focusing extensively on the other and the
distant, a task fated to insufficiency and failure, even at events of
similar amplitude. Recognizing this unbreachable limit, it resists
the temptation to take the territorial origin of the artists as an
absolute criterion of selection. The strategy is to place greater
emphasis on the symbolic place and time from which the curato-
rial discourse derives – namely, Brazil and a time of rapid global
geopolitical reorganization – than on the actual quantity of voices
called upon to endorse it. This gives the Bienal certain inclina-
tions that are different to those of other exhibitions that may have
been organized around a similar principle, but from a different
position in the world. This also means conceiving and organizing 23

the exhibition politically; in other words, understanding it as an

apparatus that critically portrays the world of today through artis-
tic production and its organization within the exhibition space.
One strategy for achieving that goal is to feature a signifi-
cant number of works by Brazilian artists produced since the
1930s, including many that are not normally associated with the
hegemonic idea of what political art is or with the period in which
this category is seen to have been current in the country. Distrib-
uted throughout the exhibition, these works suggest a narrative
of Brazilian modern and contemporary art that is in tune with
the conceptual platform of the 29th Bienal de São Paulo, allow-
ing for an ampler understanding of the critical art produced in the
country, one that does not pretermit the different forms of social
organization that preceded and succeeded the military regime
in Brazil (1964 – 1985). The critical art of which one speaks here
is more than just a backlash against a restrictive situation, but is
actually capable of broadening, or at least of problematizing – out
of itself and with a range of formal procedures – the repertoire of
positions, movements and discourses that a collectivity embraces
and shares at any given moment.
It is important to clarify that this strategy is by no means
an attempt to underscore particularities or supposed national
identitary traits, a meaningless aim in the context of incessant
exchange that characterizes contemporaneity. Rather it is a case
of suggesting a possible understanding of the political charac-
ter of art by positing the modern and contemporary art produced
in Brazil as a kind of example or model. Despite the degree of
arbitrariness this certainly involves, it is justified not only by the
fact that the exhibition is organized in and from Brazil, but also
by a longstanding condition and recent fact associated with the
nation. The condition concerns the existence in Brazilian culture
of spaces that continuously ritualize the breaking of estab-
lished norms and the subversion of given hierarchies, whether
on the level of the profane, as in carnival, or the sacred, such as
umbanda and candomblé temples. The justifying fact referred
to above, in turn, is the growing status Brazil has earned over
the last decade as a major player in international politics and
the global economy, inverting expectations that prevailed until
recently as to the position the country could or should occupy in
these fields. Without intending to affirm any sort of causal rela-
tionship between this condition and that fact, on the one hand,
and the capacity of Brazilian art to evoke the politics of art under-
scored here, on the other, it is reasonable to defend, amid the
confluence of movements that constantly put consensus to the
test, the centrality this artistic production assumes within the
curatorial project for the 29th Bienal de São Paulo.
This strategy is deepened and expanded through the inclu-
sion of a series of experimental works and projects produced in
Latin America in recent decades that evince the existence in the
region of an artistic output that, though long repressed in tradi-
tional narratives commonly considered “political” art – either
because it was not seen as engaged enough, in the sense of
pamphleteering, or, on the contrary, because it was approached
purely as activism – , can be fully inscribed in the context of a
politics of art. In this sense, the “historic” works featured in the
exhibition are not presented as a mere “archive” to be paraded
before a gaze that, even without prior knowledge of the work,
would already know how to decipher it without error. In the 29th
Bienal de São Paulo, these works fulfill the role of invoking a past
that will enable our torpid contemporary sensibility to understand
art as a forum in which politics is fully exercised.
From the exhibition's enunciative locus – Brazil and its
geographical neighbors – the 29th Bienal de São Paulo suggests
nonlinear associations with art produced in the contexts of other
countries from the geopolitical “south” undergoing the same
rapid transformation, be they from Africa, the region formerly
known as Eastern Europe, or, to a lesser extent, from the Middle
East or Asia. Through the works of so many artists who were
born, live, or laid hybrid roots in these countries, the exhibition
promotes, critiques, and echoes these changes, as only art can,
suggesting a constellation of articulated processes of rupture with 25

notions of localization in the world.

One sign of this dismantling of borders and affirmation of
differences is the way artists from or based in the political “south”
call into question what is commonly referred to as the “inter-
national language” of art, constituted by a set of themes and
symbolic inventions largely associated with movements begun
in Europe or North America (pop art, minimalism, conceptual-
ism, among others) and more often than not opaque to the output
from other parts of the world. If the “international” nature of this
language were first and foremost the result of the power of its
enunciators to impose specific artistic repertoires and proce-
dures, as if possessed of an undisputed global character, artists
from subordinate elsewheres (including exile and Diaspora) have
striven to fill the very channels in which this hegemony is still
demanded (chiefly art exhibitions and publications) with expres-
sive elements that belong to other places and circumstances,
thus scuppering whatever pretensions that language had toward
universality. In making these insertions, it is not a matter of
attempting to deny the centrality of the lexicon and syntax that
gave shape to the international art language for production made
in the most varied places, but rather to contradict its pretension
toward natural symbolic construction and ample validity. In other
words, it is all about “provincializing” that language, exposing it as
the fruit of particular traditions that were once dominant and forc-
ing it, at the same time, to adapt to a time and a place in which
this hegemony is contested.3
Curatorially reproducing this conflictual relationship with
“international” art is another strategy employed by the 29th
Bienal de São Paulo in voicing its discourse from the “south” and
affirming itself as a political exhibition. However, this entails no
value judgment on the works presented here. The intention is
rather to avail of this approximation between celebrated works 3 On the concept of “provincialization,”

from the European/North American tradition and works by artists see Dipesh Chakrabarty, Provincializing
Europe. Postcolonial Thought and Historical
representing non-hegemonic traditions to produce, through Difference. Princeton, New Jersey: Princeton
simple proximity, meanings that are unfamiliar for both. Beyond University Press, 2000.
this strategy, many other artists from that “dominant” tradi-
tion will be present in this exhibition. Though different in many
respects, what unites them and makes them fundamental to the
29th Bienal de São Paulo is the capacity of their work to resist
being molded or tamed by the creative conventions of which they
avail and the sharp critical sense they share concerning the place
they occupy in the world.

Terreiros

If the selection of works and their articulation in the exhibi-

tion space are decisive in declaring the political nature of the
29th Bienal de São Paulo, likewise fundamental to affirming this
focus is the activation of a critical relationship on the part of the
audience in relation to the exhibition and the space that hosts
it. After all, it would be contradictory to organize a show focused
on the relationship between art and politics that was exclusi-
vely based around works that invite contemplation, even if simply
looking can sometimes be an act of emancipation.4 With this
ambition and purpose in mind, six spaces were constructed with
the dual function of serving as way stations of rest and reflection
– thus setting a certain rhythm for the exhibition – and as venues
for a range of activities, such as roundtable discussions, lectures
and debates, film and video screenings, performances by artists,
actors, and dancers, popular and classical music shows, and
readings of poetry and fiction.
Six venues, six terreiros designed by architects and artists,
reminiscent of the squares, patios, parks, terraces, temples,
yards, and outdoor and indoor spaces in which people the length
and breadth of Brazil congregate to dance, sing, play, cry, discuss
their fates and endure the tides that pull them off-course, as well
as – and especially – to practice the various rites that make up
the nation's hybrid religiosity. While these terreiros hark back to 4 See Jacques Rancière, “The Emancipated
Portugal, a prime example being the Terreiro do Paço in Lisbon, Spectator.” In The Emancipated Spectator.
created in 1511 and home for centuries to the Royal Palace, they London: Verso, 2009.
transformed, over time, in both idea and place that transverse the 27

Brazilian culture and become one of its hallmarks. The terreiros

have an especially strong connection to Brazil's mestizo commu-
nities, which have used them for the most diverse ends, endowing
them with meaning and filling them with special purpose. It is no
accident that the terreiro was the cradle of the samba schools
and that the composer Assis Valente, in his classic samba Brasil
pandeiro, declared: “Brasil, esquentai vossos pandeiros / iluminai
os terreiros / que nós queremos sambar!” (Brazil, warm up your
tambourines / light up your terreiros / because we want to dance
to samba!).
Transposed and adapted to an exhibition environment,
the terreiros serve as meeting places, soapboxes, auditoriums,
venues for debate, communion, and doubt, echoing the power of
politics as an act of creating what is not given, or was never even
imagined possible. Six terreiros corresponding to the six ques-
tions posed by the works exhibited here; six axes designated by
the poetic word, the word that is not easily spoken, that retains a
share of opacity in a world permeated by purportedly crystalline
and unequivocal speech. These are:
A pele do invisível [The skin of the invisible] – a terreiro dedi-
cated to images, with continuous screenings of films produced in
diverse systems. Though regarded as ineffable, an effect of their
wispy and epithelial material, images are powerful and say a lot
about a large portion of a world seen only in lateral adumbrations.

Dito, não dito, interdito [Said, unsaid, not to be said] – the

terreiro of the spoken and sung word, located outside the Bienal
building, and named after little Dito, a character in Guimarães
Rosa's Campo geral.

Eu sou a rua [I am the street] – a terreiro born of the chronicle of

João do Rio, famous for having contributed to the elevation of this
literary genre, this space is designed as a podium for debates on
the contemporary city, this palimpsest that builds upon ruins.

O outro, o mesmo [The other, the same] – the terreiro that

emulates Jorge Luis Borges' particular way of understanding
the existence of one as being ineluctably rooted in the other.
Dedicated to performances based upon the desire for self-repre-
sentation and the representation of the objects of a desired,
albeit enigmatic, alterity.

Lembrança e esquecimento [Remembrance and oblivion] –

a terreiro dedicated to all that is remembered and forgotten in a
society. On one hand, we have social memory expressed in monu-
ments and school curriculums, and, on the other, its omission
and suppression, the obliteration of memory. A place for rest, for
daydreams, in which to filter through the bevy of information.

Longe daqui, aqui mesmo [Far away, right here] – the terreiro of
utopias and dystopias, of proposals for the transformation of the
world or its representation, which are practically the same thing.
Named after the playwright Antonio Bivar's homonymous work.
 Thanks to the architecture and programs of the terreiros, to 29

be put to incidental and spontaneous use by the visiting public,

specific questions can be affirmed and discussed from a range
of different viewpoints. It is in the terreiros that close encoun-
ters between the different artistic languages can become clearer,
and perhaps blur the bounds that make them distinct. More than
just the venues for a collection of events, the terreiros are places
where the words and movements of bodies trigger doubts, allow-
ing to emerge that which is unknown but at the same time so
urgently needed. An indispensible element of the 29th Bienal de
São Paulo, the terreiros evince the deep and multiple presence
of art in life, and the need to celebrate it as political practice.
Between a cup of sea and a piece of ground, the artistic gesture
feeds the imagination and makes fantasy thrive, this place that,
in the words of Dante, “rains inside” and that, duly reinvigorated,
can beget new worlds.
Over time, the river turned into the place of what for me were
the deepest mysteries. The waters flowed over the most intri-
cate curves, continuing on its way and forming dark pools that
went all the way to the sea; those waters never came back. When
it rained and there was a storm, the river would resound and
its rumbling could even be heard in our home. It was a furious
and extremely rapid river that swept up everything in its path.
Some time later, I managed to get closer and swim in its waters;
it was called the Lily River, although I've never seen a single lily
along its banks. It was this river that offered me an image I will
never forget: it was Saint John's Day, a holiday where people
in the countryside have the habit of bathing in the river. The
ancient baptism ceremony turned into a party for swimmers. I
was walking along the river bank beside my grandmother and
the other cousins my age when I saw more than thirty men in
the water, completely naked. All of the local youths were there,
jumping and splashing around in the water.
Before the night falls · Reinaldo Arenas
Wilfredo Prieto
Sancti Spíritus, Cuba, 1978. Lives in Havana, Cuba and
Madrid, Spain. Wilfredo Prieto toys with the repositioning,
minimal intervention, or camouflaging of objects, reinforc-
ing their contrasts and characteristics in order to activate
their implicit symbolic content. His work presupposes an
economy of resources so as to generate maximum effect
and is also essentialist in its use of impactful images that
ensure rapid and effective legibility. Apolítico is an urban
intervention situated outside the Ciccillo Matarazzo
Pavilion that consists of poles bearing the flags of various
Man is different from me and you. What thinks is never what it
thinks about; and since the first is a form with voice, the latter
takes on all forms and all voices. So, no one is a man, Monsieur
Teste least of all.
Neither was he a philosopher, nor anything of that kind, nor
even a writer; and for that reason he thought a great deal – for
the more one writes, the less one thinks.
He was continually adding to something I knew nothing
different nationalities with their colors faded into scales
of gray. Hung from pre-existing poles, the flags recall the
imposing international history and heritage of the building,
first as the Industrial Pavilion and later, after 1953, as the
venue for the Bienal de São Paulo. The grayscale of the
flags dulls but does not entirely eliminate the differences
between the respective countries, thus denouncing a false
neutrality. Through the irony of its attempt at chromatic
agreement, the conjunct ends up sustaining the cultural
and political irreducibility of peoples.
about: perhaps he was making his method of conceiving faster
and faster, perhaps he was devoting himself to the abundance of
solitary invention. In either case, he remains the most satisfac-
tory being I have met – that is, the only individual who endures
in my mind.
Consequently, he was neither good nor bad nor stupid, nor
cynical nor otherwise; he did nothing but choose: this is the abil-
ity to make of a moment and oneself of a pleasing group.
Apolítico
[Apolitical] · 2001
installation view, Bienal Havana (2001)
He had given himself an advantage over everyone else: that
of having a useful idea of himself; and another Monsieur Teste
went into each of his thoughts – a well-known figure, simpli-
fied, compatible with the real at every point… In short, he had
replaced the vague notion of the self that falsifies all reckonings
and slyly involves us in our own speculations – who are trapped
in them – by a definite imaginary being, a well-defined or trained
Self, precise as an instrument, sensitive as an animal, and
33
adaptable to everything – like man.
So Teste, in the armor of his own image, knew at every
moment his weakness and his strength. For him the world was
composed, first, of everything he knew, and of what was his
– and this no longer counted; then, in another self, of all the
rest; and this reminder either could or could not be acquired,
constructed, transformed. He wasted no time with the impossible
or the easy.
Tatiana Trouvé
Cosenza, Italy, 1968. Lives and works in Paris, France.
Tatiana Trouvé is best known for her interventions, and
architectonic and sculptural constructions that materially
and psychologically explore, confuse, and invert interior
and exterior, movement and stasis. She creates new
environmental realities through this enigmatic correlation,
reconstructing and reconfiguring the whole space in which
her works are installed. Precise and rigorous, 350 Points
towards Infinity redefines an area in which hundreds of
pendulums hang diagonally from the ceiling, as if stopped
One evening he replied to me: “My friend, the infinite no
longer amounts to much – it's a matter of writing. The universe
exists only on paper .
No idea can express it. None of the senses can show it. It
can be said and that's all”.
“But science,” I said, “tries…”
in mid-swing, just before touching the ground (which is
equipped with hidden magnets). In this work, artificially
suspended time simulates a profoundly and strangely dor-
mant space. The forest of pendulums in arrested movement
forms a mental landscape infused with the conjecture of
impending collision.
“Science! There are only scientists, my friend, and they're
scientists only at certain moments. They are men… groping…
with their bad nights, their upset stomachs, or an excellent lucid
afternoon. Do you know the first hypothesis of all science, the
idea indispensable to every scientist? It's this: the world is almost
unknown. This is a fact. Yet we often think the contrary: there are
350 Points towards Infinity 35
2009
view and detail of the installation at Migros
Museum, Zurich (2009)

moments when everything seems clear, when all is fulfilled and

there is no more science – or if you prefer, science is complete.
But at other times, nothing is clear, there are only gaps, acts of
faith, uncertainties; nothing to be seen but scraps and irreducible
objects, on every hand.

Monsieur Teste · Paul Valéry

Jean-Luc Godard
Paris, France, 1930. Lives and works in Rolle, Switzerland.
From advertising films to film criticism, from comedies to
film essays, the work of Jean-Luc Godard spans numer-
ous fields of audiovisual production. His philosophical and
political formation occurred, above all, during and through
this practice, whether in his fiction films, which convey the
aspirations, frustrations, and ideals of the Parisian youth;
the political letters of the Dziga Vertov Group videos; or the
monumental reading of the 20th century in the audiovisual
collage Histoire(s) du Cinéma. All of this ripened a provoca-
tive set of ideas and intricate modes of thought reproduced
through concatenated sounds and images. The video
Je vous salue, Sarajevo articulates some of Godard's
thoughts on history and politics, presenting art as the
exception to culture's rule, one that can be composed,
painted, or lived, but which has the capacity to counter
the norms that define the cultural sphere. Based on a
single photo of Sarajevo, the editing constructs a succes-
sion of frames and scenes accompanied by a voice-over in
which Godard suggests that there is no distinction between
artistic production and political struggle.
Je vous salue, Sarajevo 37
[Hail, Sarajevo] · 1993
frames

In a sense, fear is the daughter of God, redeemed on Good Friday night.

She's not beautiful, mocked, cursed and disowned by all. But don't get it
wrong. She watches over all mortal agony, she intercedes for mankind. For
there's a rule and an exception. Culture is the rule, and art is the excep-
tion. Everybody speaks the rule: cigarette, computer, T-shirt, TV, tourism,
war. Nobody speaks the exception. It isn't spoken, it's written: Flaubert,
Dostoyevski. It's composed: Gershwin, Mozart. It's painted: Cézanne, Ver-
meer. It's filmed: Antonioni, Vigo. Or it's lived, and then it's the art of living:
Srebrenica, Mostar, Sarajevo. The rule is to want the death of the exception.
So the rule for Cultural Europe is to organize the death of the art of living,
which still flourishes.
When it's time to close the book, I'll have no regrets. I've seen so many
people live so badly, and so many die so well.

Hail, Sarajevo · Jean-Luc Godard

Paulo Bruscky
Recife, Brazil, 1949. Lives and works in Recife. Paulo Bruscky
has been practicing experimentalism since the 60s, through
visual poetry, photography, video and cinema, as well as
through an exchange of postcards, performance and urban
intervention. He uses a variety of supports in reproducing
graphic signs, including the fax machine, photocopier, print-
ing press and ink stamp. He also combines his routine as a
civil servant with the development of artistic projects, having
found therein ways of reacting to the bureaucracy, the lack
of an institutional environment for art in his hometown and
MOUTH:… out… into this world… this world… tiny little thing…
before its time… in a godfor–… what?… girl?… yes… tiny little
girl… into this… out into this… before her time… godforsaken
hole called… called… no matter… parents unknown… unheard
of… he having vanished… thin air… no sooner buttoned up his
breeches… she similarly… eight months later… almost to the tick…
so no love… spared that… no love such as normally vented on
the… speechless infant… in the home… no… nor indeed for that
the repression during the dictatorship years. Paulo Bruscky's
work records the little provocations with which he confronts
the audience of the city, with all the strangeness and sur-
prise proper to the artistic act through which he was able, on
numerous occasions, to modify the everyday, or at least put
it to the test. In 1978, Bruscky marched through the streets
wearing sandwich boards on which he had written the
questions “O que é arte? Para que serve?”. In 1973, for the
film Arte/pare, he stopped the traffic on a bridge in Recife
using a flimsy red satin ribbon. The artist also carried out
innumerable poetic insertions/subversions in newspapers, in
the form of classified adverts.
matter any of any kind… no love of any kind… at any subsequent
stage… so typical affair… nothing of any note till coming up to sixty
when–… what?… seventy?… good God!… coming up to seventy…
wandering in a field… looking aimlessly for cowslips… to make a
ball… a few steps then stop… stare into space… then on… a few
more… stop and stare again… so on… drifting around… when
suddenly… gradually… all went out… all that early April morn-
ing light… and she found herself in the –… what?… who?… no!…
1 2 39
O que é arte? Para que serve? Arte/pare
[What is art? What is it for?] · 1978 [Art/stop] · 1973
action documentation frames

she!… [Pause and movement 1.]… found herself in the dark…
and if not exactly… insentient… insentient… for she could still hear
the buzzing… so-called… in the ears… and a ray of light came
and went… came and went… such as the moon might cast…
drifting… in and out of cloud… but so dulled… feeling… feel-
ing so dulled… she did not know… what position she was in…
imagine!… what position she was in!… whether standing… or
sitting… but the brain–… what?… kneeling?… yes… whether
standing… or sitting… or kneeling… but the brain–… what?…
lying?… yes… whether standing… or sitting… or kneeling… or
lying… but the brain still… still… in a way… for her first thought
was… oh long after… sudden flash… brought up as she had
been to believe… with the other waifs… in a merciful…
Not I · Samuel Beckett
Alberto Greco
Buenos Aires, Argentina, 1931 – Barcelona, Spain, 1965.
Alberto Greco was a controversial protagonist of the intel-
lectual ruptures that occurred in Argentina throughout the
1960s, a time in which the vanguard movements adhered to
informalism as an artistic procedure that legitimized irrever-
ent gestuality and the incorporation of ephemeral materials.
This method was radicalized in the works of Alberto Greco
in his search for some equivalence between the domains
of art and daily life. The artist frequently works with noth-
ing besides his own interactions with the passers-by and
They say that there is a whale in the shallow water, beaching
itself. / Let's go see it. / We will see if our small and disordered
soul / Can resist the imposition of its dark tons. / We will see
how it cries, showing its blundering flippers / That cannot offer us
a flower / Between their fingers. / We will ask it, instead, to sing
residents of a given place, especially in the Vivo dito pieces,
begun in 1962 and performed during his wanderings in vari-
ous cities and towns. In Vivo dito, Greco strolled through
streets, squares, and plazas picking out elements which he
then signed as if they were works of his own authorship.
With minimal resources and reliant upon the complicity of
the local population, the pieces were recorded by friends
and locals, who would follow him and take pictures of the
action. Between the subtlety of the artistic gesture and the
theatricality of the public scene, Greco transforms the simple
act of pointing at something that has called his attention into
a procedure that demarks and underscores a work of art.
us a lament / With its beautiful soprano voice. / We will learn
that slippery-skinned animals / Are, when all is said and done,
alone. / We will see the agitated desperation of its huge tail /
That slaps against the sand, that wants to push it / Into deeper,
navigable waters, where it can be at peace / With itself. / And if
Vivo dito 41
1963
action documentation

it has floated off with the high tide and is no longer there? / Then
we'll sit on the beach contemplating the sea. / The metaphor of
the desolate sea / Can replace the metaphor of the whale. //

The whale (a metaphor for the unmarried) · José Watanabe

terreiro 43

a pele do invisível
the skin of the invisible

somewhere i have never travelled, gladly beyond

any experience, your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot touch because they are too near

your slightest look easily will unclose me

though i have closed myself as fingers,
you open always petal by petal myself as spring opens
(touching skilfully, mysteriously) her first rose

or if your wish be to close me, i and

my life will shut very beautifully, suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals

the power of your intense fragility: whose texture
compels me with the color of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes

and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands

somewhere i have never travelled  ·  e. e. cummings

Tobias Putrih
Kranj, Slovenia, 1972. Lives and works in Cambridge,
England, and New York, USA. At the shifting frontiers
between the visual arts and architecture, Tobias Putrih's
structures can be built to fulfill architectonic programs,
stand as works of art in their own right or serve as display
supports for other works. This confluence of references
means that, in all cases, his structures evoke the memory
of 20th-century modernity, whether in their allusion to
constructivist projects and the ephemeral structures of the
1960s, or through their contrast with the pure geometry
that cemented modern architecture. This spatial experi-
mentation is strengthened by its relationship with cinema
and its devices – essential hallmarks of the same modernity
to which his forms refer. In the terreiro A pele do invisível,
Putrih encases a video projection area within a wood and
cardboard modular structure whose format is inspired
by the columns in Oscar Niemeyer's Alvorada Palace. In
addition to this tribute to Brasilia, the artist opts to cover
over the clear, resplendent supports of the palace with an
intricate skin that reiterates and boycotts the lightness of
the conjunct, turning what was once an object of distant
contemplation into a protective cask.
A pele do invisível / Alvorada 45
[The skin of the invisible / Alvodara] · 2010
production images and model of the terreiro
48
49
50

A flash of lightning
Briefly ignites the darkness:
Heron screeching the night

The screech of the night

Rips white through the dark
In a flash of lightning

Lightening · Bashô
Runa Islam
Dhaka, Bangladesh, 1970. Lives and works in London,
England. Runa Islam studies vanguard texts and films in or-
der to revisit the experimental practice of cinematographic
production. From this discursive platform, the artist travels
through time and the history of cinema to explore an explic-
itly analogical and unabashedly outdated visuality, armed
only with old picture-making equipment, such as 8 and
16 mm cameras. The profusion of symbols and techniques
of the past discernable in her work causes a certain nostal-
gia, but, more importantly, begets new images and writings
This Much Is Uncertain
2009 – 2010
1 · still
2 · frames
in which the precision of language experiments is confused
with the evocation of emotions and symbolic atmospheres.
This Much Is Uncertain is a set on the small island of
Stromboli, off the north coast of Sicily. With images care-
fully devised out of the illusion of coincidence between the
texture of the volcanic sand and the fragility of the halide
silver grains in the processed film. Runa Islam produces a
work that is immersive and visual, based on the suggestive
potential of the moving image, even if it is only the subtle
movement of the particles in the film pellicle itself.
2
1
Steve McQueen
London, England, 1969. Lives and works in London and
Amsterdam, Netherlands. Steve McQueen's videos and
films do not narrate any definite facts, but rather provide
the spectator with elements for the imagined construction
of stories. His career reveals a clear fracturing of conven-
tional codes when it comes to stringing filmed images
together, preferring to subvert the expected rhythm and
force a slower adherence to each single frame. Instead
of an accelerated succession of images, the artist simply
suggests lines of thought which the viewer could begin and
When the procession came opposite to Alice, they all stopped and
looked at her, and the Queen said, severely, “Who is this?” She
said it to the Knave of Hearts, who only bowed and smiled in reply.
“Idiot!” said the Queen, tossing her head impatiently; and,
turning to Alice, she went on: “What's your name, child?”
“My name is Alice, so please your Majesty,” said Alice very
politely; but she added, to herself, “Why, they're only a pack of
complete in various ways, or simply abandon and leave
in suspension. Another core element in his films is the
fact that they are exhibited in such a way as promotes the
audience's immersion in the projection environment, cre-
ating a near-contiguity between the virtual and supposedly
real. In Static, Steve McQueen films the Statue of Liberty
in New York at close range from a helicopter, exhaustive-
ly investigating each detail. By showing an overexposed
symbol in such an unusual manner, the artist hints at a
demolition of the stable meanings in the universal iconogra-
phic repertoire.
cards, after all. I needn't be afraid of them!”
“And who are these?” said the Queen, pointing to the three
gardeners who were lying round the rose-tree; for, you see, as
they were lying on their faces, and the pattern on their backs
was the same as the rest of the pack, she could not tell whether
they were gardeners, or soldiers, or courtiers, or three of her own
children.
Static 53
2009
frames

“How should I know?” said Alice, surprised at her own cour-
age. “It's not business of mine.”
The Queen turned crimson with fury, and after glaring at her
for a moment like a wild beast, began screaming “Off with her
head! Off with –”
“Nonsense!” said Alice, very loudly and decidedly, and the
Queen was silent.
The King laid his hand upon her arm, and timidly said
“Consider, my dear: she is only a child!”
The Queen turned angrily away from him, and said to the
Knave “Turn them over!”
The Knave did so, very carefully, with one foot.
“Get up!” said the Queen in a shrill, loud voice, and the
three gardeners instantly jumped up, and began bowing to the
Tacita Dean
Canterbury, England, 1965. Lives and works in Berlin,
Germany. Tacita Dean is a trained painter, but her work
also branches into drawing, objects and ample audiovi-
sual experimentation, especially in 16 mm film. The artist
benefits from the expressiveness and temporal displace-
ment afforded by analogical media, using fixed-position
cameras with few cuts. Living witnesses to history enthrall
her, as does unveiling the inner machinations of cinema
and the sea. Teignmouth Electron was the name of the
ship in which the adventurer Donald Crowhurst set off on
King, the Queen, the royal children, and everybody else.
“Leave off that!” screamed the Queen. “You make me
giddy.” And then, turning to the rose tree, she went on “What
have you been doing here?”
“May it please your Majesty,” said Two, in a very humble
tone, going down on one knee as he spoke, “we are trying –”
“I see!” said the Queen, who had meanwhile been
a round-the-world sea race in 1968, never to return. It is
also the title of the film in which Dean recounts this epi-
sode in a single frame that visually maps the skeletal hull
of his trimaran, shipwrecked on a distant shore. Teign-
mouth Electron is also a book, in which the artist creates a
collage of literary references to Crowhurst's voyage. In the
film, the narrative seems to remain incomplete, ending with
a plane flying through the sky. Among the floating vestiges,
amid everything that dreams of the traveler's past could not
confirm, Dean insists on inciting promises.
Teignmouth Electron
1999
frame
examining the roses. “Off with their heads!” and the procession
moved on, three of the soldiers remaining behind to execute the
unfortunate gardeners, who ran to Alice for protection.
“You shan't be beheaded!” said Alice, and she put them into
a large flower-pot that stood near. The three soldiers wandered
about for a minute or two, looking for them, and then quietly
marched off after the others.
Rosângela Rennó
Belo Horizonte, Brazil, 1962. Lives and works in Rio de
Janeiro, Brazil. The expressive medium used by Rosângela
Rennó is almost always photography, though she rarely
actually photographs. She prefers to draw from an inventory
of existing images, investigating their possible and tenuous
meanings. Through this procedure, her intention is to unveil
the ethic that commands the production and use of these
images. Her main strategy is to present the photographs
she collects, in different places and for different reasons,
in such a manner as to bewilder the viewer. In Matéria de
“Are their heads off?” shouted the Queen.
“Their heads are gone, if it please your Majesty!” the
soldiers shouted in reply.
“That's right!” shouted the Queen. “Can you play croquet?”
The soldiers were silent, and looked at Alice, as the ques-
tion was evidently meant for her.
“Yes!” shouted Alice.
poesia the artist superposes blown up slides picked up by
chance and classified as per their tonalities, which attest
to the datedness of the support. These pictures strike
connections between places, people and facts that would
otherwise never have any contiguity. In Menos-valia, an
auction to be conducted by professional auctioneers inside
the Bienal, some seventy items bought in a second-hand
store and restored by the artist will be sent back into circu-
lation. These are all objects that produce analogical images,
such as cameras, lanterns and projectors, which, through
Rennó's intervention and within the value system of the
arts, receive a new lease of life.
“Come on then!” roared the Queen, and Alice joined the
procession, wondering very much what would happen next.
Alice's Adventures in Wonderland · Lewis Carrol
1 2
Menos-valia [leilão] O que é bom para o lixo é bom
[Surminus value [auction]] · 2010 para a poesia. from the series
installation view at Museo Universitario Arte Matéria de poesia (Para Manoel
Contemporáneo – MUAC, Mexico City de Barros)
[What is good for garbage is good for poetry.
from the series Matter of poetry (for Manoel
de Barros)] · 2010

O que é bom para o lixo é bom para a poesia.

Manoel de Barros. Do poema “Matéria de poesia”, do

livro homônimo (Rio de Janeiro: Record, 2001, 5a edição)
p. 14.

Matéria de Poesia (para Manoel de Barros)

57

2
Luiz Zerbini
São Paulo, Brazil, 1959. Lives and works in Rio de Janeiro,
Brazil. In the manner of the naturalist painters who travelled
in Brazil during the 18th and 19th centuries, depicting what
they saw, Luiz Zerbini has a special interest in nature, in its
vitality, exuberance, and most discreet details. However,
unlike those painters, he inserts himself within that nature,
imitating it, and blending landscape and self-portrait. From
hyper-figuration to abstraction, from painting to instal-
lation, steeped in solar chromatisms, Zerbini's work has
been progressively honed and expanded into environments.
Mirror images, silhouettes, and geometric patterns creat-
ing optical illusions involve and reproduce the viewer in
sensorial and contemplative structures. Over the last thirty
years dedicated to representing the world out of scrutinous
observation, the artist has devised an unpredictable and
enigmatic way of capturing the visible. Inferninho is a
closed environment the exterior of which is covered in
reflective black paint. Inside, a glittery mesh registers the
presence of the visitor in colorful, unstable reflections,
while the noise emitted by the changeable digital image,
amplified by the artist, provides the sound.
1
Inferninho 59
[Little hell] · 2010

1 · technical drawing
2 · conceptual drawing

2
David Claerbout
Kortrijk, Belgium, 1969. Lives and works in Antwerp,
Belgium. The experience of time is a structural element
in Claerbout's work, conveyed through the systematic
association of the instantaneous image of photography
and the construction, in video, of slow, inert, and sugges-
tive narratives. The Algiers' Sections of a Happy Moment
presents a group of youngsters feeding seagulls circling
over the penthouse of a building in Algeria. In this ani-
mated work, each frame reveals different perspectives and
details, multiple adumbrations of the same frozen moment.
In the lazy afternoon a thought of love / Is sweet like a thought
of death / When mermaids wander on the waves / When doves
coo on the roof / And ships arrive, with no invitations to travel, /
Bringing provisions for the children of the earthquake. / The air
is transfigured by mortal signs / We will remain here, nocturnal
In Claerbout's work, intuited feelings and thoughts come to
fruition solely in the viewer's imagination, fuelling the emer-
gence of new stories and temporalities. Sunrise documents
the silent work and concentration of a woman who, arriv-
ing by bike at a luxurious modernist house at dawn, has
to clean and tidy all the rooms before daybreak without
turning on a single light, so as not to disturb her employ-
ers' sleep. When she finishes her work and cycles off down
a bucolic street, the first rays of daylight begin to appear to
the sound of Rachmaninoff's Vocalise, filling the darkness
and silence that have hitherto dominated the narrative.
friend, / Hoping that god will stir our will / With the erosion of
feelings, the conveyance of the idea / That spins from one world
to another: anguished //
Study # 1 · Murilo Mendes
1 2 61
The Algiers' Sections of a Sunrise
Happy Moment 2009
2008 frames
frames

1
62

2

From that first visit until he died six years later, Johnny Seven
Moons dropped in on Jake about every two months, and while
Jake enjoyed his usually silent companionship, he relished the
rare utterance. Seven Moons, whether out of a reverence or
distrust for language, never said much, but when he did, he
always said something. Jake could remember a few in particular.
Once, as they’d watched the sun go down over the ocean, Seven
Moons had said with the sweet weariness of constant marvel,
63
”You know. I’ve seen 30,000 sunsets, and no two that I can
remember have ever been the same. What more can we possibly
want?”
Another time, he’d swept his hand across the landscape,
and said, “Yarrrg, you white men did a lot to take it from us, but
nothing to deserve it. You desire to tame everything, but if you
just stand still and feel for a moment you would know how every-
thing yearns to be wild.” He spat. “And all these people with
Alfredo Jaar
Santiago, Chile, 1956. Lives and works in New York, USA.
Alfredo Jaar problematizes the relationship between social
traumas, such as wars, genocides and famine, and the
strategies that could be adopted to represent them. The
artist denounces the global information mechanisms that
document and disseminate these traumas worldwide,
claiming in his work a discussion on the ethics and politics
of the image. On a visit to Rwanda soon after the 1994
genocide, Alfred Jaar went to the Ntarama church near the
capital, Kigali, where four hundred refugees of the Tutsi mi-
fences, fences, fences. Isn’t the whole point to keep nothing in
and nothing out? But I know you understand this Jake, for you
have no fences, and devote your life to making whiskey and keep-
ing still, and those are noble activities, worthy of a man’s spirit.”
The statement had haunted Jake when Tiny started build-
ing fences. But when Tiny had turned his hunt for Lockjaw into
an obsessive ritual, what haunted Jake to his core were the last
words he remembered Seven Moons saying to him.
nority, including men, women and children, were ambushed
and massacred. While researching his Rwanda Project,
the artist met Gutete Emerita, a woman who witnessed
in loco the slaying of her husband and two sons, an event
indelibly marked upon her eyes. In The Eyes of Gutete
Emerita, Alfredo Jaar piles a million slides (roughly the
number of Rwandan victims by the year 2000) into a
heap on a light table. Each slide contains a framed close-
up of Emerita's eyes. The document focuses on the pain
etched into the gaze of the survivor, rather than making a
spectacle of the horror and carnage it once witnessed.
Jake had walked out the ridge with him to say goodbye, and
just before they’d parted Seven Moons had pointed at some fresh
pig rooting and flashed a stupendous smile: “Ah, there we see
hope – the domestic gone wild. Pigs are so lovely. Their bodies
are made to hold up the sky. I wouldn’t mind being a pig some-
time ... a big ol’ crazy boar. That would be great.”
Granddaddy Jake couldn’t get it out of his mind, so he
finally told Tiny what he thought might be the case, that Lockjaw
The Eyes of Gutete Emerita 65
1995
installation view at the National Gallery of
Australia, Canberra (1996)

was the re embodied spirit of Johnny Seven Moons, and that

maybe he should think about that before he got too fixed on kill-
ing him.
Tiny adamantly shook his head. “It’s not true, Granddaddy”,
he replied, almost pleading, “when people die, they’re gone.
Gone. And that’s all.”

Fup · Jim Dodge
Chantal Akerman
Brussels, Belgium, 1950. Lives and works in Paris, France.
With a particular familiarity with cinematographic language,
paying keen attention to detail and carefully choosing
the distance she keeps from her characters, Akerman
structures her works in lateral movements and continuous
travelling shots, combined with long still sequences. Her
films explore diverse aspects of the human condition of
contemporary life through pared down narrative structures,
possessed of formal rigor but not dramaturgical emphasis.
The experimental documentary D'Est, originally shot in
16 mm film, was later reworked as a multimedia installa-
tion – D'est, au bord de la fiction. Filmed at the beginning
of the 1990s, D'Est records a trip through Germany and
Russia as the Soviet bloc began to crumble. In the manner
of a travel log, the film sifts through layers of history and
peruses an agglomeration of fleeting faces, bodies and
sounds, presenting a fragmentary portrayal of the life of a
population in changing, precarious times. D'Est is the first
film in what came to be a series of explorations on such
themes as borders, limits, displacements and the sense of
belonging to a given place.
1 2 67
D'est, au bord de la fiction D'est
[From the East, bordering on fiction] · 1995 [From the East] · 1993
installation view at Kunsthalle Wien, Vienna frames
(2009)

1 2
Allan Sekula
Erie, USA, 1951. Lives and works in Los Angeles, USA. Little
inclined toward emotive or monumental images, Allan
Sekula, who works mainly with documental photography,
prefers to portray class differences and working conditions,
drawing out the invisibilities that lurk within post-industrial-
ist capitalism. One of his recurrent themes is heavy interna-
tional shipping, a system that is fundamental to the circula-
tion of consumer goods in the globalized world. Based on
Sebastian Brant's 1494 satire about a ship that goes in
search of Fool's Paradise, the installation Ship of Fools
1 2
3 4
He didn’t tell Tiny. After thinking on it for three afternoons, mull-
ing it with that slow, voluptuous thoroughness that is a reward of
the still life, Jake reaffirmed his neutrality. He wouldn’t tell Tiny
anything about Lockjaw, and he wouldn’t tell Lockjaw anything
about Tiny. That decided, he turned his attention to other press-
ing matters, like teaching Fup to fly.
He’d been sitting on the porch one afternoon letting his
mind wander as usual, taking a sip now and then, pouring a little
documents the voyage of the Global mariner – an old,
banged-up cargo vessel recovered and converted into a
touring exhibition on working conditions at sea. The ship
circumnavigated the globe, calling in at ports wherever
invited to do so by the local shipping unions. Allan Sekula
represents this journey in photographs, video, slides and
objects that speculate on the future and the present of the
workers virtually articulated by the Quixotesque itinerary
of this old cargo ship, which takes on the shipping industry
with its own weapons. In the Bienal, this project unfolds in
a visit by Sekula to the harbour of Santos – one of the stops
of Global mariner – and the recording of its side-scenes.
5
into Fup’s saucer, when he’d suddenly realized he was already
getting bored with immortality. He needed a task, a task that
would not only challenge his wisdom, but enlarge it: he needed to
teach something he didn’t know. A pupil, fortunately, was near at
hand. Reaching down and stroking her sleek neck, he said coax-
ingly, “Fup, I think you should learn to fly. It’d do wonders for your
social life. Hell, maybe you could pick up a husband—or at least
zoom off for a quickie in the cattails with some emeraldheaded
Ship of Fools 69
1999 – 2010

1–2 · Crew Portrait (Novorossisk)

3–5 · Engine Room Eyes
6 · Russian Visitors (Novorossisk)
7 · Ship Lesson (Durban)
8 · installation views at the Museum van
Hedendaagse Kunst Antwerpen – M HKA,
Antwerp (2010)

stud. Tiny and I have talked some about getting you a mate, but
the truth of it is I ain’t got an ounce of pimp in me… and anyway
it would be an insult to your good looks.”

Fup · Jim Dodge
70

7
71

8
Alice Miceli
Rio de Janeiro, Brazil, 1980. Lives and works in Berlin,
Germany. Research into modes of producing residual im-
ages of events from memory and history pervades the work
of Alice Miceli. In order to capture impalpable and invisible
elements, the artist develops processes that technically
rework the stages of image capture and projection, employ-
ing photographic and videographic supports, materials, and
equipment, and drawing from a knowledge base that spans
everything from physics and mathematics to history. Her
Projeto Chernobyl investigates the effects of the explosion
1
It is safe to say that for the majority of mankind the superior-
ity of geography over geometry lies in the appeal of its figures.
It may be an effect of the incorrigible frivolity inherent in human
nature, but most of us will agree that a map is more fascinating
to look at than a figure in a treatise on conic sections-at any rate
for the simple minds which are all the equipment of the majority
of the dwellers on this earth. No doubt a trigonometrical survey
may be a romantic undertaking, striding over deserts and leaping
of a nuclear plant near the Ukrainian town of Pripyat on
April 26, 1986. The most serious accident in nuclear his-
tory, the blast produced an immense radioactive cloud that
continues to cause death and threaten health across the
region even today. The idea behind Projeto Chernobyl is to
translate the invisible energy unleashed by the accident
into images captured on film sensitive to gamma rays as
opposed to the spectrum of light visible to the human
eye. The time of the radioactive fallout in the region meets
with that of Alice Miceli's travels in the Chernobyl Exclu-
sion Zone. The installation presents the negatives that were
burned by exposure to the radiation.
2
over valleys never before trodden by the foot of civilized man;
but its accurate operations can never have for us the fascina-
tion of the first hazardous steps of a venturesome, often lonely,
explorer jotting down by the Iight of his camp fire the thoughts,
the impressions, and the toil of his day.
For a long time yet a few suggestive words grappling with
things seen will have the advantage over a long array of precise,
no doubt interesting, and even profitable figures. The earth is
Projeto Chernobyl
[Chernobyl Project] · 2007 – 2010
1–3 · project notebook · 2008
4 · production emails, conduct rules at the
exclusion zone by Christine Frenzel ·
2009
5 · self-portrait at the Chernobyl exclusion
zone, Belarus · 2009
a stage, and though it may be an advantage, even to the right
comprehension of the play, to know its exact configuration, it is
the drama ofhuman endeavour that will be the thing, with a ruling
passion expressed by outward action marching perhaps blindly to
success or failure, which themselves are often undistinguishable
from each other at first.
Of all the sciences, geography finds its origin in action, and
what is more, in adventurous action of the kind that appeals to
73
5
sedentary people who like to dream of arduous adventure in the
manner of prisoners dreaming behind bars of all the hardships
and hazards of liberty dear to the heart of man. […]
From that point of view geography is the most blameless
of sciences. Its fabulous phase never aimed at cheating simple
mortals (who are a multitude) out of their peace of mind or their
money. At the most it has enticed some of them away from their
homes; to death may be, now and then to a little disputed glory, not
Yto Barrada
Paris, France, 1971. Lives and works in Tangier, Morocco
and Paris. Yto Barrada was drawn to an artistic career
during university, while doing fieldwork in Tangier. In order
to be able to express herself with regard to that city, an
ancient gateway between Europe and Africa and a zone of
cohabitation between the Arab and Western worlds, Bar-
rada opted for the subjectivity of artistic practice over the
objectivity of scientific research. Her photographic portrait
of Tangier evokes the daily ecstasy and anxiety of a local
population in transit. It presents the city as a place where
seldom to contumely, never to high fortune. The greatest of them
all, who has presented modern geography with a new world to work
upon, was at one time loaded with chains and thrown into prison.
Columbus remains a pathetic figure, not a sufferer in the cause
of geography, but a victim of the imperfections of jealous human
hearts, accepting his fate with resignation. Among explorers he
appears lofty in his troubles and like a man of a kingly nature. His
contribution to the knowledge of the earth was certainly royal.
the violence and discomfort of waiting contrasts with the
hope, the dream and the chance of making the crossing
over to Europe. In A modest proposal, Barrada selects the
palm tree, ubiquitous in the Moroccan landscape and the
nation's main symbol as a tropical tourist destination,
to develop a series of twelve anti-marketing posters.
Through these graphic pieces, the artist hopes to oppose,
before international public opinion, the exoticism and self-
folklorization of the local population, intent on economically
exploiting the country by billing it as a subservient paradise.
And if the discovery of America was the occasion of the
greatest outburst of reckless cruelty and greed known to history
we may say this at least for it, that the gold of Mexico and Peru,
unlike the gold of alchemists, was really there, palpable, yet, as
ever, the most elusive of the Fata Morgana that lure men away
from their homes, as a moment of reflection will convince any one.
For nothing is more certain than that there will never be enough
gold to go round, as the Conquistadores found out by experience.
A modest proposal 75
2010

[…] facts and a desire for precise knowledge which was extended
I have no doubt that star-gazing is a fine occupation, for it later to other subjects.
leads you within the borders of the unattainable. But map-gazing,
to which l became addicted so early brings the problems of the About Geography and some explorers · Joseph Conrad
great spaces of the earth into stimulating and directing contact
with sane curiosity and gives an honest precision to one's imagi-
native faculty. And the honest maps of the nineteenth century
nourished in me a passionate interest in the truth of geographical
Marcius Galan
Indianapolis, USA, 1972. Lives and works in São Paulo, Bra-
zil. At first sight, the plastic result of Marcius Galan's work
raises reflections about sculpture, geometry and space.
However, the artist acquired these notions through informal-
ity, from the traps that a category or even a form of repre-
sentation can contain within itself. Irony and illusion tend to
characterize his works, which, though made in substantial
materials, such as cast concrete, iron, glass and wood, sug-
gest movement, fleetingness and even imminence. In Ponto
em escala real, Galan makes literal the representation of
a place on the map of the city. He multiplies its perimeter
from the stated scale of 1 to 130 thousand and concludes
that, obeying these proportions, the marked area would
cover a radius of 130 m, of which he constructs in con-
crete the “lowermost” section of 30 m2. A similar obedi-
ence to scale used in mapmaking is applied by the artist in
Entre, a set of eight microphotographs of border zones and
conflict flashpoints across the world. Enlarged thousands
of times, the images of these borders acquire topographical
features lost in ink and paper, becoming interstices that can
only be inhabited in the imagination.
1
1 2 77
Entre Ponto em escala real
[In between] · 2010 [Dot in real scale] · 2010
project

2
Sophie Ristelhueber
Paris, France, 1949. Lives and works in Paris. Ristelhueber
accompanies news coverage of civil and international wars.
She gathers cuttings and photos from newspaper articles,
and reflects on each conflict before physically going to
the conflict zone. The artist does not travel as a war cor-
respondent: she has an obsession for traces, scars, and
erosions that connect recent destruction with the dilated
temporality of the territory. Her news comes in the rhythm
of tectonic movements and historical events, making these
occurrences manifest as accidents “naturalized” by geologi-
It upsets me to find the gate to the farm open. I think of the
entrances to the condominium, and for a moment that wide
open gate is more impenetrable. I feel that, when I walk through
the gateway, I won't be going in somewhere, but I'll be leaving
every other place behind. Now I can see the whole valley and
its boundaries, even so, it's as if the valley enclosed the world
and now I was off into the outside. After this stupid hesitation, I
realise that's just what I want. I step on the farmland and, to feel
cal time, which bears witness to the process that covers
over the ruins of century-long conflicts. In WB, Ristelhueber
traveled to the West Bank, where she searched for less
explicit marks left by the conflict, and the separation of
Jews and Palestinians by the building of a dividing wall in
2004. She photographed barriers erected by the Israeli
army to block the circulation of Palestinian vehicles:
constructions made of piles of stones, partially overgrown
with grass, that interrupt the traffic and integrate into the
region's roadscape. Printed on wallpaper, the photographs,
like the theme they portray, infiltrate the exhibition hall with
unlikely spaces and perspectives.
1
secure, decide to shut the gate behind me. Except it's stuck in
the ground, encrusted and embedded in dry mud. When I left
the farm for the last time five years ago, I must have left the gate
open and nobody ever came close to it.
For five years I abandoned and forgot all this. Perhaps the
inertia of the farm in my mind, rather than the long drought,
accounts for this harsh light and the flat landscape. After over-
coming the gate, I'm not sure of my way in. Maybe the breach is
WB 79
series · 2005

1 · # 7
2 · # 49

the night rising up from the bottom of the valley. The sun's still on
the mountain tops, while night climbs up the slopes like crude oil.
I sit down on the round stone where I sat when I was small, when
I used to think that night first filled up the valley, than overflowed
into earth and heaven.

Turbulence · Chico Buarque
David Maljković
Rijeka, Croatia, 1973. Lives and works in Zagreb, Croatia.
Constructed out of the collapse of the communist regime
and the break-up of the former Yugoslavia, the work of
David Maljković deals with representations of the future
based on 20th-century Utopian designs. As raw material
for his work he takes the residual images of these promised
futures: product prototypes, texts, model buildings, some-
times shown as ruins, sometimes as the settings of absurd
scenes. Despite dealing with notions of disillusionment
and the loss of collective memory (in those very places
Scene for New Heritage Trilogy
2004 – 2006
frames
1 2
Joseph Joubert was born in Montignac in 1754 and died seventy
years later. He never wrote a book. He only prepared himself to
write one, single-mindedly searching for the right conditions.
Then he forgot this purpose as well.
In his search for the right conditions to write a book, Joubert
discovered a delightful place where he could digress and end
up not writing a book at all. He almost put down roots during his
where a collective future had been projected), Maljković
rejects all forms of nostalgia and assumes an unequivocally
critical tone. Scene for a New Heritage Trilogy is a series
of essays set in a monumental building in Petrova Gora,
Croatia, built in honor of the victims of the Second World
War. Each of the videos depicts relationships between fig-
ures of the future who come across the building and adopt
it as a pilgrimage site, watchtower and place to pass the
time. Instead of creating scenes of belonging and identity,
Maljković explores a sequence of lapses of syntax and
losses of meaning between what might have been and what
may still come to pass.
1 · Scene for New Heritage 1 · 2004
2 · Scene for New Heritage 2 · 2006
3 · Scene for New Heritage 3 · 2006
3
search. And the point is, as Blanchot says, what he was searching
for, the source of all writing, that space where he could write, that
light which ought to be circumscribed in space, demanded of him
and confirmed in him dispositions which made him unsuitable for
any ordinary literary work or distracted him from the same.
In this respect Joubert was one of the first totally modern
writers, preferring the centre to the sphere, sacrificing results in
Deimantas Narkevičius
Utena, Lithuania, 1964. Lives and works in Vilnius,
Lithuania. Narkevičius' production is essentially filmic,
though with occasional forays into the fields of sculpture,
photography, and installation, as well as criticism and
curatorship. Eastern Europe is the setting of choice for the
artist's films, which convey the politically turbulent experi-
ence of the collective recent history of his home country,
Lithuania. His laconic films use documental material such
as images, records, memoirs, and first-hand accounts in
order to compose and reconstruct biographies. Invented,
order to discover their conditions, and not writing in order to add
one book to another, but to seize control of the point from which
all books seemed to him to originate, which, once attained, would
exempt him from writing them.
However, it is still curious that Joubert should not have
written a book, since he was, from very early on, only attracted
by and interested in what was being written. From a very young
adulterated, or embellished, these apparently realist nar-
ratives reveal how inclined we are, and how easy it is, to
falsify and mythologize history through mechanisms that
synthesize past experience and incorporate it in fantastical
terms. The Dud Effect is set in a former Soviet military
base in Lithuania, where nuclear missiles were trained on
the West during the Cold War. Evgeny Terentiev, a former
soldier and protagonist of the film, recalls, demonstrates,
and reenacts, with rigor and precision, the command
sequence required for nuclear launch; a potentially glob-
ally catastrophic command that went ungiven, despite its
historical imminence.
The Dud Effect
2008
frames
age he had been drawn to the world of books that were going to
be written.
Bartleby & Co · Enrique Vila-Matas
Fernando Lindote
Santana do Livramento, Brazil, 1960. Lives and works
in Florianópolis, Brazil. Fernando Lindote's research is
dedicated to means of expression. The artist also uses the
public and urban scale as a laboratory, developing hybrid
works that use fusion to problematize the physical condi-
tion and nature of his supports. His work posits his own
body, the primary source and instrument of all expres-
sion, as a recurring problem to be investigated through its
gestures and capacity to transform the world. Cosmorelief
is an installation that unfolds in video, sculpture, drawing
and painting, and which congregates new works alongside
iconographic repertoires from earlier phases. The work
crosses and superposes organic structures that allude
to the body with and upon representations of elements
from mechanical bases, generating images that are, to an
extent, fantastical. Wordplay and linguistic acceptations
based on the title of the work, with its references to topo-
graphical relief and emotional/physical relief, define this
passage in its allusions to the formation of the cosmos.
Cosmorelief
2010
study of the texture of the wall
Cinthia Marcelle
Belo Horizonte, Brazil, 1974. Lives and works in Belo Horizon-
te. Continuous shots and aerial views are recurrent strategies
in the work of Cinthia Marcelle. Through these devices, the
artist can take a distanced look at the rules and recurrences
of the world; at all that repeats itself to the point of becoming
almost imperceptible; at the layers that accumulate in a dark
body of memory. In the place of effective erasures, the artist
legitimizes and interprets leavers of vestiges and traces. So-
bre este mesmo mundo is an installation that results from
the act of erasure. Beneath a long blackboard, drifts of
1 2
Buraco negro
[Black hole] · coauthorship Tiago Mata
Machado · 2008
frames
There was a crime. But there were also the lovers. Lovers and
their happy ends have been on my mind all night long. As into
the sunset we sail. An unhappy inversion. It occurs to me that
I have not travelled so very far after all, since I wrote my little
play. Or rather, I've made a huge digression and doubled back
to my starting place. It is only in this last version that my lovers
end well, standing side by side on a South London pavement as
I walk away. All the preceding drafts were pitiless. But now I can
chalk dust denounce the fact that something was one day
expressed there. In the white smudge on the blackboard,
we can still make out versions, sayings and landscapes
that have been left behind. By appropriating the symbols of
formal education, the work subverts the school doctrine and
reserves for the artist the right to productively and imagina-
tively experience “unlearning”. In the video Buraco negro, two
characters out of shot dialogue through puffs and sneezes
before a piece of that same chalk. The dialogues inspire
visual diagrams in white on black that, shared in a small room
behind the blackboard, keep the inscription of acts of speech
and reply in history open and free of hierarchies.
Sobre este mesmo mundo
[This same world over] · 2009
1
no longer think what purpose would be served if, say, I tried to
persuade my reader, by direct or indirect means, that Robbie
Turner died of septicaemia at Bray Dunes on 1 June 1940, or
that Cecilia was killed in September of the same year by the
bomb that destroyed Balham Underground station. That I never
saw them in that year. That my walk across London ended at the
church on Clapham Common, and that a cowardly Briony limped
back to the hospital, unable to confront her recently bereaved
sister. That the letters the lovers wrote are in the archives of
the War Museum. How could that constitute an ending? What
sense or hope or satisfaction could a reader draw from such an
account? Who would want to believe that they never met again,
never fulfilled their love? Who would want to believe that, except
in the service of the bleakest realism? I couldn't do it to them.
I'm too old, too frightened, too much in love with the shred of life
I have remaining. I face an incoming tide of forgetting, and then
oblivion. I no longer possess the courage of my pessimism.
[...]
The problem these fifty-nine years has been this: how can
a novelist achieve atonement when, with her absolute power of
deciding outcomes, she is also God? There is no one, no entity
or higher form that she can appeal to, or be reconciled with, or
 85
2

that can forgive her. There is nothing outside her. In her imagina-
tion she has set the limits and the terms. No atonement for God,
or novelists, even if they are atheists. It was always an impossible
task, and that was precisely the point. The attempt was all.

Atonement · Ian McEwan
Cao Fei
Guangzhou, China, 1978. Lives and works in Beijing, China.
Cao Fei's installations and multimedia devices reflect the
chaos provoked by the breakneck pace of recent changes
in Chinese society. China Tracy, Cao Fei's avatar on
Second Life, a parallel online universe, designed RMB
City, an experimental model for the construction of a
Utopia based on a caricatural and fantasy synthesis
of the contradictions of contemporary Chinese cities.
Combining traditional Oriental symbols and aesthetics with
futuristic architectonic speculations, the new metropolis
is designed as the hybrid result of a combination of the
communist, socialist, and capitalist ideologies. The dizzying
pace of territorial and urbanistic development that has de-
fined recent Chinese policy is transposed into Second Life
through an invitation to investors to purchase virtual build-
ings that house venues for the activities and events open to
its users. In the exhibition, those with no connection with
the online universe can view Cao Fei's design and proposal
through screen captures taken during a tour of RMB City.
1
RMB City 87

1· RMB City: A Second Life City Planning

2007
2 · RMB City Opera · 2010

2
Zarina Bhimji
Mbarara, Uganda, 1963. Lives and works in London,
England. Using varied platforms, Bhimji creates works that
dissect institutional and power relations. From 2003 to
2007, the artist thoroughly mapped the unofficial history of
English exploration in places like India, Tanzania and other
regions in East Africa, and developed a series of works from
this research. Alternating between open shots and close-
ups, the video Waiting presents a sisal processing plant,
focusing on details and exalting poetics and allegories.
Cold and almost monochrome, the images were captured
with great plastic precision, unlike the audio, which mixes
background noise with incidental and enigmatic sounds.
The film hardly features people at all, and on the rare oc-
casions that they do appear, their faces are never shown,
and their functions at work can only be inferred from the
blurred movements of their bodies. Through this apparently
abandoned but still partially and precariously functioning
plant, where leftover fabric clutters the roof, floor and walls,
sometimes even blending in with the cobwebs and grime,
the artist offers a portrait of decadence and an aesthetics of
abandonment and solitude.
Waiting
2007
frames
Beat it, I said to him, you cop, you lousy pig, beat it, I detest the
flunkies of order and the cockchafers of hope. Beat it, evil grigri,
you bedbug of a petty monk. Then I turned toward paradises lost
for him and his kin, calmer than the face of a woman telling lies,
and there, rocked by the flux of a never exhausted thought I nour-
ished the wind, I unlaced the monsters and heard rise, from the
other side of disaster, a river of turtledoves and savanna clover
which I carry forever in my depths height-deep as the twentieth
89
floor of the most arrogant houses and as a guard against the
putrefying force of crepuscular surroundings, surveyed night and
day by a cursed venereal sun.
At the end of wee hours burgeoning with frail coves the
hungry Antilles, the Antilles pitted with smallpox, the Antilles
dynamited by alcohol, stranded in the mud of this bay, in the dust
of this town sinisterly stranded.
At the end of wee hours, the extreme, deceptive desolate
David Goldblatt
Randfontein, South Africa, 1930. Lives and works in Johan-
nesburg, South Africa. Son of exiled Lithuanian Jews, David
Goldblatt started taking photographs on the spur of his
experience in South Africa during Apartheid. Part of an eth-
nic and religious minority, the artist sought to photograph
the life of the nation in a manner that could present its com-
plexities without necessarily aestheticizing the violence and
misery. Eschewing photographic resources that in any way
distance the image from the original atmosphere of the situ-
ation portrayed, and documenting the geopolitical relations
bedsore on the wound of the waters; the martyrs who do not bear
witness; the flowers of blood that fade and scatter in the empty
wind like the screeches of babbling parrots; an aged life menda-
ciously smiling, its lips opened by vacated agonies; an aged
poverty rotting under the sun, silently: an aged silence bursting
with tepid pustules, the awful futility of our raison d'être.
At the end of wee hours, on this very fragile earth thickness
exceeded in a humiliating way by its grandiose future – the
that shaped the social structures of the country, his lens is
trained on people, environments, and values that have been
severely pummeled by a harsh reality but somehow sur-
vived. In the Time of AIDS is a series of photographs by
Goldblatt on South African landscapes where the red rib-
bon of the struggle against the virus is recurrently seen,
albeit in discreet, precarious, and easily missable forms.
This series of landscapes challenges the viewer to find this
recurrent symbol in the image, while perhaps realizing in
the process just how hidden but indelibly marked AIDS has
become in the South-African geography.
volcanoes will explode, the naked water will bear away the ripe
sun stains and nothing will be left but a tepid bubbling pecked at
by sea birds – the beach of dreams and the insane awakenings.
Notebook of a Return to My Native Land · Aimé Cesare
In the Time of AIDS 91
series

1 · Smid Street, Middelburg, Eastern Cape.

24 November 2004 · 2004

2 · Entrance to Lategan's Truck Inn,

Laingsburg. Western Cape. 14
November 2004 · 2004

3 · The entrance to Lwandle, Strand,

Western Cape. 9 October 2005 · 2005

4 · At Kevin Kwanele's Takwaito Barber,

Lansdowne Road. Khayelitsha, Cape 4
Town. 16 May 2007 · 2007

2 3
The Otolith Group
Anjalika Sagar, Kodwo Eshun, and Richard Couzins.
London, England, since 2000. The Otolith Group is an
artistic collective that takes its name from the otolith, a
structure within the inner ear that determines our sense
of direction, gravity, and balance. This collaborative,
integrated, and transcultural research group works mostly
from family and autobiographical archives whilst artistically
exploring film, installation, sound, and text in commenting
on global geopolitics, migratory processes, and the human
condition. The group also exists as an international plat-
form for curatorship, programming, and production, and
for theoretical reflection on contemporary artistic practices
in general and the moving image in particular. Nervus
Rerum is a film-essay that uses sound, image, and text to
explore the scarred landscape of the daily and architec-
tural experience of life in the Palestinian refugee camp
in Jenin. The film follows the inhabitants as they wander
down dead-end streets, exploring their movements in long,
nonnarrative sequences juxtaposed with spoken excerpts
from Fernando Pessoa's The Book of Disquiet and from
Prisoner of Love, by Jean Genet.
Nervus Rerum
2008
frames
This movie sucks, you know. I mean, I don't want to influence
your opinion. Do what you want, I guess it seems strange for me
to say these things because after all I'm sitting here too, wait-
ing for the screening to begin. But I just watch it because I work
over there, across the street, and sometimes you just get tired of
sitting there watching the traffic, one bus, two buses, a drunk, the
little girl with her dog. You can say that it's never the same, that
the little girl isn't the same, or if she is it'll be the ribbon in her
93
hair that's a different color, the dog will have a different stink, her
mother who'll be walking beside her this time squeezing her hand
so hard that the girl will be on the verge of tears. I'm not going to
argue, but with me it's like this: it's Always the same thing. The
other day the brakes went out on a van that came careening down
the street, scraping against cars, got to the curve down there and
boom, plowed into the store owned by those Chinese, smashed
up the display window, the Chinese, the store, everything. You're
Aernout Mik
Groningen, Netherlands, 1962. Lives and works in Amster-
dam, Netherlands. The videos of Aernout Mik explore the
disconcertment and discomfort that one experiences when
witnessing an unknown ritual or when no longer identifying
with people around. With characters acting out sequences
of illogical and somewhat bizarre actions, Mik tests the
viewers' capacity to recognize themselves in the motiva-
tions of the actors, thus provoking the public to position
itself as part of a social machine full of arbitrariness and
automatic gestures. His latest work, Communitas, records
going to say, there've been variations. Could be – but deep down
nothing changes, it's all just a repeat, as if I'd already imagined
it all before. They say that everything's written, right? This movie
here sucks, but it's what there is to do. I sit there, I get tired, so
I have to get up, go to the door, talk to the ticket vendor. But the
ticket vendor always talks about the same stuff, his wife who's got
some sort of cancer, his daughter who won't study, his brother-in-
law who had an accident and lives like a vegetable now. I look him
the occupation of the Cultural Palace in Warsaw by a
heterogeneous group of native Poles and Vietnamese im-
migrants. Revolutionary in aspect, but without any specific
demands, the group organizes the prototype of a demo-
cratic society inside this microcosm. Oscillating between
anxiety and euphoria, the members gather assiduously and
at length, gradually occupying the official functions of the
different sectors of the building and momentarily assuming
for themselves these positions of authority in a work replete
with subtle references to utopian life projects.
in the eye but I think about other things, it's an automatic voice
that keeps replying, oh yeah, uh-huh, you're right. So I get tired,
I yawn, he asks me if I wouldn't like to go in. I've seen this movie
seventeen times. I come in, I choose a different seat, I stretch
my legs, I wait for the movie to start. I like it at this point, with the
theater empty, this low light that's like a candle, the screen that
sits there doing nothing as if it were getting ready to give you a
scare. I've seen this movie seventeen times, so you can imagine
Communitas 95
2010
still: Palace of Culture and Science, Warsaw

what it's like to be sitting out there. The drunkard. The little girl.
Her dog that lifts its leg and smiles, that horrible happiness of a
peeing dog… Hey, look at that, they've turned out the lights, it's
going to start. This movie sucks, you know. But don't worry, I'll tell
you when to shut your eyes.

This Movie · Chico Mattoso

Sara Ramo
Madrid, Spain, 1975. Lives and works in Belo Horizonte,
Brazil. Sara Ramo deflagrates fiction in the everyday life.
Through given, conventional elements that are largely rou-
tine, such as furniture and household objects, the artist cre-
ates imaginary worlds in which disorder, suspense and doubt
reign supreme. Despite the potential dangers, the spaces
in which the works take place trigger a delicate beauty and
inebriate for their fantastical and playful atmosphere. In the
fixed frame video A banda dos sete, a group of musicians
walks in single file round a wall-like structure while play-
muddled muddled / the muddled / hand of the wind / against
the wall / dull / less less / less than dull / less than supple and
stable less than a well and a wall: less than a hole / dull / more
than dull / bright / like water? like a feather? bright more than
bright right: nothing at all / and all / (or nearly all) / a creature
ing a marching tune. With each lap, one of the musicians
disappears behind the construction. With his physical
disappearance, the sound of his instrument is likewise
subtracted from the composition. Over the course of the
tune, the whole band drops off one by one, only to reappear
in random combinations and for no apparent reason. Hid-
ing from view the inner workings of the thing experienced,
the behind-the-scenes of the forms of collective life, Ramo
evokes poetical subversion in favor of distrust and creativity.
Educated to perceive the flight from the rule and to specu-
late on what causes it to happen, the audience viewing the
artist's work returns to its routine; never the same again.
sired by the universe has been dreaming from its belly / blue /
the cat / blue / the cock / blue / the colt / blue / your bung
Dirty Poem · Ferreira Gullar
A banda dos sete (título 97
provisório)
[The band of seven (working title)] · 2010
project
Apichatpong Weerasethakul
Bangkok, Thailand, 1970. Lives and works in Chiang Mai,
Thailand. Apichatpong Weerasethakul is an architect
by trade, but it was in the audiovisual field – both art
and cinema – that he found his constructive forms. For
Weerasethakul, light is an expressive means through which
one can weave proficuous fictions into the fabric of reality.
Through imagination and the recreation of environments,
and with the help of fragmentary editing, the artist subverts
the collective unconscious and switches over into memory.
His work breaks with comfortable narrative linearity and
conventions and organizes themes that expose the frontiers
between the rural and the urban, as well as the approxi-
mation with the prosaic and the popular in Thailand. In
Phantoms of Nabua, the artist films a group of youths
from the Nabua region as they play soccer at night with
a football in flames. A film projected onto a screen in the
background shows flashes of lightning, which also occur
in the real environment. The artist makes all these lumi-
nous sources contrast and stand out. Through improvised
dialogue and the overlapping of distinct times in the film,
the artist creates allegories of human experience, as he
feeds off from the context.
And, before moving on, a few words about the prophet. After
yesterday's 3-to-1, he's been promoted and rehabilitated. Last
year, he almost got it, almost. But this year his time has finally
come. He said that Fluminense would be champion and the team
is weaving an epic fabric, the loveliest and most well-deserved
anyone could ever imagine. Since yesterday, the prophet has
Phantoms of Nabua
2009
frames
been able to parade about on the serving tray with an apple in his
mouth, just like a suckling pig.
Of course major victories are not improvised, nor do they
depend upon circumstantial factors. Six thousand years ago it
was written that yesterday Joaquinzinho would sink the first goal
and, immediately thereafter, Jorginho and Gílson Nunes would
99
hit the nets at Bangu head on. Our trophy, then, is fate sixty
centuries in the making. But it is obvious, on the other hand, that
this fate has to be kept moist, that it has to be lubricated by the
sweat of man. There were moments during the struggle in which
Fluminense fought so hard that the team's sweat became thick
and elastic like that of horses.
Andrew Esiebo
Lagos, Nigeria, 1978. Lives and works in Ibadan, Nigeria.
Andrew Esiebo pursues photographic projects that com-
bine a documental approach with aesthetic references to
contemporary fiction cinema photography. His work does
not strive for pure observation or distance from the theme,
but rather a reciprocal dependence between creation and
genuine involvement with the context. At the same time, he
devises atmospheres, palettes of color, and marked, satu-
rated perspectives, creating compositions the evocations of
which oscillate between the cinematographic and commer-
What's beautiful, pleasant and sublime about the champi-
onship is that the battle takes place on and off the field. At times,
in addition to the adversary, the referee and the linesmen, even
the imponderable would join forces against us. For example: my
fraternal friend Armando Nogueira. One day, or night, I'm not
sure, my colleague had a vision worthy of Joan of Arc. Before his
cial. In God Is Alive, Esiebo documents the dynamic of the
various religious camps situated along the Lagos-Ibadan
expressway in Nigeria, where huge congregations gather
for the feast day of the Holy Spirit. The artist examines
the ritual codes and excesses practiced there, and the
commercial strategies these gatherings have hijacked. In
Redeem Christian Church of God, the nocturnal Pentecostal
services at which the faithful believe to find the solution
to their spiritual and social problems are characterized by
praise giving, prayer, and trance. They also constitute a
chance to line the church's coffers with direct donations
and other monetary pledges made by the congregation.
eyes, Fluminense appeared with a flashlight* in its hand. The very
next day, Armando, who is a fashion designer and a Flaubert of
soccer, proffered this historic sentence: “Fluminense is the flash-
light of the great” and then: “Fluminense has no ensemble, nor
does it have individual values.” Nothing, therefore.
Character of the week · Nelson Rodrigues
God Is Alive 101
2006

* In Brazilian soccer jargon, “flashlight”

(lanterninha) is the word used to refer to the
team that is in last place in the classification
of a given league
Kutluğ Ataman
Istanbul, Turkey, 1961. Lives and works in London, England.
Kutluğ Ataman develops films and video installations
exploring all aspects of his media: from the film length to
the amount of projections, passing by the choice of devices
and by the variation of narrative approaches. Coherent in
its diversity, his work combines strategies in an inventive
way, resulting in unique solutions completely compromised
to the subject of interest and, at the same time, to the audi-
ence's experience. At the other end of the moving image
production process, his camera focuses on individuals with
intricate subjectivities that somehow perform their own
selves and experiment with a subtle form of theatricality –
having Kutluğ's varied audiovisual strategies as a transient
mirror to look into. In Beggars, the artist spotlights the
theatricality that he identifies in the act of begging.
Throughout the research process of this work, Ataman
noted that at the streets of Istanbul the beggars poses
appears to be based on Turkish melodrama movies and
TV series and made a portrait of those character in scene,
capturing their elaborate movement for the spectator.
My first Arabic lesson consisted of little excursions into the veiled
and secluded nooks and crannies of the Parisian, rooms and
cubicles lit dimly by skylights: the dead spaces of architecture.
Those little rooms scared me, and I didn't understand why my
initial contact with the language should consist of visiting them.
After opening the doors and turning on the lights, Emilie would
point to an object and slowly articulate a word that seemed to
burst in her throat; the syllables, jumbled at first, soon sounded
Beggars
2010
distinct enough that I could repeat them several times. Not a
single object escaped this nominative quest, from store merchan-
dise to personal possessions: porcelain melting pots, pillows
embroidered with arabesques, dainty crystal flasks contain-
ing camphor and benjamin, leather sandals, chandeliers made
from milky glass orbs, Spanish fans, bolts of cloth, and a collec-
tion of perfume bottles forming a caravan of smells from musk
to amber that I breathed in as I repeated the correct name for
103
each. After our pilgrimage through the rooms and showcases in
the store, we would sit down at the living-room table, and Emilie
wrote down each world I'd learned, indicating whether each letter
appeared near the beginning, middle, or end of the alphabet.
Then I copied it all, straining to write from right to left, forming
each letter innumerable times, filling page after page of ruled
paper. At afternoon's end, I'd run to show Father my work, which
he would correct while Emilie disappeared into the room next to
Matheus Rocha Pitta
Tiradentes, Brazil, 1980. Lives and works in Rio de Janeiro,
Brazil. The mysteries hidden in the laneways and out-of-
the-way corners of cities attract the attention of Matheus
Rocha Pitta. His photographic eye tends to be seduced
by that which no longer appears in the shop window, or
in family conversations, on public agendas or in public
policies. The artist focuses on the socially outcast and,
aggrandizing its plasticity, returns to it a certain apprecia-
tion. Provisional Heritage is the result of an incursion into
an old factory on the outskirts of London, on the site of
his, which was hers alone to enter. Emilie's teaching followed no
method, order, or sequence. Somewhere along my haphazard
apprenticeship I began to get a notion, perhaps intuitively, of the
contour of the “alifebata”, until finally the backbone of the new
language was revealed: the lunar and solar letters, the subtleties
of grammar and phonetics that glittered in each object exposed
in the showcases or hidden away in the shadowy rooms. I spent
five or six years practicing this diaphanous game halfway between
a soon-to-be department store. Guided by the caretaker,
Rocha Pitta records an inventory of stocked up mer-
chandise. Televisions gather dust, stacks of tires stand like
obstacles in the gardens, crates full of canned tomato soup
and coffee jars remain unopened, long past their sell-by
dates. The artist is intrigued by the obsolescence of spaces
and objects that, whether for economic, ideological or cul-
tural reasons, did not merit a place in the productive cycle
of society. Through his individual resistance, occasionally
reinforced by a small group, Rocha Pitta undertakes sym-
bolic requalifications, accelerates wear and lends fresh life
to the what is left behind.
pronunciation and orthography, sifting and distinguishing sounds,
painstakingly gaining the hand control to represent them on
paper, as if the pencil point where a chisel artfully furrowing a slab
of marble that would little by little become populated by minus-
cule writhing and spiraling creatures who aspired to the form of
snails, gouges, scimitars, and one lonely beast that, when brought
into contact with the back of the teeth, the tongue could thrust out
in a sudden spasm from between half-open lips: a Phoenician fish.
Provisional Heritage
2010
installation
1 · Sem título [Untitled]
2 · Fonte [Fountain]
3 · Sem título [Untitled]
From the time I was small I inhabited one language in
school and on the streets and another at the Parisian. Some-
times it felt as if I were living two distinct lives. I knew I'd been
elected Interlocutor Number One among Emilie's children:
because I was first? because that meant I was closer to her
memories, to the ancestral world where everything or almost
everything revolved around Tripoli, mountains, cedars, fig trees
and vines, sheep, Junieh, and Ebrin? But that's not what was
105
perplexing; what really intrigued me was Mama's solitary excur-
sion after we finished our lessons. Invariably she'd disappear
into the room that fascinated me for the mere fact of its being
an inviolable space, inaccessible even to Father, who closed his
eyes completely to her comings and goings from that hideaway,
loaded down with stuff, piles of papers covered with words and
expressions we'd studied on Saturday afternoons. It was only
when we moved to the new house that this sanctuary of secrets
106

was dismantled. Moving brings revelations and leaves myster-
ies; on the way from one space to another something is revealed
and even the contents of a secret document may become public.
Emilie placed the things from her secret room in the locked trunk
and carried it herself the entire two city blocks to the new house.
I followed at a distance. Whenever she paused to rest along the
way, I hid behind a tree. She would never have forgiven me if she
had discovered me watching every step of the way to make sure
she didn't stumble and fall, dropping her world onto the sidewalk.
The minute she arrived safely at the new house I began wonder-
ing, Where would she hide that weighty thing full of ancient
secrets and inaccessible belongings?
The Tree of the Seventh Heaven · Milton Hatoum
107

3
Gustav Metzger
Nuremberg, Germany, 1926. Lives and works in London,
England. Gustav Metzger is a pivotal figure in the relation-
ship between creation and destruction in contemporary art,
and a founder and activist of the so-called self-destructive
art. His work was groundbreaking in the use of industrial
materials and found objects, and framed within environ-
mental and ecological concerns, besides a criticism of
consumer society. In 1977 he began an artistic strike that
lasted until 1980, during which he refused to make, exhibit,
or sell any art. Metzger, who has witnessed some of the
The day and the night are linked / by pleasure / and by the wave
of the air. / Life and death are linked by the flowers / and by the
future tunnels. / God and the devil are linked by man //
Antielegies n 1 · Murilo Mendes
most calamitous events in 20th-century history, has suc-
ceeded in producing an art that transforms his subjective
experience into a deep reflection upon humanity. Historic
Photographs is a series of photographic enlargements
that captures some of the more catastrophic moments of
the 20th century, exhibited behind false walls or curtains
or under canvas sheets on the floor. These devices create
an obstacle and oblige the viewers to submit themselves to
an uncomfortable situation of exposure in order to satisfy a
curiosity that leads to an encounter with the Holocaust, the
Vietnam War, the Arab/Israeli conflict, terrorism, or environ-
mental destruction.
Historic Photographs 109
series · 1996 / 2010

1 · To Crawl Into – Anschluss, Vienna,

March 1938 · installation view at
the Musée Departemental d'Art
Contemporain de Rochechouart (2010)
2 · To Walk Into. Massacre on the Mount,
Jerusalem, 8 October 1990 · installation
view at Zacheta National Gallery of Art,
Warsaw (2007) 2
Antonio Manuel
Avelãs de Caminho, Portugal, 1947. Lives and works in Rio
de Janeiro, Brazil. Antonio Manuel mirrors the urban reality
in Brazil, assuming a binding sociopolitical commitment. In
the mid-1960s, through subtle actions and responses to the
repression the nation was experiencing under the dictator-
ship, his work was in a constant state of alert and construc-
tion, buoyed by a libertarian approach and an ambition
to import the real into the field of art, thus reconfiguring
it as raw material for new concepts. In his flans, Antonio
Manuel takes newspaper templates and experiments with
1. At night I wake up bathed in sweat with a cough that
pinches my throat. My bedroom is very small. It is full of
archangels.
2. I know: I have loved too much. I have filled too many
bodies, I have used many orange skies. I should be exterminated.
3. The white bodies, the whitest among them, have robbed
them graphically, generating operations of erasure, de-
nunciation, and subversion of this medium. By interfering
in the newspaper space, the artist explores the social fact
as an artistic object and inverts the hierarchies between
official discourse and private speech. The same occurs in
Repressão outra vez – eis o saldo, in which the visual and
textual information printed in red and black, covered with
black cloths, need to be unveiled if the viewer is to behold
in them a reconfigured reality. Semi-ótica, a series of mug
shots and police records of supposedly dead criminals, re-
veals the ambiguity inherent in Brazilian urbanity, to which
the artist refers with a contrasting affection.
me of heat, the fat have moved away from me. Now I am cold.
They cover me with many beds, I suffocate.
4. I suspect they will want to fumigate me with incense. My
bedroom is inundated with holy water. They say I suffer from gout
– from holy water. And this is fatal.
5. My beloveds bring me a cup of lime in the hands that I
 111

have kissed. The bill for the orange skies, the bodies and every-
thing else arrives. I cannot pay.
6. Better to die. – I lie back. I close my eyes. The archangels
applaud.

Vision on White · Bertolt Brecht

3
1 4 113
Repressão outra vez – eis o As armas do diálogo
saldo [The weapons of dialogue] · 1968
[Repression once again – here's the bal-
ance] · 1968 5
A imagem da violência
2 [The image of violence] · 1968
Sem censura
[No censorship] · 1968

3
Dura assassina
[Hard killer] · 1968

4 5
Allora & Calzadilla
Jennifer Allora, Philadelphia, USA, 1974; Guillermo Calzadilla,
Havana, Cuba, 1971. Live and work in Cambridge, USA and
San Juan, Puerto Rico. Begun in 1995, the collaborative work
of Allora & Calzadilla articulates research and essays alert to
the complexity of territorial divisions and disputes in the con-
temporary world, as well as the power relations, cultures, and
rules involved. The duo produces videos, photography, urban
interventions, and installations, many of them sound based,
which reproduce, displace, or satirize elements of politics
and history. In A Movement without Development, the walls
A Movement without Development
2010
reference image
of a sector of the exhibition space in the Bienal building
form meter-wide corridors travelled by members of a small
orchestra playing Ravel's celebrated piece Bolero. The queue
of musicians comprises a mobile and audible design, a human
line that appears and disappears depending on the pace of
their march among the open spaces and the narrow passages
that they cross intermittently. The main characteristics of this
composition are its constant rhythm and repetitive melody, in
a single crescendo that returns to the beginning just as it would
reach its climax. This orchestral tissue will inhabit the interior
of the exhibition, transforming the static atmosphere with its
mobile presence whilst simultaneously dilating space and time.
Terreiro 115

DITO,NÃODITO,INTERDITO
said, unsaid, not to be said

On the way back, when he was at his saddest and most despondent,
he began to remember one of those things Dito sometimes said:
“Other people have a sort of bloodhound inside them, but they
themselves don't know it. It's this dog-like thing inside them that's
always sniffing out and seeing if we're soft inside, if we're dirty or
bad, or wrong… They themselves don't know it. But then they get
like a need to treat us bad…” “But, then, Dito, we're the ones to
blame for everything that happens to us?!” “Yes.” Dito would speak,
and then forget what he himself had said; he was like other people.
But Miguilim never forgot. Ah, Dito should never have died!

Manuelzão e Miguilim  ·  João Guimarães Rosa

Kboco & Roberto Loeb
Goiânia, Brazil, 1978; São Paulo, Brazil, 1941. Live and
work in São Paulo. Kboco developed his graphic repertoire
of colors and ordered, sinuous and modular organic forms
while producing graffiti murals in urban contexts. He ex-
pands this same repertoire onto book pages, clothing, walls,
floors and corners of the exhibition hall. His partnership
with the architect Roberto Loeb began when this impulse
went beyond covering existing surfaces to creating his own
volumes and circulation/living spaces. For the architect,
used to articulating such complex programs as factories
and parks in an efficient and attractive manner, the chal-
lenge was to reinvent his practice in order to compose form,
plasticity and program in one go, and in a way that leaves it
all open to surprises. Canabibi, the terreiro Dito, não dito,
interdito expands the surface contact between the Bienal
Pavilion and the greenery of Ibirapuera Park. The work
covers the steps and patio of the building with a conjunct
consisting of a portal, stands and rostrum dedicated to
acts of free and amplified expression. The wooden struc-
ture designed by Loeb to integrate the surrounding nature
with the temporary construction is painted over by Kboco
with totemic motifs.
Dito, não dito, interdito / 117
Canabibi
[Said, unsaid, not to be said / Canabibi]
2010

1 · project
2 · terreiro model

1
2
120

1
121

1
122

Miguilim looked. He just couldn't believe it! Everything was bright-

ness, everything was beautiful and different, things, trees, people's
faces. He saw little grains of sand, the skin of the earth, the smaller
pebbles, the little ants walking along the ground farther off. And he
got dizzy. Here, there, my God, so many things, everything… The
man had taken the glasses back off of him, and Miguilim was still
pointing, talking, describing what everything was like as he'd seen it.
Mother was somewhat startled; but the man said that that was the
way it happened, just that Miguilim would also have to wear glasses
from then on. The man drank coffee with them. He was Doctor José
Lourenço, from Curvelo. He could do anything. Miguilim's heart
was racing so fast it was out of rhythm, he needed to go inside and
tell Rosa, Maria Pretinha, Mãetina. Chica came running after him,
making fun: “Miguilim, you're shortsighted…” And he shot back:
“Little missy…”

Manuelzão e Miguilim  ·  João Guimarães Rosa

Kendell Geers
Johannesburg, South Africa, 1968. Lives and works in
London, England and Brussels, Belgium. Kendell Geers was
a political exile from South Africa. He returned to Johan-
nesburg at the end of Apartheid and, some years later,
moved definitively to Belgium. Rupture from the context of
his origins feeds his sarcastic work in terms of the historical
narratives and perversities it conceals. The legitimized “ver-
sions” of facts are something the artist prefers to call “lies,”
fictions that merely represent the dominant face in a power
play. Kendell Geers, whose name and date of birth were
Monument to the F-Word
2010
changed to suit the invented identity by which he is now
known, freely manipulates terrorism, vandalism, protest,
hostility, coercion, and violence present in the world through
mechanisms of control and protest to devise beautiful and
intriguing forms. ”Fuck” is the key word, a provocation the
artist uses in Monument to the F-Word. By placing it in
given contexts, using repetition, inversion, or typographi-
cal, dimensional, or material exploration, Geers creates
impediments to its decodification and legibility. As in other
works of his authorship, in this specific project Geers once
again freezes in time the voice of the nonconformists and
the threats with which they confront the established order.
Andrea Geyer
Freiburg, Germany, 1971. Lives and works in New York,
USA. Andrea Geyer's work draws upon the communica-
tive and narrative potential of art to structure – at least
provisionally – fields of political argumentation and
historiographical practice. Fictional scenes, operations of
translation, articulations with theory and historical informa-
tion combine in carefully developed presentations in which
every detail reiterates or tensions an aspect of the artist's
theme and the place she is speaking from. In Criminal
Case 40/61: Reverb, Geyer presents a reenactment of the
1 2
trial of Adolf Eichmann, the German officer known as the
“executioner in chief” of the Third Reich, the only man
ever to be sentenced to death by the Israeli state. The
trial, which was widely covered by the media, became an
opportunity to purge the perversity of the Nazi regime and
test the limits of such notions as justice, truth and sover-
eignty in the post-Auschwitz world. The installation, which
consists of synchronized monitors positioned in a circle,
presents six characters, all played by the same actor, who
engage in a dramatic debate, the content of which is largely
taken from trial transcripts, magazine articles and Hannah
Arendt's coverage of the case.
Criminal Case 40/61: Reverb 125
2009

1 · frame from Accused

2 · frame from Defense
3 · frame from Judge
4 · frame from Prosecution
5 · frame from Reporter
6 · frame from Audience

3 4

5 6
Nástio Mosquito / Bofa da Cara
Luanda, Angola, 1981. Lives and works in Luanda. The work
of Nástio Mosquito neither recognizes nor observes limits
between different artistic fields. Using music, performance,
video and even approaches as yet not clearly classified, the
artist translates, in a sense, the condition of living in a coun-
try under construction after a period of war. Another strik-
ing characteristic of his work is its capacity to transform the
often harsh content of the everyday into situations laced
with humor, irony and mockery. The animation My African
Mind is a video montage that uses archive material on
This poem does not intend to be a jubilant / juggle / or even
three somersaults // it looks to be light birth cum / from my
head into your pain // this poem does not intend to be / a
spoken portrait of life // it looks to be scream yell bah / tearing
stupor out of flesh / this poem is not intended to be epic / ethic
/ remedy for epileptics // it's intended to be a kick in the face
/ punch in the balls blow tough decision // this poem is not
the history of the African continent, from the begin-
ning of the 20th century to today, in order to map, with
heady doses of irony, its stereotypes, conflicts, disasters
and achievements. The accelerated pace of the images
recalls the language of the cartoon or video clip, while the
histrionic voice serves as a counterpoint to what is shown,
provoking disjointed or emphasized meanings. Articulating
graphic and sound elements, the work reaffirms the open
and fertile relationship that Nástio Mosquito maintains with
the various different forms of registering today's world.
intended to be lyrical / cynical / political hymnal // it wants to
be a cow stumble grandpa / brain myth devouring this head of
yours // this poem wants to be heard doing / meaning language
there in your ear // bleeding complete from ass to chaos //
Poem of outrage · Chacal
My African Mind 127
2009
frames
Maria Lusitano
Lisbon, Portugal, 1971. Lives and works in Sweden. The work
of Maria Lusitano results from an incessant process of accu-
mulation and editing of information about historical facts. It
is a counter-narrative that contemplates not only the domi-
nant discourses, but also the very mechanisms of writing
and situating actions and figures on a time line. The artist
makes film essays in which she creates her own versions of
past events, mixing discursive forms, sources and refer-
ences; breaching the hierarchies of speech and proposing
new protagonisms. The War Correspondent tells part of the
life story of William Russell, purportedly the first ever war
correspondent, who covered the Crimean War in the Bal-
kans between 1854 and 1856. With studio sound effects
and animated sequences of photos and newspaper pictures
from the day, as well as excerpts from cartoons and films, a
female voice over narrates Russell's relationship with warlike
journalism and its ethical and aesthetic implications in the
face of a fledgling 19th-century audience. In its capacities
as a vehicle for information and ideological socialization
and as historical record, the newspaper is the platform for
the film, which alternates moments of aestheticization and
fictionalization with others of raw documental objectivity.
The War Correspondent 129
2010
frames

The first crime occurred at the Hôtel du Nord – that high prism
that dominates the estuary whose waters are the colors of the
desert. To this tower (which most manifestly unites the hateful
whiteness of a sanatorium, the numbered divisibility of a prison,
and the general appearance of a bawdy house) on the third day
of December came the delegate from Podolsk to the Third Talmu-
dic Congress, Doctor Marcel Yarmolinsky, a man of gray beard
and grey eyes. We shall never know whether the Hôtel du Nord
Claudia Joskowicz
Santa Cruz de La Sierra, Bolivia, 1968. Lives and works in
New York, USA. The video work of Claudia Joskowicz deals
with basic elements of cinematographic language. She
may choose to compose a series of films exploring to the
maximum a single camera movement, such as the zoom or
travelling functions, or to revisit the theme of reenactment,
a staple of silent film, in which news or battle scenes are
recreated in the studio with a view to simultaneously in-
forming and entertaining the public. With these resources,
Joskowicz reproduces events in versions that associate
pleased him: he accepted it with the ancient resignation which
had allowed him to endure three years of war in the Carpath-
ians and three thousand years of oppression and pogroms. He
was given a sleeping room on the floor R, in front of the suite
which the Tetrarch of Galilee occupied not without some splen-
dor. Yarmolinsky supped, postponed until the following day an
investigation of the unknown city, arranged upon a cupboard his
many books and his few possessions, and before midnight turned
political and cultural values. In the video Round and Round
and Consumed by Fire, the artist works with the 1969
film Butch Cassidy and the Sundance Kid, reenacting in
a single, slow and circular panoramic shot the moment in
which the North-American outlaws are corralled by the
Bolivian police. Moving the camera to capture a near-inert
scene, the work creates a state of anxiety that results from
the narrative gaps and decelerated pace, revealing how,
even in the absence of explicit actions, the very time of the
video itself still engenders a narrative development which
recommences just as the anti-heroes are about to be killed.
off the light. (Thus declared the Tetrarch's chauffeur, who splept
in an adjoining room.) In the fourth, at 11:03 A.M., there was a
telephone call for him from the editor of the Yiddische Zeitung;
Doctor Yarmolinsky did not reply; he was found in his room, his
face already a little dark, and his body, almost nude, beneath a
large anachronistic cape. He was lying not so far from the door
which gave onto the corridor; a deep stab wound had split open
his breast. In the same room, a couple of hours later, in the midst
Round and Round and
Consumed by Fire
2009
frames
of journalists, photographers, and police, Commisioner Trevira-
nus and Lönnrot were discussing the problem with equanimity.
“There's no need to look for a Chimera, or a cat with three
legs,” Treviranus was saying as he brandished an imperious cigar.
“We all know that the Tetrach of Galilee is the possessor of the
finest sapphires in the world. Someone, intending to steal them,
came in here by mistake. Yarmolinsky got up; the robber had to
kill him. What do you think?”
131
“It's possible, but not interesting,” Lönnrot answered. You
will reply that reality hasn't the slightest need to be of inter-
est. And I'll answer you that reality may avoid the obligation to
be interesting, but that hypotheses may not. In the hypothesis
you have postulated, chance intervenes largely. Here lies a dead
rabbi; I should prefer a purely rabbinical explanation; not the
imaginary mischances of an imaginary robber.”
Treviranus answered ill-humoredly:
Roberto Jacoby
Buenos Aires, Argentina, 1944. Lives and works in Buenos
Aires. The 1960s avant-gardist Roberto Jacoby has devel-
oped an interdisciplinary and markedly political career,
whether through poetics or engagement. He was part of
the generation of artists and intellectuals connected with
the Instituto Torcuato Di Tella, co-publisher of the Primer
Manifiesto de Arte de los Medios, a participant in the action
Tucumán Arde, lyricist for the rock group Virus and creator
of various performances, events, happenings and what
he calls counterhappenings. Used to conceptualisms, the
“I am not interested in rabbinical explanations; I am inter-
ested in the capture of the man who stabbed this unkown person.”
“Not so unknown,” corrected Lönnrot. “Here are his
complete works.” He indicated a line of tall volumes: A Vindica-
tion of the Cabala; An Examination of the philosophy of Robert
Fludd; a literal translation of the Sepher Yezirah; a Biography of
the Baal Shem; a History of the Sect of the Hasidim; a mono-
graph (in German) on the Tetragrammaton; another, on the
artist appropriates social structures and demands the inclu-
sion of the transformative power of art in all new accords
and norms of everyday life. In El alma nunca piensa sin
imagen, Jacoby invites Argentinean artists to collectively
produce T-shirts, badges, posters, pamphlets and souve-
nirs for a hypothetical political campaign to be promoted
at the Bienal. These elements are assembled along a
small dais that will be used throughout the exhibition for
the delivery of speeches and hosting of debates. In this
Brazilian presidential election year, the work becomes an
opportunity for reflection, albeit indirect and fictional, on
the forms of party political propaganda.
El alma nunca piensa sin
imagen
[The soul never thinks without image] · 2010
reference image
divine nomenclature of the Pentateuch. The Commissioner gazed
at them with suspicion, almost with revulsion. Then he fell to
laughing.
“I'm only a poor Christian,” he replied. “Carry off all these
moth-eaten classics if you like; I haven't got time to lose in Jewish
superstitions.”
“Maybe this crime belongs to the history of Jewish supersti-
tions,” murmured Lönnrot.
Jacobo Borges
Caracas, Venezuela, 1931. Lives and works in Caracas and
New York, USA. To celebrate the four-hundredth anniversa-
ry of the city of Caracas, Borges directed a multimedia proj-
ect that took the form of a collaborative performance (“total
action”, as he calls it) that brought together actors, writers,
filmmakers, and musicians. Imagen de Caracas takes as its
protagonist the modern Venezuelan capital of the 1960s.
The viewer should be incorporated into the spectacle, not
only through immersion in the scenic device itself, but
integrated with it in some more active form. Through a
“Like Christianity,” the editor of the Yiddische Zeitung
dared to put in. He was myope, an atheist, and very timid.
No one answered him. One of the agents had found inserted
in the small typewriter a piece of paper on which was written the
following inconclusive sentence.
[...]
Death and the Compass  ·  Jorge Luis Borges
digression on social inequality and political history, Jacobo
Borges wanted the city and its inhabitants to verbalize a
deep awareness of the moment they were living through.
Located on a one-acre site, Imagen de Caracas used eight
35 mm film projectors and forty-five 40 mm slide projec-
tors, forty-six speakers and twenty large and mobile boxes,
on which the images were projected, fragmented and
overlapped. The project was closed down by the city hall
soon after opening, for being considered a “critical view”. It
caused a wave of protests by the artist and some workers
who went to live on the streets in a permanent demonstra-
tion, for which they were arrested almost every day.
Imagen de Caracas
[Image of Caracas] · 1967

Lönnrot avoided Scharlach's eyes. He was looking at the trees
and the sky divided into rhombs of turbid yellow, green and red.
He felt a little cold, and felt, too, an impersonal, almost anony-
mous sadness. It was already night; from the dusty garden arose
the useless cry of a bird. For the last time, Lönnrot considered the
problem of symmetrical and periodic death.
”In your labyrinth there are three lines too many,” he said
at last. “I know of a Greek labyrinth which is a single straight line.
135
Along this line so many philosophers have lost themselves that
a mere detective might well do so too. Scharlach, when, in some
other incarnation you hunt me, feign to commit (or do commit)
a crime at A, then a second crime at B, eight kilometers from A,
then a third crime at C, four kilometers from A and B, halfway
en route between the two. Wait for me later at D, two kilometers
from A and C, halfway, once again, between both. Kill me at D, as
you are now going to kill me at Triste-le-Roy.”
Dora García
Valladolid, Spain, 1965. Lives and works in Brussels, Bel-
gium and Barcelona, Spain. Dora García produces simple
narrative structures with fictional elements and references
to a given context. However, unlike a playwright or script
writer, the artist only develops her argument up to the point
where the actors go on stage, from there on in the develop-
ment is open, depending on interactions with non-actors,
personal accounts, and transcriptions of conversations and
gestures. This openness in the development of the narra-
tive situates her actions, videos and installations in a grey
“The next time I kill you,” said Scharlach, “I promise you the
labyrinth made of the single straight line which is invisible and
everlasting.” He stepped back a few paces. Then, very carefully,
he fired.
Death and the Compass  ·  Jorge Luis Borges
zone between performatic and everyday behavior, between
theater and real life, madness and reason. In The Deviant
Majority, Dora García investigates the San Giovanni hos-
pital (former psychiatric institution in Trieste), a success
story in the treatment of mental illnesses that was an
emblem for many of the political notions behind anti-psy-
chiatry, a movement that was influential worldwide dur-
ing the 1970s. The artist uses the Trieste investigation and
dialogue with anti-psychiatry experiments and testimony in
Brazil to propose a new script.
The Deviant Majority
2010
frames
Franco Rotelli: And from all this, which I have recounted 500
times already, what is what specifically interest you?
Well, I can immediately tell you something: what you want
to do is perfectly possible, I see no problem in it; but I must tell
you as well that there is something in it that I don't like and that
is completely unconvincing: nowadays we witness a perma-
nent nostalgic revival of the seventies, and this I find extremely
uninteresting. This romantic vision of the early seventies is a
wrong vision. It is simply not true that in the seventies important
things were done. In my opinion, the important things were done
after the seventies. And therefore I think that this heroic vision
of the seventies is a dangerous way to reconstruct history. I refer
here especially to the psychiatric experience. They say it was a
utopic moment, that Basaglia was a saint; and this for me is an
excruciating trivialization of reality. I have been working in Trieste
from 1971 on, I have participated in all and every activity hap-
pening here in the seventies; but I cannot recognize this mediatic
version emphasizing the seventies. So if you want my opinion,
my opinion is that Trieste's worth is about the services that it has
been able to construct in the last 30 years, the organization that
supports these services, the concrete, practical, real demonstra-
tion that things are possible, that it is possible to create a cred-
ible, rigorous alternative to the psychiatric hospital, something
that no country, absolutely no country in Europe has done. Many
countries in Europe have managed to do an attenuation of the
psychiatric hospital, but none has managed to suppress it totally.
Trieste could. And this all happened in the eighties, not in the
seventies. It did not happen with Scabia and it did not happen
with Marco Cavallo; it has been done working each day in a
network of services, real and practical. And this is the importance
of Trieste. […]
Basaglia worked against ideologies, and not to create a
new ideology. The mediatic story is a choreography of reality,
it is not reality. It's the contrary of reality, is a falsification of
reality. The peculiarity of Trieste was the change of things, really;
and this change was not even tried by the other contemporary
radical movements in Europe. Of course one can read published
conversations between Laing, Cooper, Guattari and Basaglia; but
if one reads what they say, then one realizes that they did not
agree in one single point. Yes, they spoke together, but we really
spoke with everyone, with anyone, we are still speaking with any-
one. We spoke with the Communist party. We have spoken with
the newspaper L'Unitá, the newspaper of the institutional Left.
We spoke with the Trade Unionists. We spoke with right-wing
psychiatrists, with all political and parliamentary parties, with the
provincial administration of that time that was demochristian. We
spoke with everybody. But all the seventies radical movements
did not have any intention to really change any structure and they
had zero capacity to change anything; they wanted to change
all or nothing, and therefore they changed nothing. It is true that
at that time in Italy there was a strong political awareness, a
political movement, and a will for radical reform. But there is a
big difference. What happened in Italy was the capacity of certain
intellectuals to play a part in a general social change and give it
a meaningful direction. And they wanted to change a concrete
institution, not an abstract change, but a concrete change of a
concrete institution. It was not an intellectual movement, but a
political movement. There is nothing, nothing in common be-
tween the Trieste story and the avant-garde visions of some Euro-
pean intellectuals. Ideology is the falsification of reality. Basaglia
tried to understand what was happening. The mental hospital
was an ideology. Basaglia said: “”this is an ideology, which tries
to hide a reality, saying that someone can be cured here, saying
that the hospital is a necessity, saying that there is an illness
and a doctor to treat this illness. But I don't see any doctor and I
very much doubt that there is any illness to be treated here, and
certainly no one is being cured. This is ideology; I don't believe in
this pseudoscience””; this is what Basaglia said. And he said too,
the mental hospital is made just for poor people. Therefore there
is a class problem here. And this is not my ideology, this is what
I see. And this class vision, you don't find it in Cooper, you don't
find in Guattari, and you don't find it in any of the other so-called
anti-psychiatry movements. […]
But the real problem now is to maintain the 180 Law
and to maintain, specially, its credibility, and the credibility of
services that are a real alternative to the mental hospital. This
is the real thing, and its relation to the events happening in the
seventies is virtually none. And the image given by the media of
this is of a real ideological and stereotyped quality. […]
Yes, if you want, there was a community among radical
positions of the 70's, a community that manifested itself in the
general wish of subverting power relationships and notions of dif-
ference and marginality. But it is not characteristic of Trieste and
of what happened in Trieste. Radical movements, they appeared
everywhere in the world; but there is something specific, charac-
teristic, that happened only, exclusively in Trieste. I don't think
you have to come all the way here to discover general connexions
among radical movements. You have to look for the specifics
of Trieste. And what is unique in Trieste is the subversions in
power relations, the very, very important modifications in power
relations that were made concrete in the closing the psychiatric
hospital. These subversions and modifications were mainly about
the medical power being de-centralized, atomized. And this is
reality, no fantasy.
An interview with Franco Rotelli by Dora García.
James Coleman
Ballaghaderreen, Ireland, 1941. Lives and works in Dublin,
Ireland and Paris, France. A pioneer in the use of slide-
tapes, sequences of slides synchronized with cassette
tapes, Coleman's work since the mid-1960s has questioned
the way discourses are imposed and expressed through the
image. The lapses and arbitrariness inherent in his process
of signification are unveiled and reenacted by the artist
through such references as photojournalism and the soap
opera, demonstrating how even the most descriptive photo
captions transform the perspective from which one reads
and constructs the image. In 1991, Coleman photographed
a scene inspired by a journalistic engraving of the battle of
Ball Run (1861), mirroring its 19th-century stereoscopic
composition. In 2005, in what constituted the second
stage of Ligne de foi, he reformulated the theme by using
video and reenacting, in long static shots, not only the
combat, but artistic creation itself, referencing and repre-
senting the earlier work. What passes on the screen evokes
the practice, relatively common during the American Civil
War, of organizing tours of the battlefield to reenact, photo-
graph, and publicize scenes of the slaughter.
Ligne de foi
[Line of faith] · 1991 – 2005
still
Yoel Diaz Vázquez
Havana, Cuba, 1973. Lives and works in Berlin, Germany.
Yoel Diaz Vázquez's work explores the way the contradic-
tions in the world are rendered subjective in different con-
texts. In La torre del ruído, Vázquez invites rappers from
the underground scene in Havana to speak their mind
about life in present-day Cuba through sung interventions
filmed in domestic settings. The resulting discourses are
invariably critical and express the thoughts of an ample
cross-section of the Cuban youth. The footage is shown on
dozens of monitors piled up in the form of a tower, each
showing the intervention of one rapper. When approach-
ing the installation environment, the sounds and images
from the TVs strike the visitor as something of a cacophony.
Getting closer to the tower, his or her attention automati-
cally funnels to a smaller number of stimuli, which stand
out from the others. Eventually, the viewer's concentration
may be whittled down to a single monitor, allowing the song
of that particular rapper to prevail over the rest. In its physi-
cal configuration, the work is a metaphor for the conflict
between a public context, in which discourse is reduced to
mere noise, and a more private situation, where people can
speak and be heard.
La torre del ruído
[The tower of noise] · 2006 – 2010
frames
Guy de Cointet
Paris, France, 1934 – Los Angeles, USA, 1983. For Guy de
Cointet, words and images are part of the same enigma.
With stints in painting and drawing, the dramatist essen-
tially worked between 1950 and 1970, oscillating between
uses of language, sometimes as form, sometimes as mes-
sage. The work Guy de Cointet produced and shared did
not evoke any direct understandings, usually skirting the
bounds of the experimental, the strange, the uncertain, of
content open to reactions and interpretations. In pieces
like Two Drawings or Tell Me, both left without a climax
or clear denouement, actresses close to Guy de Cointet
proffered a collage of data and references in reaction
to a strikingly geometric and plastic stage setting and
costumery. His scripts would combine alternate lines from
Edgar Allan Poe and Jorge Luis Borges, caricatures from
Mexican soap operas, and references to fashion styles
and trendy design, mixed with the exotic atmosphere of
literary works by Raymond Roussel. This only apparently
spontaneous mix resulted in a huge literary collage set to
stage, brought to life and deciphered with each opportu-
nity for utterance.
Tell Me 141
1979
still of staging
Sue Tompkins
Leighton Buzzard, England, 1971. Lives and works in
Glasgow, Scotland. The works of Sue Tompkins include
collages and sculptures made from cutouts from fashion
magazines and assemblages of unusual objects and written
pointers. The idiosyncratic relations she promotes among
different categories of things frequently give rise to collab-
orative performances, as well as installations and short films.
However, much of her work results from text exercises read
aloud and from musical recordings. She is the former vocalist
of the band Life without Buildings, whose lyrics range from
slowly write / a first letter / write / in the surroundings built / by
hurricanes; / slowly measure / the first untrained / bird / that
scratches / the stage curtain / open / over the gales; / slowly
impose / the wrist / that best / will bleed / on the knife / of the
the emotive and personal to musical and artistic citations.
Tompkins incorporates and transforms fragments of popular
music, borrowed texts, and banal expressions in songs and
personal narratives, largely poetic, intense, and funny. The
rhythmic effects are dictated by controlled breathing, move-
ments and pauses, as well as the unexpected and systematic
alternacy of her repertoire of references. The Hallo Welcome
to Keith Street is based on a set of drawings exhibited
on the wall of the Bienal building. These multiple sheets
of paper with small graphic signs and color impressions
provide the platform for a public presentation in which the
artist translates form and word into gesture and song.
tides; / slowly impress / your first / gaze / upon the wet gallop
/ of the animals; slowly / ask for more / and more and / more //
Flowers of moreness  ·  Ana Cristina Cesar
1 2 143
Untitled Hallo, Welcome to Keith Street
2010 2010
reference image: installation register at reference image: Fashions of Outer Hope
Frankfurter Kunstverein (2007) and Inner Style (2009) performance register

1 2
Mira Schendel
Zurich, Switzerland, 1919 – São Paulo, Brazil, 1988. Mira
Schendel emigrated from Europe to Brazil after the Second
World War and, from 1950 to 1980, produced a profusion
of drawings of her intimate and solitary relationship with
writing. Language in a savage state was always her raw ma-
terial: foreign, open, unruly, recombinant, though treated
with extreme delicateness and parsimony. Throughout
her life the artist made over two thousand monotypes on
Japanese rice paper. Like the notes of some fleeting and
incomplete reasoning, her works unfold in long series in
1
which legibility is not always clear or singular; the alphabet
can be employed both as image and as text. In her Objetos
gráficos, works derived from the monotypes but exhibited
off the wall, like sculptural volumes trapped in space
by almost imperceptible nylon strings, the variation of
possible meanings for Schendel's script acquires a new
dimension when viewed from both front and back. Given
the chance, the translucence of the fine paper and richness
of the written layers harbor and suggest an untold number
of possibilities to the gaze.
1–2
Sem título (monotipia)
[Untitled (monotype)] · 1964 – 1965
2
Samuel Beckett
Dublin, Ireland, 1906–Paris, France 1989. The work of the
writer and playwright Samuel Beckett renders a severe cri-
tique of a modernity centered upon the domains of reason
and transparency, language and the intellect. His novels,
plays, and poems do not use language to convey concepts
or tell stories, but rather strive to coax an autonomous
and bodily dimension out of the written and spoken word.
His experience of World War II and his participation in the
French resistance were decisive for Beckett, who com-
posed, between 1945 and 1953, the trilogy Malone Dies,
The word is father of the saints / the word is mother of the saints
/ with the word racer snake we can cross a river / peopled by
caimans / sometimes I draw a word on the ground / with a
refreshing word one can cross the desert / in a single journey
/ there are oar words to fend off the sharks / there are iguana
words / there are subtle words these are walking stick words /
Molloy, and The Unnamable. Written in English and French,
with substantial differences between the respective ver-
sions, the works declare an interest in the impossibility of
translation and the impasses between languages. From the
1950s on, his experiments with language saw Beckett pro-
duce new works and adaptations for radio, TV, and cinema.
Not I is a video version of the play of the same name. It
focuses on a mouth in an entirely blackened face, spew-
ing a frenetic monologue in uninterrupted flow, which,
though articulate, never acquires any genuine sense.
Divorced from the intellect, speech becomes a brute act of
the body, and the mouth, a simple organ of emission.
Not I
1972
frame
there are shadow words that awaken in sparking rage / there
are Shango words / sometimes I steal a swim on the back of a
dolphin words //
Macumba word · Aimé Cesaire
Livio Tragtenberg
São Paulo, Brazil, 1961. Lives and works in São Paulo. A
self-taught composer and decomposer, given the manner
in which he makes use of sounds and instruments, Livio
Tragtenberg's work rubs shoulders with popular music,
contemporary music, and jazz, simultaneously and without
hierarchy. He composes for orchestras, vocal and instru-
mental groups, operas, cinema, video, theater, and dance.
Instead of structuring musical groups as conventional sym-
phonic orchestras, which favor uniformity of performances,
Livio departs from the singular identity of each musician
Because he did not believe in what could not be explained he
creased his brows as if that would help to thread the needle.
What was he waiting for with his hand at the ready? Well, he had
an experience, he had a pencil and a piece of paper, he had the
intention and the desire – no one ever had more than that. And
still it was the loneliest thing he had ever done. And he could
not do it that way, and not being able to do it had taken on the
in forming a rich and dissonant cultural blend. Particulari-
ties, details, or typical little gestures acquire importance in
constituting his sonorous discourse. In O Gabinete do Dr.
Estranho, a musician in a cage erected in the exhibition
site receives digital audio and visual files from different
sources. He then converses with the visitors and mixes
snippets from the donated files for informal presenta-
tions at the exhibition.
O Gabinete do Dr. Estranho
[Dr. Strange's Cabinet] · 2010
reference image
grandeur of A Prohibition.
And only when he thought about breaking the Prohibi-
tion did he retreat, opposing again the immaterial resistance to
a hard instinct, cautious again, as if there was a word that said
what a man is… That missing word which sustained him none-
theless. That nonetheless was he. That nonetheless was the thing
that would die only because the man had died. That nonetheless
Pixação SP
São Paulo, Brazil, since the 1980s. Documentation by Choque
Photos, Cripta Djan, and Rafael Pixobomb. Pixação in São
Paulo (written with an x to distinguish it from the more politi-
cally bent pichação [spelt with ch], also very present in the
city) is a visual manifestation produced on walls and build-
ings that expresses a worldview that does not fit within the
precepts that govern and limit urban life. Pixação speaks of
something that would otherwise remain unseen and that, were
it not for its apparently ciphered writing, would probably not
be said. As something considered by its practitioners to be
was his own energy and the way he breathed. The word that was
the action and intention of a man. And which he not only could
not babble, but somewhere in himself did not even want to…
With vital prudence he kept it safe inside himself. And by only
imagining that he could say it he closed himself up in auste-
rity, insurmountable, as if he had already risked himself too far.
Susceptible all of a sudden he had fallen into that sacred zone a
simultaneously art and political comment, to include pixa-
ção in the institutional space of the Bienal as a mere graphic
expression, mimicking its presence in the streets, would be
to deprive it of its originality and transgressive power, which
is why we have chosen instead to feature it in photographs,
videos, and tag collections. If these documental strategies
are a poor substitute for pixação itself, which can only truly
exist in the urban space it disputes, they do nonetheless help
us understand and activate its complex physical and symbolic
inscriptions in São Paulo, while underlining the fact that the
institutional field is never capable of housing or fully under-
standing all the possible manifestations of art.
man will not let a woman touch, but where two men at dusk will
sometimes sit in silence on the stoop. Within that solitary zone
the choice would be to let himself be touched by humility and
debasement – or shelter the integrity of a man who does not
speak or act. He had fallen into the thirst that had always made
something personal out of his life. And which had made the act
of “doing”, giving himself perhaps, the one impossible action. A
1 4 6
ANTBOYS duda Zicas stan Sem título
2007 2007 [Untiled] · 2008
documentation documentation documentation

2 5
CRIPTA djan SURRA rudá > SEM MEDO
2008 juca > COMA wil
documentation 2007
documentation
3
Rafael Pixobomb
2007
documentation

2 3

4 5

coward before his own greatness, he balked.
With no word to write Martim meanwhile resisted the temp-
tation of imagining what would happen to him if his strength
might be stronger than his prudence. “And if I suddenly had
the strength?” he asked himself. But he could not fool himself;
whatever he wrote would only be something he had written
because he could not write “the other thing”. Even within his own
ability what he would say would simply come from the impossi-
bility of saying something else. The Prohibition was that much
deeper… Martim had surprised himself.
Obviously that man had ended up by falling into a depth
that he had always sensibly avoided.
And the choice became deeper yet; either keep the sacred
zone intact and live off it, or betray it by what he certainly would
 149

come to do, and it would be simply this: the unreachable, like one silence intact then. Because little can be drunk; and one lives off
who could not drink the water of the river except by filling up the what is left abandoned.”
hollow of his own hands – but it would not be the silent waters of
a river; it would not be the frigid movement, or the delicate greed The apple in the dark · Clarice Lispector
with which water tortures stones; nor would it be the thing a man
is in the afternoon beside the river after he has had a woman. It
would be the hollow of his own hands. He would rather have the
Gil Vicente
Recife, Brazil, 1958. Lives and works in Recife. The work
of Gil Vicente translates a sense of uneasiness about the
prevailing modes of political representation, expressing
deep disillusion as to the possibility of change through
formally constituted leadership and warning of a sapping
of patience that has often led others to violent confronta-
tion. In his work, Gil Vicente does not look to confuse art
and crime, but rather to substitute the crime as act with
the creation of its explicit image. In Inimigos, a series of
life-size realist drawings in charcoal on paper, the artist
[…] I insult the bourgeois – miserable! / The unstomachable
beans with bacon, the master of traditions! / Be gone those
who make algorithms of the tomorrows! / Will it be sunny? Will
it rain? Pack of Harlequins! / But to the rain of the rose garden /
Ecstasy will forever be sunny! / Death to fat! / Death to cerebral
adiposities! / Death to the monthly bourgeois! / To the cinema
assumes the role of the assassin of political leaders who,
presiding over different geographic domains, hold distinct
if not conflicting world views. Gil Vicente's drawings depict
him just as he is about to shoot or knife to death such
illustrious “victims” as President Lula da Silva, former
President Fernando Henrique Cardoso, Pope Benedict
XVI, and Queen Elizabeth II, among others, sometimes
face to face, sometimes from behind. The ample spectrum
of the ideological persuasions of those portrayed suggests
that what is in play is not so much the affirmation of a
specific cause, but the symbolic repudiation of all forms of
institutionalized power.
“of the men I know, the sharpest tongue”
bourgeois! To the horse-drawn carriage bourgeois! / Swiss
bakery! Living death to Adriano! / “Oh, my daughter, what shall I
give you for your birthday?” / “A necklace….” “One thousand five
hundred!!!” / “But we're dying of hunger! […]
Ode to the bourgeois  ·  Mário de Andrade
1 2 151
Suíte safada Autoretrato III matando
[Shameless Suite] · 2007 – 2010 Elizabeth II from the series
Inimigos
[Self-Portrait III - Killing Elizabeth II from the
series Enemies] · 2005

2
Grupo de Artistas de Vanguardia
Rosario and Buenos Aires, Argentina, 1968. A paradigm of
artistic revolutionary action, Tucumán Arde was a project
run by a collective of Argentinean artists. It was born from
the insurrection against the Tucumán Operation launched
by the dictator Juan Carlos Onganía, who encouraged a
privatization policy that finished with many of the small
cane-growing plantations in the Tucumán region, causing
rampant unemployment and deteriorated living conditions.
The artists visited Tucumán, made contact with local unions
and cultural organizations, gathered documents and pro-
duced images of the abandoned plantations and factories,
as well as of the local nouveau riche. As a result, the group
organized the 1st Biennial of Vanguard Art, an exhibi-
tion/protest that took place at the union headquarters in
Rosario before moving on to Buenos Aires, where it was
censored and closed only hours after opening. Newspaper
clippings on the walls, films, and audio material docu-
mented the injustices suffered in the region. The floor of the
entrance was covered with the names of the new plantation
owners, denouncing their connections with the regime. The
over three thousand guests at the inauguration were served
coffee with no sugar.
Tucumán Arde Archive 153
1968 – 2007
photographs of posters and Rosario exhibition
Tatiana Blass
São Paulo, Brazil, 1979. Lives and works in São Paulo. Since
she began exhibiting paintings, sculptures and installations
in the late 1990s, Tatiana Blass has problematized the no-
tion of spectacle. Her paintings of near-empty stages are a
paradigmatic case, as are her recent installations, in which
sculptures of molded paraffin melt and deform under the
glare of spotlights. Metade da fala no chão – Piano surdo
is part of a series in progress in which the artist acts upon
musical instruments. At the Bienal, liquid wax is poured
over the strings of a grand piano as it is played. A video
THE DEAD MAN · I
The rain washed / The people from the dead man / And washed
the dead man / With his crooked physiognomy / And with his
dead man's feet / That dragged a dry river / And his dead man's
records the rapid transformation from liquid to solid matter
as the notes of the piano tumble out of tune and are finally
silenced. The instrument petrified as sculpture ratifies its
own and irreversible silence. Like a temporal cycle that an-
nounces all of its stages, the installation mimics the listed
acts by which life becomes a monument. Something that,
in opposition to life, loses its movement: echoed sound, the
voice, its wanderings and the possibilities of its issuer. The
piano is a metaphor for the infinite promise of music. Not
once Tatiana Blass is finished with it.
hands / From which hung insistent / A hollow gesture. / At night
the man / Was buried / At the root of a wall / With his clothes on
his body. / And in the garden of this / Victorious dead man / The
rain watered / Enormous violets / And some fertile snails… //
Metade da fala no chão 155
– Piano surdo
[Half of the speech on the ground – Deaf
Piano] · 2010
still

THE DEAD MAN · II
See this dead man, how he used up his secrets one by one. /
Seated like a doctor / See what respect he nurtures for silence…
/ What a dead man! / A piano sleeping at the bottom of a well
/ Is no more comfortable than a dead man in a port. / See what
comfort: / Never again will he use his fingers to grab at girls… /
What a dead man! //
The dead man I and The dead man II  ·  Manoel de Barros
Moshekwa Langa
Bakenberg, South Africa, 1975. Lives and works in
Amsterdam, Netherlands. The work of Moshekwa Langa
accumulates modes of thought, perceptions and objects
that reflect not only personal history, but also involve-
ment in such issues as politics, art and culture. The artist
experiments with confluences between these spheres and
transforms them into a poetic, as in True Confessions: My
Life as a Disco Queen, a video that takes the artist himself
as its theme. For Moshekwa Langa, the most powerful
thing about his art is its capacity to encourage a change of
attitude and topple prejudice. However, this path toward
transformation is not so freely delivered to the viewer.
Perception of the content and slippery visualities of Langa's
work open to the visitors the possibility of creating a narra-
tive of their own, with a host of destinations and meanings.
In the series Untitled, the photographs present a silence,
a place of experience, where some action or activity has
already taken place, and where the invitation to continue
the story is left hanging in the air. The work stimulates
a sense of belonging, of immersion and interconnection
between multiple cultures.
1
Untitled 157
series · 2005 / 2006

1 · Ka ntle [Outside]
2 · Gartene [Curtains]
3 · Ka ntle [Outside]
4 · Panka [Bench]
5 · Mmetse [Rug]

2 3

4 5

There we are, side by side, on the salt-colored sand, among

people who have also lost children or watches, their youth or
opportunities, their courage or their teeth, their parents or
money, their trust or their arm, or their flame, or the root goods,
or their identity, or their job, or their sanity, or their direction, or
their strength, or their life, there we are sniffing out a dead man.

Lost and Found · Osman Lins

Rodrigo Andrade
São Paulo, Brazil, 1962. Lives and works in São Paulo. The
work of Rodrigo Andrade deals with the founding mystery
of painting, the formation of illusionistic images through
matter. Back in the 1980s, his painting reflected the gen-
erational interest in pictorial investigation that articulated
gestural emphasis with an iconography taken from mass
culture. In the 1990s, gesture and image were gradually
subtracted to leave thick monochromatic blocks of satu-
rated color with peculiar geometry, demanding their own
material, concrete and objectual dimension. In the 2000s,
Suddenly – how am I to convey it? Well, suddenly the darkness
turned into water. This is the only suitable figure. A heavy shower,
a downpour, comes along, making a noise. You hear its approach
on the sea, in the air, too, I verily believe. But this was different.
With no preliminary whisper or rustle, without a splash, and even
without the ghost of impact, I became instantaneously soaked
to the skin. Not a very difficult matter, since I was wearing only
my sleeping suit. My hair got full of water in an instant, water
these colored blocks gained autonomy and left the canvas
for direct application upon the wall. The absurd dimension
of this contamination of space became a film, Uma noite
no escritório, written and directed by the artist, in which
his color blocks invade bodies, walls and objects. In the
series Matéria noturna, a set of large-scale paintings of
dark scenes perfurated with colorful and vibrant specks
of light, Rodrigo Andrade re-disciplines his autonomous
blocks of color, corralling them back into the limits of the
canvas. Occasionally he makes them parts of figurative
scenes, as with the glowering points in a voluminous,
massive, thick-set night.
streamed on my skin, it filled my nose, my ears, my eyes. In a
fraction of a second I swallowed quite lot of it.
As to Gambril, he was fairly choked. He coughed pitifully,
the broken cough of a sick man; and I beheld him as one sees
a fish in an aquarium by the light of an electric bulb, an elusive,
phosphorescent shape. Only he did not glide away. But some-
thing else happened. Both binnaclelamps went out. I suppose the
water was forced itself into them, though I wouldn't have thought
Matéria noturna 159
[Night matter] · series

1 · Viaduto · [Overpass] · 2009

2 · Rua deserta com cerca · [Desert street
with fence] · 2010
3 · Rua deserta · [Desert street] · 2010

that possible, for they fitted into the cowl perfectly.

The last gleam of light in the universe had gone, pursued by
a low exclamation of dismay from Gambril. I groped for him and
seized his arm. How startlingly wasted it was.

The shadow line · Joseph Conrad

160

3
TERREIRO 161

EU SOU A RUA
i am the street

I love the street. This feeling of greatly intimate nature would not be
revealed to you by me if I did not think, and had no reasons to think,
that this absolute and extreme love is shared by all of you. We are
brothers, we feel similar and the same; in cities, in villages, in towns,
not because, with pain and displeasure, we feel the harsh hand of
the law and the police, but because we are united, made equal and
brought together by our love of the street. This is the imperturb-
able and indissoluble sentiment, the only one that, like life itself,
withstands ages and epochs. Everything is transformed, everything
varies – love, hate, egoism. Today, laughs are more bitter, irony more
painful. The centuries pass, slip by, taking with them futile things
and notable events. The only thing that persists and remains, the
ever-growing legacy of generations, is the love of the street.
The street! What is the street? A composer from Montmartre
said:

Je suís la rue, femme êternellement verte,

Je n'ai jamais trouvé d'autre carrière ouverte
Sinon d'être la rue, et, de tout temps, depuis
Que ce pénible monde est monde, je la suis...

[...]

A rua [The street]  ·  João do Rio

UNStudio
Ben van Berkel & Caroline Bos. Amsterdam, Netherlands,
since 1999. UNStudio is a firm specialized in architectonic
projects and urban design with a wide variety of works
constructed worldwide, from China to the USA. The studio
has consolidated a reputation for being especially expres-
sive and experimental, interested in provocative spaces and
open programs, particularly in their smaller-scale projects,
such as the New Amsterdam Plein & Pavilion, Burham
Pavilion and Retreat Exhibition. In these small projects,
the volumes and surfaces coax the visitors into movement,
LED Channels on the interior roof
4m
4m
Center Point: where the projector will be housed
exploring the possibilities of the space. With this reinvention
of programs and forms, UNStudio goes beyond the techno-
logical innovation that characterizes so much of interna-
tional architecture. In Youturn, the terreiro Eu sou a rua,
the studio proposes an arena for debates that, designed
around a centripetal force working from the center circle,
twists around itself in a triangular volume, opening the
way for three entrances and creating grooves in the walls
to form stands for the audience.
16m
0m
1.3
3m
Eu sou a rua / Youturn 163
[I am the street / Youturn] · 2010
project of the terreiro
166
167
168

The street is born, like man, from a burst, from a spasm. There is
human sweat in the mortar of its pavement. Every house erected is
made of the exhaustive strength of many beings, and you will have
seen bricklayers and stonemasons sing, covered in sweat while
raising the walls of the façades, such a sad song that it seems a
breathless sob in the air. The street feels this misery of creation
in its nerves, and because of this is the most egalitarian, the most
socialist, the most leveling of all human oeuvres. The street created
all jokes, all clichés. It was the street that made sayings, proverbs
and adagios majestic, and it was the street that baptized the im-
mortal Calino. Without the consent of the street, the wise do not
pass, and the charlatans, who flatter it and sum up its banality, are
at the first occasion destroyed and blown away like soap bubbles.
The street is the eternal image of naivety. It commits crimes, it
raves at night, it trembles with the fever of deliria. For it, as for chil-
dren, the dawn is always lovely, for it there is no such thing as a sad
awakening, when the sun rises and it opens its eyes, having forgot-
ten its own actions, it is, in the enchantment of life renewed, in the
chirping of the flock of birds, in the nostalgic lulling of the shouts –
so modest, so washed, so smiling, that it seems to chatting with the
heavens and the angels…

A rua [The street]  ·  João do Rio

Lygia Pape
Nova Friburgo, Brazil, 1927 – Rio de Janeiro, Brazil, 2004.
In the 1950s, Lygia Pape questioned the objectual char-
acter of art and created experiences that underscored the
process and concept of the work. Initially committed to the
geometrical research of the concrete movement, she later
turned toward an understanding of art that would also include
reasoning, sensibility, creativity, and participation. She began
to integrate and reconfigure everyday perceptions and move-
ments, mixing languages in order to bring them to the world
as open narrative. In 1968, Lygia Pape commissioned an
enormous white fabric with a number of holes in it for heads
to fit through, and invited a group of people to play with
it. Each occupied his or her own space, new participants
joined in, and from the choreographic union of their indi-
vidual movements as one single body came the Divisor. The
sheet is draped over the participants' shoulders, so they can-
not see the improvised choreography going on underneath.
Those in the sheet see only the heads of the other users, the
folds in the fabric, and the shadows of the movements. Look-
ing in from the outside, the viewer sees an ocean of people in
movement: individualities expressed only in faces, but whose
locomotion is the result of collective negotiation.
Divisor
1968 / 2010
colective performance register
Antonio Vega Macotela
Mexico City, Mexico, 1980. Lives and works in Mexico City.
Macotela defends the thesis that only time can be the
equivalent of time. It is based on this apparently obvious re-
lation that he observes and critiques the commercialization
of time and the way the economic system appropriates the
individual and alienates human relationships. For Macotela,
it is the role of art to provoke reflection and aspire toward
systems of exchange oriented not by monetary objectivity,
but by subjective variables such as desire, affection, and
liberty. Prison, the place par excellence of “appropriated”
Money is beautiful, for it's a liberation.
To want to die in Peking and not be able to is one of the
things that oppresses me like the feeling of impeding doom.
The buyers of useless things are wiser than is commonly
imagined – they buy little dreams. They become children in
the act of acquisition. When those with money succumb to the
charms of those useless little objects, they possess them with
the joy of a child collecting seashells on the beach – and this is a
time, was the venue chosen for Time Divisa. Over a period
of three and a half years, the artist paid weekly visits to
inmates at the Santa Marta Acotila jail in Mexico City,
with whom he established a routine of approximations
and interchanges. There were 365 exchanges in all, one
for each day of the year, symbolically understood as a cy-
cle of life. The artist created a dynamic with the prisoners
whereby he, on the outside, would carry out a request from
one of the inmates, who, in turn, would have to produce a
commissioned artwork using his own body and registering
the experience in drawings or objects. These projects testify
to another possible form of interchanging times of life.
good image of the happiness within our reach. Collecting shells
on the beach! No two are ever alike for a child. He falls asleep
with the two prettiest ones in his hand, and hen they're lost or
taken from him – a crime! robbing pieces of his very soul! taking
away bits of his dream! –, he weeps like a God robbed of a just
created universe.
The book of disquietude · Fernando Pessoa
Time Divisa 171
series · 2006 – 2010

1 · Exchange 291 · 2009

2 · Exchange 318 · 2009
3 · Exchange 110 · 2007

2
172
 173
3
Pedro Costa
Lisbon, Portugal, 1959. Lives and works in Lisbon. The time
and effort that Pedro Costa invests in his films goes well
beyond the usual parameters of fiction filmmaking. The di-
rector has developed a method of creation in which he tears
down the boundaries between actor and character, narrative
and document, cinema and life. He shoots systematically in
places like Fontaínhas, a neighborhood that grew up on the
outskirts of Lisbon, characterized by informal buildings and
home to a poor and largely immigrant population, with which
he has created a solid relationship. His camera roams the
There were a number of people this afternoon, far more than
last Sunday. And the band sounded louder and gayer. That was
because the Season had begun. For although the band played all
the year round on Sundays, out of season it was never the same.
It was like some one playing with only the family to listen; it didn't
care how it played if there weren't any strangers present. Wasn't
the conductor wearing a new coat, too? She was sure it was new.
He scraped with his foot and flapped his arms like a rooster about
decaying, demolished spaces, without attempting to cover
over these dead times with ideological discourse or literary
narratives. The everyday and eventless pace of his visits to
this area coincides with the temporality of the aimless lives
led by the actors/residents of this slum. The long and precise
shots of his films reveal the sharable riches of this crum-
bling, beautiful, and incommunicable world. Minino macho,
Minino fêmea and O nosso homem translate the research
and environment of Pedro Costa's filmography, in which
the narratives and sensations filmed intertwine in the
affirmation of a world in which ethics and aesthetics are
inseparable, and reductive classifications are rejected.
to crow, and the bandsmen sitting in the green rotunda blew out
their cheeks and glared at the music. Now there came a little
“flutey” bit – very pretty! – a little chain of bright drops. She was
sure it would be repeated. It was; she lifted her head and smiled.
Only two people shared her “special” seat: a fine old man
in a velvet coat, his hands clasped over a huge carved walk-
ing-stick, and a big old woman, sitting upright, with a roll of
knitting on her embroidered apron. They did not speak. This
1 2 175
Minino macho, minino fêmea O nosso homem
2006 [Our man] · 2010
frame frame

was disappointing, for Miss Brill always looked forward to the

conversation. She had become really quite expert, she thought,
at listening as though she didn't listen, at sitting in other people's
lives just for a minute while they talked round her.

Miss Brill · Katherine Mansfield

High Red Center
Nakanishi Natsuyuki, Gempei Akasegawa and Jiro
Takamatsu. Yomiuri, Japan, 1962 – 1964. In a context of
accelerated economic growth and fudged social standards
in Japan, three young artists involved with the Fluxus
movement began a series of performances in Tokyo, the
soon-to-be stage of the 1964 Olympic Games. The first of
these performances was Yamanote Line Event, in which
the artists, with their faces painted white and carrying
some unusual objects, rode the circular train line around
the Japanese capital, adding their own noise to that of
the commuters. This action formed the basis for High Red
Center, a short-lived group that pursued a two-prong ex-
perimentalism: first, they toyed with artistic works that were
free from the conventional art institutions and techniques;
and, in parallel, they played with the social fabric and the
everyday reality of urban modernization. Though dissonant
in relation to the official city discourse, subtlety, tranquility
and a near-passivity were hallmarks of their art, especially
in works like Movement to Promote the Cleanup of the
Metropolitan Area, in which they simply cleaned the side-
walks and corners of the city streets, dressed in aprons
and white masks.

1 2
Yamanote Line Event Movement to Promote the
1962 Cleanup of the Metropolitan
perfomance documentation Area (Be Clean)
1964
perfomance documentation

1 2
Artur Barrio
Oporto, Portugal, 1945. Lives and works in Rio de Janeiro,
Brazil. Artur Barrio's work largely consists of the Situações
(Situations) he has created in a range of different envi-
ronments since the 1960s: bodies and objects put into
movement that end up modifying a place and a time in an
ephemeral way. In the Situação T/T,1, produced during the
military dictatorship, Barrio deposited blood-soaked rags
alongside gutters and drains in Belo Horizonte, confus-
ing passers-by and police alike, and evoking the martial
law then in force. Situações originate from the notes,
drawings and collages with which he fills his so-called
CadernosLivros, and are only known to the public through
the Record-photos, Record-films or Record-books the
artist keeps of each. However, the CadernosLivros and
Records are not to be confused with the Situations them-
selves, which they can never quite capture or do justice, as
these refuse to be imprisoned in image, text or thing. Barrio
also does works that questions the sanctity of art institu-
tions by using perishable materials. These are works that
affirm the insufficiency of all and any documentation and
that propose transient experience engraved only in sensory
memory as a form of emancipation.

1 2
Situação T/T,1 (1970) da INUTILIDADE da UTILIDADE
[Situation T/T,1 (1970)] · 1970 da POLíTICA da ARTE
Record-photo 2010
fragments of CadernoLivro

1
178
179

2
Carlos Bunga
Oporto, Portugal, 1976. Lives and works in Barcelona,
Spain. The work of Carlos Bunga deals with the fragile,
transitory side of architecture. The artist draws from his re-
search into the historical, identitary, and cultural character-
istics of urban spaces to produce large-scale installations.
Understanding the city as a huge experimental laboratory,
Bunga appropriates existing spaces and reconfigures them
through strategies of construction, demolition, and destruc-
tion. Far removed from the methodology of architects
and engineers, Bunga's work process is intuitive, manual,
I've put finishing touches on my burrow and it seems to have
turned out pretty well, a success. Viewed from without all that
is visible, to tell the truth, is just a big hole, but in actuality this
doesn't go anywhere, after just a couple of steps one runs up
against this naturally occurring, solid rock. I don't want to make
a big deal out of this and toot my own horn, this bit of clever-
ness wasn't at all part of my intentions but rather, was simply a
by-product of one of my many failed attempts to a home-building
resource-poor, and cumulative, largely formulated as the
extension of the repertoires and techniques of painting on
canvas. His environments, corridors, or labyrinths, pro-
duced by the addition of paint, sticky tape, and cardboard,
not infrequently fall to ruin over the course of the actions.
The vulnerable and processual nature of Bunga's work is
present in Lamp, a video in which the artist destroys and
rebuilds a small lamp, sticking it back together with tape.
As in other works by the artist, this action establishes an
analogy with the factors of uncertainty and instability that
characterize contemporary society.
and, after all was said and done, it seemed advantageous just
to leave it ‘as is’ and not fill it in. But indeed, there's many a
clever turn that is so subtle that it may as well never have been
mentioned, I know this better than anyone else, and, certainly, it's
also audacious of me that I make an example out of this empti-
ness, the hole, that altogether there is something at hand here
that is well worth one's while, deserving the most through inves-
tigations. But indeed, you are sadly mistaken in your judgement
Lamp
2002
frames
if you would believe that I am afraid and that it would be due
to something like cowardice that leads me to grovel here in the
earth. A good thousand steps away is where the true entrance
to my borrow lies hidden, covered over by a trap door made up
moss and so well fortified as anything in this world may possibly
be. Certainly someone might step upon the moss or fall through it
and then my home lies free and open and whoever takes pleasure
in such break-ins - though, do take note, there are certain, not
181
necessary very common capacities that are requisite […] I could
have blocked up this actual entrance, at the uppermost layer
thinly with a firm fill, lower down just with loose earth so that in
this way, it wouldn't cost me all that much effort, each time I'd be
able to work my way out anew. But, that's not an option, foresight
itself requires that I have an immediate escape route.
The Burrow · Franz Kafka
Chim Pom
Inaoka, Mizuno, Okada, Hayashi, Ellie, Ushiro. Tokyo, Japan,
since 2005. In addition to drawing from the repertoire of the
popular Japanese youth culture encountered in the streets
of Tokyo, the group Chim Pom blurs the tactics of action with
strategies of mass media and culture that resort to shock,
surprise and the cult of celebrities. Emulating TV shows
and Japanese pop groups, Chim Pom work with near-comic
urban interventions and installations, in which they ap-
propriate contexts and subvert their functionalities, acting
in a hedonistic, ironic and provocative way. Continuing their
mission of absorbing and neutralizing ridiculous elements
of society, the group is coming to São Paulo for a new edi-
tion of Black of Death, an intervention recorded in video
in which the youths drive around while waving a stuffed
crow out the window of a car, as crow distress calls blare
through a loudspeaker, attracting crows from all over the
region, intent on rescuing the captured bird. As if question-
ing the limit of politically incorrect action, the group will pro-
duce a new video that functions as an anecdote or political
skit put into hard practice. Chim Pom plans to roam the city
doing small interventions and looking for parallels between
the group's repertoire and the São Paulo scene.
1
1 183
Black of Death (above the Diet
Building, Nagatacho, Tokyo)
2008
still

2 2
Black of Death (above 109,
Shibuya, Tokyo)
2007
still

This time the boys are going too far. It says on the radio that
they've taken a number of inspectors and even some peda-
gogues. The same station also found it strange that “there's
simply no formal ransom request.” Their “lives are feared for.”
They set fire to the entire block and, now that they've cut off the
electricity in that part of the neighborhood, the impression is
that all of Celso Garcia Avenue is smoldering, a twitching yellow
snake, shedding pieces of incandescent skin in the jet-black
night. What's more, things are being thrown at the police helicop-
ter, which responds with the luminous flashing of their gunshots.
Here from afar, it seems like nothing can die, but all of the neigh-
bors are betting on disaster.
100 Stories Gathered on the Street · Fernando Bonassi
Antonieta Sosa
New York, USA, 1940. Lives and works in Caracas,
Venezuela. With an investigation initially focused on
geometric abstract art, Antonieta Sosa was one of the first
Venezuelan artists to make her own body the center of her
language. She explores new relational possibilities between
the subject and art and daily life, which, through situations,
actions and performances, incorporate her latent sensorial
subjectivity and energy. Pereza is the second part of a per-
formance entitled Del cuerpo vazio, which Sosa conducted
at the National Art Gallery of Caracas in 1985. Dressed in a
mottled jumpsuit reminiscent of an animal hide, the artist
carried out her performance on an 8 m3 reticular scaffold
installed inside the gallery. Inspired by the sloth, Sosa
crawled about the scaffolding in slow and intensely ex-
pressive movements, accompanied by low murmuring and
unintelligible ranting. In a liberating and cathartic shift,
the artist's body penetrates and destabilizes the orthogonal
reticule, the structuring and symbolic nucleus of modern
artistic rationalism that nourished the constructive project
of the Venezuelan artistic vanguard up to the early 1970s.
Pereza second part of the 185
performance Del corpo al vacío
[Laziness second part of the performance My
body to the void] · 1985
documentation
Claudio Perna
Milan, Italy, 1938 – Holguín, Cuba, 1997. Interested in
extending the values and possibilities of art to daily life and
popular culture, Claudio Perna rejected the role of the artist
as producer of objects and protagonist of the artistic pro-
cess. As an alternative, he positioned himself as a mediator
of events and articulator of the products of diverse popular
manifestations. It was in this manner that he produced the
exhibition Fotografia Anónima de Venezuela at Galeria
de Arte Nacional de Caracas, in 1979, which consisted
of 36 framed photographs recovered from the trash at
a photography studio, all taken with cheap instamatic
cameras. The photographs draw an involuntary panorama
of Venezuelan culture at the time, collecting humdrum, pre-
carious records of what these anonymous figures consid-
ered memorable in their lives: weddings, trips and, above
all, their children. In addition to its value as a chronicle of
the day, the series also serves as the demonstration of an
activity – in this case, photography – which simultaneously
operates as an artistic act and everyday practice. As such,
it blurs the value relations between photographic output
and keeps its intentions ambiguous.
Fotografía anónima de 187
Venezuela
series · [Anonymous picture of Venezuela]
1979

The new ages do not begin all at once / My grandfather already / Nor did bombardments // From new antennas come the old
lived in the new times / My grandson perhaps will still live in the blunders. / Wisdom is transmitted by word of mouth. //
old. // New meat is eaten with old forks. // Automobile cars did
not exist / Nor did tanks / Airplanes over our roofs did not exist The New Ages · Bertolt Brecht
Karina Skvirsky Aguilera
Providence, USA, 1967. Lives and works in New York, USA.
Skvirsky's work reflects upon the complexity of the mecha-
nisms of social stratification, identity, and representation.
Drawing from her personal and family heritage as a reflex
of the migratory experience and the psychological and
cultural legacy of Latin America, the artist problematizes the
concept of the Third World. Coming from a first-generation
immigrant family in the USA, with an African-Ecuadorian
mother and father of Ukrainian descent, Skvirsky pursues
an investigation that centers upon her childhood memories
and geared toward the theatricalized reconstruction of her
own identity. In My Pictures from Ecuador, part of the pho-
tographic, videographic, and performatic cycle Memorias
sobre el desarrollo, the artist uses photos of her family
outings in Guayaquil, Equador, during a vacation in 1978.
Through dated images and innocent captions, reminiscent
of a childhood photo album, she presents the jaded image of
a country and the concreteness of a representation of class.
My Pictures from Ecuador 189
series · 2009
Oscar Bony
Posadas, Argentina, 1941–Buenos Aires, Argentina,
2002. Oscar Bony is a paradigmatic name in Argentinean
experimental and conceptual art of the 1960s and 70's and
of the generation connected with the Instituto Torcuato Di
Tella. Nonlinear and eclectic, his artistic research material-
izes differently in painting, video, film, objects, happenings,
installations, and photography. It was in a context of the
subjugation of the working class under the political repres-
sion of the military dictatorship that the artist produced his
most controversial work. In 1968 he presented, in Buenos
Aires, La Familia obrera, an installation featuring Luis Ri-
cardo Rodríguez, a factory worker, alongside his wife and
son. The three remained at the exhibition like living sculp-
tures, sitting in classical pose on a museum platform,
simulating activities from their daily routines to a backing
track of recognizable domestic sounds. For his work at the
exhibition, Rodríguez received twice his normal hourly rate.
Directed by Bony, the performance is documented here in a
black-and-white large-format family portrait, the composi-
tion of which evinces socially arbitrated stereotypes and
hierarchies of class, gender, and age.
La familia obrera
[The working-class family] · 1968 / 1999
performance documentation
Pedro Barateiro
Almada, Portugal, 1979. Lives and works in Lisbon, Portu-
gal. The work of Pedro Barateiro expresses an unequivocal
critical content through the mediums of drawing, photog-
raphy, sculpture, installation, performance, and text. His
art shifts between a documental and a fictional focus, often
interposed, and hinges upon reflection on modernism and
postcolonialism. Barateiro explores the relations between
power and the meaning of exhibition sites, questioning their
institutional protocols, contaminating their disciplinary ter-
ritories, and befuddling their ideological separation. Plateia
I confess: I / Have no hope. / The blind speak of a way out. I /
See. / After our errors were used / As final company, before us /
Sits Nothing //
The born after · Bertolt Brecht
is a cement platform into which rows of half-sunken
chairs are stuck, facing a blank screen that challenges
one to capture an absent message, deliberately impos-
ing the physical and symbolic relationship between the
viewer and the sculptural object. The work toys with the
notion of the exhibition site as an architectonic concept and
structure, proposes an entirely new spatial appropriation
and circulation, and reinforces rather than dispenses with
the involved and performatic confrontation of the public.
Plateia
[Audience] · 2008
installation view at Museu da Cidade, Lisbon
(2008)
Chen Chieh-jen
Taoyuan, Taiwan, 1960. Lives and works in Taipei, Taiwan.
The work of Chen Chieh-jen embodies a need to resist
the state of amnesia that goes with consumer society. His
works comment upon the history of Taiwan, focusing on
such issues as work, isolation, exclusion, and migration.
During the Cold War, and despite the declaration of martial
law in the wake of successive waves of colonization, Taiwan
became one of the world's largest manufacturing hubs. The
democratization of the country coincided with a migration
of the globalized industrial network in search of cheaper la-
bor. The factories in Taiwan closed down and the workforce
was laid off. The film Factory recovers the memory of this
trauma on behalf of those who lived through it. In long,
silent shots, it accompanies a group of former factory
workers as they revisit their old workplace: the aban-
doned Lien Fu textile factory. The narrative sees them
return to their workstations at the same time as it pres-
ents documental footage from the factory's heyday, thus
underscoring the solemn, ghostly stagnation into which
these people and those objects have fallen, symbols of the
fruitless protest movement engendered at the time.
1
Factory 193
2003

1 · still
2 · frame

Some guys wearing black skirts came / full of boxes and white
powder / that they said was called shuga / so they talked and
we scowled / they said it again and we closed our bodies / and
they kept saying it and we ate them.

Indian talk · Chacal
Otobong Nkanga
Kano, Nigeria, 1974. Lives and works in Paris, France and
Antwerp, Belgium. The artist uses assorted mediums,
including photography, drawing, and her own body, to visu-
alize memories of inequality and social injustice. In 1990,
the Nigerian government hurriedly built a series of blocks
of public flats, called the Dolphin Estate, without bothering
to install the necessary facilities, such as sewage system or
lighting. Like so many public housing projects worldwide,
the inadequacy of the construction became evident in
under twenty years. Faced with the lack of government
[…] esta é uma álealenda ler e reler retroler como girar regi-
rar retrogirar um milicôro em milicórdio séptuor vezes setenta
e sete vezes giroler em giroscópio em caleidocamaleoscópio e
não ler e lernada e nunca ler como tudoler todoler tresmiller e
estar a ponto e voltar ao ponto e apontar e despontar e repontar
e pontuar e impontuar camaleoplástico cabaléulístico rodo-
viagem à roda da viagem a esmo da mensagem o mesmo e de
passagem uma faena uma fadiga uma falena será que vale a
support, the residents of Dolphin Estate pulled together
to provide the lacking infrastructure themselves, result-
ing in scaffolds full of water tanks, antennas, and cables.
Nkanga's photographic series puts the place in the frame,
prioritizing views of the spaces between the buildings,
and the colors and supports of their architectonic ad-
dendums. Without showing the residents of the estate,
Otobong creates ambiguous images, shifting between
the picturesque colors of the stopgap structures and the
opaque shell-like quality of the decrepit buildings.
pena será que paga a teima será que põe um termo exânima o
desânimo espanca o pânico e remaina o ânimo porque começa
a faina gavilán gavilán gavilán cantavam na rue budé a patronne
olhibovina escoltada por uma navalha corsa e madame meia-de-
-renda correntinha de ouro no tornozelo esquerdo respaldada
em seu porta-cachorro monsieur apollon de quadris bailarinos de
efebos requebros sem sapatos pois os pés doíam gavilán gavilán
e a outra brunida em martinica thérèse mulâtresse açafrão aos
Dolphin Estate
series · 2008
1 · Dolphin Estate
2 · Dolphin Estate Extended
3 · Dolphin Estate 3
ferinos caninos citando antonin artaud digo madame ranço-de-
-violetas no make-up fanado gavilán sobre um guai de guitarras
no boul-mich' tom-mix texano e sua cow-girl lourolambida desa-
finam por moedas na outra vez fôra o argelino sob o arco da
ponte guturando entre pandeiros círculos de curiosos palmas
e moedas e moedas e palmas e 'spèce de cocu poilu urlam de
um beco o popeye malajambrado em pantalonas marinheiras
caçava malamadas turistas no boulevard ou não foi bem assim
195
saia repuxada até o cós das coxas lendo o tropique no café flore
a cara de sardas e óculos normalistas tomando talvez um café
calvá a loiríssima abraçada a seu gigante negro o negríssimo
enganchado a sua ninfeta loira saudável discordia concors reco-
lonização biológica por isto esta cidade é babelbarroca por isto
essa cidade é uma opera aperta e você é você […]
Galáxias  ·  Haroldo de Campos
Ronald Duarte
Barra Mansa, Brazil, 1962. Lives and works in Rio de
Janeiro, Brazil. Ronald Duarte uses the street as the arena
and stage for collaborative, ephemeral and radical actions.
The series Guerra é guerra is made up of films that docu-
ment three actions carried out in Rio de Janeiro as a
means of reflecting upon such social problems as violence
and crime, and which were then shown to the surround-
ing communities. In O q rola VCV [you see what is going
on], Duarte uses a water truck filled with red water to wash
down the streets of Rio shantytowns over a period of three
1
2
The world moves forward. It progresses. A study of contemporary
legislation leads us to the conviction that the cities of the future
will have to deal with problems opposite those brought by the
Christian conceptions of family and private property.
It is up to us, the peoples not born under the weight of
centuries-old traditions, to study the way of living of the naked
man, the man of the future, without gods, without property and
days; in Fogo cruzado, he and a group of 26 artists set fire
to 1,500 meters of tram line in the troubled Santa Teresa
neighborhood; and in Nimbo Oxalá, twenty artists dressed
in white formed a mandala and shot fire extinguishers into
its centre, creating a huge white cloud under the pilotis of
the former Ministry of Education building, an emblematic
work of Brazilian modern architecture. At the Bienal, the
artist will redo, as a performance, Nimbo Oxalá, making a
comment on another landmark of Brazilian modernism.
Guerra é guerra
series · [War is war]
1 · Nimbo Oxalá [Nimbo Oxalá] · 2004
action documentation
2 · Fogo cruzado [Crossfire] · 2002
action documentation
3 · O que Rola VCV [Blood bath] · 2001
action documentation
3
without matrimony. In the north of Germany, as in various differ-
ent parts of the cultured world, free and open liaisons are a fact.
The conception of the state as sole proprietor has become
increasingly ingrained with the socialization of children and of
fortunes, and in conservative England, the inheritance tax has
already reached 40 percent.
Man persecuted by the Christian cycle, brutalized by
Tea Pavilion
Conceived by Dorothee Albrecht, Tea Pavilion is an ongoing
project that interweaves artistic and curatorial practices.
Installed in art exhibitions, amidst the works and flow of vis-
itors, the project draws upon the ancestral capacity of tea
to bring people together and trigger social networks across
vast and differentiated regions, uniting people in religious
rituals, enlivening social get-togethers or even affording re-
laxation and cure. Inviting the visitors to serve themselves
some tea, the Tea Pavilion recovers this tradition with a
view to creating an environment geared towards the pre-
sentation of alternative systems for art. At the Bienal, the
scholastic philosophy and exhausted by 1,500 years of repressed
monotony appears to our century as a used machine, tragically
repeating the same movements taught by Aristotle. The Christian
cycle stands out over other religions in having dominated more
civilized man. But this civilized man awakens to see, in the Chris-
tian cycle, his very own destruction. Other religions are identical
narcotics. The bourgeois individual venerates the past and the
project features interviews and statements gathered from
curators, theorists, artists, producers and all manner of
articulators of an independent thought structure through-
out the Middle East, Africa and Latin America. The material,
which the artist/curator collected on her travels in video,
photography and text, is exhibited in an installation that as-
sumes variable configurations depending on the wishes and
responses of the audience, which is called to dialogue as it
sits on one-of-a-kind stools, drinking tea.
events of the past just as a decadent tradition conceived it: he
repeats the past without knowing why. Little by little he destroys
his organism, his possibilities of progress and change.
In today's day and age, fatigue is evident. The machine
man of classicism shaped by continuous repetition in the centu-
ries-old feats of Christianity can no longer bear the monotony of
this routine.
Carlos Vergara
Santa Maria, Brazil, 1941. Lives and works in Rio de Janeiro,
Brazil. The work of Carlos Vergara alternates abstract and
figurative approaches. Mainly using painting and photog-
raphy, intercalated with experiments in cinema, the artist
has, since the 60s, dedicated his art to registering the
cultural manifestations, landscapes, colors, textures, tech-
niques and materials of Brazil in general and Rio de Janeiro
in particular. In the Rio carnival Vergara found ample mate-
rial for his iconographic research. Throughout the 70s, he
documented – in photos and a collection of costumes
He will perish, asphyxiated in logical selection by someone
more efficient, by the natural man.
Fatigue assails him, and he needs to shed his clothing and
present himself naked, without scholastic taboos, free to exercise
reasoning and thought, to put his soul forward for research, to
seek the significance of life.
The process, violently attacked by Christianity, will perhaps
be slow, but not impossible.
and miscellanea – the traditional carnival block of Caci-
que de Ramos, in which, in the association's own words,
“there are no indians, only chiefs” (caciques). This ode to
individualities as opposed to masses is a motto of Cacique
de Ramos. As such, the play between the individual and the
crowd, which is intrinsic to carnival, multiplies in the catch
cries of the Caciques' block and is refracted in panoramic
shots that capture agglomerations in synchronized move-
ment, and in close-ups of individuals proudly playing a
starring role in their own personal carnivals.
Persecuted by society's taboos, he limits his desires, tightens
his brain, preventing reason from working, preferring repetition
because he finds it ready-made, at all costs and at all times avoid-
ing the change and transformation indispensible to progress.
Why staunch progress with the old scholastic mechanism,
why venerate the past, when we know no limit to thought? Why
choke our desires when we do not know the ultimate nature of
these desires, when we don't even know the consequences of
Cacique de Ramos 199
series · 1972 – 1976

1 · Iguais diferentes 1 [Different equals 1]

2 · Dos 7.000 componentes eu sou mais 1
[From the 7,000 components I am 1]
3 · Poder [Power]
4 · Futebol na Candelária [Soccer at
Candelária]
5 · Avenida Rio Branco 2 [Rio Branco
Avenue]
6 · Leleô
4
3

these desires? other words, changing… progressing.

The free man, unencumbered by outdated taboos, will
produce marvelous things. His liberated intelligence will create
new ideals – that is, new taboos – and his ego will automati-
cally select itself in groups, seeking to characterize a series of
tendencies.
Free, he will sublimate his desires with satiety, and new
desires will immediately appear, pointing to new tendencies… in
Free, he will automatically organize, for he will encounter no
social impediment keeping him from organizing – and he will be
able to progress.
At present, he labors struggling against his tendencies with
no objective in sight, not knowing why he is struggling or where
he is going. It is a non-productive mechanism of repetition, a
nefarious mechanism that seeks to destroy that which is most
NS Harsha
Mysore, India, 1969. Lives and works in Mysore. NS Harsha
draws from the Indian miniaturist tradition in painting, in
which the figures and narratives generally reveal specific
models of social stratification, and he transposes it, through
laborious strategies of repeating motifs in miniature, into
monumental mural. Associated with large-scale installa-
tions and a leaning toward communitarian artistic projects,
Harsha's painting aggregates different voices and cultural
expressions in a single platform, registering the complex-
ity and multiplicity of the condition of contemporary man.
grandiose; it seeks to destroy his possibility of becoming better,
of progressing.
Man destroys himself, without knowing why.
The vision of a new era now presents itself to humanity. A
new moment attracts man: how may he progress?
His character repels the past because, in the past, it was
witness to nothing but the repetition of inconvenient dogmas.
He wishes to jump outside the circle, abandon the recurring
Come Give Us a Speech is structured as an orthogonal,
systematic grid, with thousands of small figures set
against a white background. Seen from a distance, it
transforms into a colorful, abstract pattern. Thousands
of people of various nationalities, professions, ages and
characteristics, some of them comic and playful and all of
them seated on plastic chairs, display a range of different
attitudes. The crowd, a sample of the global population,
seems to be waiting to hear a speech the viewer is obliged
to give upon taking position before the scene.
and destructive movement of his soul, seek the mechanism of
thought that does not bridle his desire to delve into the unknown.
He wishes to research his naked soul, get to know himself.
But what could this mechanism be?
São Paulo was the stage, some years ago, of the founding of
the anthropophagic ideology, an exaltation of Nietzsche's biologi-
cal man – in other words, the resurrection of primitive man, freed
of Western taboos, a presentation without the ferocious culture
Come Give Us a Speech
2008
of nefarious scholastic philosophy. Man, as he appears in nature,
savage, with all of his desires, all of his curiosity intact and not
repressed. Man who makes a totem of his taboo, taking maxi-
mum advantage of it. Man who seeks to transform the non-metric
world into the metric world, creating new taboos for new outputs,
encouraging reasoning in new spheres. This idea, initiated in
São Paulo by Raul Bopp, Oswaldo Costa, Clóvis Gusmão, Oswald
de Andrade and others, with ramifications in Rio de Janeiro and
201
other states as well, was enthusiastically received by the philoso-
pher Keyserling and by urbanist Le Corbusier, who saw in it a
means of progressing, a far-off but possible happiness.
Anthropophagic man, when stripped of his taboos,
resembles the naked man. The city of the naked man would
doubtless be the proper home for anthropophagic man. There,
he could sublimate his desires in an organized way. There, he
could feel the constant renovation of the spirit within himself;
Flávio de Carvalho
Barra Mansa, Brazil, 1889 – São Paulo, Brazil, 1973. Flávio
de Carvalho graduated in engineering in England and, once
back in Brazil, soon after the Modern Art Week in 1922, he
started experimenting with architecture, dramaturgy, paint-
ing, drawing and cultural activism. Indomitable, he took
on the antiquated and the clichéd in a bid to formulate an
intense modern Brazilian life, free from European models.
Foreshadowing the happening and performance, Carvalho
dedicated himself to a series of “experiences” through
which he hoped to study the psychology of the masses.
the movement of life will appear from stunning realism and will
understand that to live is to reason quickly and dominate taboos
through comprehension.
American cities are no longer the fortress cities of the
conquest. They are geographic and climacteric cities, the cities
of naked man, of man with free and eminently anthropophagic
reasoning.
The anthropophagic city satisfies the naked man because it
The first work in this series, Experiência N. 2, was a
march in the opposite direction to, and into, a Corpus
Christi procession. Wearing a hat, the artist waded into
the crowd of Catholics and ended up being threatened with
lynching. In Experiência N. 4, driven by courage and irony in
equal measure, Flávio de Carvalho organized an expedition
to the Amazon Rainforest. With a team to record the jour-
ney, and accompanied by a pair of Caucasian “goddesses”,
he went to encounter local tribes with a view to establishing
a lineage of white indians. Both experiences were widely
covered in the press, through which the artist managed to
spark and rally public opinion and debate on these themes.
suppresses the taboos of matrimony and property, which belongs
to the entire collective and is a huge monolith that functions
homogeneously, a gigantic motor in motion, transforming the
energy of ideas into needs for the individual, fulfilling collective
desire, producing happiness – in other words, the understanding
of life or movement.
The city of the naked man will be the house of man through-
out. Man will find, in his immense house, his needs organized
1 5 203
add on the Experience N.4 in the newspaper Experiência N.2
Última Hora (1958) [Experience N.2] · 1931
diagram from the book Experience N.2
2–4
Experiência N.4 6
[Experience N.4] · 1958 story on the Experience N.2 in the newspa-
photographic documentation per Correio da Tarde (1931)

and archived in appropriate places, allowing easy and immedi-
ate access. He will not uselessly lose energy like our present-day
man. His fatigue will be minimal, his astounding relationship
will be a surprise even to him, he will find a new happiness in
his life, the happiness of efficiency; a new pride, that of having
conquered his own soul, the pride of understanding his existence
and the desire for constant change.
The organized city will form a single monolith with a uniform
aspect. This aspect will be a function of man's needs.
It will symbolize, through its forms, through its colors, the
mechanism of the soul of the naked man.
The city will be the mathematical image of the free man, the
man who has repelled the anguish of scholastic dogma, the man
who has liberated his reasoning from an undesirable decrepitude.
The needs of man will be concentric, as concentric place-
ment is that most equally accessible to all. They will be located
204

…and an interesting detail is that I had a cap I'd brought from En-
gland when I was a student and I wore this cap while walking in the
opposite direction of the procession to try to provoke reactions. I got
reactions. And I took note of the reactions and at a certain moment
the crowd exploded. That entire crowd – the daughters of Maria,
virgins, priests, nuns and all – accosted me yelling, ‘lynch him, lynch
him, kill him, kill him!’ [laughing from others present in the studio]

Experience n. 2

5
G

agg
res
n
atio

sive
miz

nes
astu
tote

s
lry

enet
riva

ss

M show of P
aggressiveness

show of astuteness

G = god the father

M = me myself
P = procession – totemic element

on concentric circles. The general well-being of the city, the Today's man uselessly wastes his energies due to the sick-
magnitude of efficiency of the city's life, depends on the relative ened organism of the city. The city tires man, destroying his vital
position of these zones. energy.
An inconveniently located zone in relation to the center
could cause serious disturbances in the organic equilibrium of The City of Naked Man  ·  Flávio de Carvalho
cities, upsetting their process.
Our cities today are veritable scenarios of pandemonium
and live in constant disequilibrium.
6
Grupo Rex
Geraldo de Barros, Nelson Leirner, Wesley Duke Lee, Carlos
Fajardo, Frederico Nasser, and José Resende. São Paulo,
1966–1967. The headline stamped across the front page
of the first issue of the ironic and good-humored newspaper
Rex Time, published in June 1966, already indicated what
was to come: “Warning: It's War.” Formed by the self-
styled “specialists in vanguard art in São Paulo,” the group
operated as a provocation to the structures and precepts of
the visual arts in Brazil. In an art circuit still under formation
and based around a handful of museums, galleries, and
auction houses interested in exhibiting and commercializing
modern art, Rex sought space for contemporary output. In
the exhibitions and conferences held at Rex Gallery & Sons,
in the issues of Rex Time, and in the work of its members,
the group questioned the organizational bases of the art
system, the role of the artist and the viewer, and the very
statute of works of art. The Rex Room presents a collec-
tion of works produced by members of the group between
1964 and 1967, and exhibited at Rex Gallery & Sons, as
well as five issues of Rex Time, exhibition posters and
invitations, and coverage from newspapers of the day.
1
1 207
Rex Time n. 1 newspaper, São Paulo, 3rd
June of 1966
2 3
2
Descoberta da América
[The discovery of America]
poster of an exhibition at the Galeria Rex
(21st October of 1966)

3
Os Sex-Artistas
[The Sex-Artists]
poster of an exhibition at the Galeria Rex
(10th May 1967)

4
O mais rápido levou
[The fastest took it]
highline to the story published in the Folha
de S. Paulo newspaper (2nd edition) on the
exhibition that marked the closing of the
Galeria Rex (1967)

Why am I asking for work at a nail factory if I'm a magician gifted
with supernatural powers? That's what you're asking, right? Well,
you're right. The problem, sir, is the market.
People who do magic tricks are always adapting to the
changing demands of the entertainment world. Just think: until
about ten years ago, everybody was pulling rabbits out of top
hats, right? Nowadays it's not like that anymore, nobody works
with rabbits anymore. How long has it been since you've seen
a magician pull a rabbit out of a hat, huh? In the eighties it was
already passé and everybody started bending spoons and forks
with their mind, which was what got people watching. But that
was never for me. I've never had a top hat or bent silverware.
I've got supernatural powers, but I don't have a lot of control over
them, you know? I know how to do exactly half a dozen magic
tricks that I discovered gradually, throughout the course of my
life, and that's it. And don't ask me how I do it, because I don't
208
5 8
have the slightest idea. Maybe I'll still discover more, you never
know. It hasn't even been two years since I discovered the letter E
one. I'll try to explain so you can get an idea of the kind of magic
tricks I do, and understand why I'm asking for work in this nail
factory. Not that I think making nails isn't a noble activity, on the
contrary! But anyway, I was going to tell you about the trick with
the letter E, wasn't I?
I take a book. I hold it in my hand. I close my eyes and
concentrate. I hop once with my feet together, like when you
jump for Saint Longuinho when you lose something and want
to ask him to help you find it, you know? Is it Saint Longuinho
or Saint Nonguinho? I've never been sure about that… Anyway,
after I jump you can open the book and check for yourself: all of
the letter Es that, in order of appearance in the book, are prime
numbers (the second to appear, the third, the fifth, the seventh
and so on), will have four legs. All of those Es get one more leg,
5 7 9
Geraldo de Barros José Resende Wesley Duke Lee
They are kissing (positive) Retrato do meu pai O tríptico: o guardião, a guarda,
1964 [My father´s portrait] · 1965 as circunstâncias
[The triptych: the guardian, the guard, the
6 8 circumstances] · 1966
Nelson Leirner Carlos Fajardo
Adoração – Altar a Roberto Neutral
Carlos 1966
[Adoration – Altar to Roberto Carlos] · 1966

you understand? Right, but so what? Well, nothing, except that
it's 100% supernatural. It's of no use whatsoever. But it shouldn't
be like that, should it? After all, it's real magic, and that should
be enough, don't you think? But that's not what the people want.
Who cares about a magician who, instead of pulling rabbits out
of his top hat, instead of making people vanish inside trunks or
bending silverware, puts another leg on the letter Es that are
prime numbers in order of appearance in a book?! If people in
this country don't even know what a prime number is! The only
place I could do a show would be at the Brazilian Academy of
Letters. And don't think I haven't tried! But the secretary said
everybody there was so old she doubted they'd even notice a leg
on an E, even though some of those fogies certainly did notice
her legs, she told me with a laugh. It's because she's also a friend
of my wife Maribel, that's why we're comfortable with each other,
you know? But where was I? Ah, talking about my supernatural
Carlos Zilio
Rio de Janeiro, Brazil, 1944. Lives and works in Rio de Janei-
ro. Through the work of people like Carlos Zílio, the political
potential of art came to be seen as a subversion of codes
and rules. The artist problematized painting, injecting it
with varied objects or even negating its bidimensional na-
ture, demonstrating that it was not perpetually condemned
to be hung on walls. In so doing he contributed to the
affirmation of art as a territory for the articulation of ideas,
not necessarily restricted to the explicit rendering of reality.
His incessant search for new artistic supports was justified
gifts' lack of commercial appeal, wasn't I?
Alright, so the first time they noticed I'd been born with this,
this, this sort of thing, this gift, was when I did the transformation
on the banana. I took a banana. I put it in my pocket. I closed my
eyes. I whistled. When I took it out of my pocket, it had that little
stem that hooks it on to the tree, you know, that's a little longer
on one side? So it had stems on both sides. If you see me do it,
believe me, it's incredible. But it doesn't have any stage appeal.
as a reaction to the context of the military dictatorship and
was oriented toward the reality of the nation, against the
exploitation of the workforce, and the repressive gagging
of voices that spoke against the regime. Using a language
similar to that of the picture-story, the photographic se-
ries Para um jovem de brilhante futuro is one of his most
ironic works. The “007” briefcase, the symbol of those
who were entering the jobs market with no concern other
than earning high salaries, is the metaphor of a trap. Its
contents – a battalion of meticulously arranged nails –
are an unexpected denunciation, a warning against the
dangers that lurk inside the dreams of alienated youth.
What's exciting about me saying, “Ladies and gentlemen, do you
see this banana? Do you see that it's only got a stem on one side?
Well then, I'm going to stick it in my pocket, say the magic words”
– the magic words thing is just to give it a more theatrical air –
“and when I take it back out, there will be two stems, one on each
side!” There's nothing attractive about it at all, is there?
Flexibility · Antonio Prata
Para um jovem de 211
brilhante futuro
[For a young man with a brilliant future]
1973
Henrique Oliveira
Ourinhos, Brazil, 1973. Lives and works in São Paulo,
Brazil. Painting is the origin and reference of the work of
Henrique Oliveira. Through the act of painting, the artist
conducted a programmatic exploration into its material
and execution, which progressively breached the canvas
to demand a new spatiality beyond it. With time, textures,
brushstrokes, chromatisms, drippings, and coatings,
juxtaposed and superposed in the artist's abstract, gestural
works, turned to hoarding and pasteboard, systematically
collected from the city streets. The sensual collage and
modeling of these precarious materials, rough and rudi-
mentary in aspect, result in immersive works; walls, pro-
tuberances and alleys that contaminate the architecture
of wherever they are installed, render the space organic.
A origem do terceiro mundo takes the painting The Origin
of the World, by the French realist Gustave Courbet, as
its point of departure. The work assumes the form of a
tunnel installed in a space between two exhibition halls,
from which it seems to burst and swell like the churning
underside of flesh in open space.

A origem do terceiro mundo

[The origin of the third world] · 2010
reference image: Túnel installation view at the Itaú Cultural, São Paulo (2007)
terreiro 213

O OUTRO, O MESMO
the other, the same

A man worn down by time, He knows better than to look at it closely,

a man who does not even expect death for there are reasons more terrible than tigers
(the proofs of death are statistics which will prove to him
and everyone runs the risk that wretchedness is his duty,
of being the first immortal), but he accepts humbly
a man who has learned to express thanks this felicity, this glimmer.
for the days' modest alms:
sleep, routine, the taste of water, Perhaps in death when the dust
an unsuspected etymology, is dust, we will be forever
a Latin or Saxon verse, this undecipherable root,
the memory of a woman who left him from which will grow forever,
thirty years ago now serene or horrible,
whom he can call to mind without bitterness, our solitary heaven or hell.
a man who is aware that the present
is both future and oblivion, Someone  ·  Jorge Luis Borges
a man who has betrayed
and has been betrayed,
may feel suddenly, when crossing the street,
a mysterious happiness
not coming from the side of hope
but from an ancient innocence,
from his own root or from some diffused god.
Carlos Teixeira
Belo Horizonte, Brazil, 1966. Lives and works in Belo
Horizonte. Much of Carlos Teixeira's theoretical and pro-
jectual research is done through reflection upon the urban
voids and unnamed spaces of the city of Belo Horizonte.
Amnésias topográficas is a paradigmatic moment in that
research. The project installed an experimental theater in
the substructure of an apartment building, availing of the
existing system of walkovers, stairways, and belvederes.
The theater spread across a maze of concrete piles that
had been left bare thanks to a singular combination of the
uneven topography of the Buritis neighborhood and city
legislation. In Espaços para performances rearranjável,
the terreiro O outro, o mesmo, Carlos Teixeira sculpts
large volumes of cardboard into the amoeboid shape of
an arena reserved for performances and other activities,
only to then break it into pieces that retain nothing of the
original formation. In so doing, the original outline of the
arena design becomes just one of the countless configura-
tions of a jug-saw puzzle in which no hierarchy is estab-
lished for the pieces. Annulling differences, this terreiro
presents itself as a Lego-like game open to reconfigurations
and negotiations between performance and space, and,
most importantly of all, between protagonist and audience.
O outro, o mesmo / Espaço para 215
performances rearranjável
[The other, the same / Rearrangeable space
for performances]
2010
terreiro project and construction
218
219
220

You are invulnerable. Have they not granted you,

Those powers that preordain your destiny,
the certainty of dust? Is not your time
as irreversible as that same river
where Heraclitus, mirrored, saw the symbol
of fleeting life? A marble slab awaits you
which you will not read – on it already written,
the date, the city and the epitaph.
Other men too are only dreams of time,
not indestructible bronze or burnished gold;
the universe is like you, a Proteus.
Dark, you will enter the darkness that awaits you,
doomed to the limits of your travelled time.
Know that in some sense you are already dead.

To Whoever Is Reading Me  ·  Jorge Luis Borges

Maria Thereza Alves
São Paulo, Brazil, 1961. Lives and works in Berlin, Germany
and Rome, Italy. Maria Thereza Alves devotes her artistic
production to alternative forms of knowledge that, combining
art and science, are capable of promoting engagement and
real change in minority social contexts. The translation, in Por-
tuguese, of a Krenak-German dictionary compiled in the 19th
century by the explorer Bruno Rudolph is the culmination of
stage in her struggle to ensure the survival of the language and
culture of the Krenak, a Brazilian indigenous people reduced
to six hundred members distributed over the states of Minas
Gerais, Mato Grosso, and São Paulo. The dictionary brings
Krenaks, Germans, Portuguese, and Brazilians together in an
ongoing process of cultural translation, in which the hum of
reading reveals not only constitutive differences, but reminis-
cences of colonial relationships. With a print run of a thou-
sand copies, the Krenak-Portuguese publication will be avail-
able for consultation in the installation On the importance of
words, a holy (stolen) mountain and the ethics of the nations,
an environment for research and remembrance that also
features two videos, a photo of the sacred mountain of Sete
Salões (Minas Gerais), and a public petition. After the show,
the copies of the dictionary will be given to the Krenak.
1
1 2
On the importance of words, a Iracema (de Questembert) from
holy (stolen) mountain and the the series Sobre a importância
ethics of the nations das palavras, uma montanha
2009 / 2010 sagrada (roubada) e a ética das
nações
[Iracema (of Questembert) from the series
On the importance of words, a holy (stolen)
mountain and the ethics of the nations]
2009
frame
3
Dicionário Krenak - Português
/ Português – Krenak from the
series Sobre a importância
das palavras, uma montanha
sagrada (roubada) e a ética das
nações
[Krenak – Portuguese / Portuguese - Krenak
dictionary from the series On the importance
of words, a holy (stolen) mountain and the
ethics of the nations] · 2009 – 2010
layout
2
223

3
Simon Fujiwara
London, England, 1982. Lives and works in Berlin, Germany
and Mexico City, Mexico. When the university teacher and
“eroticist” Theodor Grünberg died in Berlin in the winter of
2008, he left a library of over a thousand books, poetry diaries,
vinyl records, newspaper cutouts and postcards that Simon
Fujiwara inherited from Grünberg's grandson. Based on this
collection, the artist embarked on a research project to expand
the jig-saw puzzle of Grünberg's life, in which he found reflec-
tions and bifurcations that were interesting in terms of his
practice of recombining documents and fictions in his art. This
two-year study saw Fujiwara travel 10 thousand km in search
of traces of not one, but three Theo Grünbergs, whose lives,
reaching a combined total of 136 years, bore witness to all the
main events of 20th-century Germany. The Personal Effects
of Theo Grünberg is an installation in which Grünberg's aca-
demic library and sundry mementos from the lives of his two
namesakes – one of whom was a botanist who spent some
time in the Amazon, and the other a Nazi prisoner – mix
into one, single story. In performances within the installation,
Fujiwara feeds speculation and a certain confusion about the
veracity of the story being told, assuming for himself, as inter-
preter, the only means of understanding the legacy.
1
The Personal Effects of Theo Grünberg 225
2010

1 · performance documentation
2 · research still

2
Gabriel Acevedo Velarde
Lima, Peru, 1976. Lives and works in Berlin, Germany. In
Latin America, there has been talk since the 70s of building
an inter-oceanic highway that would link the Atlantic and
Pacific oceans via Brazil, Bolivia and Peru. After many at-
tempts and promises, the project is to be finally completed
in 2011, with very likely consequences for the dynamics of
border towns hitherto all but inaccessible and imperme-
able. Gabriel Acevedo Velarde avails of the impending in-
auguration of the highway to document, in videos shown
in one-day exhibitions, the human landscape at the triple
frontier. His mediation accelerates the contact between
Brazilians, Bolivians and Peruvians, and maps differ-
ences soon to be homogenized by facilitated commercial
and cultural interchange in the region. This collective
mirroring promoted by Acevedo in numerous interviews
and in his collection of a repertoire of physiognomies, ac-
cents, senses of humor, traits and idiosyncrasies not only
strengthens regional differences, but also incites new vis-
ibilities for a possible Latin-American identitary integration.
After screening in three cities and at the 29th Bienal, the
videos will be copied and distributed to audiovisual collec-
tions around the continent.
Extracción
[Extraction] · 2010
frames
Jonathas de Andrade
Maceió, Brazil, 1982. Lives and works in Recife, Brazil. In
1971, a state-run publisher brought out a collection of post-
ers based on the adult education method devised by Paulo
Freire, one of the most revolutionary Brazilian educators.
When the collection was released, Jonathas de Andrade's
mother, a public schoolteacher in Alagoas, went to a news-
stand and bought the twenty-one pieces that made up the
collection. In 2006, the artist found the collection among his
mother's belongings and held onto it out of appreciation for
its beauty and a certain nostalgia for a time he was not even
born to see. The artist now returns to these posters and their
associations between pictures and words in order to identify
fissures that might help question, modify, and inspire subjec-
tive vocabularies. Appropriating Paulo Freire's method, he
goes to the classroom (or the Circle of Culture, to use the edu-
cator's term) in search of new students and new associations.
He raises themes related to the group's daily lives, discusses
them collectively, photographs their imagetic representa-
tions and gives them back to the class in the form of posters.
Educação para adultos is the conversion of this laboratory
into a graphic mural in which, among original posters and
updated versions, the knowledge process occurs through
the disorderly overlapping of different voices and times.
Educação para adultos
[Education for adults] · 2010
project
Jeremy Deller & Grizedale Arts
Jeremy Deller, London, England, 1966. Lives and works in
London. Grizedale Arts, Coniston, England, since 1999. The
transformative nature of art and performance is the platform
for this previously unseen project, part video installation, part
educational environment, by Jeremy Deller and Grizedale Arts.
As in earlier works, Deller shows how it is possible to bring
about social change through artistic education and artistic
gestures, whether individual or collective. The first reference
in So Many Ways to Hurt You. The Life and Times of Adrian
Street is the son of a Welsh coalmining family, who escaped
from his industrial destiny by reinventing himself as an exuber-
ant, glam-rock wrestler. Associations are drawn between the
story of Adrian Street, told in a documentary installed atop
a graffiti mural on which he is represented in monumental
proportions, and that of John Ruskin. In the 19th century, in
a fast urbanizing England, the writer created arts and crafts
schools, called Mechanics Institutes, to teach factory workers
how to read and write, and help them expand their minds.
Remembering Ruskin, Deller and Grizedale Arts revisit the
model of the Mechanics Institutes and mull over strategies
and pedagogical parallels between the historical English expe-
rience and the present Brazilian sociocultural reality.
1
1 2 229
So Many Ways to Hurt You: The The Mechanics Institute
Life and Times of Adrian Street 2010
2010 reference image: Ruskin Memorial Exhibition
reference image: Adrian Street and his at the Coniston Mechanics Institute (1901)
father (1973)

2
Juliana Stein
Passo Fundo, Brazil, 1970. Lives and works in Curitiba,
Brazil. Juliana Stein's photographic series announce and
document a crisis that has gripped the modern subject, an-
chored in a conception of uniform human beings endowed
with a fixed identity and complete autonomy. Instead of
affirming the integrity of this subject, her work concerns
itself with its fragmentary and diffuse character. Rather
than point to stable subjectivities, these series privilege the
ephemeral and the multiple. Her pictures have no preten-
sion toward discursive, cultured comment, much less any
[…] before Big Ben strikes. There! Out it boomed. First a warning,
musical; then the hour, irrevocable. The leaden circles dissolved
in the air. Such fools we are, she thought, crossing Victoria Street.
For Heaven only knows why one loves it so, how one sees it so,
making it up, building it round one, tumbling it, creating it every
moment afresh; but the veriest frumps, the most dejected of
engaged critical or celebratory stance on the fudged state
of the limits between the things of the world. In the series
entitled Sim e não, Juliana Stein presents portraits of
men made-up and cross-dressed in wigs and women's
clothes. Regardless of the reasons that lead these men to
assume another sexual orientation, these are photographs
that suggest a transitory and circumstantial condition of the
individual in contemporaneity – no longer stable, but re-
making itself with each passing moment; no longer one, but
irreparably many. The affirmative posture of each of these
seems to lend some common sense and potency to their
desire to be something other than the imposed norm.
miseries sitting on doorsteps (drink their downfall) do the same;
can't be dealt with, she felt positive, by Acts of Parliament for
that very reason: they love life. In people's eyes, in the swing,
tramp, and trudge; in the bellow and the uproar; the carriages,
motor cars, omnibuses, vans, sandwich men shuffling and swing-
ing; brass bands; barrel organs; in the triumph and the jingle and
Sim e não 231
[Yes and no] · series · 2006 – 2010

the strange high singing of some aeroplane overhead was what

she loved; life; London; this time of June.

Mrs. Dalloway · Virginia Woolf

Amelia Toledo
São Paulo, Brazil, 1926. Lives and works in São Paulo.
Material and color, time and space, these binary notions
come together in the work of Amelia Toledo. Whether craft-
ing jewelry and objects or moving huge rocks and minerals,
the artist pursues an oeuvre that reconciles two otherwise
distinct temporalities: geological time – that proper to the
cycles and movements of nature – and situational time –
that which exists only for the duration of an individual or
collective action or encounter. Glu-Glu, a sort of hourglass
reinvented and partially filled with soap and water, is
designed to be taken in both hands and shaken until the
blown-glass orbs are frothed up with bubbles. Campos
de cor is an installation made up of hung strips of dyed jute
forming narrow wide mesh walls that should be seen with
the body, given their monumental verticality, which gives
you the sensation of entering a space in which you are lifted
off the floor toward the roof. Medusas are structures made
of bundles of PVC tubing filled with different colored liquids
and installed at varying heights.
1
1 2 233
Medusa Glu-Glu
1970 / 2010 1968 / 2010

2
Guy Veloso
Belém, Brazil, 1969. Lives and works in Belém. The photog-
raphy of Guy Veloso derives from his discretion in infiltrating
and cultivating intimacies. He employs simple equipment,
without using resources to zoom in on or optimize what is
captured by the naked eye; he respects the possibilities of
the body, its cohabitations, attachments, errors and mus-
ings, the main conditioners of what he aims to fix in image
form. In return, the artist attains a photographic naturalness
and spontaneity and creates a map of scenes that alternate
documental rawness, ambiguity and fantasy. Religious and
spiritual events, such as the Nazareth Candle Procession in
Pará, the Festival to Our Lady in Boa Morte, Bahia, and the
pilgrimage along the Santiago Way in Compostela, Spain,
have all warranted extensive series. In Penitentes, the
artist presents a selection of photos of self-flagellation
rituals performed by orthodox Catholics in the hinter-
lands of Ceará. The images combine moments of sacrifice
and agony with others of fun and thanksgiving. Like the
practice of the photographer, they penetrate and demystify
this hidden value system and put the onus of reflection and
responsibility for all manner of stigma squarely upon the
Bienal's visiting public.
1
Penitentes 1 · Sem título (Laranjeiras – Sergipe, 235
[Penitents] · series · 2002 – 2010 2005) [Untitled (Laranjeiras – Sergipe,
2005)]
2 · Sem título (Nossa Senhora da Glória –
Sergipe, 2002) [Untitled (Nossa Senhora
da Glória – Sergipe, 2002)]
3 · Sem título (Ritual de autoflagelação,
Tomar do Jeru – Sergipe, 2008)
[Untitled (Self-flagellation ritual, Tomar do
Jeru – Sergipe, 2008)]
4 · Sem título (Frei Paulo – Sergipe, 2002)
[Untitled (Frei Paulo – Sergipe, 2002)]
5 · Sem título (Cemitério de Juazeiro
– Bahia, 2006) [Untitled (Juazeiro
Cemitery– Bahia, 2006)]

4 5
Andrea Büttner
Stuttgart, Germany, 1972. Lives and works in London,
England. Andrea Büttner's interdisciplinary work concerns
the points of contact between art and religion, especially
the way both can involve seclusion, guilt, and abnegation,
and how each can interfere in the contemporary world by
authorizing individual introspections and transcendences in
the face of our current profuse and hyperstimulating visual
culture. The set of works exhibited at the Bienal compiles
a selection of monotypes and engravings in which scenes
from the life of St. Francis of Assisi represented in paint-
ing by Giotto are reconfigured in small and large for-
mats. The prints comprise an installation that combines
figurative references with a sacrosanct environment. The
artisanal techniques of image reproduction lend Andrea
Büttner's work a certain deceleration and desire for the
singularity which artistic experience can restore to life.
Together they comprise an essay on just how intentionally
anachronic contemporary art can be.
1
1 2 · research material
Vogelpredigt 2010
[Sermon of birds] · 2010
Where, like a pillow on a bed, / A Pregnant bank swel'd up, to
rest / The violets reclining head, / Sat we two, one anothers
best. // Our hands were firmely cimented / With a fast balme,
which thence did spring, / Our eye-beames twisted, and did
thred / Our eyes, upon one double string; // So to'entergraft
our hands, as yet / Was all the meanes to make us one, / And
pictures in our eyes to get / Was all our propagation. // As 'twixt
237
two equall Armies, Fate / Suspends uncertain victorie, / Our
soules, (which to advance their state, / Were gone out,) hung
'twixt her, and mee. // And whil'st our soules negotiate there, /
Wee like sepulchrall statues lay; / All day, the same our postures
were, / And wee said nothing, all the day. // If any, so by love
refin'd, / That he soules language understood, / And by good
love were growen all minde, / Within convenient distance stood,
Joachim Koester
Copenhagen, Denmark, 1962. Lives and works in Copen-
hagen and New York, USA. Joachim Koester works with
expressiveness, representation, and self-awareness in
films and photographs that deal with traces of ideas and
activities from the past that retain some reverberation in
the present. Tarantism is a silent film loop in which a
group of people are seen dancing uncoordinatedly, in
spasm-like, convulsive movements. The Tarantella, a
tradition that stretches back to Ancient Greece and which
is today, among other folkloric formulations, a highly styl-
// He (though he knew not which soule spake, / Because both
meant, both spake the same) / Might thence a new concoction
take, / And part farre purer than he came. // This Extasie doth
underplex / (We said) and tell us what we love, / Wee see by
this, it was not sexe, / Wee see, we saw not what did move: //
But as all severall soules containe / Mixture of things, they know
not what, / Love, these mixt soules, doth mixe againe, / And
ized, quick-tempo couple's folk dance, carries over from its
origins a therapeutic potential. According to an Italian myth
appropriated by Koester, the tarantula's bite is associated
with symptoms such as nausea, delirium, and excitation,
exorcisable only through the compulsive practice of this
dance. Koester films a group of dancers in which each
member develops, individually and collectively, an unlim-
ited number of quick, random movements exempted from
the rules of choreography, in a free and liberating bodily
experiment. The work shifts the debate concerning identity
into the experiential field, stressing the need for a perfor-
matic reinvention of the present.
makes both one, each this and that. // A single violet transplant,
/ The strength, the colour, and the size, / (All which before was
poore, and scant,) / Redoubles still, and multiplies. // When
love, with one another so / Interinanimates two soules, / That
abler soule, which thence doth flow, / Defects of loneliness
controules. // Wee then, who are this new soule, know, / Of what
we are compos'd, and made, / For, th'Atomis of which we grow,
Tarantism
2007
frames
/ Are soules, whom no change can invade. // But O alas, so long,
so farre / Our bodies why doe wee forbeare? / They are ours,
though they are not wee, Wee are / The intelligences, they are
spheare. // We owe them thankes, because they thus, / Did us,
to us, at first convay, / Yeelded their forces, sense, to us, / Nor
are drosse to us, but allay. // On man heavens influence workes
not so, / But that if first imprints the ayre, / Soe soule into the
239
soule may flow, / Though it to body first repaire. // As our blood
labours to beget / Spirits, as like soules as it can, / Because
such fingers need to knit / That subtile knot, which makes us
man. // So must pure lovers soules descend / T'affections, and
to faculties, / Which sense may reach and apprehend, / Else a
great Prince in prison lies. // To'our bodies turne wee then, that
so / Weake men on love reveal'd may looke; / Loves mysteries
Albano Afonso
São Paulo, Brazil, 1964. Lives and works in São Paulo.
Availing of what is most unpredictable in the relation-
ship between light and shade, or between foci of light
and images that fix themselves upon the retina, Albano
Afonso both deceives and feeds the viewer's gaze. Fusions,
interlacings, reflections, and codifications of the image
are procedures that give shape to what one could call
light paintings; luminous movements; interferences that
penetrate ephemeral visual constructions; immaterial, ver-
tiginous pathways, abyssal to the eye. O Jardim, faço nele
a volta ao infinito – parte 2, A noite envelopes the public
in a game of illusions, a play of mirrors, lights, projec-
tions, and shadows in which the very movements of the
observer's body disturb the surface of reflections, caus-
ing a constant transformation of landscapes, blotches,
and glows. This work combines varied scales of perception
of images through points of light, ranging from a reading
of the general atmosphere and attention to the finer points
of sculptural objects with symbolic content, to canvases
representing landscapes.

in soules doe grow, / But yet the body is his booke. // And if
some lover, such as wee, / Have heard this dialogue of one, /
Let him still marke us, he shall see / Small change, when we'are
to bodies gone.

The Extasie · John Donne

1 241
O jardim, faço nele a volta ao
infinito – parte 02, a noite
[The Garden, I make in it the return to the
Infinite - part 2, the Night] · 2010 2
exhibition view at the Casa Triângulo, São
Paulo (2010)

2
O homem árvore
[The Tree-Man] · 2010
detail

3
A sereia
[The Mermaid)] · 2010
detail

3
Zanele Muholi
Umlazi, South Africa, 1972. Lives and works in Johannes-
burg, South Africa. Zanele Muholi's art overlaps with her
role at the Forum for the Empowerment of Women (FEW),
an organization of black lesbians in Gauteng, and with her
work as a photojournalist for the online magazine Behind
the Mask, which broaches the theme of homosexuality in
South Africa. Her visual and gender activism is an attempt
to amplify the voice and enlarge the space of these women,
a very specific identitary platform within contemporary
South African society. Excluded by other queer movements,
1 2
generally coordinated by male, homosexual, European,
and North American elements, this almost invisible and
underground community is highly stigmatized and a target
for prejudice, aggression, rape, and murder. Each of the
women portrayed in the series Faces and Phrases fulfils
a specific role and expresses a specific social identity
within the black lesbian community, be they athletes,
actresses, researchers, lawyers, dancers, or filmmak-
ers. Together, these images challenge sensationalism and
victimization by eschewing explicit violence in favor of the
intimate, empathetic, and positive celebration of difference
and unity in the faces of these protagonists of resistance.
Faces and Phases 1 · Sisipho Ndzuzo, Embekweni, Paarl 243
series · 2009 – 2010 (2009)
2 · Thuli Ncube, Braamfontein,
Johannesburg (2010)
3 · Kasha N Jacqueline, Toronto (2009)
4 · Ayanda Magudulela, Braamfontein,
Johannesburg (2010)

3 4
Filipa César
Oporto, Portugal, 1975. Lives and works in Berlin, Germany.
The work of Filipa César is dominated by elements of
cinematographic grammar, both narrative and documental,
in terms of editing and montage. The themes she broaches,
often taken from sociology or anthropology, reflect upon
the social, political, and cultural identity of the artist and
the need to update the forms by which the recent past has
been recorded. Her latest work deals with chapters omit-
ted from the history of the Portuguese Estado Novo. The
pretext of Memograma and Insert is the history of Castro
In the theatrical galaxy of the No, I don't , the last play written
by the great Cuban writer Virgilio Piñera, stands out alongside
Maniere's work.
In I Don't , a strange and until very recently unpublished
piece – published in Mexico by Vuelta – Piñera introduces us to
an engaged couple who decide never to marry.
An essential principle of Piñera's theatre was always to
present what is tragic and essential by means of the comic and
Marim, a town on the Portuguese / Spanish border that
was allegedly used as a forced labor camp for homo-
sexuals. César's investigation reacts to the erasure and
invisibility of some of the mechanisms of segregation and
censorship. Memograma presents a fixed and contempla-
tive still of a salt mound with a voice over of oral testimony
and memories from various agents regarding the forgotten
history of Castro Marim. The video is complemented by
Insert, the fictional construction of a forbidden tryst that
takes place in that same salt mine.
grotesque. In I Don't he carries his blackest and most subversive
sense of humour to its logical conclusion: the couple's I don't – in
obvious opposition to the overused I do of Christian weddings –
affords them a minuscule conscience, a guilty difference.
In the copy I possess, the author of the foreword, Ernesto
Hernández Busto, observes that, in a masterly piece of irony,
Piñera places the protagonists of this Cuban tragedy in a perfor-
mance of hubris by default: if the Greek classics conceived a
1 2
Memograma Insert
2010 2010
frame frames
1
divine punishment for the exaggeration of passions and the
Dionysian desire for excess, in I Don't the main characters “overs-
tep the mark” in the opposite direction, violate the established
order from the opposite extreme to that of unbridled passion: an
Apollonian asceticism is what turns them into monsters .
The protagonists of Piñera's play say I don't they flatly reject
the conventional I do . Emilia and Vicente practise a stubborn
refusal, a minimal action which, however, is all they have that
245
2
makes them different. Their refusal sets in motion the avenging
mechanics of the law of I do, represented first by the parents,
then by the anonymous men and woman. Gradually, the family's
repressive order extends until, finally, even the police inter-
vene, carrying out a “reconstruction of events” which will result
in a verdict of guilty for the engaged couple who refuse to marry.
At the end, the punishment is decreed. It is a brilliant ending,
fitting for a Cuban Kafka. It is a great explosion of I don't in its
Miguel Angel Rojas
Bogotá, Colombia, 1946. Lives and works in Bogotá. In the
late 1960s, Miguel Angel Rojas found in the university of
Bogotá an environment that suggested a revision of the
discursive fields of art, whether through the pressure of left-
ist political engagement or by the questionings of pop art
and conceptual art. In contrast to the atmosphere of liberty
and openness, the places frequented by homosexuals in
search of amorous liaisons were dingy turn-of-the-century
cinemas, with their near-empty theaters during the after-
noon session—veiled environments adopted by those who
1 2
marvellous subversive aspect:
MAN: It's easy to say “I don't” now. We'll see in a mouth
(pause). Besides, as you become more intent on your refusal, so
we shall extend our visits. We'll even spend the night with you
and probably, it depends on you of course, we'll end up moving
into this house.
The couple, hearing these words, decide to hide.
“What do you think of our little game?” Vincent asks Emilia.
had no place else to go. Rojas decided to bring this intimate
homosexual space to the public, working the opacity of the
gay universe in engravings and photography. In Faenza,
the artist visited the homonymous cinema on various
afternoons with a camera camouflaged in black cloth and
attached to the arm of his seat. With this device he could
capture the routine of the clientele as they watched the
movie and made themselves available for flirtatious ap-
proach. The darkness and the need for discretion imposed
certain compositional limits on the photography, resulting
in grainy, blurry images capturing the occasional silhouette
against the glare from the action films on the screen.
“It's enough to make your hairs stand on end”, she replies.
They decide to hide in the kitchen, sit in a tight embrace on
the ground, turn on the gas – and let them try to marry them if
they can!
Bartleby & Co. · Enrique Vila-Matas
Faenza 247
series · 1979

1 · Tres en platea [Three in the stalls]

2 · Fisgón [Snooper]
3 · Sobre porcelana – Paquita [Over
Porcelain - Paquita]

3
Nan Goldin
Washington, USA, 1953. Lives and works in Paris, France
and New York, USA. Through a photographic record kept
over the years, Nan Goldin has gradually constructed a
diary of her personal life. The accumulation of images and
the way in which they represent themes central to the North
American artistic and urban context confer a particular po-
litical meaning upon the work the artist has developed since
the 1970s. These are photos of friends and acquaintances,
taken at close quarters and without warning or preparation.
Through a domestic aesthetic and saturated chromatism,
they reveal the proximity of one who is recording while
participating. She documents scenes and faces from the
club scene, the punk scene, the worlds of feminism, sexual-
ity, addiction, and AIDS. The Ballad of Sexual Dependency
is organized as an album of memories of Nan Goldin's
emotional family, a long-duration slide show of hundreds
of pictures taken between 1979 and 2004. Divided into
chapters, the work presents the habitués of the artist's
circle set against a pop music soundtrack, freezing in time
the utopia of a life both free and shared, whilst also sug-
gesting the tragic end of a generation.
1
1–12 249
The Ballad of Sexual
Dependency
series · 1979 – 2004

4
1 · Picnic on the Esplanade, Boston, 1996
2 · Simon and Jessica in the shower, Paris
2001
3 · Lil laughing, Swampscott, Ma, 1996
4 · French Chris at the drive-in, N.J. 1979
5 · Heart-shaped bruise, NYC 1980
6 · Bruce in his car, NYC, 1981
7 · Jens hand on Clemens back, Paris 2001
8 · Geno in the lake, Bavatia, 1994
9 · Nan and Dickie in the York Motel, N.J.,
1980
10 · Coie and Vittorio's Wedding, NYC,
1986
11 · Skeletons coupling, NYC, 1983
12 · Couple in bed, Chicago, 1977
5 6
7 8
 251

9
10

11 12
Miguel Rio Branco
Las Palmas de Gran Canaria, Spain, 1946. Lives and works in
Rio de Janeiro, Brazil. With a lens filtered by the hot, saturated
chromatism of Brazil, Miguel Rio Branco's eye is drawn to the
reality and mundane experience of decrepit places. Figures
and environments simultaneously grotesque and seductive
are the themes that run through the films and photographs the
artist has produced since the late 1960s, though without tak-
ing recourse to more advanced technologies. The Pelourinho
neighborhood in Salvador, Bahia, is the setting for the film
Nada levarei qundo morrer aqueles que mim deve cobrarei
Nha cretcheu, my love,
Our encounter will make our life more beautiful, at least for
another thirty years.
For my part, I become younger and return full of energy.
I'd like to offer you a hundred thousand cigarettes, A dozen
snazzy dresses, A car, The house of lava that you so longed for, A
four penny bunch of flowers.
But before anything else, Drink a fine bottle of wine, Think
no inferno, in which the artist reveals the time scratched
out in scars on nude bodies and crumbling constructions.
Without pegging himself to a conventional narrative format,
Miguel Rio Branco constructs images of the urban jumble of
prostitutes, children, families, drug dealers, peddlers, and
other residents of the neighborhood by juxtaposing excerpts
of filmed footage, photographs, and musical snippets, strung
together with all the variable intensity and fragmentation of a
diary. With an air of seduction and malice, the work evinces
the surprise at the fortuitous encounters and intimacy gener-
ated by empathic provocation between the observer and the
observed, at once annulling and dignifying the difference.
about me. Here work is non-stop.
Now there are more than a hundred of us.
The day before yesterday, my birthday, Was the time for a
deep thought about you.
Did the letter they brought arrive safely? I receive no reply.
I'll wait.
Every day, every minute. Every day I learn some new and
beautiful words, just for the two of us. Tailor-made, like a fine silk
Nada levarei qundo morrer 253
aqueles que mim deve cobrarei
no inferno
[I will take nothing wen dead those that me
owe I'll charge in 'ell] · 1979 – 1981
frames

pajama. Would you like that? I can only send you with one letter Sometimes I lose my energy and imagine that I'm going to
per month. forget about myself.
But still nothing from your hand. Maybe next time. Some-
times I'm frightened about building this wall. Me, with a pick-axe Nha cretcheu, my love · Pedro Costa
and cement. You, with your silence
Such a deep valley that it pushes you towards oblivion.
It hurts me inside to see these bad things I don't want to see.
Your beautiful hair falls from my hands like blades of dry grass.
Efrain Almeida
Boa Viagem, Brazil, 1964. Lives and works in Rio de Janeiro,
Brazil. A common feature in Efrain Almeida's work is the use
of small wooden sculptures of a naked male made in the
artist's own image. Facing the viewer, as if in search of com-
plicity, the works assume a confessional, seductive tone that
confuses eroticism and religiosity and evokes the conflict-
ridden relationship between bodily availability and the
moral interdictions to which it is submitted. It is through this
approximation of two normally distant symbolic fields that
the artist speaks of a body that is incapable of affirming itself
in its totality; of a body that is just potency. This ambiguity
is present in the set of sculptures aptly entitled Efrain
Almeida, in which the artist takes as his model his own na-
ked body, tattooed with recurrent images from Northeast-
ern Brazilian culture. If, on the one hand, the series turns
these marks into signs of the affirmation of the individual in
the world, on the other, it counters this idea through the un-
steadiness and reduced size of the pieces. This ambivalence
causes discomfort at the same time as it attracts the other's
gaze; and it blurs the boundaries between what belongs to
the individual - the artist -, and what pertains to the social
environment in which that artist finds himself inscribed.
1
1 255
Efrain Almeida
2010
watercolor sketches

2
2
Efrain Almeida
2010
work in progress

Laudisi: The fact is that neither of you is wrong. May I explain? I
will prove it to you. Now here you are, you, Sirelli, and Signora
Sirelli, your wife, there; and here I am. You see me don't you?
Sirelli: Well. . . er. . . yes.
Laudisi: Do you see me or do you not?
Sirelli: Oh, I'll bite! Of course I see you.
Laudisi: So you see me! But that's not enough. Come here!
Sirelli (smiling, he obeys, but with a puzzled expression on his
face as though he fails to understand what Laudisi is driving at):
Well, here I am!
Laudisi: Yes! Now take a better look at me. . . Touch me! That's
it – that's it! Now you are touching me, are you not? And you see
me! You're sure you see me?
Sirelli: Why, I should say. . .
José Leonilson
Fortaleza, Brazil, 1957 – São Paulo, Brazil, 1993. The work
of José Leonilson is organized around the ambiguity of
the space of the body in a world that dissolves, jumbles or
confuses identities. Based mainly upon drawings, watercol-
ors and embroidered fabric, his work make clear references
to the emotional relationships that the body administrates,
bringing them to the fore and asserting the impossibility of
their clear or precise representation. Through pictures and
words, the works of José Leonilson proffer an incomplete
“lover's discourse” pieced together from fragments and de-
Laudisi: Yes, but the point is, you're sure! Of course you're sure!
Now if you please, Signora Sirelli, you come here – or rather…
no… (gallantly) it is my place to come to you! (He goes over to
Signora Sirelli and kneels chivalrously on the knee). You see me,
do you not, madam? Now that hand of yours. . . touch me! A
pretty hand, on my word! (he pats her hand)
Sirelli: Easy! Easy!
pendent upon random, insignificant and disperse circum-
stances, a choreography recreated every moment. In these
pieces, he suggests situations from which derive tremulous
feelings of anguish, tenderness, jealously, connivance,
guilt, dependency, encounters, parties, memory, plenitude,
seduction, deceit and truth. Pobre Sebastião; Para o meu
vizinho de sonhos; Das 3 armas; Leo não consegue mudar
o mundo; and Sem título are amorous glossaries that
document common experiences and trigger the emotional
memory of those who view them. It is from the provisional
sum of these fragments that emerge the unsuspected signs
of the possibility of a shared life.
Laudisi: Never mind your husband, madam! Now, you have
touched me, have you not? And you see me? And you are abso-
lutely sure about me, are you not? Well, now madam, I beg of you;
do not tell your husband, nor my sister, nor my niece, nor Signora
Cini here, what do you think of me; because, if you were to do
that, they would all tell you that you are completely wrong. But,
you see, you are really right; because I am really what you take
1 257
Das 3 armas
2
[Of the three weapons] · c. 1990

2
Para o meu vizinho de sonhos
[To my dream neighbor] · c. 1991

me to be; though, my dear madam, that does not prevent me

from also being really what your husband, my sister, my niece,
and Signora Cini take me to be – because they also are abso-
lutely right!

Right You Are (If You Think So) · Luigi Pirandello

José Spaniol
São Luiz Gonzaga, Brazil, 1960. Lives and works in São
Paulo, Brazil. Drawing and engraving are the supports
that lend expressiveness to the research and work of José
Spaniol, constituting essential practices for the defini-
tion of his sculptural objects and installations, as well as
his work with the poetic and literary word. In addition to
these subsidies, the raison d'être of his work resides in
the materiality of the objects and the signs they evoke,
now subverted and appropriated within circumstances
removed from their original uses. For the Bienal, Spaniol
develops an installation that materializes in accumulati-
ve actions. In the first of these, in which he molds some
beaten earth, the artist tensions the empty space of
the building, constructing Escada that almost reaches
the ceiling. He then takes a series of white marble dishes,
thinly coated in oil paint and distributes them about the
space; lastly, adjustments and rectifications can bring new
objects and words to the conjunct, already replete with
material and qualities. Enigmatic and difficult to quantify,
the installation reverberates with imagetic and literary
echoes that make up the artist's repertoire, materializing
an ineffable environment.
Escada 259
[Ladder] · 2010
sketches
Hélio Oiticica
Rio de Janeiro, Brazil, 1937 – 1980. Hélio Oiticica is one of
the major names in experimental Brazilian art. One of the
core elements in his work is the breaching of hierarchies
between the domains of artistic production and ordinary
life. Street parties, constructions improvised out of house-
hold objects and the architecture of the shantytown are
taken as examples of the porosity between the spheres,
legitimizing procedures and materials derived from popular
culture, as occurs in his Penetráveis, Parangolés and
Ninhos, the latter reconstructed for this edition of the
Bienal. His work signals the capacity to respond creatively
to material adversity in Brazil, as well as an egalitarian
posture, free of political, economic, aesthetic or moral
constraints. At the time it was produced, the artist's ode
to marginality was confused with the negation of insti-
tutionalized modes of mediating conflicts. In the bolide
Homenagem a Cara de Cavalo and the flag Seja marginal,
seja herói, Oiticica pays tribute to Cara de Cavalo and
Mineirinho, a pair of criminals violently slain by the Rio
de Janeiro police. The work therefore challenges the
conventional notions of right and wrong, the legitimate
exercise of power and its authoritarian abuse.
1
1 261
Seja marginal, seja herói
[Be an outlaw, be a hero] · 1968

2
Ninhos
[Nests] · 1970 / 2010
installation view at the Museum of Modern
Art, New York (1970) 2
Sandra Gamarra Heshiki
Lima, Peru, 1972. Lives and works in Madrid, Spain. LiMac
was devised by Sandra Gamarra as a fictitious institution
to fill a gap in the cultural life of the Peruvian capital of the
day: the absence of a contemporary art museum. LiMac has
a Web site, a visual identity, and architectonic project, but
has no premises and no budget. Its collection consists of
paintings by the artist that reproduce, in enlarged catalogue
images, works of art she would like to acquire. Through her
imaginary museum, Gamarra forges a link between her
own personal project and the curatorial line of the 29th
Yes, I suppose that it is within me, as one of the representatives
of us, that I must seek why the death of an outlaw is proving so
painful. And why it is that I find it more worthy to count the thir-
teen gunshots that killed Mineirinho than to count his crimes.
[…]
Why? Though the first law, that which protects irreplace-
able body and life, is that which says thou shalt not kill. This is
my greatest assurance: thus they won't kill me, because I don't
Bienal de São Paulo. After having its request for a loan of
Gerhard Richter's October 18, 1977 series turned down by
MOMA (New York), the Bienal invited the artist to paint
identical canvases to occupy the space initially reserved
for Richter's work. The original series consists of a set of
monochrome paintings that recreate pictures of members
of the Baader-Meinhof terrorist group who were found dead
in prison. The recreation process used by Gamarra echoes
that employed in Richter's original series. The corroboration
and recreation of reality through doubles are also part of the
Milagros series, in which the artist equates newspaper clip-
pings with paitings that reproduces them faithfully.
want to die, and thus they won't let me kill, because having killed
someone would be utter darkness to me.
This is the law. But there is something that, if it makes me
hear the first and second shot with relief and assurance, on the
third leaves me alert, on the fourth unnerved, the fifth and sixth
covers me with shame, the seventh and eighth I listen to with
my heart pounding in horror, on the ninth and tenth makes my
mouth tremble, on the eleventh first makes me say the name
1–2 3 263
Catálogo October 18, 1977 Milagros II
[Catalogue October 18, 1977] · series · 2010 [Miracles II] · 2010
reference image: installation view of
1 · Pág. 18 · [Page 18] Milagros at the Galeria Ivana de Aizperru,
study Madrid (2010)
2 · Pág. 13 · [Page 13]
study
2

of God with shock and on the twelfth makes me call out to my

brother. The thirteenth murders me – because I am the other.
Because I want to be the other.
This justice that veils my sleep, I repudiate it, humiliated
for needing it. Meanwhile I sleep and am falsely saved. We, the
essential idiots. […]

Mineirinho · Clarice Lispector
264
265

3
Kimathi Donkor
Bournemouth, England, 1965. Lives and works in London,
England. Though he also works with photography, design,
and curatorship, most of Kimathi Donkor's production is
figurative painting. Using a palette of warm colors and mak-
ing frequent associations with the history of art, the artist
broaches such political and social issues as exploitation,
racial inequality, and power relations, very often based on
real facts and people, such as the Angolan queen Nzinga
Mbande (1583 – 1663). The painting Johnny Was Born
aloft by Joy and Stephen portrays the death of the Brazil-
ian electrician Jean Charles de Menezes in July 2005.
Menezes was mistaken for a terrorist and shot dead at
close range by English police as he boarded a London
underground train. Despite massive international repercus-
sion and being considered one of the biggest blunders ever
committed by the British police, the case was closed and
those responsible left unpunished.
1
Johnny Was Born aloft by Joy
1
and Stephen
2010
sketch

2
Kombi Continua from the series
Scenes from the Life of Njinga
Mbandi
2010

LEMMY: Tell me... to start with... what is it for?
NATASHA: Well, nearly every day there are words which disappear
because they are no longer allowed. In their place, one must put
new words to correspond to new ideas. And you know... in the
last few months... some words have disappeared that I liked very
much.
LEMMY: Which words? ... I am interested.
The camera tracks up to LEMMY who, as NATASHA has been talking,
is looking into his notebook and writing in it. Cuts to close-up of
the words LEMMY has already written... and images of the words
are edited to NATASHA's voice.
INSERT: Let Alpha 60 destroy itself
NATASHA: Robin redbreast... to weep...
INSERT: Save all those able to cry
 267

NATASHA: Autumn light... NATASHA: I'm afraid because I know a word... without having seen
INSERT: Tenderness it or read it.
NATASHA: Tenderness, also... As soon as I am with you, I get fright- LEMMY: Which word?
ened. They ordered me not to see you again. NATASHA: “Le” CONSCIENCE.
LEMMY: Who? The Alpha 60 engineers? LEMMY: “La” CONSCIENCE.
NATASHA: Yes. NATASHA: “La” ... CONSCIENCE.
LEMMY: What makes you afraid? LEMMY: You've never been to the Outerlands?
Wendelien van Oldenborgh
Rotterdam, Netherlands, 1962. Lives and works in Rotter-
dam. Forms of organization and sociability in industrialized
countries have effected and been affected by changes in
the global economic order. In Brazilian history, the collec-
tive organization of the union movement was intrinsically
connected with artistic production, especially theater and
cinema, through groups of political creation and formation
or through representations of the people's struggle. In the
work of Wendelien van Oldenborgh, the general strikes
called by the factory workers in São Paulo in the late 70s
NATASHA: No.
LEMMY: You're sure?
NATASHA: Yes.
LEMMY (pouring whiskey into his coffee from his hip-flask): You're
lying.
NATASHA: Why are you angry with me?
LEMMY: I thought you were not supposed to say “why”, only
guide reflection on changes in working conditions and their
effects on the formation of contemporary identities. The
installation takes as its platform the relationships between
women, work, the public voice and cultural production.
Pertinho de Alphaville is made in collaboration with a
group of workers at a jeans factory in Greater São Paulo,
and performed by an actress who shifts between politics
and theater, and by a feminine voice from current pop
culture. Her stories, readings and performances are filmed
at the Teatro Oficina and the Wearplay factory, and the
resulting material is transferred to a slide narrative concat-
enated by the rhythm of the speakers' voices.
“because”.
NATASHA: I... I said “why”?
LEMMY: Yes... and if the enemies are listening to us, they heard it
too.
NATASHA: So... I wasn't paying attention. Because it's not allowed.
Perhaps not for you, though, who has come from the Outerlands.
At what precise moment did I say “why”?
Pertinho de Alphaville 269
[So close to Alphaville] · 2010

1 · still: Teatro Oficina (2007)

2 · still: Wearplay jeans factory (2010)

LEMMY: Another question first: where were you born?

NATASHA: Here in Alphaville.

Alphaville · Jean-Luc Godard
Artur Żmijewski
Warsaw, Poland, 1966. Lives and works in Warsaw. Artur
Żmijewski was in Warsaw on April 10, 2010, the day the
plane carrying the Polish president Lech Kaczynski, his
family, some allies, and possible party successors crashed,
killing all onboard. As soon as the tragedy hit the media,
the artist began to record the reaction of the Polish people,
capturing on video their sorrow at the loss of a national
leader, the public tributes, and the speculation as to the
future of the government. In Catastrophy, Żmijewski,
who likes to put himself in the scene and assume his
interference in the situations he relates, tells the story of
this air crash and its consequences. He photographs the
expressions on faces in the assembled crowd, approaching
people here and there, conducting interviews and insisting
in the face of the pain. Close enough to be moved by the
effects of the tragedy but still able to question them, the
artist exposes to the world images of the still latent trauma
and welling uncertainty about the future experienced by a
nation suddenly deprived of its leader. In so doing, he not
only shares the specificities of the episode in question but
also an examination of the role the State plays in maintain-
ing the collective order.
Catastrophy 271
2010
frames
Yael Bartana
Afula, Israel, 1970. Lives and works in Amsterdam,
Netherlands. Born and raised in Israel, Yael Bartana is
part of a generation heavily marked by the progressive
militarization of the Arab/Israeli conflict. From childhood
up to military service, she was subjected to the countless
different means of reaffirming national identity, some subtle
and others brutal, that rule the social space in contempo-
rary Israel, where nationalism and religion are very often
confused. In his videos and photographs, incorporating real
characters and situations, albeit always lightly scripted,
Yael Bartana levels an eloquent and poetic criticism against
the mechanisms of identity-building that double as forms
of State power over the individual and which serve to block
negotiated solutions to the conflict. Mary Koszmary is
the first part of a trilogy in which a young Polish activist
teaches children about the return of the 3 million Jews
from Israel to Poland after the exodus provoked by the
Second World War. In Mur i Wieża, the second part of the
series still open to modifications, these same children, now
grown, answer their leader's call and join together to build a
place to live in a stretch of desert.
Mur i Wieża
[Wall and tower] · 2009
frames
TERREIRO 273

LEMBRANÇAEESQUECIMENTO
remembrance and oblivion

[…] and it is impossible to restore the past in a state of purity. It

needs only to have existed for memory to corrupt it with superim-
posed remembrances. Even if one thinks about the same fact on
a daily basis, its restoration will come mixed with the analogical of
every day – which comes to transform it. It's like sailing, dragging
through the sea/time a line and a hook that are always the same but
onto which layers and layers of plankton become attached and will
end up transforming this filiform, sharp thing into a sort of sponge. It
is impossible for the voyage of memory to be embarked upon in only
one direction: from the past to the present. It is not by ourselves that
we sail into years past in search of our selves. We take with us an
experience that is so irremovable that it is an element of deformation
that forces us to act with our recollections like the first primitives
who painted the Nativity, the Pretorius and the Resurrection, giving
the Virgin, Saint Joseph, the Lord, Pilate and the centurions medie-
val clothing in Italian, Flemish and Spanish ambiences.

Balão Cativo [Captive Balloon] · Pedro Nava

Ernesto Neto
Rio de Janeiro, Brazil, 1964. Lives and works in Rio de Janeiro.
Ernesto Neto challenges the conventional artistic categories.
His works skirt the borders between the codes of sculptu-
re and installation, whilst escaping both. Though clearly
affiliated with the constructive legacy in Brazilian art, his work
abandons its rigid presuppositions in favor of the more flexi-
ble elements of the quotidian. His environments, made from
fabric, foam, spices and other sundry materials greet those
who approach them with spatiotemporal experiences. Over
the years, this characteristic led the artist to create works
that invite the public to enter them as a form of communal
shelter, but without demanding any specific rule-governed
behavior in return. These constructions use neutral colors
and organic forms that are physically comfortable and visu-
ally serene. In Quem paga o arrego – Tá tudo arreglado!, a
project for Lembrança e esquecimento, a terreiro designed
for rest and relaxation in one of the most densely filled
areas of the Bienal, Neto lays out mattresses and armchairs
in a field tensioned by a large rug, on one hand, and a tree
bough made of fabric, on the other. The work gradually an-
nounces a palette of warmer colors and legitimizes, within the
exhibition itself, ordinary leisure and life as modes of creation.
Lembrança e esquecimento / 275
Quem paga o arrego – Tá tudo
arreglado!
[Remebrance and oblivion / Who pays the
surrender – Everything is agreed!] · 2010
terreiro project

arrego
arreglo
arrego

arreglo

arrego

arrego
arreglo
arreglo

arreglo
arrego

arreglo
arrego
arrego

arreglo

arrego
arreglo

arrego
arreglo
arrego

arreglo

arrego
arreglo
arreglo

arrego

arreglo
arrego
arreglo

arrego
arrego

arreglo
arrego

arrego

arreglo arreglo
arrego

arreglo
arrego

arreglo
arreglo

arrego
arrego

arreglo
278
279
280

Today during the day

poetry
would not reveal itself

Heavy clouds covered

sun and sky.

It was but late in the night

that poetry arrived

in the rain falling softly

like pebbles on the roof,

In the smell of moist earth

coming in through the window.

Obra completa [Complete works] · Jorge Barbosa

Ai Weiwei
Beijing, China, 1957. Lives and works in Beijing. Born in
socialist China, Ai Weiwei spent a period in voluntary exile
in New York, during which he acquired a vast conceptual,
visual, and historical repertoire. This experience enabled
him to move fluidly between the inward-looking culture
of China and the culture of the West. In terms of plastic
artistic investment, Ai Weiwei has achieved most renown
in the field of sculpture, constructing structures of strong
symbolic and material value that appropriate and resignify
objects of his country's political and sociocultural heritage.
Circle of Animals is a previously unseen work that toys
with the set of bronze heads originally located in the
former Imperial summer palace in Beijing and which rep-
resent the twelve figures of the zodiac. Commissioned by
Emperor Manchu Qianlong in the 18th century, the heads
were designed by the Jesuits Michel Benoist and Giuseppe
Castiglioni as the centerpieces of the palace water clock.
Though partially destroyed by Anglo-French forces during
the Second Opium War, their archeology and recovery were
recently prioritized under a propaganda policy consoli-
dating the nationalism now mounting in tandem with the
nation's economic growth.
1
282
Circle of Animals 283
2010

1· details
2 · model

2
Manon de Boer
Kodaicanal, India, 1966. Lives and works in Amsterdam,
Netherlands and Brussels, Belgium. The work of Manon de
Boer reveals an interest in exploring differences, but also
concomitances, between subjective, objective, and historical
spaces and times. She focuses on the act of remembering
the past and on forms of translating and materializing that
reminiscence, verbally or performatically. The narrative of
Dissonant consists of a danced response to a piece of music
that the protagonist, the Belgian ballerina Cynthia Loemij,
had listened to only moments before. In the foreground,
By the time they at last thus came to speech they were alone
in one of the rooms – remarkable for a fine portrait over the
chimney-place – out of which their friends had passed, and
the charm of it was that even before they had spoken they had
practically arranged with each other to stay behind for talk.
The charm, happily, was in other things too – partly in there
being scarce a spot at Weatherend without something to stay
behind for. It was in the way the autumn day looked into the high
filmed in a large rehearsal room, Loemij listens carefully to
Three Sonatas for Violin by Eugène Ysaÿe (1858 – 1931).
When the music finishes, she concentrates and, drawing
the cadence and expressiveness of the musical construc-
tion entirely from memory, repeatedly executes her
interpretation of the piece in precise and vigorous dance
moves. The open shot follows her choreography, which
would be utterly silent were it not for the sonorous transla-
tion of the friction between her body and the floor of the
empty room, and the physical effort it implies. The work
explores the perception and corporal construction of time
and its passages, capturing the image of memory itself.
windows as it waned; the way the red light, breaking at the close
from under a low sombre sky, reached out in a long shaft and
played over old wainscots, old tapestry, old gold, old colour. It
was most of all perhaps in the way she came to him as if, since
she had been turned on to deal with the simpler sort, he might,
should he choose to keep the whole thing down, just take her
mild attention for a part of her general business. As soon as he
heard her voice, however, the gap was filled up and the missing
Dissonant
2010
frames
link supplied; the slight irony he divined in her attitude lost its
advantage. He almost jumped at it to get there before her. “I met
you years and years ago in Rome. I remember all about it.” She
confessed to disappointment – she had been so sure he didn't;
and to prove how well he did he began to pour forth the particu-
lar recollections that popped up as he called for them. Her face
and her voice, all at his service now, worked the miracle – the
impression operating like the torch of a lamplighter who touches
285
into flame, one by one, a long row of gas-jets. Marcher flattered
himself the illumination was brilliant, yet he was really still more
pleased on her showing him, with amusement, that in his haste
to make everything right he had got most things rather wrong. It
hadn't been at Rome – it had been at Naples; and it hadn't been
eight years before – it had been more nearly ten. She hadn't
been, either, with her uncle and aunt, but with her mother and
brother; in addition to which it was not with the Pembles he had
Alessandra Sanguinetti
New York, USA, 1968. Lives and works in New York. Sangui-
netti spent much of her life, from the age of two to thirty-five,
in Buenos Aires, Argentina. Her photographic work focuses
on figures from the remote and rural environs of that city.
Ranchers, farm hands, and animals populate the ongoing
research in which she registers enigmatic and extraordinary
scenes. It was during this process that she met Guillermina
and Belinda, cousins whose lives she has accompanied
and photographed since their preteen years. Sanguinetti
portrays their desires and identity metamorphoses through
1 2
been, but with the Boyers, coming down in their company from
Rome – a point on which she insisted, a little to his confusion,
and as to which she had her evidence in hand. The Boyers she
had known, but didn't know the Pembles, though she had heard
of them, and it was the people he was with who had made them
acquainted. The incident of the thunder-storm that had raged
round them with such violence as to drive them for refuge into
the playful and quotidian staging of transformative and mys-
terious scenes and fantasies. The series Las aventuras de
Guille y Belinda y el enigmático significado de sus sueños
consists of sweet, tender, strange, and eminently narrative
photographs that crystallize a childish imaginary world
even when dealing with rites of passage into adulthood.
The subjective and poetic situations Sanguinetti develops
with Guille and Belinda evoke the literary universes of Julio
Cortázar, Lewis Carroll, and Shakespeare. Her pictures
make reference to romantic, symbolic, and Victorian iconog-
raphies at the same time as they cite conventional genres of
popular and experiential Latin American representation.
an excavation – this incident had not occurred at the Palace of
the Caesars, but at Pompeii, on an occasion when they had been
present there at an important find.
The beast in the jungle · Henry James
1–2
Las aventuras de Guille
y Belinda y el enigmatico
significado de sus sueños
[The adventures of Guille and Belinda and
the enigmatic meaning of their dreams] ·
series
3–4 287
El devenir de sus dias
[The life that came] · series
3 · La cama matrimonial · [The wedding bed]
2007
4 · El tiempo vuela · [Time flies] · 2005

1 · La foto de antes · [The old picture]

1997
2 · Inmaculada Concepcion · [Immaculate
Conception] · 1999

3 4
David Lamelas
Buenos Aires, Argentina, 1946. Lives and works in Los
Angeles, USA. Between questions of space, time and
language, David Lamelas produces sculptural proposals in
which what really matters is not the physical materiality of
the volumes and objects. The space conceptually acts upon
his works, offering possibilities of assimilating different
cultures and knowledge, as well as of broadening temporal
consciousness and awareness of bodily movements. Time,
for the artist, is a fiction that is fundamental to regulat-
ing processes of communication with artistic and political
activity; and language is something that can be organized
into temporary systems that recondition relations between
the audience, exhibition space and daily life. In Moon Time,
the artist constructs a table as a meeting space, at which
one experiences time as if on the surface of the moon,
through a clock that indicates a strange time difference,
with seconds and minutes not equivalent to those on
Earth. The artist uses time as raw material and offers the
possibility of adopting this imaginary measure of duration,
which might be of help in planning a future life in space or
in simply dodging earthly commitments.
Moon Time 289
2010
conceptual image
Douglas Gordon
Glasgow, Scotland, 1966. Lives and works in Berlin, Ger-
many; New York, USA and Glasgow, Scotland. The work
of Douglas Gordon is self-referential and unfolds as an
exhibition of transformations in the artist's body and work,
explored in photography, video, and sculpture. The use of
such elements as skulls and mirrors expresses a narcissistic
desire that goes with the tendency toward autobiographi-
cal record. This biographical pursuit also leads the artist
to focus on the lives of other media figures, such as the
soccer player Zinedine Zidane, about whom he made a film
in collaboration with Philippe Parreno. Pretty Much Every
Film and Video Work from 1992 until Now. To Be Seen on
Monitors, Some with Headphones, Others Run Silently,
and all Simultaneously, 1992 – ongoing gathers together
some seventy films and videos, almost all produced over
the last eighteen years. This monumental work is itself a
retrospective of sorts, an installation in progress that blends
into a collection and artistic genealogy.
Pretty Much Every Film and 291
Video Work From About
1992 Until Now To be Seen
on Monitors, Some with
Headphones, Others Run
Silently, and all Simultaneously
1992 –
installation view at Dox, Prague (2009)
Raqs Media Collective
Monica Narula, Jeebesh Bagchi, Shuddhabrata Sengupta.
New Delhi, India, since 1992. Raqs Media Collective is
formed by professionals active in diverse fields of art who
conduct experimentation focused on cultural processes.
Their works deal with the intersections between contempo-
rary art, historical research and philosophical speculations,
creating installations, online and offline media objects,
performances, encounters, and, more recently, curatorial
projects. The members of the collective also formed SARAI,
a space where independent and experimental research
At the exit gate to Luna Park a cronopio notices that his watch is
running slow, that his watch in running slow, that his watch.
The cronopio has the blues faced with a multitude of famas
coming up calle Corrientes at twenty after two while he, a damp
green object, already leaving at two fifteen.
Cronopio's meditation: It's late, but not so late for me as for
the famas, for the famas it's five minutes later.
They'll arrive home later, go to bed later. You know, I've got
projects can be developed in interdisciplinary contexts,
focusing on urban spaces and different modes of com-
munication. Raqs explores relationships between myths
and records of various origins, as a means of conducting
investigations in languages and formulating a critique of the
operations of power, property and identity. In Escapement,
27 clocks are exhibited at different heights and, instead
of telling the time of day, their hands follow a circular
course marked by feelings, such as ecstasy, guilt, duty,
anxiety and fear. In the middle of the installation we see
a pillar circled with four video screens, on which a face
constantly moves, as if keeping the time.
a watch that's less lively, less homely, less going to bed when I
go, I'm wet and unlucky. I'm a cronopio.
While having a coffee in the Richmond Bar, the cronopio
dampens a piece of toast with his natural tears.
The Cronopio Blues · Julio Cortázar
Escapement 293
2009
installation view
Jonas Mekas
Semeniskiai, Lithuania, 1922. Lives and works in New York,
EUA. Poet and filmmaker, Jonas Mekas has kept a film
diary since 1950. Without any rigid discipline, he recorded
variations in his personal and territorial context with a
16 mm Bolex camera. In 1949 he emigrated to New York,
where he began making short, journalistic films through
which he sought to get to know the city that had welcomed
him. These recordings constituted radical experiments with
cinematographic language, full of harsh cuts, accelerated
camera movements and overlapping shots. It is with this
1 2
liberty that he documented the American counterculture of
the 1960s and his own involvement, during this period, with
Andy Warhol, the singer Nico and the writer Allen Ginsberg.
In 1968 he completed a chronological organization of his
last five years' worth of footage. In 2007, Mekas embarked
on a new archival diary, 365-Day Project, making a film
per day of quotidian events using a small digital camera.
With the day of filming as the title, each film is posted
online along with a brief description of the theme.
3
365-Day Project
2007
frames
1 · DAY 272, September 29, 2007, 4 min 14 sec. About Godard,
too much mail, and what I learned from Goethe
2 · DAY 287, October 14, 2007, 3 min 52 sec. A video postcard
from Adolfas – Pola Chapelle & Arturas Zuokas, adventuresome
former mayor of Vilnius, enjoy Segway
4 5
A man was picking nails up off the ground. / He would always
find them lying horizontal, or sideways, or with their heads
down. / Never standing on their tip. / This way, they won't
puncture anymore, thought the man. / They no longer fulfill
the function of nailing. / They are useless assets of humanity.
/ They have gained the privilege of abandonment. / The man
would spend the whole day in his task of picking up rusted nails.
3 · DAY 297, October 24, 2007, 8 min 54 sec. Lou Reed at Harry
Smith Concert at St. Ann's and a surprise from Glasslands
Gallery, Williamsburg
4 · DAY 311, November 7, 2007, 3 min 10 sec. I cook, I dance, I
write haikus
5 · DAY 326, November 22, 2007, 2 min 37 sec. Thanksgiving
sequence from Hallelujah the Hills a film by Adolfas Mekas
6 · DAY 337, December 3, 2007, 11 min 23 sec. Norman Mailer
speaks about himself, politics cinema
6
/ I think this task gave him some sort of state. / The state of
people who decorate themselves in rags. / Picking up useless
things guarantees the sovereignty of Being. / Guaranteeing the
sovereignty of Being more than that of Having. //
The man who picked up nails  ·  Manoel de Barros
Emily Jacir
Rome, Italy, 1970. Lives and works in Ramallah, Palestine
and New York, USA. Emily Jacir's work spans a diverse range
of media and strategies including film, photography, social
interventions, installation, performance, video, writing and
sound. Recurrent themes in her practice include translation
and exchange, mobility and resistance, repressed histori-
cal narratives and archives. Lydda Airport is a film and
sculpture based on the homonymous location. Built by
the British in 1936, it was the world's largest aerodrome
until 1939 and held great geostrategic importance on the
“Empire Route”. It was eventually captured by Israeli De-
fense Forces in 1948 and renamed Lod. In 1974 the airport
was again renamed to Ben Gurion International Airport. Cen-
tral to the film's narrative is Hannibal, one of eight planes,
which made up the Handley Page fleet; the largest passenger
planes in the world at that time. Hannibal mysteriously disap-
peared in 1940 somewhere over the Gulf of Oman en route
to Sharjah. The film was partly inspired by Edmond Tamari,
a transport company employee from Jaffa, who received a
communication that he should take a bouquet of flowers to
Lydda Airport and wait for the arrival of Amelia Earhart in
order to welcome her to Palestine. She never arrived.
Lydda Airport 297
2007 – 2009
installation view at the Alexander and Bonin
Gallery, New York (2009)
Amar Kanwar
New Delhi, India, 1964. Lives and works in New Delhi. The
filmmaker Kanwar responds to the social experience of con-
temporary India through film essays, sometimes presented
in installations. As a committed and partial observer, he
reflects upon the history that has fuelled the tension and
violence at the border between India and Pakistan. Such
issues as nationalism, poverty, violence, and political power
are introduced through silent and contemplative images of
people, things, rites, and landscapes, the sequential order
of which shapes underlying narratives derived from the
rubble of zones of conflict. Meditative, slow, and poetic, his
films look to reflect on the causal relations running through
history and to reveal the manner in which they translate into
memory, culture, and everyday experience. The Lightning
Testimonies creates an intense environmental experi-
ence in which stories of unspeakable terror, death,
and survival are slowly weaved. A multichannel video
screening recounts the history of the conflict in Kashmir,
focusing on the sexual violence against women and their
resistance to it.
The Lightning Testimonies 299
2007
installation view at the Marian Goodman
Gallery, New York
Nancy Spero
Cleveland, USA, 1926 – New York, USA, 2009. Having
graduated in visual arts in the late 40s, Nancy Spero
sought to connect her drawing and painting practice with
her struggle against abuses of power, both in geopolitical
conflicts and in domestic situations. Without being reduced
to a discourse of protest, her works possess an expressive-
ness steeped in rage, anguish and even seduction, like a
blast of energy hurtling toward the forces she confronts,
albeit in the field of form and language. Cri du coeur is a
frieze consisting of a series of continuous boards that
covers the skirting of the exhibition space, featuring a
procession of Egyptian women lamenting the death of
Ramses in Thebes. The long cortege throbs in overlap-
pings, interlacings and chromatic variations. Spero's
first work after her husband's death, this narrative of grief
amplifies various aspects of her research, as an explora-
tion of the boundary between painting and engraving, the
appropriation of historical icons and the fusion of painting
with the configuration of space. In addition to the artist's
own personal suffering, the work resonates with the grieving
caused to thousands of women through war and catastro-
phe in present-day Iraq, Kashmir and New Orleans.
Cri du Coeur 301
[Cry of the heart] · 2005
installation view and detail

God did not give me / a boyfriend / He gave me the white
martyrdom / of not having one // I saw / possible boyfriends
/ they were oxen / they were pigs / and I palaces / and pearls
// You don't want me / you never did / (my God, why?) //
Life / Is a book / It's the book / It is not free // I cry / it rains
/ but this is / Verlaine // Or: / a day / so beautiful / and I / will
not fornicate //
Metereological (For José Bernardino) · Adília Lopes
Nnenna Okore
Canberra, Australia, 1975. Lives and works in Chicago,
USA. The basis of Nnenna Okore's work is daily life. The
artist works with things she finds, from newspapers and
magazines to the most varied fabrics, to which she applies
different procedures, such as collage, sewing, embroidery
and dyeing, deforming and remodeling them into sculptures
in which the recycled material acquires new dimensions
and meaning, raising questions of overproduction, surplus
and waste. In Slings, the artist rolls up newspapers into
scrolls, forming asymmetric organic-looking and visceral
clumps, bundled into thick jute slings. Though suspended
in this manner, the sculptures lie against the wall as if its
smooth white surface somehow guided the reading of the
works as a linear narrative. Nnenna Okore lends a whole
new aura to these reading materials by depriving them of
their informative function, at the same time as she engages
them in a protest against excess by hanging them on exhibi-
tion walls as an installation.
Slings 303
2006
installation view
Susan Philipsz
Glasgow, Scotland, 1965. Lives and works in Berlin, Ger-
many. Susan Philipsz takes a unique approach to sound,
understood as a parcel of the configuration of spaces in its
own right, with capacity to provoke, evoke, and stir layers of
memory in the individuals that make up a given culture. Al-
most wholly camouflaged, her sound installations combine
suaveness, fluidity, and vibrancy to create an enigmatic
atmosphere and attract public attention. Her methods of
composition induce the recognition – at once strange and
familiar – of elements of the presented sonorities. The
artist researches the context of the place to be filled with
her music, observing the range of cultural references and
interwoven histories by which it is organized. Her works
then avail of aspects of this research, recombining them
into subtle sound maps to be deciphered by the temporary
inhabitants of those spaces as they pass on through. In
São Paulo, Philipsz opted to develop her sound installa-
tion To the Greenwood in the marquis of Ibirapuera Park,
designed by Oscar Niemeyer, and annexed to the Ciccillo
Matarazzo Pavilion.
To the Greenwood 305
2010
reference images: Ibirapuera Park Marquis,
São Paulo
Daniel Senise
Rio de Janeiro, Brazil, 1955. Lives and works in Rio de
Janeiro. One day in the late 1980s, Daniel Senise left an
enormous blank canvas leaning up against the wall in his
studio and went home. The next morning he found it face-
down on the sticky floor, covered in splashed paint from the
last day's work. Picking the canvas up off the floor, he dis-
covered that the pictorial “dirt” that had stuck to it was not
much different from what he would have done intentionally
with his brush. So he turned accident into method: in addi-
tion to his own brushstrokes, his painting started including
The driver knew Trout was bound for Midland City. He didn't
know Trout was a writer on his way to an arts festival. Trout
understood that honest working people had no use for the arts.
“Why would anybody in his right mind go to Midland City?”
the driver wanted to know.
They were riding along again.
“My sister is sick,” said Trout.
“Midland City is the asshole of the Universe,” said the driver.
also what it managed to mop up from the floor. With this,
his painting became an amalgam of product and residue,
present and past, bi-dimensional canvas and three-dimen-
sional studio. In O Sol me ensinou que a história não é
tudo, Daniel Senise panels the walls in thick whitewashed
modulated plaques. When approached, these plaques
reveal small dots of color. The fibrous material of the
plaques is made of art catalogues and brochures. Inside
the compact plaster of water and glue, they harden and
become solid blocks.
“I've often wondered where the asshole was,” said Trout.
“If it isn't in Midland City,” said the driver, “it's in Liber-
tyville, Georgia. You ever see Libertyville?”
“No,” said Trout.
“I was arrested for speeding down there. They had a speed
trap, where you all of a sudden had to go from fifty down to
fifteen miles an hour. It made me mad. I had some words with the
policeman, and he put me in jail.
O Sol me ensinou que a história
não é tudo
[The Sun has taught me that history is not
everything] · 2010
detail
“The main industry there was pulping up old newspapers
and magazines and books, and making new paper out of 'em,”
said the driver. “Trucks and trains were bringing in hundreds of
tons of unwanted printed material every day.”. “Um,” said Trout.
“And the unloading process was sloppy, so there were
pieces of books and magazines and so on blowing all over town. If
you wanted to start a library, you could just go over to the freight
yard, and carry away all the books you wanted.”
307
“Um,” said Trout. Up ahead was a white man hitchhiking
with his pregnant wife and nine children.
“Looks like Gary Cooper, don't he?” said the truck driver of
the hitchhiking man.
“Yes, he does,” said Trout. Gary Cooper was a movie star.
“Anyway,” said the driver, “they had so many books in Liber-
tyville, they used books for toilet paper in the jail. They got me
on a Friday, late in the afternoon, so I couldn't have a hearing in
Rochelle Costi
Caxias do Sul, Brazil, 1961. Lives and works in São Paulo,
Brazil. Like every photographer, Rochelle Costi uses her
camera to collect images, to choose, retain and possess
what interests her in the world. Her collector's impulse,
however, extends beyond this activity: she truly dedicates
her time to collecting pictorial objects, toys and furnishings
that have long since gone out of fashion, as well as old pho-
tographs, whether her own or belonging to others. These
two faces of the collector meet in photographs that simul-
taneously document and manufacture intimate spaces,
court until Monday. So I sat there in the calaboose for two days,
with nothing to do but read my toilet paper. I can still remember
one of the stories I read.”
“Urn,” said Trout.
“That was the last story I ever read,” said the driver. “My
God—that must be all of fifteen years ago. The story was about
another planet. It was a crazy story. They had museums full of
such as rooms, houses, hearts and even plates of food. In
her practice, visits to private spaces and the use of created
settings are both important, as is, and fundamentally so,
her painstaking editing and choice of scale and support
for her photographic blow-ups. In Residência, the artist
visits the Bienal Pavilion and intervenes in its empty and
modular space with objects from her collection, creating
and photographing scenes from a hypothetical exhibition.
Replete with enigmas, which sometimes make reference
to works of contemporary art, sometimes to an intimacy
achievable within the architecture of the pavilion, the series
offers images of poetic occupations and interventions that
convey this space into other times and other narratives.
paintings all over the place, and the government used a kind of
roulette wheel to decide what to put in the museums, and what
to throw out.”
Breakfast of Champions · Kurt Vonnegut
Residência 309
[Residency] · series · 2010

1 · Paisagem [Landscape]
2 · Estante [Bookshelf]
3 · Escada [Ladder]
4 · Redes [Hammocks]

2
310
 311

3 4
Isa Genzken
Bad Oldesloe, Germany, 1948. Lives and works in Berlin,
Germany. Isa Genzken sifts through, collects, combines
and alters merchandise. The material for her bricolage are
industrial articles sold in bulk and soon discarded. Through
the universe of consumption and the associations each
product can invite with the life of the user, the artist creates
a post-modern cityscape that is at once frightening and fas-
cinating – marked by superabundance, massification and
superficiality, but nonetheless multifaceted like the millions
that inhabit it. Cleaning up after a traditional street party,
Strassenfest results in eight floor pieces and one wall
work. Made up of an amalgam of vibrantly colored materi-
als of uncertain origin, the work spreads across a stretch
of the Bienal floor space. Neither exactly sculpture nor
installation, not quite maquette and certainly no mere ob-
ject, Strassenfest challenges immediate classifications and
draws the viewer into its ambiguity, disorder and strange
beauty. Despite the myriad doubts the work can incite, it
offers no explicit answers. It remains open like a narrative
and provocation, taking remnants as the raw materials for
new and imaginative compositions.
1
Strassenfest 313
[Street party] · 2009

1 · detail
2 · Installation view at Museum Ludwig,
Cologne (2009)

1
314
315

2
Marcelo Silveira
Gravatá, Brazil, 1962. Lives and works in Recife, Brazil.
Marcelo Silveira has channeled his energies into the
construction of objects, sculptures and installations made
from cajatinga wood, from a tree often found felled in the
environs of Gravatá, the town in the Pernambucan hinter-
lands where he was born and grew up. In Tudo certo, the
artist approaches and shuffles up dozens of thin slices
sawn from a single thick trunk of cajatinga wood laid
out across a large section of floor. While none of these
volumes, taken individually, produce recognizable forms or
meanings, their arrangement as a set suggests an unlikely
approximation of ideas of flow and stasis, of an unstable
time and another anchored in tradition. Similar inconstancy
is found in the collages Marcelo Silveira has produced in
recent years: images made from photographs taken from
sundry sources, which are then cut and rearranged by the
artist in a singular fashion. This same process can be seen
in Paisagem, collages that oscillate between the legibility
and illegibility of their referents, of which only fragments are
reproduced. These are images that only exist in the vague
interval between the transparency and opacity of their
potential meanings.
1
1 2
Tudo certo Paisagem II
[All right] · 2010 [Landscape II] · 2008 – 2009
Dina: Now, now, uncle dear, don't be so cross! Perhaps we did
go there out of curiosity more than anything else; but it's all so
funny, isn't it! Don't you think it was natural to feel just a little bit
curious?
Laudisi: Natural be damned! It was none of your business!
Dina. Now, see here, uncle, let's suppose – here you are right
here minding your own business and quite indifferent to what
other people are doing all around you. Very well! I come into the
317
room and right here on this table, under your very nose, and with
a long face like an undertaker's, or, rather, with the long face
of that jail bird you are defending, I set down – well, what? –
anything – a pair of dirty old shoes!
Laudisi: I don't see the connection.
Dina: Wait, don't interrupt me! I said a pair of old shoes. Well, no,
not a pair of old shoes – a flat iron, a rolling pin, or your shaving
brush for instance – and I walk. out again without saying a word
Nelson Leirner
São Paulo, Brazil, 1932. Lives and works in Rio de Janeiro,
Brazil. One of the hallmarks of Nelson Leirner's career
is the progressive demolition of instituted cataloguing
categories, whether in the aesthetic, social or economic
spheres. There is no place in his work for certainties, seen
as it feeds on doubt. Such is the sheer power of fantasy with
which he imbues his creations that little heed is given to
verisimilitude. For the artist, it is always possible to bracket
out what seems stable and safe, deliberately assuming the
role of twisting what was held as certain in order to unveil,
to anybody! Now I leave it to you, wouldn't you feel justified in
wondering just a little, little, bit as to what in the world I meant by it?
Laudisi: Oh, you're irresistible, Dina! And you're clever, aren't
you? But you're talking with old uncle. remember! You see, you
have been putting all sorts of crazy things on the table here;
and you did it with the idea of making me ask what it's all about;
and, of course,. since you were doing all that on purpose, you
can't blame me if I do ask, why those old shoes just there, on
through invented situations and objects, the ambiguous
nature of things and events. In order to achieve this goal,
he frequently adopts the strategy of hybridization, cross-
breeding different species of image and artifact to create
constructions that eschew all norms of classification. In
Javavoa, Leirner combines a paca with a wooden replica
of the airplane designed in the 15th century by the great
Italian artist and inventor Leonardo da Vinci. The rodent
makes an unlikely pilot, or perhaps it is just another part
of the structure, as if nature and culture had somehow
blended into one.
Javavoa
2010
project
that table, dear? But what's all that got to do with it? You'll have
to show me now that this Mr. Ponza of ours, that jailbird as you
say, or that rascal, that boor, as your father calls him, brought
his mother-in-law to the apartment next to ours with the idea of
stringing us all! You've got to show me that he did it on purpose!
Right You Are (If You Think So) · Luigi Pirandello
Fiona Tan
Pekan Baru, Indonesia, 1966. Lives and works in Amster-
dam, Netherlands. The work of Fiona Tan reflects upon the
mechanisms by which we represent and interpret ourselves
and others, using video and photography as her medium. A
Lapse of Memory describes the experience of a European
hermit confined in a deserted building with Asian-style
architecture and decor. While a resolute silence prevails,
the film presents a daily routine with dual protagonists:
the man and the building itself. The man switches his con-
centration between ritualized actions, carefully preparing
tea, performing tai chi chuan, or devoting time to basket-
weaving. The building, the Royal Pavilion in Brighton,
erec­ted in 1815 for King George IV, is a majestic palace,
adorned with painted murals and wallpapers with clear
Chinese and Indian influences, as well as from Japanism.
Built in England as the projection of the fantasy of a court
that never set foot in Asia, the pavilion survives as one of the
best preserved examples of colonial, Chinoise architecture
and design in the world. With its plastic and cinematograph-
ic narrative, this video-installation revisits the history of
colonialism, attenuating the cultural, historical, mnemonic,
and subjective frontiers echoed in that spatial dichotomy.
A Lapse of Memory
2007
frame
Anri Sala
Tirana, Albania, 1974. Lives and works in Paris, France. Anri
Sala's early work in video and cinema contains some of the
traces and urgency of the communist experience of Alba-
nia, brought to the present time as essays dealing directly
or indirectly with the collective memory of the country. In
his more recent work, he investigates how sound, light,
color and architecture found social spaces, spheres of ac-
tion and remembrance. Narrative is always present, even if
only minimally and at a pace that contrasts starkly with the
speed of contemporary media. The interior of a defunct
punk rock venue in Bordeaux, France, becomes the am-
plifier for passages from the famous punk anthem Should
I Stay or Should I Go?, by the English band The Clash, and
from which the work takes its name. The years have gone
by, but the song, now wispy and nostalgic, continues to re-
verberate round the building and in the residents of the city.
In the Bienal, the notion of memory lingering in a space and
in those who dwell therein is given a delicate trigger. A small
music box installed above the pavilion window softly echoes
the notes from the song in the video. The result is subtle
and draws the listener closer, but the acoustic metaphor
fills the entire building.
Le Clash 321
2010

1 , 3–4 · 2010 · stills

2 · ticket facsimile

1 2 3

wall: renewal

Marina Wisnik
Tamar Guimarães
Belo Horizonte, Brazil, 1967. Lives and works in
Copenhagen, Denmark. Found pictures and objects,
documents, famous and unknown characters, official and
media narratives, all of this converges in the work of Tamar
Guimarães as elements to be manipulated, recombined and
presented as cases studies. Despite the possibilities of devi-
ating from historical consensuses, the artist avoids directly
denouncing the ideologies by which they are made, prefer-
ring to string together vestiges as if sharing the perception
that there is something strange, arbitrary and occasion-
ally enchanting in the way documents are produced and
perpetuated. Her project for the Bienal consists of 16 mm
film footage of Casa das Canoas, a house Oscar Niemeyer
designed for himself in 1951, nestled within an exuberant
Rio de Janeiro landscape. Since its construction, the house
has been a picture postcard for modern Brazil. Six decades
later, the residence acquires an aura and becomes an
emblem of the eroticism of tropical modernism in this work
by Tamar Guimarães. The film shows the preparations for
a cocktail party, with the camera roving among the house
staff and gauging their relations, registering images of the
residence and descriptions of it by the guests.
Sem título (título provisório) 323
[Untitled (working title)] · 2010
reseach images (Casa das Canoas)
Anna Maria Maiolino
Scalea, Italy, 1942. Lives and works in São Paulo, Brazil.
Anna Maria Maiolino emigrated from Italy at the end of the
war and made her career in Latin America, finally set-
tling in Brazil in 1960. In experiments that are sometimes
material-based – in ceramic, painting and engraving - and
other times documental – video and photography –, the
artist created an observatory of sensible forms, of how life
happens and abides, despite its risks and adversities. Her
Fotopoemação series, which Maiolino develops procedur-
ally over the years, take images as the encapsulation of
If one could measure these leaps of attention, the activity of the
eye muscles, the pendular movements of the soul, and all of the
efforts a human being needs to execute in order to remain stand-
ing in the torrent of a street, it would presumably result – this is
what he'd thought, playing with the idea of trying to calculate the
impossible – in a grandeur compared to which the strength that
an Atlas needs to hold the world on his shoulders is insignificant;
and one could evaluate what a gigantic feat someone who does
poetic gestures, keeping them open as invitations to apper-
ception and experience. Solitário ou Paciência confirms this
invitation by placing an individual card table in the middle
of the exhibition. In Arroz e feijão, an installation made
during the Brazilian dictatorship and reassembled a hand-
ful of times since democracy was restored, bean and rice
stalks grow out of china bowls set along a somber black
dining table. On a video monitor, altar-like at the end of this
sacralized space, a mouth chews on food which the artist
takes as a symbol of life and death, tradition and rebirth, in
a forever throbbing cultural anthropophagy.
nothing can achieve in this day and age. For at this moment, the
man with no qualities would be one of these people.
And someone who does? “Two things can be deduced,”
he said to himself. The muscular activities of a citizen who
calmly follows his path all day long is much greater than that
of an athlete who lifts an enormous weight once a day; this has
been physiologically proven, and it is also probable that small,
everyday activities, in their social sum and in this capacity to
1 2 325
Piccolo mondo from the series Arroz e feijão
Fotopoemação [Rice and beans] · 1979 / 2007
[Piccolo mondo from the series Photo-poem, installation view at the Galeria Millan, São
action] · 1982 Paulo (2007)

be summed up, release much more energy into the world than
do heroic actions; yes, the heroic looks like a tiny grain of sand
placed upon a mountain with extraordinary illusion. This idea
pleased him.

The Man Without Qualities · Robert Musil

326

3
3 4 327
Solitário ou paciência Por um fio from the series
[Solitaire or Patience] · 1976 Fotopoemação
installation view at the Petite Galerie, Rio de [By a thread from the series Photo-poem,
Janeiro (1976) action] · 1976

4
Harun Farocki
Nový Jičín, Czech Republic, 1949. Lives and works in
Berlin, Germany. A film student during the 1960s, Harun
Farocki has sought to maintain a certain unity between
his production as a filmmaker, his critical reflection, and
his political stance. This commitment is reflected in his
ongoing dedication to his work as a lecturer and critic in
tandem with his cinematography. In producing films as a
form of thought, Farocki moves against the tide of our mass
contemporary culture based on images homogeneously
formatted to entertain, inform, or advertise. As a form of
resistance, Farocki makes this industrialization of thought
and image production the theme of film-essays, draining
off its meaning by removing it from its original context,
thereby revealing new and discreet layers that also help
shape its reality. Immersion is part of Serious Games, an
installation presented at the Bienal. It is the result of
his participation in a workshop organized by the ICT, a
North American virtual reality and computer simulation
research center that develops, amongst other projects, a
videogame therapy for war veterans suffering from post-
traumatic stress.
Serious Games III: Immersion
2009
frames
HE: Do you know that last time I flew from Düsseldorf to Rheims I
used the automatic pilot?
SHE: The new one?
HE: Yes.
SHE: What use are you if it's automatic?
HE: At any rate, it has a better memory than I have. It's fantastic
when you think that first thing we teach a machine is memory. To
record the past.
Enrique Ježik
Córdoba, Argentina, 1961. Lives and works in Mexico
City, Mexico. Between small urban security devices and
analogous tools used in contexts of civil war, Enrique Ježik
observes the ways in which violence reveals itself. The artist
practices sculptural poetics using heavy-duty machinery,
such as excavators, loaders, and pneumatic drills, to invade
exhibition and institutional spaces. Carving, building, and
demolishing, Ježik satirizes the material of which formal
environments are made and presents himself as a model
for equivalent collective investigations. In Estreno de La
SHE: The past isn't funny. The present is the important thing.
INTERTITLE: 1 - MEMORY
HE: No, for me memory is one of the most important things.
But it's so incredible, when I was in Germany, I was at the
Auschwitz trial for a few days. Well, there were people accused
of, I don't know, having killed thousands of people. And they
sweared they didn't remember a thing. Well, perhaps that was
because, I don't know, perhaps it was a defense mechanism,
OTAN, the artist mapped the Serbian airports bombed
during the 1999 Kosovo war. Laid out on easels and
sculpted in low relief into plasterboard, the airport maps
are accompanied by real declassified NATO footage of
the bombings. Objectified as they are in this installation,
the maps and images of the bombing raids are transformed
into mere impersonal data of a military operation, therefore
hiding within themselves the raw face of the battlefield.
Estreno de la OTAN
[NATO's debut] · 2008
installation view
but with some of them one had the impression that they had just
forgotten.
Speaking of memory, remember when I was in Italy with
Mr. Rossellini? Well, he told me a story. For him, it was really the
funniest story out. One day on the Champs-Elysees, he saw a
procession of deported people. You know, men who had dressed
up in their old camp uniforms, striped pajamas. This was ten
years later. Obviously they weren't as thin as skeletons like when
Carlos Garaicoa
Havana, Cuba, 1967. Lives and works in Havana and
Madrid, Spain. Carlos Garaicoa prefers to work with installa-
tion and photography, and draws upon architectonic forms
to illustrate the physical and social degeneration of political
ideals. The artist understands architecture as a discipline
that is key to understanding society, since it conditions
both individual experiences and collective actions. How-
ever, Garaicoa's interest in architecture and art in public
spaces does not always materialize in monumental works.
His subtle and sometimes small-scale pieces can comment
1 2
they came out of Dachau, or Mauthausen. They had been eating,
making money, living a normal life, they'd put on weight. They
gained weight and their uniforms didn't look right on them. And
that is what Mr. Rossellini thought that was really funny, because
those men had a false memory. It didn't fit them because they
had changed.
Me, I can't forget, no matter what..
I remember everything. I can remember my first flight, or
just as strongly on the themes they broach. In his Las joyas
de la corona, silver miniatures represent symbols of state
power in different parts of the world: the Chile's Stadium,
KGB Headquarters, Stasi, the Guantánamo Naval Base,
the DGI, the Pentagon, the Escuela de Mecânica de La
Armada, and Villa Marista. By positing these buildings as
little preciosities, despite their histories as sites of repres-
sion and torture, the artist satirizes the indistinct social
apprehension of coercive symbols. Exhibited as jewels, the
eight buildings are definitively transformed into objects of
desire and appreciation.
my holidays in Britain. The first time I met you, remember? I can
remember everything, even how you were dressed. Of course,
there are things I'd like to forget, but...
INTERTITLE: 2 - PRESENT
SHE: Memory, all that, it's no good for me. I prefer present. It's
more... present is more exiting. I like music. I like the things that
perish, I like flowers, I like...
HE: That makes me think...
Las joyas de la corona 331
[The Crown Jewels] series · 2009

1 · DGI-Línea y A [DGI-Línea and A)]

2 · Pentágono [Pentagon]
3 · Estadio Nacional de Chile [Chile's
National Stadium)]
4 · Base Naval de Guantánamo
[Guantanamo Bay Naval Base]
5 · installation view

3 4

SHE: Love. You have to live it. You have to live it in the pres-
ent, also. Because if there is none in the present, it can't live, it
dies. The most important thing for me is to understand what's
happening. Well, to understand what goes on, I try to compare
it to everything that I've known, to what I've seen in the others...
It's difficult, difficult in the present. That's why I like the pres-
ent, because, during the present, I have no time to reflect, I can't
think. Pardon?
No, I can't understand. I can't understand the present... it's
stronger than me. Of course, the thing I'm keen of, what fasci-
nates me is this... is this element that escapes me, that I can't
control in the present. That's what I like about it.
I'd like to control it. Because I think, I can't help thinking and
I'm not an animal. Sometimes, I'm sorry I'm not, I like animals.
They're so natural, their movements are natural - they're beauti-
ful, the animals. But it's like that, we're supposed to understand...
Manfred Pernice
Hildesheim, Germany, 1963. Lives and works in Berlin,
Germany. The objects produced by Manfred Pernice oscil-
late between the most intimate identification and cold
and distant estrangement. On one hand, there are perfect
and recurrent forms – the wall, the cube, the cylinder, the
interval, the container, and the pile – as well as popular
icons, product packaging, sticker signs, typography, white-
wash, like on old houses. On the other, there are indices of
disorientation and a lack of elements for recognizing func-
tion or symbolism and to identify it as result of a project
Well, am I happy? No, I'm not happy because... because...
precisely because I have no life in the present. Because, I'm
quite clear in myself, I'm not surprised by anything that happens
to me. Yes, yes, they're lots of things I'm ashamed of. Precisely
because, when they happened, I wasn't... I wasn't able to
prepare myself. And I was ashamed afterwards. I was ashamed
because I couldn't realize that I shouldn't have done it. But while
it was happening, no. Not during the present. Because in the
or a process. Kubor presents itself as a pile of cubes, or
wooden boxes, organized in equivalent in size, but un-
equal stacks, creating forms that ignore each other whilst
being mutually tensioned. Kubor is a German trademark
of industrialized beef stock, and the installation bearing its
name offers itself as a place in which to be and to access
information collected by Manfred Pernice. Testifying to
their genesis, also exhibited are the sketches and model
used in the creative process, as well as a biography of the
artist, affected by the void left by the Berlin Wall. However,
these resources could always serve as red herrings or
dispensable clues.
present, I can't, it escapes me... I don't know what's happening.
The present keeps one from going mad.
A Married Woman · Jean-Luc Godard
Kubor 1 + 2 333
2010
project
Qiu Anxiong about the production of space by man and his technique.
He reconstructs the birth, life and decline of an invented
Sichuan, China, 1972. Lives and works in Shanghai, China. civilization, whose history coincides with recent global
Qiu Anxiong is part of a new generation of artists dealing media events. Anxiong questions the validity of reason and
with the hiatus between the mystical, traditional China of a information as the bases of our knowledge of the order of
millennial past and the new nation generated by decades of things, and repositions myth, the uncanny and the fantasti-
socialist government. Through his pictorial production, he cal side by side in the real world.
takes the Chinese landscape as the setting for allusive and
fantastical narratives, allying traditional drawing techniques
with tools of contemporary illustration. In The New Classic
of Mountains and Seas, 1 & 2, roughly six thousand origi-
nal black and white drawings are animated into a fable
The New Classic of Mountais
and Seas – part 2
2009
frame
We had now been about ten minutes upon the top of Helseggen,
to which we had ascended from the interior of Lofoden, so that
we had caught no glimpse of the sea until it had burst upon us
from the summit. As the old man spoke, I became aware of a loud
and gradually increasing sound, like the moaning of a vast herd
of buffaloes upon an American prairie; and at the same moment
I perceived that what seamen term the chopping character of
the ocean beneath us, was rapidly changing into a current which
335
set to the eastward. Even while I gazed, this current acquired
a monstrous velocity. Each moment added to its speed – to its
headlong impetuosity. In five minutes the whole sea, as far as
Vurrgh, was lashed into ungovernable fury; but it was between
Moskoe and the coast that the main uproar held its sway. Here
the vast bed of the waters, seamed and scarred into a thousand
conflicting channels, burst suddenly into phrensied convulsion –
heaving, boiling, hissing – gyrating in gigantic and innumerable
Francis Alÿs
Antwerp, Belgium, 1959. Lives and works in Mexico City,
Mexico. In 1986 Francis Alÿs travelled to Mexico City,
where, by bureaucratic imposition, he ended up staying
as a jobless foreigner. His wanderings in the megalopolis
and his attentive observation of a society of unknown rules
and standards lay the groundwork for his artistic activity.
His work uses photography, video, sculpture, painting,
and performance as a means of enabling his own mind-
set to interact and articulate with daily life and events of
the city and its environs. Assuming multiple roles, Alÿs
vortices, and all whirling and plunging on to the eastward with a
rapidity which water never elsewhere assumes except in precipi-
tous descents.
In a few minutes more, there came over the scene another
radical alteration. The general surface grew somewhat more
smooth, and the whirlpools, one by one, disappeared, while
prodigious streaks of foam became apparent where none had
been seen before. These streaks, at length, spreading out to a
engineers and documents new fables, myths, rumors, and
anecdotes, as if simultaneously researching and inventing
a place. In Tornado, Alÿs inserts himself, as a challenge,
into the seasonal sandstorms and tornadoes that form in
the Mexican desert, investing in an apparently useless,
exhausting, and dangerous task. Screened in large format
in a darkened room, the video combines short shots, filmed
by Francis Alÿs himself at the moment he attempts to run
into the storm, and long open shots filmed from a distance.
There are no clear images of the moments the artist spends
inside the tornado, nor is there any suggestion that this
minor conquest brings any definitive satisfaction.
great distance, and entering into combination, took unto them-
selves the gyratory motion of the subsided vortices, and seemed
to form the germ of another more vast. Suddenly – very suddenly
– this assumed a distinct and definite existence, in a circle of
more than a mile in diameter. The edge of the whirl was repre-
sented by a broad belt of gleaming spray; but no particle of this
slipped into the mouth of the terrific funnel, whose interior, as far
as the eye could fathom it, was a smooth, shining, and jet-black
Tornado 337
2000 – 2010

1 · frame
2 · concept image

wall of water, inclined to the horizon at an angle of some forty-five “This,” said I at length, to the old man – “this can be noth-
degrees, speeding dizzily round and round with a swaying and ing else than the great whirlpool of the Maelström.”
sweltering motion, and sending forth to the winds an appalling
voice, half shriek, half roar, such as not even the mighty cataract A Descent into the Maelstrom  ·  Edgar Allan Poe
of Niagara ever lifts up in its agony to Heaven.
The mountain trembled to its very base, and the rock
rocked. I threw myself upon my face, and clung to the scant herb-
age in an excess of nervous agitation.
338

2
TErreiro 339

LONGEDAQUI,AQUIMESMO
far away, right here

Irene is a name for a city in the distance, and if you approach,

it changes.

For those who pass it without entering, the city is one thing; it is
another for those who are trapped by it and never leave. There is
the city where you arrive for the first time; and there is another
city which you leave never to return. Each deserves a different
name; perhaps I have already spoken of Irene under other names;
perhaps I have spoken only of Irene.

CITIES AND NAMES 5 · Italo Calvino

Marilá Dardot & Fabio Morais
Belo Horizonte, Brazil, 1973; São Paulo, Brazil, 1975. Live
and work in São Paulo. The book is the theme and material
of the work of Marilá Dardot and Fabio Morais. The relation-
ship between words and pictures, and conceptual experi-
ments with the book and the visual arts, bring the two artists
together in a productive partnership. Sebo, from 2007, is
a collection of facsimiles of objects left between the pages
of books bought by the artists in second-hand bookstores.
Marilá and Fabio also created the “Confrar'ilha de Leitura”
(play on the words reading ‘club’ and reading ‘island’) – a
shared collection of novels published from the 70s on, which
are stamped once read. The terreiro Longe daqui, aqui
mesmo is a kind of labyrinth made of enclaves and narrow
passageways that converge upon a large central hall, in an
ode to reading as a creative act. The result is a house under
construction, whose walls, doors and carpets are covered
in pictures of books which the artists hold as references. In
addition to the Confrar'ilha volumes, the terreiro also houses
a library of publications and books sent in by artists from all
over the world in response to an open invitation, as well as
volumes that provide the answer to the question put by the
29th Bienal:”What books would you build your house with?”
1
Longe daqui, aqui mesmo 341
[Far away, right here] · 2010

1 · terreiro model
2 · terreiro project 2
3 · terreiro layout
3
344
345
346

It is the mood of the beholder which gives the city of Zemrude its
form. If you go by whistling, your nose a-tilt behind the whistle, you
will know it from below: window sills, flapping curtains, fountains. If
you walk along hanging your head, your nails dug into the palms of
your hands, your gaze will be held on the ground, in the gutters, the
manhole covers, the fish scales, wastepaper. You cannot say that
one aspect of the city is truer than the other, but you hear of the up-
per Zemrude chiefly from those who remember it, as they sink into
the lower Zemrude, following every day the same stretches of street
and finding again each morning the ill-humour of the day before,
encrusted at the foot of the walls. For everyone, sooner or later, the
day comes when we bring our gaze down along the drainpipes and
we can no longer detach it from the cobblestones. The reverse is not
impossible, but it is more rare: and so we continue walking through
Zemrude's streets with eyes now digging into the cellars, the foun-
dations, the wells.

CITIES AND EYES 2 · Italo Calvino

Mateo López
Bogotá, Colombia, 1978. Lives and works in Bogotá. Going
beyond the usual function of projects, i.e., to preconceive
new objects to fulfill given purposes, Mateo López borrows
the codes of architecture and industrial design and makes
these the gauges of the passing of time and the formulation
of ideas. He creates models that repeat forms of things that
have already been built, showing how, as time never stops
and everything is in constant movement, even if only subtly,
the duplication of things can either go on ad infinitum or
begin to copy itself. Palacio del papel is a stationer's shop
invented from a geometric module that can be combined
with other modules to make buildings, boroughs or whole
cities. Inside, shelves and window displays are filled with
drawing utensils, copied with other drawing utensils, con-
stitute replicas of objects that could further the project
of new utopias. Escaping from the vertigo of a world of
copies that serve no other purpose than to be copied them-
selves, Mateo López presents his Palacio as part of a new,
possible Utopian city, the container of materials that can
transform in order to propose new ideas.
1
348 Palacio del papel
[Paper palace] · 2010

1 · reloj [watch]
2 2 · vivenda social [social house]
3 · regla [ruler]
4 · project

If you are a poet, you will see clearly that there is a cloud float-
ing in this sheet of paper. Without a cloud, there will be no rain;
without rain, the trees cannot grow; and without trees, we cannot
make paper. The cloud is essential for the paper to exist. If the
cloud is not here, the sheet of paper cannot be here either.
[…]
If we look into this sheet of paper even more deeply, we
can see the sunshine in it. If the sunshine is not there, the forest

cannot grow. In fact, nothing can grow. Even we cannot grow
without sunshine. And so, we know that the sunshine is also in
this sheet of paper. […] And if we continue to look, we can see
logger who cut the tree and brought it to the mill to be trans-
formed into paper. And we see the wheat. We know that the
logger cannot exist without his daily bread, and therefore the
wheat that became his bread is also in this sheet of paper. And
the logger's father and mother are in it too. When we look in this
349
way, we see that without all of these things, this sheet of paper
cannot exist.
Looking even more deeply we can see we are in too. This
is not difficult to see, because when we look at a sheet of paper,
the sheet of paper is part of our perception. Your mind is in here
and mine is also. So we can say that everything is in here with this
sheet of paper. You cannot point out one thing that is not here
– time, space, the earth, the rain, the minerals in the soil, the
Eduardo Navarro
Buenos Aires, Argentina, 1979. Lives and works in Buenos
Aires. Eduardo Navarro deals with living spaces and social
habits, from which he develops experimental works as
ambitious as ingenuous, from the construction process to
their interaction with the viewer. Identifying existing social
structures and altering them subtly, the artist works with
the possibilities of art in contact with reality, without any
intention toward mixing the two. Quite the opposite, in fact,
he underlines the processes that distinguish them, creat-
ing new contexts for discussion. In El Dorado, Navarro
sunshine, the cloud, the river, the heat. Everything co-exists with
this sheet of paper. […]
Suppose we try to return one of the elements to its source.
Suppose we return the sunshine to the sun. Do you think that this
sheet of paper would be possible? No, without sunshine nothing
can be. And if we return the logger to his mother, than we have
no sheet of paper either. The fact is that this sheet of paper is
made of “non-paper elements”. And if we return these non-paper
proposes digging for gold in the city of São Paulo, ope­
ning a huge excavation, ringed with protective fencing
and kept well-lit during the night, so that he can sieve
through the earth in search of the precious metal. While
the work has a concrete objective, it also questions the
divide between fiction and reality. Navarro conducts his
search in such a manner as the undertaking meets enough
criteria to ensure the real possibility of finding gold, while
an office is set up at the exhibition with the express aim of
attracting clients to the enterprise. As a new kind of Land
Art, the work will ultimately incorporate the success or
failure of the project as part of itself.
elements to their sources, then there can be no paper at all. With-
out non-paper elements, like mind, logger, sunshine, and so on,
there will never be no paper. As thin as this sheet of paper is, it
contains everything in the universe in it.
Interbeing  ·  Thich Nhat Hanh
El dorado 351
2010
project
Mario Garcia Torres
Moclova, Mexico, 1975. Lives and works in Mexico City,
Mexico. Mario Garcia Torres' practice rethinks the struc-
tures and negotiations that make and have made art exist
as we know it. Recontextualizing certain forgotten or
overlooked narratives related to art is one strategy used by
the artist not only to examine the historiography of art but
also to challenge and open the significance and implica-
tions of one single event in a different moment and place.
In Las variables dimensiones del arte, the commissioned
piece for the Bienal, Garcia Torres reconsiders a number
of repercussions of the exhibition Cien años de pintura
francesa, held in the early 1960s in his native Mexico and
in Venezuela, and specifically the removal of a number
of paintings from this last venue, carried out by the
Venezuelan urban guerrilla. The rhetoric of absence, dis-
placement, and reencounter is used and explored in order
to bring the narratives around the former event back into
the context of art. And then, a new story begins.

Las variables dimensiones del arte

2010
reference image: register of The Caracas Incident (1963)
CADA – Colectivo Acciones de Arte
Fernando Balcells, Diamela Eltit, Raúl Zurita, Lotty
Rosenfeld, and Juan Castillo. Santiago do Chile, Chile,
1979 – 1983. CADA was an activist group of Chilean artists
and one of the most expressive protagonists of the escena
avanzada movement in the wake of the military coup
launched in Chile on September 11, 1973. Formed by soci-
ologists, writers, poets, and visual artists, the group under-
stood art as a form of political resistance and as a program-
matic practice that eradicated the distance between the
artist and the viewer. Intent on fusing art and life, they were
committed to the notion of an open, spontaneous audience.
Their performances questioned institutionalized practices,
intervened in everyday life, and sought to interrupt and
change the normalized routines of urbanity. Their subver-
sive actions were designed to decontextualize and restruc-
ture the behaviors, places, and symbols of the Chilean
dictatorship. Para no morir de hambre en la arte is part of
CADA's first action and demanded a return to Salvador
Allende's policy of distributing milk to the population.
¡Ay Sudamérica! involved dropping subversive flyers from
planes while No + was an expression the group painted on
walls and later completed with anonymous slogans.
1 2
3
1–3 2 4–5
Para no morir de hambre Inversion de escena No +
en el arte [Scene inversion] · 1979 1983
[Not to starve in art] · 1979 documentation documentation
documentation
6
No +
1984
documentation

4 6

5
7 7–8 355
¡Ay Sudamérica!
[Oh South America!] · 1981
documentation

8
Ana Gallardo
Rosario, Argentina, 1958. Lives and works in Buenos Aires,
Argentina. Biography and autobiography lie at the origins
of the work of Ana Gallardo. Focused on emotional ties and
places, Gallardo shifts between listening to others' memories
and the extreme desire to possess them. Interested in the ba-
nal encounters and episodes that make up everyday life, the
artist strives to make them visible by collecting their vestiges,
whether letters, items of furniture, or other objects, but espe-
cially oral accounts or drawings. Gallardo gathers these traces
together and, with the help of some minimal scenography, in-
since I was 6 / I had a habit of drawing / the shape of things. /
when I was 50, / I'd published an infinite number / of drawings; /
but everything I produced before I was 70 / is not worthy of being
/ taken into account. / when I was 73 I learned a little / about the
true structure / of nature, / of animals, plants, birds / fish and
vites the audience to look upon them as worthy objects full of
vitality. For the installation presented at the Bienal, Ana Gal-
lardo, Mario Gomez Casas, and Ramiro Gallardo think about
how they would like to live when old, with special emphasis
on securing a consistent and active intellectual and emotional
life, culminating in a dignified and serene death. This edition
of Un lugar para vivir cuando seamos viejos involves the
participation of an elderly couple that meets every week to
dance with other people of their age at a market in Mexico
City. The two give classes and dance presentations and, with
the artist's help, draw pictures on the walls that represent
decisive moments in their emotional lives.
Un lugar para vivir cuando seamos viejos, El baile:
Danzón / Conchita, Lucio, Maria Ascención
[A place to live when we are old, The ball: Danzón / Conchita, Lucio,
Maria Ascención] · 2010
reference photo: Danzonera de la Ciudadela
insects. / as a result, / when I am 80 years old / I will have made
more and more progress; / when I'm 90, / I will penetrate into
the mystery / of things; / when I'm 100, / I will certainly have
reached a marvelous / phase, / and when I am 110 years old, /
anything I do, / be it a dot or a line, / will have life. // written at
Kiluanji Kia Henda
Luanda, Angola, 1979. Lives and works in Luanda. The
work of Kiluanji Kia Henda develops an alternative vision
of colonialism and post-colonialism in Africa by proposing
its revision and fictional reconstruction. Using photogra-
phy, video, sculpture, or performance, the artist creates
scenarios idealized out of the introduction of strange and
destabilizing elements. Icarus 13 is an installation made
up of eight photographs and a model that reconstructs,
through large documentation, man's imaginary first voy-
age to the Sun, conducted by a fictional Angolan team
75 years of age by / myself, once called Hokusai, / now gwakio
rojin, the old man crazy / about drawing. //
Hokusai · Waly Salomão
on a Utopian mission. The legitimation of this invented
mythology is jumbled with Angolan political history through
a futuristic vision of the architectonic ruins of colonialism:
a Russian mausoleum or an unfinished cinema transform,
respectively, into a spaceship and an astronomical observa-
tory. The likewise realist, but decontextualized images of
construction workers in the shipyards of Luanda mix with
the evocation of the failed heroism of the myth of Icarus,
whose solar odyssey is echoed in this Angolan fable and in
the vestiges of its political projects.
358

ONE // Now you can treat me / As you wish: / I'm not happy
I'm not sad, / Humble or proud, / – I'm not of the Earth. / Now
I know that this insufficient body / To which remote speech is
witness, / Is lost ever so sweetly / In the air, like the secret /
That life gives off. / And its destiny is to go farther, / So far,
indeed, as the exact / Soul, by which / One can be free and
unbiased, / Without acts beyond dream, / Owner of nothing, /
Icarus 13 1 · Astronomy Observatory, Namibe Desert 359
series · 2008 2 · Icarus 13 (view from the Chicala Island,
Luanda)
3 · The launch of Icarus 13 (6:00 pm, 25th
of May, 2007)

But without desire and without fear, / And between events / So

peaceful! / Now you can look at me / While I wait for myself /
For I will return and come, / As surprised as the aeronaut may be
/ With his encounters on Earth. //

The aeronaut · Cecilia Meireles

Marta Minujín
Buenos Aires, Argentina, 1943. Lives and works in Buenos
Aires. Minujín is one of the artists who best embody the im-
portance and popularization of the happening and ephem-
eral art in Argentina, having channeled into her creative
action the destructivist impulse that she believes charac-
terized Latin American art in the 1960s. La destrucción,
executed in Paris in 1963, was her first self-proclaimed
happening, in which she invited artists and friends to
burn and destroy their own exhibits. Large-scale, striking
environments, and ephemeral, utopian pieces, designed for
SOCRATES: Phaedrus, must I remain quiet? – For you will never
know what temples, what theaters I could conceive in the purest
Socratic style!... I would make you think how I had conducted my
work. First, I would pore over all of the questions, I would develop
a seamless method. – Where? – Why? – For whom? – For what?
– What dimensions? – And, assailing my spirit from all
sides, I would determine, at the highest possible level, the opera-
tion through which quarries and forests are transformed into
mass participative perusal by the public, have marked her
production down through the decades. La menesunda was
an installation created (in conjunction with Rubén San-
tantonín) for the Centro de Artes Visuales do Instituto
Torcuato Di Tella. Divided into sixteen zones, with different
environments and activatable situations, the work afforded
a playful, sensory experience for a large audience that
unexpectedly became a spectator of itself. The work will be
presented at the Bienal in documentary form.
buildings, in magnificent equilibrium!... And I would outline my
project, taking into account the intention of the humans who
would later pay me; having chosen the land, in accordance with
its dimensions, its exposure, its access, adjacent plots and the
deep nature of the subsoil…
Next, using raw materials, I would compose my objects,
ordered entirely according to life and the joy of the race incar-
nate… Objects utterly precious for the body, delicious for the
La menesunda 361
1965
frames

soul, that time itself would surely consider so hard and difficult to PHAEDRUS: Faithful, Socrates, faithful.
digest that it would be left merely to destroy them over the course SOCRATES: You must follow me then; and change your
of centuries; and after having garnished them with a singular shadow, if I change mine.
beauty: a soft and golden patina of sacred majesty over them,
and, around them, instituted by the duration, an enchantment of Eupalinos, or the architect · Paul Valéry
nascent comparisons, of secret tenderness…
But you will know nothing more. You cannot conceive that
the ancient Socrates, your well-known shadow…
Palle Nielsen
Copenhagen, Denmark, 1942. Lives and works in Nørre
Alslev, Denmark. The artist worked at the frontier between
art, architecture, activism, research and teaching, dedi-
cating his time to understanding the role of interaction
and playful practices as references for the construction of
alternative spaces, particularly children's playgrounds. His
research deals with the meaning of social and subjective
change that childhood play can generate. In 1968, he pro-
posed Modellen – En modell för ett kvalitativt samhälle, a
synthetic action of thought, designed as a huge fun park
“It's – it's a very fine day!” said a timid voice at her side. She
was walking by the White Rabbit, who was peeping anxiously
into her face.
“Very,” said Alice. “Where's the Duchess?”
“Hush! Hush!” said the Rabbit in a low, hurried tone. He
looked anxiously over his shoulder as he spoke, and then raised
especially charged with social and sensorial stimuli, and
open to reconstruction by children at play, who are provid-
ed with tools and materials to this end. This structure filled
the entire floor space of the Moderna Museet in Stockholm,
evincing a desire to use childhood experience as a means to-
ward reinventing the institution of art. At the Bienal, the ex-
periment is presented as an installation composed of three
slideshows, set to the same soundtrack as stipulated back
in the late 60s, and complemented by a documentary about
the intervention. For the artist, the exhibition context of this
social model depended on the possibility of the children's
play being observed by the gallery-going public.
himself upon tiptoe, put his mouth close to her ear, and whis-
pered, “She's under sentence of execution.”
“What for?” said Alice.
“Did you say ‘What a pity!’?” the Rabbit asked.
“No, I didn't,” said Alice: “I don't think it's at all a pity. I said
‘What for?’”
Modellen – En modell för ett 363
kvalitativt samhälle
[The Model - A Model for a Qualitative
Society] · 1968

“She boxed the Queen's ears” the Rabbit began. Alice however, they got settled down in a minute or two, and the
gave a little scream of laughter. “Oh, hush!” the Rabbit whis- game began.
pered a frightened tone. “The Queen will hear you! You see
she came rather late, and the Queen said “Get to your places!” Alice's Adventures in Wonderland · Lewis Carrol
shouted the Queen in a voice of thunder, and people began
running about in all directions, tumbling up against each other:
365
Milton Machado
Rio de Janeiro, Brazil, 1947. Lives and works in Rio de
Janeiro. To create anecdotes, tales and fables in art you
need to have a sense of humor, but, above all, be deeply
self-critical and disillusioned with the present and the fu-
ture. Milton Machado, artist and lecturer, takes the nervous
laughter the world provokes in him very seriously, especially
when seen through unusual statements. With a degree in
architecture, Machado chose to work as a “measureless ar-
chitect”, proposing impossible but not improbable designs
with no practical purpose. História do Futuro is a work in
“Silence. Elisabeth has moved. She looks at her husband, who
sits with bowed head. She has started to tremble.
“We must go,” she reminds him gently.
Alissa and Stein have drawn together, unmindful of the
others.
“She's said it,” Stein says.
“Yes. They must go.”
Silence. Alissa doesn't move. Now it is Elisabeth Alione's
progress since 1978 that consists of a series of fourteen
designs and a descriptive text. It reveals an absolute and
hyper-coherent imaginary system that articulated the Im-
perfect World, Perfect World and Pluperfect World. This
mythical civilization inhabited by conceptual characters,
such as the Destruction Module, a machine that makes
and unmakes cities; and the Nomad, a minuscule sphere
that fights against the odds in order to survive in Pluperfect
Cities. Begun as a project somewhere between utopia and
dystopia, História do futuro was cross-dressed over time
into literature, philosophy, geometry and pataphysics, the
science of the imaginary solutions.
eyes that try to get some hold on the smooth wall of their faces.
She fails.
“Don't be cross with her,” Max Thor says to Bernard Alione.
“Don't be cross with her because we're what we are.”
“He won't be cross with me,” she says. “He knows you can't
be otherwise,” She turns to Bernard Alione. “Don't you?”
No answer. Head bowed, he waits.
“What about you?”, he asks. “What do you teach?”
História do futuro 367
1972 –
[History of the Future (work in progress)]

1 · Mundo Mais-que-Perfeito: Ciclos 3

de destruição, construção e vida, 4º

movimento [More-than-Perfect World:
Cycles of Destruction, Construction and
Life, 4th movement] · 1978
2 · Módulo de destruição na posição alfa
[Modulus of Destruction at Position
Alpha] · 1990
3 · Nômade [Nomad] · 1990

“History,” Max Thor says. “History of the future.” “Only children,” Max Thor says.
Silence. Bernard Alione gazes at Max Thor, motionless. His She smiles through her tears. He takes her hand.
voice is unrecognizable now. “Oh,” she says. “Wonderful.”
“Is it very different?” he asks.
“There's nothing left,” Max Thor says. “So I don't say Destroy, she said · Marguerite Duras
anything. The students go to sleep.”
Silence. Suddenly there are gentle sobs from Elisabeth Alione.
“Are there still children?” she asks.
Adrian Piper
New York, USA, 1948. Lives and works in Berlin, Germany.
Artist and philosopher by academic training and profes-
sion, Piper began her artistic research doing psychedelic
painting, exploring the mechanisms of perception and
consciousness through yoga and meditation. Conceptual
discourses contributed to her disciplinary diversification,
having infused her artistic grammar with Hindu philoso-
phy and iconography, as well as questions of identity,
ethnicity, and gender, based on her own condition as an
African-American woman. In indistinct and sometimes
simultaneous ways her art has employed painting, drawing,
photography, sculpture, performance, video, installation,
and audio. In her performance soundtrack Bach Whistled,
Piper whistles along to recordings of concertos by Johann
Sebastian Bach in D minor, A minor and C minor. The art-
ist intervenes in Bach's famous compositions with her dis-
continuous whistling, with piques and dips in intensity and
precision, depending on the oscillations of her breathing
and spirit. The effort that goes into forming each note and
executing the entire piece becomes an act of stamina and
obstinacy, full of fissures and imperfections, as a metaphor
and sample of the action of the artist upon culture.
Archigram Group
David Greene, Peter Cook, Michael Webb, Warren Chalk,
Ron Herron, and Dennis Crompton. London, England,
1961–1964. The Archigram Group was formed by six young
English architects around an independent publication of
the same name. Their visionary projects, materialized only
in exhibitions, models, and drawings, functioned as a kind
of laboratory for the formulation of utopian desires and as
a seismograph of the social transformations of the time.
In the second half of the 1960s, they began to envisage
what could be called an architecture of events, underlining
situations that explored mobile and disposable networks
and tools. These projects pointed toward a radical situation
in which an invisible and isotropic unlimited infrastructure
– with the same services available in all directions – would
allow human life and environments to be in continuous
reorganization according to social flows and exchanges,
thus rendering the very concept of the city obsolete. The
Instant City project uses graphic and narrative resources
to present the circulation of a set of mobile apparatuses
(balloons, projections, sound systems, tents, neon signs)
that promote events and toy with a range of playful ways
of occupying space.
1
370
 1 2
Response Unit from the project Instant City Airship, Sequence
Instant City of Effect on a Typical English
1968 Town
1970

An entire life (project for a film).
An entire life spent filming an entire life.
An entire life spent under a movie camera lens.
An entire life spent watching an entire life on the screen.
A human being is the theme of a film from the moment of
his birth until that of his death.
The film represents a human being in all of the moments of
his life.
The tempo of the film is real, natural time. The experiences
registered in the film take place in real time: their representa-
tion has the same duration of the action itself, but naturally the
action, subject to representation, is not entirely real (something
similar to the principle of uncertainty in science).
The film project is made up not only of the film project
with all of its economic, legal, moral, technical and scientific
aspects, but also of all of the projects for the use of the materials
Superstudio
Adolfo Natalini, Cristiano Toraldo di Francia, Alessandro
Magris, Roberto Magris and Piero Frassinelli. Florence, Italy
1966 – 1978. Made up of young architects and designers
from the University of Florence, Superstudio firm compiled
and radicalized the debate on modern architecture and
urban sprawl raised in post-war Europe. Aligned with the
counterculture movement of the 60s, they drafted various
proposals and texts conjecturing about a life exempt from
the notion of property and about the development of per-
fectly structured and self-sufficient urban modules. Aware
developed for the film, such as, for example:
A – All of the material constitutes a single film.
Using the same procedures with which the “actor” was
chosen, the “viewer” is chosen as well, a being destined to spend
his life watching the representation of the “actor's” life. (Project
for complex systems and miniature, portable and semi-invisible
projectors, helmets for the simultaneous viewing of the film and
exterior reality, environments for simultaneous and synchronic
that perfect systems can serve equally well as models for a
life free from a work routine as for the total instrumentaliza-
tion of the human being, regarded as a cog in a mechanism,
they created visionary fictions in video, drawing, photo-
collages and installations. Somewhere between dream
and nightmare, the video series Gli atti fondamentali
discusses the irreducible core of man's relationship with
architecture, reflecting on such notions as life, love and
ceremony in landscapes devoid of buildings, cities and
even objects. Like parables of a world reduced to idyllic
survival, they posit an architecture that derives from the
movements of the body, and its desires, myths and politics.
experimentation of the film and of another – perhaps impossible
–reality…).
B – All of the material constitutes a single film.
A group of viewers are selected so as to form a staff to assist
the film with the same methods with which one assists in a scien-
tific experiment.
(Project for workshop in theater graphics, innumerous rela-
tions, conferences, lectures, intrigues, travel, awards…).
Gli atti fondamentali 373
[The fundamental acts] · series · 1972

1 · Vita Supersuperficie [Life Supersurface]

frames
2 · Cerimonia [Cerimony]
frames

C – All of the material is divided up to form various differ-
ent films.
For example: Birth, Education, Love, the Ceremony,
Death… natural time.
The experiences are grouped together to form homogenous
groups. The dissection and reconstruction of the material in vari-
ous different ways could also result in different films, with tones
of adventure, comedy, documentary, comedy of the absurd,
heroic thriller, political thriller…).
D – Other films may be manufactured in accordance with
the chronology.
For example: the first minute of each new year, the first day
of each Spring, menstrual cycles (if the theme actor is a woman),
the April 15th of every even-numbered year…
Prelude to Educazione · Superstudio
Julie Ault & Martin Beck
Boston, USA, 1957; Bludenz, Austria, 1963. Live and work
in New York, USA. The collaborative work of Julie Ault and
Martin Beck involves curatorial, editorial and expositive
dialogues and activities, weaving careful relations between
research, context and exhibition apparatuses. Resources
like color and the design of the furnishings are considered
from the perspective of hypotheses concerning the move-
ments and readings by the audience, which allows the duo
to create environments that organize information and data
accordingly, and in which theme, content and form mutually
relate. In No-Stop City High-Rise: a conceptual equation,
Ault and Beck return to the project Outdoor Systems,
Indoor Distribution, started a decade ago, and develop
a new line of research, critically gathering references
and visionary projects from the architecture collective
Archizoom Associatti, as well as futuristic and anomalistic
descriptions from the science fiction of J.G. Ballard. Be-
sides quotations and documents gathered in two exhibition
displays, the collective covers an area of the Bienal building
with industrial lining and mirror paneling, creating a totally
different region articulated in space with the nearby work of
other artists and inciting new readings of the structure and
transparency of Oscar Niemeyer's modern design.
No-Stop City High-Rise: 375
a conceptual equation
2000
Graziela Kunsch
São Paulo, Brazil, 1979. Lives and works in São Paulo. Since
the experiment of opening up her own home as a “public
residence”, Graziela Kunsch has grounded her artistic
practice in situations of encounters, dialogue and collabo-
ration. Projeto Mutirão* is a processual work that takes
the form of conversations infused with A.N.T.I. cinema
excerpts –videos consisting of a single shot – that show
the collective production of a new city. The reason for the
use of single takes is to enable the viewer to experience
the duration of the filmed actions and to show that each
1 2
I / The poet cloistered / Or even six months' incommunicable /
Circulates / And functions / Like an irrevocable / Perfect coup
d'état. // Even clever Plato / Knew this! // II / The poet / Albeit
imprisoned / Never has the problem / Of feeling completely
alone. // Because poetry does not allow him / To be detained /
And remain alone. // III / The difficulty / With true poetry is not
ideas. / It is words. // When / For example I want to say / That
excerpt can be understood as part of a bigger process: a
moment in the political struggles underway. The Bienal will
present the archive of the project and books about utopias,
city projects, self-organization and education from the
artist's library. The presentations are happening inside the
terreiros and in different contexts, from the Arena Theater
to rural settlements, as well as schools across the social
spectrum involved in the Bienal's educational program. All
of the presentations are recorded and reflexive excerpts are
incorporated into the archive, with the goal of contemplat-
ing the role of individuals – artists included – in collective
processes and in history itself.
* Mutirão is a Portuguese word meaning
collective effort/participatory mutual aid.
the city at night is the palace / Where privileged tenants / Pay no
rent / Because they are unemployed… // I think… / But without
words / I can confess a lot but / No one knows anything. //
A song in three movements · José Craveirinha
A.N.T.I. cinema, Projeto 377
Mutirão
frames

1 · Novos ventos · 2005

2 · Abertura de portas · 2006
3 · Ciclofaixa · 2008
4 · Rebatismo da Avenida Roberto Marinho
2004

3 4
Antonio Dias
Campina Grande, Brazil, 1944. Lives and works in Rio de
Janeiro, Brazil and Milan, Italy. By building connections
between diverse semantic chains, the work of Antonio Dias
evinces what lies in between; what resides in the inter-
stices of precise fields of meaning, and what springs from
places hitherto considered watertight. This place of sundry
possibilities is handled in propositional form in Faça você
mesmo: Território liberdade, a diagram drawn on the
floor, suggesting the existence of some symbolic space
of experimentation and invention. This space has the
authorial character of a map, constructions made from what
the mapmaker indicates as landmarks to guide the traveler
when crossing a given territory. It is in this forum for the af-
firmation of singularities that Antonio Dias raises the flag
of O país inventado / Dias-de-Deus-dará, a red banner that
bears the most recurrent motif in his work: the absence of
the upper right-hand corner of what would otherwise be a
rectangle. The mark of a core aspect in Antonio Dias' out-
put, this motif stands for an absolute, irreparable, and dif-
fuse lack; for the inexistence of a totality that encompasses
and explains a work in constant change, and the very place
in which it is made and symbolically thematized.
1
1 2 379
Faça você mesmo: O país inventado
Território liberdade (Dias-de-Deus-dará)
[Do it yourself: Freedom territory] · 1968 [The invented country / God-will-give-days]
installation view 1976
installation view

2
Nuno Ramos
São Paulo, Brazil, 1960. Lives and works in São Paulo. Nuno
Ramos' work is born from the material itself: from its resis-
tance, its emphatic presence, its futile reaction to inevitable
ruin. Added to that is a singular lyricism that feeds from
both erudite and popular sources. Nuno Ramos' construc-
tions seem to incarnate the ambiguities of art, culture, and
the social contrasts of the country. Hence, for example, a
euphoric and sorrowful samba mix flowers among enig-
matic and somber architectonic structures; the amalgam of
citations from music, literature, the visual arts, and cinema,
High up in the lonely night an unknown lamp blooms behind a
window. Everything else in the city is dark except where feeble
rays from the streetlamps hesitantly rise and, here and there,
resemble the palest of earthly moonlight. In the black of the
night the different colours and tones of the houses are barely
distinguishable; only vague, one might almost say abstract,
differences, point up the irregularities of the unruly whole.
I am joined by an invisible thread to the anonymous owner
with materials that appear ostensively. Inspired by melan-
choly sambas and Oswaldo Goeldi's sullen view of Brazil-
ian cities, Bandeira branca is an installation that fills the
central hall of the Bienal Pavilion, challenging the clarity
and virtuosity of Oscar Niemeyer's lines. Consisting of
three sculptures made from sacks of black sandy loam and
glass sound speakers, the space is cordoned off by a black
protective mesh that accompanies the sinuous design of
the surrounding floors. Inside, three aviary-bred vultures
share the space, to the sound of fragments from the songs
Carcará, Bandeira branca, and Acalanto.
of the lamp. It is not often we are both awake at the same time
and there is no possible reciprocity in this for, since I am standing
at my window in the dark, he cannot see me. It's something else,
mine alone, something to do with the feeling of isolation, that
participates in the night and the silence, and chooses that lamp
as something to hold on to because I am awake, dreaming in the
blackness, that he is there, alight.
Perhaps, everything exists only because something else
Bandeira branca 381
[White flag] · 2008 / 2010

1 · project
2 · outline of the work on the pavement of the
Bienal Pavilion
3 · installation view at Centro Cultural Banco
do Brasil, Brasília (2008)

1 2

does. Nothing just is, everything coexists; perhaps that's right. I of whatever emptiness, negativity and inconstancy I share with
feel that I would not exist at this hour (or at least that I would not them, the space that exists between me and me, a thing mislaid
exist in the exact way that I exist, with my present consciousness by some god…
of myself, which because it is consciousness and because it is
present, at this moment, entirely me) if that lamp were not lit over The Book of Disquiet · Fernando Pessoa
there, somewhere, a lighthouse marking nothing, erected on the
false privilege lent it by its height. I feel this because I feel noth-
ing. Nothing, nothing, just part of the night and the silence and
382

3
 383

Ox, Ox, Ox  /  Black-faced ox  /

come get this little girl / who's scared of scowls!  /  […]
Black-faced ox

When I saw the land burning  /  like a Saint John's Day bonfire
I asked God in heaven, oh  /  why such suffering?  /  […]
Asa Branca · composed by Luiz Gonzaga and Humberto Teixeira

Carcará  /  Out in the scrublands  /  is an animal that flies like a plane

/ it's a wicked bird  /  with a beak turned back like a hawk
Carcará / […]
Carcará · composition by João do Vale and José Cândido
Oswaldo Goeldi
Rio de Janeiro, Brazil, 1895–1961. His European experi-
ence and failure to adapt to the art scene in Rio de Janeiro,
after his return from Switzerland – where he grew up and
began his activities as an artist and engraver –, mark the
content and form of Oswaldo Goeldi's work. In Rua molhada
and Luz sobre a praça, urban scenes in woodcut, there
is little space for encounters or socializing, and there
are no signs of communal life. What emanates from the
woodcuts is a sense of deep solitude, in which stooped
little figures make their way through the alleys, streets
and squares of a city that is either hostile or indifferent
to their individual dramas. In other compositions there is
no human presence at all, just household objects left lying
about on the floor, attesting to the abandonment of their
owners. His engravings harbor a disturbing silence, muffled
like the darkness that dominates them, interrupted only
by occasional rips of white light or tiny colored surfaces.
Almost nothing happens in the engraved space, with narra-
tives suggested and aborted in the same instant. The pass-
ing of time seems to have been frozen, as if to oblige the
viewer to feel the sheer weight and density of each scene.
1
1 2 385
Paisagem urbana Luz sobre a praça
[Urban landscape] · c. 1940 [Light on square] · c. 1930

Mr. Costa's wife / (Scared, it was known) / Raised vultures in
the chicken coop / Alongside the livestock they owned // It was
a letdown to know / The real reason why: / It was not for the
sick pleasure / Of raising such Satanic fry, // Nor to exercise
/ Strangeness and its dark annals: / But rather because the
vulture protects, / Watches over and blesses the animals.
A criadora de urubus [The vulture raiser] ·
João Cabral de Melo Neto
David Cury
Teresina, Brazil, 1963. Lives and works in Rio de Janeiro,
Brazil. In Antônio Conselheiro não seguiu o conselho, David
Cury takes Brazilian agrarian conflicts as his theme of
choice. The work is a present-day take on the 15th-century
dispute between the Florentines and the Sienese, as por-
trayed in Uccello's The Battle of San Romano (c. 1450). The
Italian episode is superposed upon the late 19th-century
Canudos War (1896 – 1897), between the Brazilian army
and a socio-religious movement led by Antônio Conselheiro
in the hinterlands. The assembly of Antônio Conselheiro
não seguiu o conselho is unstable and risky, consist-
ing of a trench comprising over a thousand burned-out
cold tube lights, glass panes, iron rods, and containers
connected by a simple support, with no bolting. If the
instability of the work evokes a sensation of imminent con-
flict, much of the construction's visual tension derives from
its fragile, precarious structure, in which everything could
collapse and break without warning.
Antônio Conselheiro não seguiu 387
o conselho
[Antônio Conselheiro did not follow the
advice] · 2005 / 2010
installation view at Museu de Arte Moderna
do Rio de Janeiro – MAM-RJ (2005)
Monir Shahroudy Farmanfarmaian somber colors and a wealth of detail in mirrored surfaces.
The circles communicate between themselves, forming
Qazvin, Iran, 1924. Lives and works in Qazvin. Monir diptyches that revisit the formal and symbolic tradition of
Farmanfarmaian devices sculptures, designs and paintings Islam. The set forms a delicate sequence of layers of color,
with intricate and rigorous, yet light geometric structures. interlacing ancestral symbols from the artist's culture and
Since the 1960s, the artist has used the reverse-glass religion in a codified play of tributes and deflections.
painting technique, the result of which is seen through
the smooth side of the glass. In Iran, the technique is as
traditional as mosaic, which the artist also works with. Her
paintings presented at the Bienal made from the intersec-
tion of two circles, which comprise various geometric
forms, from the triangle to the undecagon, furnishing

1
1 2 389
Heptagon and Hexagon Square and Pentagon
2008 2008

Interior lighting. / Instead of an extra-solar light / falling
at an angle of 45°. / determine the luminous / effects
(lights and shadows) of an / interior source. i.e., that /
each substance in its chemical composition / is endowed
with a “phosphorescence„ (?) / and lights up like luminous
advertisements / not quite? Its light is not / independent of
its color. – In short / the color-effect of the whole / will be
the appearance of / matter having a source of light / in its
molecular construction. / […]
The Bride Stripped Bare By Her Bachelors, Even ·
Marcel Duchamp
Eduardo Coimbra
Rio de Janeiro, Brazil, 1955. Lives and works in Rio de Ja-
neiro. Designing, photographing and creating installations,
Eduardo Coimbra captures landscapes and displaces them
into a specific environmental situation. By manipulating
representations of nature and constructed places, he guar-
antees his interlocutor a distant and poetic view of those
spaces which might otherwise seem irreducible or inaltera-
ble. On the second floor of the Bienal building, Luz natural
involves the construction of a sky overhead and out of
reach of the circulating visitors. To confer a sense of con-
tinuity, the work girdles a sequence of six of the building's
pillars with fluorescent lamps covered in acrylic tubing
and stamped with images of clouds. These cylinders of
light, set one beside the other near where the pillars reach
the floor above, open a whole new space. By bringing the
sky inside the exhibition, the composition invites the gaze to
lift from the horizon, on which the other works are plotted,
in order to behold not merely new perspectives, but indeed
new places. Seduced by metaphor, the viewer momentarily
encounters architecture in its Utopian form.
Luz natural 391
[Natural light] · 2010
project
Jimmie Durham
Arkansas, USA, 1940. Lives and works in Rome, Italy and
Berlin, Germany. Attentive to the political and cultural use of
objects, spaces and language itself, Durham collects materi-
als and elements that refer to the major themes of western
culture, at the same as he distinguishes himself from them.
Critical of the codes and symbols that regulate the way we
talk and move about in space, the artist makes no attempt to
abolish them, but simply to remain aware of their presence.
Through this stance he develops a brand of poetry or dance,
an articulation of actions that follows an open structure and
that can emerge from an intense dialogue with its materials
and meanings. For the installation Bureau for Research
Into Brazilian Normality, Durham travels around São Paulo
like some false anthropologist gathering elements and ci-
tations of the strange normality of life in the city. Window
displays and tables will represent a space reminiscent of
an ethnographical museum or study hall. This documental
space, replete with annotations and objects chosen for their
banal or ridiculous aspect, will capture the taste and every-
day life of a city full of residential buildings with pompous-
sounding names, international fast food chains, shopping
centers and monuments to the bandeirante explorers.
Bureau for Research Into
Brazilian Normality
2010
reference images and texts made in São
Paulo in July of 2010
“Kalakata! / A rat took a chunk out of your ear / Kalakata /
Looks like a waddling duck's rear!”
And the other kids always making fun of the piece of ear
that was missing in Kalakata's life.
“Kalakata / Eat your ear with the chunk of bread / They
took off of yours / With the dog's mouth!”
When it would come time to go to the bread vendor, Kalakata
made sure to keep his tickets clenched in his hand inside the
393
little plastic bag. That way, if someone made fun of him while he
was in line he wouldn't even notice, for his stepmother's constant
warnings to be careful forced Kalakata's head to stare only in the
direction of the place. A place is a place. If you're going to go piss,
piss right there in the line. Don't leave and mark your place with a
stone or a brick. All that has to happen is for the person in front of
you to get his bread and when you come back the stone'll be gone
and you won't have time to get back in line again, the bread'll be

gone. The line is for you to bring the bread back home. Nothing
else. And before you get in line, pee three times.
Kalakata would obey and even every tiny step the person
in front of him took Kalakata would take another, nearly lean-
ing on him, pull up his baggy, beltless trousers with his wrists,
look behind him and beside him and count how many people
were more or less left ahead of him, because twice, when it was
Some years ago Maria Thereza Alves and I distrib-
uted an “open letter” about the São Paulo Bienal
and the situation of the indigenous peoples of Brazil.
We did not call for a boycott of the Bienal, although
some people thought we did; we asked instead that
artists think seriously about why there was no call
for a boycott. The letter explained that in the entire
world Brazil was the only country in the twenty-first
century in which some people were not considered
to be fully human in the legal system of the country.
For the most part Brazilians did not response to
our letter, but we heard from secondary sources that
the typical response was the same as it has been
for so many years: “The situation is quite complex.”
Over the years, with indigenous peoples losing more
land and being decimated by the violence of Brazil-
ian society, this complacent excuse came to be seen
as stupid.
But today some changes begin. If I say “not
enough”, or something else which might sound pa-
ternalistic to Brazilians, I ask that you not consider
me as an artist from the U.S., but as an indigenous
person from the Americas.
These two continents hold not only our past but
also our collective future. The indigenous peoples
of Brazil do not belong to Brazil. They belong to
ourselves/themselves.
his turn to hand them the ticket, they closed: no more bread! He
also paid attention to people's elbows in the line. On those bad
curves, kids older then fifteen like to cut. And no one can get
them back out because of their group that waits outside, a bunch
of Greeks, with their knives in their pockets, and their cutter hold-
ing four or five tickets. Greeks' bread, Kalakata knows the rule
there in the neighborhood and whatever Greek elbows into the
 395

Anyway, I am pleased to participate in the

Biennale, and think to be as participatory as I can
manage.
As an artist I of course want to be kind of
neutral; in the sense that personal histories and
identities are not so interesting in art endeavors. In
the same way, I do not want to research nor expose
Brazilian racism. It is an old and boring fact, after all;
no different from the racism of the other countries of
the Americas.
I like very much to come into a place empty-
handed, with my brain also not completely filled.
With a base (a room) within the São Paulo Bienal
structure I want to employ my time studying the situ-
ations and “complexities” of São Paulo. I do not so
much want to visit favelas or poor people as to see
what the elite are thinking, saying, doing. The every-
day discourses in the shops and streets as well.
It should be possible to find interesting artifacts
and material evidence. If things go as planned I will
come to São Paulo in late August and stay several
months. In that time my International Center for Re-
search of Normal Phenomena can change, expand,
take various directions.
Someone said, “If you wish to see God try to
look at what he looks at.” I can look at what Brazil-
ians look at. I can watch TV.

International Center for Research of Normal

Phenomena

line, Kalakata even helps him out, moves back a little and gives “Bird-beaked goalie / Not worth a dime / The ball flew past
him more room. you / You half-eared slime.”
Kalakata's life moves along like this, going to school,
helping in the household chores alongside his six siblings, play- 1 dead and the living · Manuel Rui
ing soccer when they pick him as goalie and, even then, when
they kick the ball and he doesn't manage to block it, the teas-
ing comes,
Yonamine
Luanda, Angola, 1975. Lives and works in Luanda and in
Lisbon, Portugal. Yonamine was born at the end of the
Portuguese colonial rule in Angola and grew up with the
nation in civil war. His work takes painting, drawing, engrav-
ing, graffiti, photography, video, and installation as means
of framing such processes as accumulation, superposing,
mixing, and saturation. He expresses a poetic iconography
that reinterprets political, cultural, and everyday practices,
as well as references absorbed while simply moving around.
Os mestres e as criaturas novas (remixstyle) is an installa-
Os mestres e as criaturas novas (remixstyle)
[The masters and the new creatures (remixstyle)] · 2010
reference image: Dipolo installation detail at ZonaMaco, Mexico City (2009)
tion devised specifically for the Bienal space. It consists
of a penetrable room plastered with silk-screen materials:
Brazilian newspapers and a curtain made of transpar-
ent plastic bags, both new and recycled. The pavilion's
window display is also covered in silk-screen prints.
The imagetic contained in these constructive elements is
restored to them in shadows simultaneously projected onto
the body of the viewer. The installation, an overlap and fu-
sion of earlier ideas and works, such as the video Microlife,
translates into an eclectic and unlikely sound assemblage
which the visitor can savor inside and outside of the space
of circulation.
Cildo Meireles
Rio de Janeiro, Brazil, 1948. Lives and works in Rio de
Janeiro. Cildo Meireles approaches space as the point of con-
vergence between the real, the symbolic, and the imaginary.
The conceptual matrix from which the artist works leads him
to insert political statements into everyday practices and
objects, bringing power-relations to light through metaphors.
This procedure is rendered evident in Projeto cédula (Quem
matou Herzog?), part of the historic series Inserções em
circuitos ideológicos, in which the artist stamped banknotes
with the question “Who killed Herzog?” (a Brazilian journalist
Abajur
1997 / 2010
project
A recluse can make machines or invest his visions with real-
ity only imperfectly, by writing about them or depicting them to
others who are more fortunate than him.
I think it will be impossible for me to learn anything by look-
ing at the machines: hermetically sealed, they will continue to
obey Morel's plan. But tomorrow I shall know for sure. I was not
able to go down to the basement today, for I spent the whole
afternoon trying to find some food.
murdered during the dictatorship) and then returned them to
circulation. In Abajur, the viewer goes up to the second lev-
el of a two-floor room from which she/he can appreciate a
circular and illuminated projection showing overlapping im-
ages of a sea with sailships and a sky filled with clouds and
seagulls. Approaching the room, the public gets surprised
by the mechanics of a generator that supplies the energy
that keeps the light aglow. In this paradoxical environment,
divided between what the work reveals and apparently hides,
the artist uses the scale and concreteness of the human body
to throw up a question about the formation of the Brazilian
social space, evoking the violence of time and history.
If one day the images should fail, it would be wrong to
suppose that I have destroyed them. On the contrary, my aim is
to save them by writing this diary. Invasions by the sea and inva-
sions by the hordes of increased populations threaten them. It
pains me to think that my ignorance, kept intact by the library,
which does not have a single book I can use for scientific study,
may threaten them too.
I shall not elaborate on the dangers that stalk this island
Joseph Kosuth
Toledo, USA, 1945. Lives and works in New York, USA and
Rome, Italy. Kosuth started working as an artist during the
1960s, while studying anthropology and philosophy, and ed-
iting the magazine Art & Language, an influential publication
with links to the generation of British and North- American
conceptual artists of the period. His works take the form of
installations, exhibitions, and publications that explore art
as an idea. They reinforce the role of language in the consti-
tution of a work of art and reject its formal, aesthetic, and
iconic character. Researching the very nature of art itself,
1 2
– both the land and the men – because the prophecies of
Malthus have been forgotten; and, as for the sea, I must confess
that each high tide has caused me to fear that the island may be
totally submerged. A fisherman at a bar in Rabaul told me that the
Ellice, or Lagoon, Islands are unstable, that someone disappear
and others emerge from the sea. (Am I in that archipelago? The
Sicilian and Ombrellieri are my authorities for believing that I am.)
It is surprising that the invention has deceived the inventor.
Kosuth disassembles the codes and processes behind the
construction of artistic discourse. North, South, East, West
consists of enlarged dictionary entries reproduced in full
in white type and set against a black background. This
work is one of the first in which Kosuth switches from the
exhibition of actual things to the lexical entries that define
them, thus questioning the degree to which the description
of a thing differs from the thing itself. The interdependence
of meanings between the cardinal points, defined in con-
junction in a territory, demonstrates that, when it comes to
geopolitics, the correspondences between representation
and reality are not always self-explanatory.
I too thought that the images were live beings, but my posi-
tion differed from his: Morel conceived all this, he witnessed
and directed the work to its completion, while I saw it in the
completed form, already in operation.
The case of the inventor who is duped by his own invention
emphasizes our need for circumspection. But I may be gener-
alizing about the peculiarities of one man, moralizing about a
characteristic that applies only to Morel.
Art as Idea as Idea 399
series · 1967

1 · East
2 · North
3 · South
4 · West

3 4

I approve of the direction he gave, no doubt unconsciously,

to his efforts to perpetuate man: but he has preserved nothing
but sensations, and although his invention was incomplete, he
at least foreshadowed the truth: man will one day create human
life. His work seems to confirm my old axiom: it is useless to try to
keep the whole body alive.

The Invention of Morel  ·  Adolfo Bioy Casares

Breathing place
Stela Barbieri

[... ]
Whatever lives
Disturbs with life
The silence, the sleep, the body
That dreamed of cutting itself
Some clothes from clouds.
The living shocks,
Has teeth, angles, is dense.
The living is dense
Like a dog, a man,
Like that river

The dog without feathers  ·  João Cabral de Melo Neto (direct translation)

The 29th São Paulo Bienal is a space where art expresses itself in
a vital and sometimes uncomfortable manner. As everybody indis-
criminately shares the air we breathe, the same can happen with
artistic production. An exhibition like the Bienal de São Paulo should
not be restricted to a reduced number of people, particularly not
to an elite. For art is able to throw open, question, reflect and pres-
ent points of view about what goes on in the world regardless of the
preconceived ideas we may have about it. Aesthetic thoughts, artic-
ulated with the most diverse life experiences, reverberate inside of
us through exhibited artwork, questioning our concepts, prejudices,
values and culture, and frequently posing irresolvable challenges and
inquiries. The role of art is not to present an answer, but to pose ques-
tions. What one sees in the works, and the private manner in which
one experiences the artist’s proposal, forms nexuses with other visi-
tors, opens a space in which to share, creates a whole galvanized by
surprise, by the unexpected.
 403

The artist puts us in contact with invention. It is the artist who

hears the impossible in the land of freedom and puts the idea into
practice. He reminds us of the possibility of inexistent worlds and
may even rub our faces in what lies right under our noses. He runs
away from the illusion of a rational, falsely stable world, inventing
other points of view and states of being, rupturing and questioning
standards and routines, offering ambiguity instead of certainty.

Listening and dialogue in the art experience

Educational processes happen in this place full of life, tension and

incongruence. How can we receive guests at the Bienal de São
Paulo and maximize their contact with the exhibition? How should
we develop significant actions for different people? How do we
communicate with a great number of visitors while addressing each
in turn?
The Educational Project of the 29th Bienal involves listen-
ing and dialogue, learning and deconstruction, receptiveness
and rigor, conversation and respect for solitude. It is a collabora-
tive task fulfilled in small groups, eye to eye, as well as in the wider
discussion.
Committed to the curatorial concepts of the exhibition, the
project contributes to a show that is focused on both art and poli-
tics, that has as its main goal the diffusion of contemporary art,
that reaches different publics through specially tailored actions and
that comes with its own documentation and material, including a
website geared toward those interested in aesthetic formation and
avid for information, but largely located far away from the big hubs.
As Paulo Freire teaches us, the Educational Project has to be
aware of the several voices present in this circle – the voice of the
artist, the curator, the student, the visitor (from so many different
places), the security guard, the educator – and give them the space
they need to understand the works and express themselves in their
own way. As the educator says in Pedagogy of Freedom:
404
 405

Whoever has something worth saying has also the right and
the duty to say it. Conversely, it is also obvious that those who
have something to say should know that they are not the only
ones with ideas and opinions that need to be expressed. Even
more than that, they should be conscious that, no matter how
important the issue, their opinion will probably not be the one
truth long and anxiously awaited by the multitudes.

Collaborative networks

The main focus here is the art experience, that is, to engage
with it and share it from an aesthetic and political perspective,
as proposed by the general curatorship of the exhibition. In this
context, the goal is to work with different targets: specialists,
people used to or unfamiliar with the art environment, people
with special needs or with limited access to exhibitions and other
cultural activities.
The development of the Educational Project for the 29th
Bienal de São Paulo started in July 2009 through contact with
networks, dialogues with educators who had taken part in previ-
ous educational discussions with the Biennial Foundation
throughout its history, and with different organizations and educa-
tional or cultural institutions, always respecting their backgrounds
and principles. The network is made up of NGOs, public and
private schools, universities, cultural centers, museums, Cultural
and Educational Programs run by the city and state of São Paulo,
as well as similar programs in other states and on the federal level.
The work was developed in a proactive manner, through an
invitation to discuss contemporary art and other issues broached
by this edition of the Bienal. This first contact gave rise to a collab-
orative action plan. The challenge was to create possibilities for an
encounter between the different publics and the art itself, promot-
ing an unsettling dialogue and assuming as a point of departure
the particular experiences and repertoires of each participant.
406

The voice is in movement. Everybody can have it. It is the

reverberation of the ping-pong of the collective body, of paths
crossed, questions raised and experiences lived. Augusto Boal
says: “all human beings are actors, because they act; and specta-
tors, because they observe; we all are spect-actors”.

Educational actions

In what regards actions that occur before, during and after the
exhibition, the 29th Bienal’s Educational Project is structured
upon eight axes that create diverse circumstances for knowledge
exchange and learning, as follows:

Actions before the 29th Bienal

1 · Actions to train public and private school educators on either

on-site or distance courses;
2 · Actions with NGOs and neighborhood organizations;

3 · Training course aimed at educators that will be offering guided 1 Associação Cultural Videobrasil, Caixa

tours during the exhibition. Part of this activity was done
online, in partnership with 22 cultural institutions from São
Paulo;1
Cultural, Centro Cultural Banco do Brasil,
Centro Cultural São Paulo, Centro da Cultura
Judaica, Instituto de Arte Contemporânea
– IAC, Instituto Arte na Escola, Instituto
Moreira Salles, Instituto Tomie Ohtake, Itaú
Cultural, Memorial da América Latina, Museu
Afro Brasil, Museu Brasileiro de Escultura,
Museu da Casa Brasileira, Museu da Cidade
de São Paulo, Museu da Imagem e do Som,
Museu de Arte Brasileira da FAAP, Museu de
Arte Contemporânea da USP, Museu de Arte
de São Paulo, Museu Lasar Segall, Paço das
Artes, Pinacoteca do Estado de São Paulo.
Actions during the 29th Bienal

4 · Guided tours of the 29th Bienal for schools and general public;
5 · Courses for children, young people, teachers and other
professionals;
6 · Special program for children and families in the terreiros –

meeting points inside the exposition;

7 · Meeting with artists, critics, educators, curators and other

professionals – Teacher Week Program;

8 · International Seminar – Education, Art and Politics.

After the exhibition, a permanent educational sector will be set up

to continue to feed the relationship networks established during
the event.
408

Partnerships

The promotion of meetings between teachers that problema-

tize everyday issues paves the way for new modes of learning and
establishing a relationship with art and the world.
At these meetings, the discussions were about the concepts
related to contemporary art, politics and the curatorial project for
the 29th Bienal, as well as those related to the notion of expe-
rience with art and the teaching of contemporary art. Teachers
taking part in the discussion received the educational mate-
rial prepared especially for this edition – to be used with their
students – and helped to develop a collective poetic action. In the
communities, after an initial meeting, some artists were invited to
create specific actions with the residents.
The project goal was to attend 400 thousand people on
guided tours, to which end meetings and courses were conducted
with approximately 35 thousand teachers.
 409

Educators and training

Visitors to the 29th Bienal will be met by a team of 300 educators

properly prepared to dialogue with the public thanks to a course
held in partnership with the main cultural institutions of São Paulo
and designed to strengthen and expand the role of the educator
as an instigator of questions.
The course administered to these educators was held in
two steps. The first, which took place between April and June,
involved 500 university students divided into 24 groups of approx-
imately twenty individuals, with one supervisor per group, which
visited educational sectors and exhibitions at 22 cultural spaces
in São Paulo. The second step, held from August to September,
was offered to 300 students, selected from the initial 500, with
a view to deepening their knowledge of the concepts and artists
featured at the 29th Bienal.
In terms of public policy, the Educational Project of this
edition sought to reach different social groups in diverse ways,
offering six initial routes through the exhibition, while stimulating
the visitor to construct his/her own itinerary.
In a Bienal that proposes thinking about art and politics
through poetry – “there is always a cup of sea to sail in” –, the
Educational Project also finds a possible way of carrying out a
political action through art. The art comes first, and is an educa-
tion in itself. This educational and political action is not presented
as something rigid and extremely analytical, with methods that
frame the art as if it could be explained as a theorem or an histori-
cal fact, but rather as a collective body nourished by the listening
of art, a body that is always in transformation, that grows by amal-
gamating other bodies and visions, questioning at every juncture.
After all, if art is vital, then Bienals are there to revitalize.
410
411
On the construction of an archipelago
Marta Bogéa

Occupy the whole space, shade it, fill it. Seek light, open, recog-
nize the fields articulated in nuclei, relate the countless halls with
the existing orthogonal grid. This was the first step.
The recollection of restlessness, of the movement desired
for the space, and the recognition – shared with the curators – of
an architecture that was an experimental field defined the final
configuration of the project.
Three aspects demanded particular attention: to recover and
constitute interstitial spaces that can be activated; shake off the
orthogonal nature of the halls as a premise; and allow for roaming
in fluid continuity across the exhibition fields.
With that done, finding variable, labyrinthine routes enriched
by attention to the errancy present in human movement; densi-
fying rather than isolating; recognizing the unstable space as a
value, all of these provided significant bases, the result of a rich
debate with the curatorial team that allowed for the redefinition of
the design eventually established for construction.
The initial metaphor of citadels as a project parameter gave
way to the new metaphor of neighborhoods, or boroughs, as
non-delimited, but recognizable fields, territories configured by
approximations, density and cohabitation. The labyrinthine path-
ways and the multiple routes were retained, while the skins/walls
that delimited each nucleus were shed.
Of the initial outline remained only the desire for disjunction
between the territory built for the 29th Bienal, as a rotated field,
and the existing orthogonal grid that characterizes the space. The
solution was to superpose a field of diagonals upon the strong
structural orthogonal lattice of the pillars.
 413

Existent orthogonal grid

Proposed diagonal grid

414

The metaphor that prevailed, in the end, was that of the

archipelago, a spray of rocks or islands articulated by densities.
The halls, rocks in the archipelago, were configured around
the lines of this grid so as to swallow the existing pillars and thus
redefine the geometry of the space; shards of an earlier stable,
but ultimately deposed field, in which the tension of rotation now
occurs throughout the whole conjunct.
It is a guest architecture that intervenes in the resident
architecture in unstable/movable ways. It uses the beauty and
coherency of the building to subvert that architecture without
having to cover it up. It creates, out of disjunction, two cohabiting
territories. It looks for a depth and a variety of paths, organiz-
ing the controlled instability of the circuit via diagonals. A field
unstable but not random, articulated in escapes that are precisely
configured by the lines of force of a mesh recognized as a matrix.
The proposed archipelago also organizes itself as a play of
heights and luminosities. Instead of uniform white, each “rock”
assumes a temperature of white, using tonal differences to simu-
late a variance in light that confers the illusion of depth. Likewise,
instead of a uniform, standardized height, the blocks are stag-
gered to conjure a certain vibrancy on the vertical as well.
Counter to the habitual lines of architecture, this space is
not defined by an addition of elements step by step, but rather
takes its lead from sculptural procedure and fills the whole space,
constituting blocks full of material from which the final elements
derive through subtraction.
It’s an architecture that takes the shadow as its platform.
2nd floor 415
416

Field of relations

Architectures made for art exhibitions contain in themselves an

enchantment and a secret; they originate from the immaterial
field that amalgamates relations.
These are designs that, prior to any architectonic desire,
remit to a narrative desire. They are, from the outset, delineated
by the provocation of a curatorial reasoning articulated with the
works and by an earlier space – a resident space that receives
the visiting space proposed for a specific exhibition.
In this sense, there are different elements to be related and
that become founding premises: the existing architecture, the
curatorial proposal – which points toward a given poetic and
conceptual field based on the nature of the selected works and
their articulations between themselves and with the host territory.
Starting from an understanding of the particularities of each
element and the relational field between them is what furnishes
the bases that configure the nature of the space.
In this field, the desirable interlacing of the distinct poet-
ics in play ought to ensure, as a counterweight, an architecture
that is coherent and cohesive as a platform, such that it does not
become confused with the works and can establish a pertinent,
recognizable and singular space.
Thus are the relational milestones, the vertices of the 29th.
The Bienal Pavilion, former Palace of Industries, inaugurated
in 1953 as part of the Ibirapuera Park complex,1 figures as one of 1 Designed by Oscar Niemeyer, Zenon
the most significant works of the Brazilian modern movement. Lotufo, Helio Uchôa and Eduardo Kneese
de Mello, with the collaboration of Gauss
Instantly recognizable by the large outer marquise that artic-
Estelita and Carlos Lemos. The Ibirapuera
ulates the buildings and configures one of the most impressive Park complex was designed for the 4th
meeting spaces in the city of São Paulo, the complex consists of Centenary of the foundation of the city of São
Paulo. In: Henrique E. Mindlin, _Arquitetura
singular buildings, all cast from the same conceptual matrix, but Moderna no Brasil_. Rio de Janeiro:
keeping such particularities that make each construction unique. Aeroplano Editorial/Iphan, 2000.
 417

The pavilion that houses the São Paulo Bienal presents

itself as a regular 250 by 50-meter prism covering a total area
of 35 thousand square meters, structured by a 10 meter by 12
meter grille of pillars and two cantilevers that define the lateral
marquises on the six-meter ground floor.
Here, from the very beginning, it is important to recognize
an instigating ambiguity: the entrance indicated by the marquise
intercepts the building transversally, while the “main entrance”,
with the flight of steps that ensures the magnitude of the space,
as well as the frontal access that reveals the longitudinal exten-
sion of the building, is located on the far left of the marquise.
Therein resides a whopper of a contradiction. It is interesting
to see the force of the architecture well delineated, in this case,
the power of the marquise as a field of articulation and usher-
ing of flow. The most suggested entrance ends up being that
indicated by the marquise, pertinent in relation to the park but
undeserving of the potency of the building and, above all, not the
access originally defined by its design.2 As its point of access,
the architecture for the 29th Bienal recognizes a transversal
field at the head of the building, defined by two parallel lines that
funnel inwards and advance across the window frames, where
they spatialize into two symmetrical porticos, a kind of door sill,
that suppress the outside view in order to reveal it from within the
glass-lined interior. 2 See the drawings published in Mindlin,
This level, measuring 7.5 meters from floor to ceiling, op. cit., pp. 208, 209, 214, in which one
can see a large “veranda”, a kind of covered
conjures a strong presence of the park landscape. An insinuat-
square in the first six structural modules.
ing mezzanine intercepts this field, already announcing one of the Access through the head of the building
major particularities of this pavilion – the tidy, symmetrical and was reestablished for the 27th Biennial and
reiterated as a square in the 28th. The 29th
homogeneous exterior that opens onto a complex, asymmetrical edition restores access via this region, now
and varied interior. using an axis transversal to the building.
418

The first level is the base of the atrium. The powerful field
engendered by the de-centered amoeboid-shaped void is one of
the most surprising spans in modern architecture. It displaces the
regular symmetry of the building, configuring a vertical field that
is enriched by the haphazard contours of the non-prismatic void
and, in this sense, constitutes a considerable force field that verti-
calizes the experience, like a kind of interior vertical street.
This outstanding extension returns on the second level,
distinct from the third by virtue of its occupation (air-conditioned
modules and space shared with MAC USP (Museum of Contem-
porary Art of the University of São Paulo).
For the 29th Bienal, considering the building as the origi-
nary material context meant recognizing the exuberance of an
architecture that imposes itself as a singular constitution that,
in this case, would not serve as an appropriate matrix. As such,
the platform for the 29th Bienal, which seeks another order of
space (non-transparent and discontinuous), organizes itself by
subverting it, by devising another geometric base as its matrix
– a diagonal weft. It does this, however, without hiding or cover-
ing the building, but by maintaining the tension of two spaces in
dissonant cohabitation.
“There is always a cup of sea to sail in” is curatorially defined
by a multifaceted, non-linear, non-hierarchised narrative for
which an isotropic, continuous and transparent space would not
prove effective. It looks for cohabitation between differences, in
which the definition of distinct exhibition rhythms gives the show
its legibility.
One of the enchantments of the Bienal, and also one of its
stiffest challenges, is its considerable size. This physical exten-
sion, conferred by the dimensions of the pavilion, will echo
throughout the 29th Bienal as a symbolic extension, organized 3 Curatorial concept behind the definition of
out of “two significant territories – the first presenting the works exhibition fields and terreiros. For more on this
of art, and the second defining a forum for debate”. 3 see the document presented in May 2010.
the archipelago 419

Ground floor + 1st

2nd

3rd
420

In the exhibition spaces, rather than creating fields of frank

articulation, in large continuous spaces with various objects in
coexistence, what prevails is the concept of a distinct weave that
both “approximates and separates”, as we read in the curatorial
text on the terreiro “Remembrance and oblivion”.
The initial bases for the architecture of the 29th Biennial
derive from the interweaving of the powerfully singular archi-
tecture of the Pavilion and a curatorial concept based on global
diversity: an architecture constituted as a space that is continu-
ous but not homogeneous; varied but not hierarchised; fluid but
built from solid materials.
In the archipelago of exhibition spaces designed by this
architecture, the coagulation of “rocks” or “islands” creates
neighboring groups configured by the exhibition halls and their
interstitial spaces, furnishing multidirectional crossings.
And so we have a varied territory that rigorously unfolds
along the underlying lines of force. It is a restless architecture,
established in intercourse with the works and their poetics.
Finally, the works, the constitutive lines, the relational
field wrought in simultaneity with the architecture conspire to
comprise the imagined – though never totally expected – interior
landscape with which the engendered archipelago is activated.
421
Capacete Project: notes on the proposal
for the 29th Bienal de São Paulo
+  As part of the group of actions and events that embody
the 29th Bienal de São Paulo, CAPACETE proposes to be,
from March 2010 onwards, a “space-time” for multidisci-
plinary convergence, following the “conversation lounge”
format. In the 19th century, this format allowed different
personalities and upper bourgeoisie professionals to ex-
change information regarding their various trips, research,
and activities. In the era of travel, however, John Cage
brought the “lounge” from the dining room to the kitchen.
And today the “lounge” is in the virtual world of the Internet.
+  CAPACETE assumes that the most important events
that lead to the construction of meaning take place in
the “in-between spaces” and “in-between times,” and so
they present themselves in fluctuating and unstable ways,
therefore being unpredictable and uncontrollable. Can the
breakfast be the central forum for convergence of ideas
and exchanges? Or has it always been the nerve center
for exchange and meetings? CAPACETE seeks to propose,
in an ongoing way and from the most unexpected places,
nonlinear and nonhierarchical exchanges.
 423

+  CAPACETE has been through several restructuring
phases, questioning the very function of the “residence”
format within the local context, adapting to the demands
of increasingly complex projects, and inserting them into
different logics and localities.
+  As an invited organism joining the body of actions of the
29th Bienal de São Paulo, CAPACETE will act as a discur-
sive platform for the curatorial proposal, building a lively
dialogue with its participants.

+  From the start, in 1998, CAPACETE has instigated and

supported the various researches conducted by its artists/
curators/critics/guests, inserting them into the logic of the
unpredictable. What interests CAPACETE and what con-
nects it to the curatorial project of the 29th Bienal is this
notion of an unstable system generating uncertainties and,
therefore, entailing possible connections, as improbable as
they may seem.
424

Program of talks till the end of August in 2010
Anri Sala · Jeremy Deller e Amilcar Parker · Cristina Ribas
e Wouter Osterholt & Elke Uitentuis · Daniela Castro, Inti
Guerrero, Luisa Duarte e Sarah Farrer · Renata Lucas e
Carlos Bunga · Milton Machado e Martin Beck · Santiago
Garcia Navarro e Carla Zaccagnini · Teresa Riccardi e
Julia Rometti & Victor Costales · Rina Carvajal, Moacir dos
Anjos, Agnaldo Farias · Chus Martínez, Yuko Hasegawa ·
Fernando Alvim e Sarat Maharaj · Raquel Garbelotti com
Cauê Alves, Ilana Feldman e Ismail Xavier · Jimmie Durham
e Maria Thereza Alves · Ducha e Jean-Pascal Flavien
· Adrià Juliá com Madalena Bernardes, Carlos Alberto
Franzoi, Gleison Vieira · Wendelien van Oldenborgh e
Raquel Garbelotti · Romulo Fróes, Eduardo Climachauska
e Nuno Ramos · Mariana Castillo Deball e Tiago Carneiro
da Cunha · Ana Paula Cohen · Benjamin Seroussi · Bik
van der Pol · Cauê Alves · Daniela Bershan · Gleison Vieira
· Guilherme Held · Hans Christian Dany · Jonas Ohlson ·
Ligia Nobre · Maíra das Neves · Marcelo Cabral · Maria
Ferran · Otto Berchein · Pedro Ito
Residency programs in Rio de Janeiro
/ Program of the 29ª Bienal de São Paulo:
Oficina Máquina de Responder (Answering machine
workshop)
+  Capacete proposes, as part of its activities, the Máquina
de Responder workshop, for a group between ten and fif-
teen people selected from a public edit. It is characterized
as an “working table”, featured during nine months and
that aims at sharpening the skills of listening and answer-
ing – respons(h)ability – to some questions placed by the
29th Bienal, always from the particularities of the practice
of each participant. Thinking the text as a foremost matter
of reflection and intervention, these workshops are a labo-
ratory for discussion and production in order to generate
a critical and qualitative fountainhead related to the event
and to the public of this biennal.
Participants
Cayo Honorato · Daniel Rubim · Daniela Castro · Fernanda
Lopes · Fernanda Pitta · Helmut Batista · Hugo Fortes ·
Jorge Menna Barreto · Júlia Ayerbe · Julia Buenaventura ·
Livia Benedetti · Lucia Prancha · Luiza Proença · Mariana
Lanari · Rafael RG · Keila Kern · Roberto Winter · Rodrigo
Garcia Dutra · Vagner Godoi · Vitor Cesar.

Cristina Ribas (Porto Alegre/Rio de Janeiro) · Sarah Farah

(New Zeland/Netherlands) · Victor Costales (Ecuador/
Belarus) · Julia Rometti (France) · Santiago Garcia Navarro
(Buenos Aires) · Kasper Pederson (Copenhagen/New York)
· Adrià Juliá (USA/Barcelona) · Ducha (Rio de Janeiro) ·
Jean-Pascal Flavien (France) · Mariana Del Castillo Deball
(Mexico) · Sasha Huber (Switzerland/Finland) · Adriana
Lara (Mexico) · Gabriel Lester (Netherlands).

Residency programs in Rio de Janeiro

/ Program of the 29ª Bienal de São Paulo:

Carla Zaccagnini (São Paulo) · Liz Linden (USA) · Wouter

Osterholt (The Netherlans) · Elke Uitentuis (Netherlands)
· Amilcar Parker (São Paulo) · Vitor Cesar (Fortaleza/
São Paulo) · Kasper Pederson (Copenhagen/New York) ·
Adrià Juliá (USA/Barcelona) · Louidgi Beltrami (France)
· Elfi Turpin (France) · Tamar Guimarães (Minas Gerais/
Denmark) · Raimundas Malasauskas (Lithuania).
works in exhibition
Adrian Piper
Bach Whistled · 1970 · sound installation
· soundtrack of performance · 44’7” ·
courtesy: Adrian Piper Research Archive
Foundation, Berlin
Aernout Mik
Communitas · 2010 · video installation
· HD, back projection, 3 synchronized
channels, color, silent · courtesy: artist
and Carlier | Gebauer, Berlin · support:
The Netherlands Foundation for Visual
Arts, Design and Architecture, the Teatre
Dramatyczny Warsaw; Fundação Bienal
de São Paulo
Ai Weiwei
Circle of Animals · 2010 · installation
· bronze · 12 sculptures approx.
300 × 100 × 100 cm each; overall
dimensions variable · courtesy: artist
Albano Afonso
O jardim, faço nele a volta ao infinito –
parte 2, a noite [The garden, I make in
it the return to the infinite – part 2, the
night] · 2010 · installation · bronze; light
projectors; lens; tripod; desks; motors;
crystals; video projections; photographs
· dimensions variable · commissioned by:
Fundação Bienal de São Paulo
Alberto Greco
Vivo dito · 1963 · action documentation
· print on photograph paper RC mate · 3
photographs 75 × 100 cm; 4 photographs
100 × 75 cm · courtesy: Montserrat
Santamaría Puigbo · photo: Montserrat
Santamaría Puigbo · © Alberto Greco's
Family; Montserrat Santamaría Puigbo
Alessandra Sanguinetti
La foto de antes [The old picture] · 1997
· from the series: Las Aventuras de Guille
y Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
El collar [The necklace] · 1999 · from the
series: Las Aventuras de Guille y Belinda
y el enigmático significado de sus sueños
[The adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm
· courtesy: artist; Yossi Milo Gallery, New
York; Ruth Benzacar Gallery, Buenos Aires
· © Alessandra Sanguinetti
Brindis [To the past] · 2000 · from the
series: Las Aventuras de Guille y Belinda
y el enigmático significado de sus sueños
[The adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm
· courtesy: artist; Yossi Milo Gallery, New
York; Ruth Benzacar Gallery, Buenos Aires
· © Alessandra Sanguinetti
Hortencias [Hydrangeas] · 1999 · from the
series: Las Aventuras de Guille y Belinda
y el enigmático significado de sus sueños
[The adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm
· courtesy: artist; Yossi Milo Gallery, New
York; Ruth Benzacar Gallery, Buenos Aires
· © Alessandra Sanguinetti
El casalito [The couple] · 1999 · from the
series: Las Aventuras de Guille y Belinda
y el enigmático significado de sus sueños
[The adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
El gato negro [The black cat] · 1999 ·
from the series: Las Aventuras de Guille
y Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
Baño de verano [Summer bath] · 2000 ·
from the series: Las Aventuras de Guille
y Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
Inmaculada Concepcion [Immaculate
Conception] · 1999 · from the series:
Las Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Madres [Mothers] · 1999 · from the series:
Las Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Madonna · 2001 · from the series:
Las Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Revolver · 2002 · from the series:
Las Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
El funeral de Archibaldo [Archibaldo´s
funeral] · 1999 · from the series: Las
Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Ofelias [Ophelias] · 2002 · from the series:
Las Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Tres generaciones [Three generations] ·
2002 · from the series: Las Aventuras de
Guille y Belinda y el enigmático significado
de sus sueños [The adventures of Guille
and Bellinda and the enigmatic meaning
of their dreams] · photograph · Fujiflex
print · 76.2 × 76.2 cm · collection: artist ·
courtesy: artist; Yossi Milo Gallery, New
York; Ruth Benzacar Gallery, Buenos Aires
· © Alessandra Sanguinetti
Ladron de gallinas [Chicken thief] · 2002
· from the series: Las Aventuras de Guille
y Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
La respuesta [The answer] · 2002 · from
the series: Las Aventuras de Guille y
Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
La nube negra [The black cloud] · 2001
· from the series: Las Aventuras de Guille
y Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
La novela de las tres de la tarde [Three
o'clock soap opera] · 2004 · from the
series: Las Aventuras de Guille y Belinda
y el enigmático significado de sus sueños
[The adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
El tiempo vuela [Time flies] · 2005 · from
the series: El devenir de sus dias [The life
that came] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
La niñera [The nanny] · 2006 · from the
series: Las Aventuras de Guille y Belinda
y el enigmático significado de sus sueños
[The adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
La cama matrimonial [The wedding bed]
· 2007 · from the series: El devenir de sus
dias [The life that came] · photograph ·
Fujiflex print · 76.2 × 76.2 cm · collection:
artist · courtesy: artist; Yossi Milo Gallery,
New York; Ruth Benzacar Gallery, Buenos
Aires · © Alessandra Sanguinetti
De verdad [The real thing] · 2007 · from
the series: Las Aventuras de Guille y
Belinda y el enigmático significado de
sus sueños [The adventures of Guille and
Bellinda and the enigmatic meaning of
their dreams] · photograph · Fujiflex print ·
76.2 × 76.2 cm · collection: artist · courtesy:
artist; Yossi Milo Gallery, New York; Ruth
Benzacar Gallery, Buenos Aires · ©
Alessandra Sanguinetti
Garua [Drizzle] · 2008 · from the series:
Las Aventuras de Guille y Belinda y el
enigmático significado de sus sueños [The
adventures of Guille and Bellinda and
the enigmatic meaning of their dreams] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Rocio, Guille y Oriana [Rocio, Guille,
and Oriana] · 2009 · from the series: El
devenir de sus dias [The life that came] ·
photograph · Fujiflex print · 76.2 × 76.2 cm ·
collection: artist · courtesy: artist; Yossi Milo
Gallery, New York; Ruth Benzacar Gallery,
Buenos Aires · © Alessandra Sanguinetti
Alfredo Jaar
The Eyes of Gutete Emerita · 1996 / 2000
· installation · light table; 1 million slides;
magnifiers; illuminated wall text · light
table 91.5 × 553 × 363 cm; illuminated text
20 × 435 cm; overall dimensions variable ·
collection: Daros Latinamerica Collection,
Zürich
Alice Miceli
Projeto Chernobyl [Chernobyl Project]
· 2007 – 2010 · installation · light boxes
with radiographic negative · 30 boxes
48 × 38 × 8 cm each; overall dimensions
variable · collection: artist · commissioned
by: Fundação Bienal de São Paulo
Allan Sekula
Ship of Fools · 1999 – 2010 · from the
series: Ship of Fools · slide projection
· 2 synchronized Kodak Ektapro 5000
projectors with Bässgen Basix control
system, 2 Navitar 50 mm F. 2.8 PC
Lenses· dimensions variable · courtesy:
artist; Christopher Grimes Gallery,
Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Crew, Pilot, and Russian Girlfriend
(Novorossisk) 1-10 · 1999 – 2010 · from
the series: Ship of Fools · photograph ·
c-print · 10 photographs 101.6 × 149.9 cm
each · courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Ship Lesson (Durban) · 1999 – 2010 ·
from the series: Ship of Fools · photograph
· c-print · 101.6 × 149.9 cm · courtesy:
artist; Christopher Grimes Gallery,
Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Drunken Pilot (Koper) & Near Collision
(Koper) 1-2 · 1999 – 2010 · from the
series: Ship of Fools · photograph · c-print
· 101,6 × 149,9 cm; 50,8 × 74,9 cm each
· courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Good Ship Bad Ship (Limassol) 1-2 ·
1999 – 2010 · from the series: Ship of
Fools · photograph · c-print · horizontal
diptych 101.6 × 154.9 cm each ·
courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Engine Room Eyes 1-3 · 1999 – 2010
· from the series: Ship of Fools ·
photograph · c-print · horizontal triptych
101.6 × 127 cm each · courtesy: artist;
Christopher Grimes Gallery, Santa Monica
· support: Museum van Hedendaagse
Kunst Antwerpen; Fundação Bienal de
São Paulo
Russian Visitors (Novorossisk) 1-2 ·
1999 – 2010 · from the series: Ship of

Fools · photograph · c-print · horizontal
diptych 101.6 × 149.9 cm each ·
courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Churn (1 RPM clockwise) · 1999 – 2010
· from the series: Ship of Fools ·
photograph · c-print · 121.9 × 132.1 cm
· courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Docker's Museum (Version 1 for Antwerp
and Santos) · 2010 · from the series:
Ship of Fools · found objects · woodcuts;
engravings; figurines; flags; medallions;
fabric uniform patches; postcards;
gelatin silver prints; wooden container;
ship hull model · dimensions variable
· courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Docker portraits (Santos) 1-9 · 2010 ·
from the series: Ship of Fools · photograph
· c-print · 9 photographs 101.6 × 149.9 cm
each · courtesy: artist; Christopher Grimes
Gallery, Santa Monica · support: Museum
van Hedendaagse Kunst Antwerpen;
Fundação Bienal de São Paulo
Churn (1 RPM clockwise) · 2009 – 2010
· from the series: Ship of Fools · slide
projection · circular slide in rotary
projection; replacement bulbs ·
dimensions variable · courtesy: artist;
Christopher Grimes Gallery, Santa Monica ·
support: Museum van Hedendaagse Kunst
Antwerpen; Fundação Bienal de São Paulo
Allora & Calzadilla
A Movement without Development ·
2010 · performance · 10 musicians; snare
drum; flute; clarinet; trombone; trumpet;
tube; saxophone · 17’, every hour, 3 times
a week · support: Auditório Ibirapuera,
São Paulo · commissioned by: Fundação
Bienal de São Paulo
Amar Kanwar
The Lightning Testimonies · 2007 ·
video installation · HD, 8 synchronized
channels, color and black/white, sound ·
32’31” · courtesy: artist; Marian Goodman
Gallery, New York and Paris
Amelia Toledo
Glu-Glu · 1968 / 2010 · multiple, reedition
· blown glass; water and soap · 30 × 18 ø
cm · collection: artist · courtesy: Galeria
Nara Roesler, São Paulo
Medusa · 1970 / 2010 · multiple,
reedition · flexible PVC tube; air; water;
oil and pigments · dimensions variable ·
collection: artist · courtesy: Galeria Nara
Roesler, São Paulo
— Arroz e feijão [Rice and beans] ·
from the series: Impulsos [Impulses] ·
2007 · objects · concrete jasper stone
stools · approx. 38 × 50 × 40 cm each ·
collection: artist · courtesy: Galeria Nara
Roesler, São Paulo
— · collection: artist
from the series: Campos de cor [Fields
of Color] · 1969 / 2010 · installation
· pigmented jute fabric · dimensions
variable · collection: artist · courtesy:
Galeria Nara Roesler, São Paulo
Ana Gallardo
Un lugar para vivir cuando seamos viejos,
El baile: Danzón / Conchita, Lucio, Maria
Ascención [A place to live when we are
old, The ball: Danzón / Conchita, Lucio,
Maria Ascención] · 2010 · installation;
performance · video, color, sound;
drawing on wall; second-hand furniture;
dancers; blog · dimensions variable ·
commissioned by: Fundação Bienal de
São Paulo · Collective project with Mario
Gómez and Ramiro Gallardo
Andrea Büttner
Untitled · 2010 · screenprint · print
on paper · 120 × 160 cm · courtesy:
artist; Hollybush Gardens, London ·
commissioned by: Fundação Bienal de
São Paulo
Untitled · 2010 · screenprint · print
on paper · 120 × 160 cm · courtesy:
artist; Hollybush Gardens, London ·
commissioned by: Fundação Bienal de
São Paulo
Vogelpredigt [Sermon of the birds] · 2010
· woodcut · print on paper · 180 × 240 cm
· courtesy: artist; Hollybush Gardens,
London
Drinking Man · 2010 · woodcut · print on
paper · 180 × 240 cm · courtesy: artist;
Hollybush Gardens, London
Pebble · 2010 · woodcut · print on paper ·
120 x180 cm · courtesy: artist; Hollybush
Gardens, London
Bush · 2010 · woodcut · print on paper ·
120 × 180 cm · courtesy: artist; Hollybush
Gardens, London
Tears · 2010 · woodcut · print on paper ·
120 × 180 cm · courtesy: artist; Hollybush
Gardens, London
Table · 2010 · woodcut · print on paper ·
147 × 144 cm · courtesy: artist; Hollybush
Gardens, London · commissioned by:
Fundação Bienal de São Paulo
Father · 2010 · woodcut · print on paper ·
218 × 136 cm · courtesy: artist; Hollybush
Gardens, London · commissioned by:
Fundação Bienal de São Paulo
Tent · 2010 · woodcut · print on paper ·
130 × 218 cm · courtesy: artist; Hollybush
Gardens, London · commissioned by:
Fundação Bienal de São Paulo
Man with Fabric · 2010 · woodcut · print
on paper · 118 × 336 cm · courtesy:
artist; Hollybush Gardens, London ·
commissioned by: Fundação Bienal de
São Paulo
Andrea Geyer
Criminal Case 40/61: Reverb · 2009 ·
video installation · HD, 6 synchronized
channels, color, sound · 42’ · courtesy:
Galerie Thomas Zander, Köln
Andrew Esiebo
God Is Alive · 2006 · photograph · print
on cotton fiber paper · 10 photographs
100 × 150 cm each
Anna Maria Maiolino
1979 / 2007 · installation · fomica
table; 20 black chairs; dishes; glasses;
silverware, earth; rice and bean
seeds; shelves and video on TV · table
540 × 120 cm; overall dimensions variable
Piccolo mondo · 1982 · from the series:
photo-poem, action · photograph · black-
and-white print on photographic paper ·
37.5 × 47 cm · collection: artist
Por um fio [By a thread] · 1976 · from the
series: photo-poem, action · photograph
· black-and-white print on photographic
paper · 52 × 79 cm · collection: artist
Solitário ou paciência [Solitaire or
patience] · 1976 · installation · table;
chair; base; tablecloth; cards · dimensions
variable · collection: artist
Anri Sala
Le Clash · 2010 · video installation · HD,
color, dolby surround sound 5.1; molded
glass; music box; ticket booklets · 8’31” ·
courtesy: artist; galerie Chantal Crousel,
Paris; Marian Goodman Gallery, New York;
Gallery Hauser & Wirth, Zürich, London;
Johnen Galerie, Berlin
Antonieta Sosa
Pereza [Laziness] · 1985 · second part
of the performance Del cuerpo al vacío
[My body to the void] · performance
documentation · video, color, sound;
black-and-white print on photographic
paper · video 8’17”; 3 photographs
75 × 100 cm
Antonio Dias
Faça você mesmo: Território liberdade
[Do it yourself: Freedom territory] · 1968
· installation · adhesive plotter on the
floor · 600 × 400 cm · collection: Daros
Collection, Zürich
O país inventado (Dias - de - Deus -
Dará) [The invented country] · 1976 ·
installation · satin flag, bronze pole · pole
500 cm · collection: artist
Antonio Manuel
Semi-ótica [Semi-optics] · 1975 · film ·
35 mm, DVD transfer, color, sound · 6’ ·
collection: artist
Alab atam emof [Tellub sllik regnuh] ·
1975 · flan · newspaper printing plate ·
53.5 × 38.5 cm · collection: artist
Estudantes fazem o caos e anunciam
nova passeata [Students make chaos
and announce new demonstration] ·
1968 · flan · newspaper printing plate ·
51 × 37 cm · collection: artist
Pintor ensina Deus a pintar [Painter
teaches God how to paint] · 1973 · flan
· newspaper printing plate · 55 × 37 cm ·
collection: artist
Feitiço contra o feiticeiro [The witchcraft
turned against the witch] · 1975 · flan ·
newspaper printing plate · 55 × 37 cm ·
collection: artist
Isso é o que é [That’s what it is] ·
1975 · flan · newspaper printing plate ·
54.5 × 38.5 cm · collection: artist
As armas/os desarmados [The weapons/
the unloaded] · 1968 · flan · newspaper
printing plate · 56.5 × 37 cm · collection:
artist
Dura assassina [Hard killer] · 1968 · flan ·
newspaper printing plate · 56.5 × 37.2 cm
· collection: artist
As armas do diálogo [The weapons
of dialogue] · 1968 · flan · newspaper
printing plate · 56 × 37.5 cm · collection:
artist
A inglória vitória dos sabores [The
inglorious victory of flavors] · 1968 · flan ·
newspaper printing plate · 56.5 × 37.5 cm
· collection: artist
Roubaram o poema enterrado [The
buried poem has been stolen] · 1975 · flan
· newspaper printing plate · 54.5 × 37 cm ·
collection: artist
Chupava sangue dando gargalhadas
[Sucked blood laughing out loud] ·
1973 · flan · newspaper printing plate ·
36.5 × 54 cm · collection: artist
Dia a dia a Manuel [Day to day to Manuel]
· 1975 · flan · newspaper printing plate ·
54.5 × 37 cm · collection: artist
427
Silêncio barulho [Silence noise] ·
1975 · flan · newspaper printing plate ·
54.5 × 37 cm · collection: artist
Sem censura [No censorship] · 1968 · flan
· newspaper printing plate · 57 × 38 cm ·
collection: artist
Wanted Rose Selavy [Procura-se Rose
Selavy] · 1975 · flan · newspaper printing
plate · 56.4 × 39 cm · collection: artist
A imagem da violência [The image
of violence] · 1968 · flan · newspaper
printing plate · 56.5 × 38 cm · collection:
artist
Deu-se um claro no salão e o poeta virou
estrela [There was a lightning on the
ballroom, and the poet turned into star]
· 1973 · flan · newspaper printing plate ·
54 × 36.5 cm · collection: artist
Poema classificado [Classified poem] ·
1975 · flan · newspaper printing plate ·
55 × 37.5 cm · collection: artist
Perturbou o coro dos contentes
[Disturbed the happy choir] · 1975 · flan ·
newspaper printing plate · 54 × 36.5 cm ·
collection: artist
The Cock of the Golden Eggs · 1973 · flan
· newspaper printing plate · 54 × 36.5 cm ·
collection: artist
Sabor doce para bocas amargas [Sweet
flavor for bitter mouths] · 1975 · flan ·
newspaper printing plate · 53.5 × 36.5 cm
· collection: artist
Pintor faz exposição [Painter makes
an exhibition] · 1975 · flan · newspaper
printing plate · 53 × 36 cm · collection:
artist
Amarrou um bode na dança do mal [Tied
a goat in the evil’s dance] · 1975 · flan ·
newspaper printing plate · 55 × 37 cm ·
collection: artist
A palavra/o pau/a pedra [The word/ the
stick/ the stone] · 1968 · flan · newspaper
printing plate · 56.5 × 37 cm · collection:
artist
A batalha de junho [The june battle] ·
1968 · flan · newspaper printing plate ·
56.5 × 37 cm · collection: artist
Os cavaleiros do Apocalipse [The
warriors of the Apocalypse] · 1968 · flan ·
newspaper printing plate · 56.5 × 37.5 cm
· collection: artist
Aulas suspensas [Interrupted classes] ·
1968 · flan · newspaper printing plate ·
56 × 36.7 cm · collection: artist
Comeu gato por lebre [Bought a pig in
a pe] · 1975 · flan · newspaper printing
plate · 53 × 35.5 cm · collection: artist
Salto mortal com roupa escamada
[Somersault with scale outfit] · 1975
· flan · newspaper printing plate ·
54.5 × 36.5 cm · collection: artist
Morro de Vintém [Vintém mount] ·
1968 · flan · newspaper printing plate ·
56 × 37 cm · collection: artist
Passeata não pode sair [Demonstration
cannot leave] · 1968 · flan · newspaper
printing plate · 55 × 37.5 cm · collection:
artist
Carnaval 2 [Carnival 2] · 1968 · flan ·
newspaper printing plate · 51.5 × 29 cm ·
collection: artist
Governo ataca agitação [Government
attacks agitation] · 1968 · flan ·
newspaper printing plate · 48.5 × 38 cm ·
collection: artist
Retrato falado [Facial composite] ·
1968 · flan · newspaper printing plate ·
48.5 × 38 cm · collection: artist
Sorriso em vez de ódio [Smile instead of
hate] · 1968 · flan · newspaper printing
plate · 53 × 37 cm · collection: artist
428
Praça é o povo [The square is the people]
· 1968 · flan · newspaper printing plate ·
56.5 × 37 cm · collection: artist
Marcha reúne cem mil [March gathers
one hundred thousand] · 1968 · flan ·
newspaper printing plate · 52.5 × 37 cm ·
collection: artist
Repressão outra vez – eis o saldo
[Repression once again – here’s the
balance] · 1968 · objects · wood; fabric;
rope; silkscreen · 5 objects 122 × 80 cm
each · collection: João Sattamini, lessor
Museu de Arte Contemporânea de Niterói
Antonio Vega Macotela
Time Divisa · 2006 – 2010 · exchanges ·
objects; drawings; ceramics; videos and
collages · 22 exchanges; dimensions
variable · collection: artist
Apichatpong Weerasethakul
Phantoms of Nabua · 2009 · video
installation · HD, color, sound · 10’56” · ©
Kick the Machine Films · commissioned
by: Animate Projects, with Haus der
Kunst, Munich; FACT (Foundation for
Art and Creative Technology), Liverpool ·
Produced by Illuminations Films, London;
Kick the Machine Films, Bangkok
Archigram Group
Illustration from Living Arts Catalogue –
Communication (Living City Exhibition)
· 1963 · graphic material · black &
white photographic print · 70 × 100 cm ·
collection: Archigram Archives, London
Sick (Living City Exhibition – ICA
installation) · 1963 · documentation
· color photograph · 72 × 102 cm ·
collection: Archigram Archives, London
Dream City · 1963 · architectural
project · photograph mounted on board
· 45 × 89.5 cm · collection: Archigram
Archives, London
Archigram Group (David Greene)
Map of Bot Landscape · 1969 · from
the series: Bottery / L.A.W.u.N. (Locally
Available World unseen Network) ·
architectural project · ordnance survey
map with added line work · 23 × 16 cm ·
collection: Archigram Archives, London
Briefing Collage for Your Consideration
· 1969 · from the series: Bottery /
L.A.W.u.N. (Locally Available World
unseen Network) · architectural project
· magazine clippings and xerox copy
· 19.3 × 23 cm · collection: Archigram
Archives, London
Park Scene with Mobot Facilities · 1969
· from the series: Bottery / L.A.W.u.N.
(Locally Available World unseen Network)
· architectural project · black-and-
white photograph with added collage ·
21.3 × 22.8 cm · collection: Archigram
Archives, London
Park Scene with Mobot Facilities
(detail) · 1969 · from the series: Bottery
/ L.A.W.u.N. (Locally Available World
unseen Network) · architectural project
· color print · 16 × 23 cm · collection:
Archigram Archives, London
Examples of Plug Installations · 1969
· from the series: Bottery / L.A.W.u.N.
(Locally Available World unseen Network)
· architectural project · color prints from
transparencies · 20 × 25 cm · collection:
Archigram Archives, London
Imagining the Invisible University · 1969
· from the series: Bottery / L.A.W.u.N.
(Locally Available World unseen Network)
· architectural project · black & white
photographic print · 50 × 40 cm ·
collection: Archigram Archives, London
Archigram Group (David Greene
& Michael Webb)
Story of the Thing · 1963 · graphic
material · photograhic collage ·
29.3 × 89.5 cm · collection: Archigram
Archives, London
Archigram Group (Peter Cook)
Living City Diary (Living City Exhibition)
· 1963 · graphic material · ink and film on
tracing paper · 36.8 × 65.5 cm · collection:
Archigram Archives, London
Sketch Plan (Living City Exhibition) ·
1963 · architectural project · reproduction
of original drawing, ink, crayon felt pen on
tracing paper · 21.2 × 46.6 cm · collection:
Archigram Archives, London
Sketch Section 1 (Living City Exhibition) ·
1963 · architectural project · reproduction
of original drawing, ink, crayon felt pen on
tracing paper · 27.4 × 62.2 cm · collection:
Archigram Archives, London
Sketch Section 2 (Living City Exhibition) ·
1963 · architectural project · reproduction
of original drawing, ink, crayon felt pen on
tracing paper · 13.8 × 44.4 cm · collection:
Archigram Archives, London
Town before Instant City; Preparation
stage; Catalyst stage; Aftermath · 1968 ·
from the series: Instant City · architectural
project · ink line on art board with transfer
lettering and tone film · 4 drawings
29.8 × 41 cm each · collection: Archigram
Archives, London
Instant City Airship, Sequence of Effect
on a Typical English Town: 1 Before
Event: A sleeping town; 2: Descent; 3:
Event; 4: Highest Intensity; 5: Infiltration;
6: Network Takes Over · 1968 · from the
series: Instant City · architectural project
· black-and-white photographic print
· 3 prints 39 × 27 cm each · collection:
Archigram Archives, London
Instant City Progression – Visit Nº 3
Bournmouth; Visit Nº 9 St Helens; Visit
Nº 21 Nottingham · 1968 · from the
series: Instant City · architectural project
· reduced copy print of original dyeline
print with added color annotation · 3
prints 50.4 × 35.6 cm each · collection:
Archigram Archives, London
Urban Action · 1968 · from the series:
Instant City · architectural project ·
collage, heat sealed · 28 × 39 cm ·
collection: Archigram Archives, London
Glamour: Typical Nighttime Scene ·
1968 · from the series: Instant City ·
architectural project · photographic print
from original collage · 33.2 × 47.7 cm ·
collection: Archigram Archives, London
Response Unit · 1968 · from the series:
Instant City · architectural project ·
photographic print from original collage
· 37.2 × 48 cm · collection: Archigram
Archives, London
Archigram Group (Ron Herron)
Optional Extras (Manzak) · 1969 · from
the series: Manzak · architectural project
· laser print of collage, ink, letra-film on
board · 21 × 26 cm · collection: Archigram
Archives, London
Manzak on Beach · 1969 · from the
series: Manzak · architectural project ·
laser print of collage, ink, wax crayon,
letraset film on board · 22.7 × 25.8 cm ·
collection: Archigram Archives, London
Manzak out for a Walk · 1969 · from the
series: Manzak · architectural project ·
laser print of collage, ink, wax crayon,
letraset film on board · 35.5 × 28 cm ·
collection: Archigram Archives, London
Manzak – Seat · 1969 · from the series:
Manzak · architectural project · laser
print of collage, ink, letra-film on board
· 16.8 × 24.4 cm · collection: Archigram
Archives, London
Instant City Sketches from Notebooks
· 1968 · from the series: Instant City
· architectural project · laser prints ·
9 prints 12.5 × 21.5 cm each; 1 print
28 × 21.5 cm cada · collection: Archigram
Archives, London
It’s a…beach · 1971 · from the series: It’s
a... · architectural project · laser print of
ink, collage, letra-film, adhesive dots on
mounting board · 44.5 × 48 cm · collection:
Archigram Archives, London
Archigram Group
Daily Express Newspaper with Reports
of Instant City and Monte Carlo Projects
· 1968 · documentation · front and back
pages of newspaper · 72 × 102 cm ·
collection: Archigram Archives, London
Artur Barrio
da INUTILIDADE da UTILIDADE da
POLíTICA da ARTE · 2010 · installation ·
dimensions variable
P.H. ...................................... (1969). ·
1969 · [record-film] · 8 mm transferred
to DVD, black & white, silent · 2’26” ·
collection: artist · photo: record-photo:
César Carneiro · action carried out on the
external area of MAM in Rio de Janeiro
- Brasil; materials: wind / 2 white toilet
paper rolls / the body
Uma semana de outubro: 77 – Une
semaine d’octobre: 77 [A week in
October: 77] · 1977 · A série ..........
Projetos sobre carvão. [The serie
..........“Projects” on the kraft.] · indian ink;
photograph and cloth glued and stapled
on cardboard · 48.5 × 64 cm · collection:
Jean Cardilès, Grand Rodez
Situação T/T,1 (1970) [Situation T/T, 1
(1970)] · 1970 · [record-photos] · records-
photos; color and black and white slides
· 43 Records-photos 30 × 45 cm each;
11 Records-photos 45 × 30 cm each ·
collection: Instituto Inhotim, Brumadinho
· photo: record-photo: César Carneiro ·
materials: cables; meet; blood; bones....
etc.
Situação T/T,1 (1970) [Situation T/T, 1
(1970)] · 1970 · [record-film] · 16mm,
black and white, silent · 12’ · collection:
Instituto Inhotim, Brumadinho · photo:
record-photo: César Carneiro · materials:
cables; meet; blood; bones....etc.
T.r.à.B.H.,M.G., Br.,Le 20.04.70 ·
1970 · [record-book] · wood board;
records-photos, color and black-and-
white · 20 × 21 × 3,5 cm · collection: Paulo
Pimenta, Porto · photo: César Carneiro
· Record-photos of one of the parts of
Situação T/T,1 (1970) glued to a Register-
book. Editon of 5 copies to each part of
Situação T/T, 1 (1970). These five copies
were made in 1975 / 1977/Paris
Situação T/T,1 (2ª parte).........1970
[Situation T/T,1 (2nd part)........1970]
· 1970 · [record-book] · wood board;
records-photos, color and black-and-
white · 20 × 20 × 3.5 cm · collection: Paulo
Pimenta, Porto · photo: record-photo:
César Carneiro · Record-photos of one of
the parts of Situação T/T,1 (1970) glued to
a Register-book. Editon of 5 copies to each
part of Situação T/T, 1 (1970). These five
copies were made in 1975 / 1977/Paris
Situação T/T,1 (3ª parte).............1970
[Situation T/T,1 (3rd part).....1970.]
· 1970 · [record-book] · wood board;
records-photos, color and black-and-
white · 20 × 20 × 3.5 cm · collection: Paulo
Pimenta, Porto · photo: record-photo:
César Carneiro · Record-photos of one of
the parts of Situação T/T,1 (1970) glued
to a Register-book. Editon of 5 copies to
each part of Situação T/T, 1 (1970). These
five copies were made in 1975 / 1977/
Paris
Situação... ORHHHHHHH... ou... 5.000...
T.E ... em........ N.Y... city......(1969). ·
1969 · [records-photos] · color records-
photos from slides and black-white ·
31 Records-photos 30 × 45 cm each ·
collection: Galeria Millan, São Paulo ·
photo: record-photo: César Carneiro
T.r.à.B.H.,M.G., Br.,Le 21.04.70 ou
Situação T/T,1 (1ª parte)..........1970.
· 1970 · [record-book] · color and black
and white records-photos, indian ink
on cardboard · 2.7 × 20.2 × 19.7 cm ·
collection: Gilberto Chateaubriand MAM
RJ · photo: record-photo: César Carneiro
· Record-photos of one of the parts of
Situação T/T,1 (1970) glued to a Register-
book. Editon of 5 copies to each part of
Situação T/T, 1 (1970). These five copies
were made in 1975 / 1977/Paris
T.r.à.B.H.,M.G., Br.,Le 21.04.70 ou
Situação T/T,1 (2ª parte) · 1970 · [record-
book] · records-photos, indian ink, typed
text on cardboard · 3.2 × 20.1 × 19.5 cm ·
collection: Gilberto Chateaubriand MAM
RJ · photo: record-photo: César Carneiro
· Record-photos of one of the parts of
Situação T/T,1 (1970) glued to a Register-
book. Editon of 5 copies to each part of
Situação T/T, 1 (1970). These five copies
were made in 1975 / 1977/Paris
T.r.à.B.H.,M.G., Br.,Le 21.04.70 ou
Situação T/T,1 (3ª parte) · 1970 · [record-
book] · records-photos, indian ink; typed
text on cardboard · 3 × 20.2 × 19.5 cm ·
collection: Gilberto Chateaubriand MAM
RJ · photo: record-photo: César Carneiro
· Record-photos of one of the parts of
Situação T/T,1 (1970) glued to a Register-
book. Editon of 5 copies to each part of
Situação T/T, 1 (1970). These five copies
were made in 1975 / 1977/Paris
Trouxa [Bundle] · 1969 · object ·
cloth; industrial paint; string; waste ·
33 × 60 × 24 cm · collection: Gilberto
Chateaubriand MAM RJ
Des . compressão....... Des . compressão
(1973) [De compression....... De
compression] · 1973 · photographs ·
records-photos black-white; kraft paper
cover · 17.7 × 24 cm each · collection:
Gilberto Chateaubriand MAM RJ · photo:
record-photo: Doris Mena
Des. compressão..... 1973...... Des.
compressão [De. compression.....
1973...... De. compression] · 1973 ·
[record-book] · photograph, indian
ink, adhesive tape on cardboard ·
1.8 × 20.2 × 19.7 cm · collection: Gilberto
Chateaubriand MAM RJ · photo: record-
photo: Doris Mena · Record-photos the
work carried out on 1973 (Petrópolis)
glued to a Register-book. Editon of 5
copies. These five copies were made in
1975 / 1977/Paris
Plinthes de viande (Rodapé de carne)
[Plinthes de viande (Flesh wall-skirting)]
· 1978 · [record-book] · record-photos,
paper after slides, indian ink, adhesive
tape on cardboard · 3 × 20 × 19.5 cm ·
collection: Gilberto Chateaubriand MAM
RJ · photo: record-photo : Dorine Weuts

· Record-photos the work carried out on
1978 (Paris) glued to a Register-book.
Editon of 5 copies. These five copies were
made in 1978/Paris
4 dias 4 noites [4 days 4 nights] · 1970
· indian ink, adhesive tape on paper
· 21 × 15 × 3 cm · collection: Gilberto
Chateaubriand MAM RJ · Regular [school]
notebook made into a CadernoLivro.
Single edition.
Artur Żmijewski
Catastrophy · 2010 · video · color, sound ·
approx. 30’ · commissioned by: Fundação
Bienal de São Paulo
CADA – Colectivo acciones de
arte
¡Ay Sudamérica! [Oh! South America!]
· 1981 · action documentation · video,
color, sound; print on photographic paper
· 4’41”; photograph 40 × 50 cm; enlarged
copy of flyer 40 × 53 cm · collection: artist
Para no morir de hambre en el arte [In
order not to starve in art] · 1979 · action
documentation · video, color, sound;
print on photographic paper · 5’23”;
photograph 24 × 34 cm · collection: artist
Inversion de escena [Scene inversion]
· 1979 · action documentation · video,
color, sound; print on photographic
paper · 5’06”; photograph 34 × 47 cm ·
collection: artist
No + · 1983 · action documentation ·
video, color, sound; print on photographic
paper · 5’52”; 2 photographs 30 × 45 cm;
enlarged copy of document 50 × 35.35 cm
· collection: artist
Anuncio em la revista Hoy [Advertising
in Hoy magazine] · 1983 · document ·
photographic print on paper · enlarged
copy 40 × 30 cm · collection: artist
CADA – Colectivo acciones de
arte (Lotty Rosenfeld)
Documental Colectivo Acciones de Arte
[Documentary Colectivo Acciones de
Arte] · 1993 · video · color, sound · 23’50”
· collection: artist
Cao Fei
RMB City · 2010 · installation · color
wallpaper prints; objects; video, color,
sound · dimensions variable · RMB City is
developed by Cao Fei (SL: China Tracy)
+ Vitamin Creative Space. Facilitator: Uli
Sigg (SL: UliSigg Cisse). Public Presenter:
Serpentine Gallery, London
Carlos Bunga
Lamp · 2002 · video · color, sound ·
1’34”, loop · courtesy: artist; Galería Elba
Benítez, Madrid
Simultâneo, fragmentado, descontínuo
[Simultaneous, fragmented,
discontinuous] · 2010 · site-specific
installation · cardboard; adhesive tape;
matte paint · dimensions variable ·
courtesy: artist; Galería Elba Benítez,
Madrid · commissioned by: Fundação
Bienal de São Paulo
Carlos Garaicoa
Las joyas de la corona (KGB) [The Crown
Jewels (KGB)] · 2009 · model · silver ·
2 × 7.5 × 7 cm · courtesy: artist; Galeria
Luisa Strina, São Paulo; Galleria Continua,
San Gimignano, Beijing, Le Moulin
Las joyas de la corona (Base Naval
de Guantanamo) [The Crown Jewels
(Guantanamo Bay Naval Base)] · 2009 ·
model · silver · 5 × 6.5 × 6.5 cm · courtesy:
artist; Galeria Luisa Strina, São Paulo;
Galleria Continua, San Gimignano, Beijing,
Le Moulin
Las joyas de la corona (Estadio Nacional
de Chile) [The Crown Jewels (Chile's
National Stadium)] · 2009 · model · silver
· 3 × 14 × 8 cm · courtesy: artist; Galeria
Luisa Strina, São Paulo; Galleria Continua,
San Gimignano, Beijing, Le Moulin
Las joyas de la corona (Pentágono) [The
Crown Jewels (Pentagon)] · 2009 · model
· silver · 1.5 × 9 × 9 cm · courtesy: artist;
Galeria Luisa Strina, São Paulo; Galleria
Continua, San Gimignano, Beijing, Le
Moulin
Las joyas de la corona (Stasi Alemania)
[The Crown Jewels (Stasi Alemania)]
· 2009 · model · silver · 2 × 7 × 19 cm ·
courtesy: artist; Galeria Luisa Strina, São
Paulo; Galleria Continua, San Gimignano,
Beijing, Le Moulin
Las joyas de la corona (Villa Marista)
[The Crown Jewels (Villa Marista)] · 2009
· model · silver · 5 × 12 × 9 cm · courtesy:
artist; Galeria Luisa Strina, São Paulo;
Galleria Continua, San Gimignano, Beijing,
Le Moulin
Las joyas de la corona (DGI- Línea y
A) [The Crown Jewels (DGI- Línea y A)]
· 2009 · model · silver · 5 × 3 × 3 cm ·
courtesy: artist; Galeria Luisa Strina, São
Paulo; Galleria Continua, San Gimignano,
Beijing, Le Moulin
Las joyas de la corona (ESMA) [The
Crown Jewels (ESMA)] · 2009 · model ·
silver · 1.5 × 9 × 5 cm · courtesy: artist;
Galeria Luisa Strina, São Paulo; Galleria
Continua, San Gimignano, Beijing, Le
Moulin
Carlos Teixeira
Espaço para performances rearranjável
[Rearrangeable space for performances] ·
2010 · terreiro The other, the same · piled
cardboard; plywood panels · dimensions
variable · collection: artist
Carlos Vergara
Eros · 1972 – 1976 / 2009 · photograph ·
backlight · 70 × 160 × 20 cm · collection:
artist
Poder 2 [Power 2] · 1972 – 1976 / 2009
· photograph · print on methacrylate ·
60 × 180 cm · collection: artist
Leleô · 1972 – 1976 / 2009 · photograph
· print on methacrylate · 60 × 180 cm ·
collection: artist
Cacique na poça [Cacique at the puddle]
· 1972 – 1976 / 2010 · photographic
panel · print on methacrylate · 8 prints
100 × 150 cm each · collection: artist
Futebol na Candelária [Soccer at
Candelária] · 1972 – 1976 / 2010 ·
photograph · print on methacrylate · 8
prints 60 × 90 cm each · collection: artist
Iguais diferentes 2 [Different equals 2] ·
1972 – 1976 / 2010 · photograph · print on
methacrylate · 100 × 160 cm · collection:
artist
Poder [Power] · 1972 – 1976 / 2009 ·
photograph · print on methacrylate ·
100 × 150 cm · collection: artist
Balança mas não cai [It swings but it does
not fall] · 1972 – 1976 / 2010 · photograph
· print on methacrylate · 100 × 150 cm ·
collection: artist
Avenida Rio Branco [Avenida Rio Branco]
· 1972 – 1976 / 2010 · photograph · print
on methacrylate · 60 × 180 cm · collection:
artist
Cacique e PM [Cacique and police officer]
· 1972 – 1976 / 2010 · photograph · print
on methacrylate · 60 × 180 cm · collection:
artist
Iguais diferentes 1 [Different equals 1] ·
1972 – 1976 / 2010 · photograph · print on
methacrylate · 100 × 241 cm · collection:
artist
Dos 7.000 componentes eu sou 1
[From the 7,000 components, I am 1] ·
1972 – 1976 / 2010 · photograph · print
on methacrylate · 60 × 180 cm · collection:
artist
Carlos Zilio
Para um jovem de brilhante futuro [For a
young man with a brilliant future] · 1973 ·
photograph; object · eight prints; suitcase
with nails · prints 45 × 60 cm each; object
41 × 32 × 7 cm · collection: photographs
artist; object Vanda Mangia Klabin, Rio
de Janeiro
Chantal Akerman
D’est, au bord de la fiction [From the
East, bordering on fiction] · 1995 · video
installation · 35 mm, DVD transfer, 25
synchronized channels, color, sound ·
variable dimensions · collection: The Ella
Fontanals – Cisneros Collection, Miami
D’est [From the East] · 1993 · film ·
35 mm, DVD transfer, color, sound · 107’ ·
collection: artist
Chen Chieh-jen
Factory · 2003 · film · Super 16 mm, DVD
transfer, color, silent · 31’09” · courtesy:
artist
Chim Pom
Black of Death for São Paulo [working
title] · 2010 · videoinstallation;
performance documentation ·
multichannel, color, sound · dimensions
variable
Cildo Meireles
Abajur · 1997 / 2010 · installation ·
round projection screen; dynamo ·
1,180 × 900 cm · support: Fundação
de Serralves, Porto · commissioned by:
Fundação Bienal de São Paulo
Inserções em circuitos ideológicos:
Projeto Cédula [Insertions into ideological
circuits: Banknote Project] · 1976 ·
rubber stamp on banknotes · 7 × 15 cm ·
collection: artist
Cinemata [Cinthia Marcelle &
Tiago Mata Machado]
Buraco negro [Black hole] · 2008 · video
· HD, black & white, sound · 4’41”, loop
· courtesy: Sprovieri, London; Box4, Rio
de Janeiro; Galeria Vermelho, São Paulo ·
production: Katásia Filmes; edição: Pedro
Verenoso
Cinthia Marcelle
Sobre este mesmo mundo [This
same world over] · 2009 – 2010 ·
installation · chalk; blackboard; eraser
· 120 × 840 × 8 cm · courtesy: Sprovieri,
London; Box4, Rio de Janeiro; Galeria
Vermelho, São Paulo
Claudia Joskowicz
Round and Round and Consumed by
Fire · 2009 · video installation · BD,
color, sound · 8’, loop · courtesy: artist ·
direction Claudia Joskowicz; production
Dorita Fernandez; production assistance
José María Llora; photography direction
Ernst Udo Drawert; sound design Grégoire
Paultre; grips Walter Acho, Ronald
Nogales; art direction Isaac Nogales; cast
Dan Griffiths (Butch Cassidy) and Richard
Saxton (Sundance Kid); extras Ruth Ewan,
429
Jon Geiger, Military Cadets from the City
of Vallegrande; photography production
Yolanda Chichester
Claudio Perna
Fotografía anónima de Venezuela
[Anonymous picture of Venezuela] ·
1979 · black and white print on paper ·
36 photographs 14.8 × 14.8 cm each ·
collection: Fundación Museos Nacionale,
Galería de Arte Nacional de Venezuela,
Caracas
Daniel Senise
O Sol me ensinou que a história não é
tudo [The Sun has taught me that history
is not everything] · 2010 · installation
· recycled paper from art catalogues
and pamphlets; PVA glue; plaster · tiles
51 × 51 × 1.5 cm each; tiles 51 × 51 × 4 cm
each; overall dimensions variable ·
collection: artist
Skira · 2010 · painting · art book pages on
aluminum · 155 × 462 × 3.5cm · collection:
artist
David Claerbout
The Algiers’ Sections of a Happy Moment
· 2008 · video installation · HD, black &
white, stereo sound · 37’12” · courtesy:
artist; Hauser & Wirth Gallery, Zürich/
London/New York; Yvon Lambert Gallery,
Paris/New York
Sunrise · 2009 · video installation ·
HD, black & white, stereo sound · 18’ ·
courtesy: artist; Hauser & Wirth Gallery,
Zürich/London/New York; Yvon Lambert
Gallery, Paris/New York
David Cury
Antônio Conselheiro não seguiu o
conselho [Antônio Conselheiro did
not follow the advice] · 2005 / 2010 ·
installation · containers; glass; iron; steel;
aluminum; rubber; fluorescent burned
lamps · variable dimensions
David Goldblatt
BHJ Richtersveld National Park, Northern
Cape. 25 December 2003 · 2003 · from
the series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
Port Nolloth, Northern Cape. 28
December 2003 · 2003 · from the series:
In the time of Aids · photograph · digital
print on 100% cotton rag paper in pigment
inks · 90 × 114 cm · courtesy: artist;
Goodman Gallery, Johannesburg
Vesta Appolis, cashier, Suurbraak
Municipality, Suurbraak, Western Cape.
22 July 2004 · 2004 · from the series: In
the time of Aids · photograph · digital print
on 100% cotton rag paper in pigment inks
· 90 × 114 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Entrance to Lategan’s Truck Inn,
Laingsburg. Western Cape. 14 November
2004 · 2004 · from the series: In the time
of Aids · photograph · digital print on
100% cotton rag paper in pigment inks ·
90 × 114 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Smid Street, Middelburg, Eastern Cape.
24 November 2004 · 2004 · from the
series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
Are you Master. Kilometre 4 on R74
between Harrismith and Bergville, Free
State. 25 August 2005 · 2005 · from the
430
series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
Be a volunteer, Join community home
base care services. Dept. of Health
and Welfare. Vaalwater Clinic/Kliniek.
Vaalwater, Limpopo Province. 18
September 2006 · 2006 · from the
series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
The entrance to Lwandle, Strand,
Western Cape. 9 October 2005 · 2005
· from the series: In the time of Aids ·
photograph · digital print on 100% cotton
rag paper in pigment inks · 90 × 114 cm
· courtesy: artist; Goodman Gallery,
Johannesburg
PMTCT at the entrance to Boitumelomg
Township, Bloemhof, North - West. 10
February 2006 · 2006 · from the series: In
the time of Aids · photograph · digital print
on 100% cotton rag paper in pigment inks
· 90 × 114 cm · courtesy: artist; Goodman
Gallery, Johannesburg
The first day of spring at Lategan’s Truck
Inn on the N1, Laingsburg, Western
Cape. 1 September 2006 · 2006 · from
the series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
At Kevin Kwanele’s Takwaito Barber,
Lansdowne Road. Khayelitsha, Cape
Town. 16 May 2007 · 2007 · from the
series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
On Lansdowne Road, Khayelitsha, Cape
Town. 16 May 2007 · 2007 · from the
series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
IT’S EASIER TO LIVE BETTER WITH
ELLERINES, Beaufort West, Western
Cape. 14 May 2007 · 2007 · from the
series: In the time of Aids · photograph
· digital print on 100% cotton rag paper
in pigment inks · 90 × 114 cm · courtesy:
artist; Goodman Gallery, Johannesburg
David Lamelas
Moon Time · 2010 · digital clock; table;
chairs · table 80 × 315 × 256 cm; 12 chairs
· courtesy: artist · commissioned by:
Fundação Bienal de São Paulo
David Maljković
Scene for New Heritage Trilogy ·
2004 – 2006 · video installation · DVD,
color, sound · 20’08” · collection: Van
Abbemuseum, Eindhoven · courtesy:
Annet Gelink Gallery, Amsterdam; Metro
Pictures, New York; Georg Kargl Fine Arts,
Vienna; Sprüth Magers, London/Berlin
Deimantas Narkevičius
The Dud Effect · 2008 · film · 16 mm, BD
transfer · 15’40” · courtesy: gb agency,
Paris; Jan Mot, Brussels; Galerie Barbara
Weiss, Berlin
Dora García
The Deviant Majority · 2010 · video
installation · HD, color, sound · 34’
· courtesy: artist · commissioned by:
Hogeschool Sint-Lukas, Brussels; Vlaams
Audiovisuele Fonds, Brussels; Fondazione
Galleria Civica di Trento; Fundação Bienal
de São Paulo
Douglas Gordon
Pretty much every film and video work
from about 1992 until now. To be seen on
monitors, some with headphones, others
run silently, and all simultaneously ·
1992- · video installation · video, color; 79
monitors; 15 headphones · dimensions
variable · courtesy: artist
Eduardo Coimbra
Luz natural [Natural light] · 2010 ·
installation · print on transparency;
fluorescent lamps · 6 sets approx.
240 × 80 × 80 cm each · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Eduardo Navarro
El Dorado · 2010 · action; documentation
of action; installation · soil; copies
on paper · dimensions variable ·
support: Projeto Anchieta, São Paulo ·
commissioned by: Fundação Bienal de
São Paulo
Efrain Almeida
Efrain Almeida · 2010 · sculpture ·
umburana wood and oil · 6 pieces
30 × 10 × 7 cm each · courtesy: Galeria
Fortes Vilaça, São Paulo · commissioned
by: Fundação Bienal de São Paulo
Emily Jacir
Lydda Airport · 2007 – 2009 · video ·
BD, black and white, Dolby 5.1 sound
· sculpture 33 × 155.6 × 76.8 cm; table
89 × 170 × 92 cm · courtesy: Alexander
and Bonin, New York
Lydda Airport · 2009 · urethane and
epoxy model; steel table · 5’21”
Enrique Ježik
Estreno de la OTAN [NATO’s debut] ·
2008 · installation · carved plasterboards
mounted on plywood; video monitors;
wooden trestles · 75 × 500 × 600 cm
· collection: artist · courtesy: Galería
Enrique Guerrero, Mexico City
Ernesto Neto
Quem paga o arrego – Tá tudo areglado!
[Who pays the surrender – everything is
agreed] · 2010 · terreiro Remembrance
and oblivion · cloth; wood; foam; spices;
rug · approx. 120 sq m · commissioned by:
Fundação Bienal de São Paulo
Fernando Lindote
Cosmorelief · 2010 · installation · painting
on wall; cement; fiberglass sculptures;
video, color · variable dimensions ·
commissioned by: Fundação Bienal de
São Paulo
Filipa César
Memograma · 2010 · video · HD, color,
sound · 40’ · collection: artist
Insert · 2010 · video · 16 mm, HD transfer,
black & white, silent · 10’ · collection:
artist · © Filipa César
Fiona Tan
A Lapse of Memory · 2007 · video
installation · HD, color, sound · 24’ ·
courtesy: artist; Frith Street Gallery,
London
Flávio de Carvalho
Experiência N.2 [Experience N.2] ·
1931 · action record · audio; newspaper
clippings; books; flyer · audio 4’24”; 6
clipping pages; 2 books; flyer 16.1 × 12 cm
· collection: Fundo Flávio de Carvalho –
CEDAE – Unicamp, Campinas; private
collection
Experiência N.4 [Experience N.4] ·
1958 · action record · photograph; film;
newspaper clipping · 25 photographs
18 × 24 cm each; loop, color; ad
16.1 × 12 cm · collection: Fundo Flávio de
Carvalho – CEDAE – Unicamp, Campinas
· support: Fundação Padre Anchieta –
Centro de Documentação TV Cultura,
São Paulo
Retrato de Sérgio Buarque de Holanda
[Sérgio Buarque de Holanda Portrait] ·
1970 · painting · fluorescent gouache on
paper · 90 × 70 cm · collection: Francisco
Buarque de Holanda, Rio de Janeiro
Francis Alÿs
Tornado · 2000 – 2010 · video installation
· HD, color, sound · 55’ · courtesy: artist;
David Zwirner, New York; Galerie Peter
Kilchmann, Zürich · © Francis Alÿs
Gabriel Acevedo Velarde
Extracción [Extraction] · 2010 · video
installation · video, DVD transfer, color,
sound; printed papers · dimensions
variable · courtesy: Galeria Leme, São
Paulo; Maribel López Gallery, Berlin
Gil Vicente
Suíte safada II [Shameless Suite] ·
2007 – 2010 · drawing · Indian ink
on book page · 22.5 × 15.7 cm each ·
collection: artist · courtesy: Galeria Nara
Roesler, São Paulo · commissioned by:
Fundação Bienal de São Paulo
Autorretrato I – matando George Bush
[Self-portrait I – killing George Bush] ·
2005 · from the series: Enemies · drawing
· charcoal on paper · 200 × 150 cm ·
collection: artist
Autorretrato II – matando Lula [Self-
portrait II – killing Lula] · 2005 · from the
series: Enemies · drawing · charcoal on
paper · 200 × 150 cm · collection: artist
Autorretrato III – matando Elizabeth
II [Self-portrait III – killing Elizabeth II] ·
2005 · from the series: Enemies · drawing
· charcoal on paper · 150 × 200 cm ·
collection: artist
Autorretrato IV – matando Ahmadinejad
[Self-portrait IV – killing Ahmadinejad] ·
2010 · from the series: Enemies · drawing
· charcoal on paper · 200 × 150 cm ·
collection: artist
Autorretrato V – matando Jarbas
Vasconcelos [Self-portrait V – killing
Jarbas Vasconcelos] · 2005 · from the
series: Enemies · drawing · charcoal on
paper · 150 × 200 cm · collection: artist
Autorretrato VI – matando Eduardo
Campos [Self-portrait VI – killing Eduardo
Campos] · 2005 · from the series:
Enemies · drawing · charcoal on paper ·
150 × 200 cm · collection: artist
Autorretrato VII – matando Ariel Sharon
[Self-portrait VII – killing Ariel Sharon] ·
2005 · from the series: Enemies · drawing
· charcoal on paper · 200 × 150 cm ·
collection: artist
Autorretrato VIII – matando Bento XVI
[Self-portrait VIII – killing Benedict XVI] ·
2005 · from the series: Enemies · drawing
· charcoal on paper · 150 × 200 cm ·
collection: artist
Autorretrato IX – matando Fernando
Henrique Cardoso [Self-portrait IX –
killing Fernando Henrique Cardoso] ·
2005 · from the series: Enemies · drawing
· charcoal on paper · 200 × 150 cm ·
collection: artist
Autorretrato X – matando Kofi Annan
[Self-portrait X – killing Kofi Annan] ·
2005 · from the series: Enemies · drawing
· charcoal on paper · 150 × 200 cm ·
collection: artist
Graziela Kunsch
Projeto Mutirão · 2007 - · installation
· HD, color, sound; furniture; library ·
variable dimensions · collection: artist ·
support: Fundação Bienal de São Paulo
· Projeto Mutirão Archive: architecture
Kooperative für Darstellungspolitik
(Andreas Müller, Jesko Fezer, and
Anita Kaspar); collaboration José
Eduardo Baravelli; presentation video
André Guerreiro Lopes; website Florian
Schneider/kein.org and Casco –Office for
Art, Design and Theory
Grupo de Artistas de
Vanguardia
Tucumán Arde Archive [Tucumán Arde
Archive] · 1968 – 2007 · documentation
· offset prints · dimensions variable
· collection: MACBA Museu d’Art
Contemporani de Barcelona · preselection
Ana Longoni
Grupo Rex
Placa Rex Gallery & Sons [Rex Gallery
& Sons Sign] · 1966 · object · metal ·
41 × 66 cm · courtesy: Luciana Brito
Galeria, São Paulo
—
1966 – 1967 · graphic material ·
newspaper; invitations; posters · 4
newspaper 48 × 33 cm; 1 newspaper
30.5 × 21 cm; 4 invitations 10 × 20 cm; 2
posters 48 × 33 cm · collection: private,
São Paulo
—
1966 – 1967 · clipping · newspaper ·
collection: private, São Paulo
Grupo Rex (Carlos Fajardo)
Neutral · 1966 · object · plexiglass cube;
wooden base · 30 × 30 × 30 cm · collection:
artist, São Paulo
Mulher sendo atacada [Woman being
attacked] · 1966 · drawing · charcoal
on paper · 60 × 73 cm · collection: Gema
Giaffone, São Paulo
Grupo Rex (Geraldo de Barros)
They are kissing (positive) · 1964
· painting · Indian ink on wood ·
78 × 113 cm · courtesy: Luciana Brito
Galeria, São Paulo
They are kissing (negative) · 1964 ·
painting · oil on plywood · 77 × 113 cm ·
collection: Fulvia Leirner, São Paulo
Grupo Rex (José Resende)
Homenagem ao horizonte longínquo
[Hommage to the faraway horizon]
· 1967 · installation · aluminum;
plastic; decalcomania; cotton ·
250 × 150 × 150 cm · collection: private,
São Paulo
Retrato do meu pai [My father’s portrait]
· 1965 · object · plexiglass; portrait;
iron base · 160 × 50 × 40 cm · collection:
private, São Paulo
Grupo Rex (Nelson Leirner)
Adoração - Altar a Roberto Carlos
[Adoration - Altar to Roberto Carlos] ·
1966 · installation · fabric; paint; light ·
205 × 105 cm · collection: Museu de Arte
de São Paulo Assis Chateaubriand, São
Paulo – MASP
Grupo Rex (Wesley Duke Lee)
O artista chorando assina... [The
artist crying signs...] · 1964 · painting

· oil on metal sign; ballpoint pen ink;
paper collage; metal funnel · 100 cm ø ·
collection: Gilberto Chateaubriand MAM
RJ, Rio de Janeiro
O tríptico: o guardião, a guarda, as
circunstâncias [The triptych: the
guardian, the guard, the circumstances]
· 1966 · installation · oil on canvas;
reproduction; mirror; hair; others ·
197 × 70 cm; 136 × 60 cm; 150 × 56 cm ·
collection: private, Rio de Janeiro
Gustav Metzger
To Walk Into – Massacre on the Mount,
Jerusalem, 8 October 1990 · 1996 / 2010
· from the series: Historic Photographs
· installation · photograph on PVC; linen
cover · 238 × 395 × 30 cm · courtesy:
Tate, London: Purchased with assistance
from Tate Members 2007 · © Menahem
Kahana/AFP
To Crawl Into – Anschluss, Vienna,
March 1938 · 1996 / 2010 · from the
series: Historic Photographs · installation
· black-and-white photograph on PVC;
cotton cover · 315 × 423 cm · collection:
artist · © Yad Vashem Photo Archive
Guy de Cointet
Two Drawings · 1974 · play · · courtesy:
Estate of Guy de Cointet / Air de Paris,
Paris · actress Mary-Ann Duganne
Glicksman
Tell Me · 1979 · play record · fac-simile
of the original typed script; photographic
still; transferred film · 44` · courtesy:
Estate of Guy de Cointet / Air de Paris,
Paris · actresses Denise Domergue, Helen
Mendez, Jane Zingale
Guy Veloso
Sem título [Untitled] · 2007 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2006 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2007 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2003 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2007 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2008 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2002 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2010 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2005 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2005 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2002 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2003 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2006 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2005 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2010 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2006 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Sem título [Untitled] · 2004 · from the
series: Penitentes [Penitents] · print on
cotton paper · photograph · 65 × 100 cm
· collection: artist · courtesy: Nara Rosely
Nakagawa_Gabinete de Artes, São Paulo
Harun Farocki
Serious Games I: Watson is Down ·
2009 – 2010 · video · HD, color, sound ·
8’15” · © Harun Farocki Filmproduktion
2010 · support: Medienboard, Berlin-
Branderburg GmbH; Fundação Bienal
de São Paulo · Filmed in October 2009 in
BattleSimulation Center of the Marine Air
Ground Task Force Training Command,
Marine Corps Air Ground Combat Center –
Twentynine Palms, California, United States
of America; using Virtual Battle Space 2,
Recognition of Combatants – Improvised
Explosive Devices. Cinematography
Ingo Kratisch. Sound Matthias Rajmann.
Editing Harun Farocki. Online editing Max
Reimann. After a screenplay by Harun
Farocki, Matthias Rajmann. Director
Harun Farocki. Production Harun Farocki
Filmproduktion, Berlin. Production
manager Matthias Rajmann
Serious Games II: Three Dead ·
2009 – 2010 · video · HD, color, sound ·
7’43” · © Harun Farocki Filmproduktion
2010 · support: Medienboard, Berlin-
Branderburg GmbH; Fundação Bienal
de São Paulo · Filmed in October 2009 in
Combined Arms Military Operations on
Terrain (MOUT) Facility, Range 220 of the
Marine Air Ground Task Force Training
Command, Marine Corps Air Ground
Combat Center – Twentynine Palms,
California, United States of America; using
draft MOUT animations, created for the
Marine Corps by Maraizon International.
Cinematography Ingo Kratisch. Sound
Matthias Rajmann. Editing Harun Farocki.
Online editing Max Reimann. After a
screenplay by Harun Farocki, Matthias
Rajmann. Director Harun Farocki.
Production Harun Farocki Filmproduktion,
Berlin. Production manager Matthias
Rajmann
Serious Games III: Immersion · 2009
· video · HD, color, sound · 20’23” · ©
Harun Farocki Filmproduktion 2010
· support: Medienboard, Berlin-
Branderburg GmbH · commissioned by:
co-production Jeu de Paume, Paris, Stuk,
Leuve · Filmed in January 26 and 27,
2009 in the Workshop for U.S. Air Force
psychologists at Fort Lewis, Madigan Army
Medical Center, Tacoma, Washington,
USA “Virtual Reality Exposure for PTSD
(Post-Traumatic Stress Disorder)”;
with the participation of Albert Rizzo,
PhD, Research Professor, School of
Gerontology & Dept. of Psychiatry and
Behavioral Health; Research Scientist,
University of Southern California, Institute
for Creative Technologies, ICT - Los
Angeles, California, USA; Kevin Holloway,
PhD, Clinical Psychologist, Defense
Centers of Excellence for Psychological
Health and Traumatic Brain Injury,
National Center for Telehealth and
Technology - Tacoma, Washington, USA.
Barbara O. Rothbaum, PhD, ABPP,
Professor in Psychiatry; Director, Trauma
and Anxiety Recovery Program, Emory
University School of Medicine - Atlanta,
Georgia, USA And psychologists of the
U.S. Air Force; Cinematography Ingo
Kratisch; Sound Matthias Rajmann;
Editing Harun Farocki, Max Reimann;
Script Harun Farocki, Matthias Rajmann;
Director Harun Farocki; Producer
Matthias Rajmann
Serious Games IV: A Sun with no Shadow
· 2009 – 2010 · video · HD, color, sound ·
7’39” · © Harun Farocki Filmproduktion
2010 · support: Medienboard, Berlin-
Branderburg GmbH; Fundação Bienal
de São Paulo · Filmed in October 2009 in
Battle Simulation Center of the Marine Air
Ground Task Force Training Command,
Marine Corps Air Ground Combat Center
– Twentynine Palms, California, United
States of America; using Virtual Battle
Space 2, Recognition of Combatants –
Improvised Explosive Devices; filmed in
January 2009 at the Workshop for U.S.
Air Force psychologists on virtual reality
exposure for PTSD (post-traumatic stress
disorder) in Fort Lewis, Madigan Army
Medical Center – Tacoma, Washington,
United States of America. Cinematography
Ingo Kratisch. Sound Matthias Rajmann.
Editing Harun Farocki. Online editing Max
Reimann. After a screenplay by Harun
Farocki, Matthias Rajmann. Director
Harun Farocki. Production Harun Farocki
Filmproduktion, Berlin. Production
manager Matthias Rajmann
Hélio Oiticica
B 33 Bólide caixa 18 “Homenagem a
Cara de Cavalo” [B 33 Box Bolid 18
“Hommage to Cara de Cavalo”] · 1966
· wood; photograph; nylon fabric; glass;
plastic; pigment · 40 × 30.5 × 68.5 cm ·
collection: Gilberto Chateaubriand MAM
RJ, Rio de Janeiro
Seja marginal, seja herói [Be an outlaw,
be a hero] · 1968 · flag · silkscreen on
fabric · 95 × 114.5 cm · collection: César
and Cláudio Oiticica
Ninhos [Nests] · 1970 / 2010 · installation
· wood; jute; mattresses; light bulbs ·
366 × 640 × 548 cm · collection: César and
Cláudio Oiticica
Henrique Oliveira
A origem do terceiro mundo [The origin
of the third world] · 2010 · site-specific
431
installation · wood; PVC; others ·
dimensions variable · photo: artist ·
commissioned by: Fundação Bienal de
São Paulo
High Red Center (Nakanishi
Natsuyuki, Jiro Takamatsu)
Yamanote Line Event · 1962 ·
performance documentation ·
photographic print from digital file on
cotton paper on aluminum sheet · 2
photographs 50 × 80 cm each · courtesy:
The Estate of Jiro Takamatsu/ Yumiko
Chiba Associates, Tokyo
High Red Center (Nakanishi
Natsuyuki, Gempei Akasegawa e
Jiro Takamatsu)
Movement to Promote the Cleanup
of the Metropolitan Area (Be Clean) ·
1964 · performance documentation ·
photographic print from digital file on
cotton paper on aluminum sheet · 2
photographs 30 × 45 cm each · courtesy:
The Estate of Jiro Takamatsu/ Yumiko
Chiba Associates, Tokyo
Movement to Promote the Cleanup
of the Metropolitan Area (Be Clean)
· 1964 · performance documentation
· photographic print from digital file
on cotton paper on aluminum sheet
· 4 photographs 35 × 50 cm each; 1
photograph 80 × 120 cm · courtesy:
Minoru Hirata · photo: Minoru Hirata
Shelter Plan · 1964 · performance
documentation · video 16 mm, DVD
transfer, black & white, silent · 25’ ·
collection: Museum of Contemporary Art,
Tokyo · photo: Jonouchi Motoharu
Shelter Plan · 1964 · performance
documentation · photographic print
on paper · 2 photographs 40 × 60 cm;
3 photographs 30 × 70; 1 photograph
40 × 50 cm · collection: Nagoya Art
Museum
Isa Genzken
Strassenfest [Street party] · 2008 – 2009
· installation · 8 sculptures; 1 wall piece ·
dimensions variable · collection: Inhotim,
Minas Gerais · courtesy: Inhotim, Minas
Gerais; Galerie Daniel Buchholz, Köln/
Berlin; neugerriemschneider, Berlin
Jacobo Borges
Imagen de Caracas [Image of Caracas]
· 1967 · performance documentation ·
video, 3 channels, color, sound; black-
and-white photographic print on paper
· approx. 128 photographs 28 × 42 cm
/ 21 × 28 cm / 14 × 21 cm · collection:
artist · © Jacobo Borges & Imagen de
Caracas Team · with the collaboration
of Josefina Jordan, Mario Robles, Juan
Pedro Posani, Adriano Gonzales Leon ,
Salvador Garmendia, Manuel Espinoza,
Jose Vicente Azuar, Edmundo Vargas,
Luis Lucksic, Francisco Hung, Alejandro
Otero, Carlos Cruz Diez, Jorge Chrinos,
Franca Donda, Donald Myerston, Juan
Santana, Antonio LLerandi, Miguel
Arroyo, Roberto Siso, Fernando Toro,
Alvaro Boscan, Ramon Unda, Mario Volpi,
Sergio Antillano, J. M. Cruxent, Manuel
Caballero, Caupolican Ovalles, Peran
Erminy, Josefina Urdaneta, Hector Mujica,
Ruben Nunez, Roberto Guevara, Bélgica
Rodríguez, Gerd Leufert, Jesús Tenrreiro
James Coleman
Ligne de foi [Line of faith] · 1991 – 2005 ·
video · DVD, color, sound · 57’ · courtesy:
artist; Marian Goodman Gallery, New York
/ Paris · © James Coleman
432
Jean-Luc Godard
Je vous salue, Sarajevo [Hail, Sarajevo]
· 1993 · video · DVD, color, sound · 2’15”
· courtesy: artist · director, screenplay,
voice, edition Jean-Luc Godard; music
Arvo Pärt; editing François Musy;
production Périfhéria
Jeremy Deller
So Many Ways to Hurt You: The Life
and Times of Adrian Street · 2010 ·
video installation · video; mural painting
· 41’ · commissioned by: Grizedale Arts,
Coninston
Jeremy Deller & Grizedale Arts
The Mechanics Institute · 2010 ·
installation; educative program · furniture;
objects; drawings; field trip · approx.
450 × 800 · courtesy: Liceu de Artes e
Ofícios de São Paulo; Ruskin Museum,
Coniston · commissioned by: Fundação
Bienal de São Paulo
Jimmie Durham
Bureau for Research Into Brazilian
Normality · 2010 · sculptural installation
· dimensions variable · courtesy: artist;
Kurimanzutto Gallery, Mexico City
Joachim Koester
Tarantism · 2007 · film · 16 mm, DVD
transfer, black & white, silent · 6’30” ·
courtesy: Jan Mot, Brussels
Jonas Mekas
365-Day Project · 2007 · video · HD,
color, sound · lengths variable · courtesy:
James Fuentes Gallery, New York
Jonathas de Andrade
Educação para adultos [Education for
adults] · 2010 · photograph; graphic
material · offset posters · approx. 50
posters 46 × 34 cm each · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
José Leonilson
Pobre Sebastião [Poor Sebastião] ·
c. 1993 · painting · acrylic on canvas ·
160 × 90 cm · collection: Museu de Arte
Moderna de São Paulo. Lendind Eduardo
Brandão and Jan Fjeld
Sem título [Untitled] · 1990 · sewing on
felt · 66 × 28 cm · collection: Museu de
Arte Moderna de São Paulo. Gift from
Eduardo Brandão and Jan Fjeld
Para o meu vizinho de sonhos [To my
dream neighbor] · c. 1991 · neddlework
on felt · 90 × 38 cm · collection: Museu
de Arte Moderna de São Paulo. Lendind
Eduardo Brandão and Jan Fjeld
Das 3 armas [Of the three weapons] ·
c. 1990 · needlework on cotton pillowcase
· 48 × 62 cm · collection: Museu de Arte
Moderna de São Paulo. Lendind Eduardo
Brandão and Jan Fjeld
Leo não consegue mudar o mundo
[Leo can’t change the world] · 1989 ·
painting · acrylic on canvas · 156 × 95 cm
· collection: Ana Celina Dias Reichert,
São Paulo
José Spaniol
Sem título [título provisório] [Untitled
[working title]] · 2010 · installation ·
rammed earth; concrete; oil on marble ·
ladder approx. 400 × 600 × 80 cm; slate
approx. 208 × 148 cm · support: Unesp
– Universidade Estadual Paulista “Júlio
de Mesquita Filho”; Galeria Baró, São
Paulo; H.A.P Galeria, Rio de Janeiro ·
commissioned by: Fundação Bienal de
São Paulo
Joseph Kosuth
North · 1967 · from the series: Art as idea
as idea · graphic material · silkscreen
on metal · 100 × 100 cm · collection:
Guilherme Magalhães Pinto Gonçalves
South · 1967 · from the series: Art as idea
as idea · graphic material · silkscreen
on metal · 100 × 100 cm · collection:
Guilherme Magalhães Pinto Gonçalves
West · 1967 · from the series: Art as idea
as idea · graphic material · silkscreen
on metal · 100 × 100 cm · collection:
Guilherme Magalhães Pinto Gonçalves
East · 1967 · from the series: Art as idea
as idea · graphic material · silkscreen
on metal · 100 × 100 cm · collection:
Guilherme Magalhães Pinto Gonçalves
Juliana Stein
Sim e não [Yes and no] · 2006 – 2010 ·
photograph · print on cotton paper · 11
images 100 × 100 cm each · courtesy:
artist
Julie Ault & Martin Beck
No-Stop City High-Rise: a conceptual
equation · 2010 · installation · drop
ceiling; halogen lamps; three columns
covered with reflexive material; vitrine;
publications; documents; information
panel plot on hanging board; texts
reproduced in vinyl and mounted to
the inside of the windows; postcards ·
dimensions variable · commissioned by:
Fundação Bienal de São Paulo
Karina Skvirsky Aguilera
My Pictures from Ecuador · 2009 · collage
· fac-simile of album page · 16 prints
38.10 × 30.48 cm each · courtesy: artist
Kboco & Roberto Loeb
Canabibi · 2010 · terreiro Said, unsaid, not
to be said · timber wood; paint · approx.
120 sq m · commissioned by: Fundação
Bienal de São Paulo
Kendell Geers
‘Monument to the F-Word · 2010 ·
sculpture · bronze · 118,5 × 24,5 cm ø ·
commissioned by: Fundação Bienal de
São Paulo
Loopback Wonderland · 2010 · mural ·
paint on wall · approx. 490 × 1700 cm ·
commissioned by: Fundação Bienal de
São Paulo
Kiluanji Kia Henda
The Spaceship Icarus 13, Luanda · 2008
· from the series: Icarus 13 · photograph
· inkjet print on matt paper · 80 × 120 cm
· collection: Fundação Sindika Dokolo,
Luanda
Astronomy Observatory, Namibe Desert
· 2008 · from the series: Icarus 13 ·
photograph · inkjet print on matt paper ·
80 × 120 cm · collection: Fundação Sindika
Dokolo, Luanda
Centre of Astronomy Studies and
Astronauts Training, Namibe Desert
· 2008 · from the series: Icarus 13 ·
photograph · inkjet print on matt paper ·
80 × 120 cm · collection: Fundação Sindika
Dokolo, Luanda
Building the Spaceship Icarus 13 · 2008
· from the series: Icarus 13 · photograph
· inkjet print on matt paper · 80 × 120 cm
· collection: Fundação Sindika Dokolo,
Luanda
Icarus 13 (View from the Chicala Island,
Luanda) · 2008 · from the series: Icarus
13 · photograph · inkjet print on matt
paper · 80 × 120 cm · collection: Fundação
Sindika Dokolo, Luanda
Icarus 13 · 2008 · from the series: Icarus
13 · model · fiber · dimensions variable
· collection: Fundação Sindika Dokolo,
Luanda
The Launch of Icarus 13 (6:00pm, 25th
of May, 2007) · 2008 · from the series:
Icarus 13 · photograph · inkjet print on
matt paper · 80 × 120 cm · collection:
Fundação Sindika Dokolo, Luanda
First Pictures of the Sun’s Photosphere
from Icarus 13 in Orbit · 2008 · from the
series: Icarus 13 · photograph · inkjet print
on matt paper · 80 × 120 cm · collection:
Fundação Sindika Dokolo, Luanda
The Return of the Austronauts (5:00am,
9th of June, 2007) · 2008 · from the
series: Icarus 13 · photograph · inkjet print
on matt paper · 80 × 120 cm · collection:
Fundação Sindika Dokolo, Luanda
Kimathi Donkor
Johnny Was Born aloft by Joy and
Stephen · 2010 · painting · oil on linen ·
190 × 160 cm
When Shall We 3? · 2010 · from the
series: Scenes from the Life of Njinga
Mbandi · painting · oils, wood, staples,
linen · 105 × 160 × 4.5 cm
Drama Queen · 2010 · from the series:
Scenes from the Life of Njinga Mbandi ·
painting · oil on linen · 100 × 160 cm
Kombi Continua · 2010 · from the series:
Scenes from the Life of Njinga Mbandi ·
painting · oil on linen · 170 × 160 cm
Kutluğ Ataman
Beggars · 2010 · video installation · HD, 7
channels, silent · courtesy: artist; Thomas
Dane Gallery, London
Livio Tragtenberg
Gabinete do Dr. Estranho [Dr. Strange’s
Cabinet] · 2010 · installation; performance
· iron cage; audiovisual editing room;
monitor, color, sound · 300 × 300 × 300 cm
· commissioned by: Fundação Bienal de
São Paulo
Luiz Zerbini
Inferninho [Little hell] · 2010 · installation
· reflexive painting; smoke; sand; light;
sound · collection: artist · courtesy: Galeria
Fortes Vilaça, São Paulo · commissioned
by: Fundação Bienal de São Paulo ·
architecture Pedro Evora e Pedro Rivera
- Rua Arquitetos; production Luiza Mello
- Automática
Lygia Pape
Divisor · 1968 / 2010 · collective
performance reenactment; video
record of performance reenactment ·
white cloth with holes; people · cloth
1,500 × 1,500 cm; video loop · courtesy:
Projeto Lygia Pape, Rio de Janeiro · photo:
Paula Pape · filmed by Paula Pape; editing
Paula Pape and Mario Costa; production
Central das Artes
Língua apunhalada [Stabbed tongue] ·
1968 · photograph · acetate on backlight ·
124 × 163 × 14 cm · courtesy: Projeto Lygia
Pape, Rio de Janeiro
Manfred Pernice & Olaf-ur
Panic´
Kubor 1 + 2 · 2010 · installation ·
plywood and particle board cubes; mixed
technique collage · 84 cubes 38 × 38 cm
each; total dimensions variable · courtesy:
artist; NEU-Berlin; AKG, New York and
Regen Projects L.A. · thanks to: Aranza
Becerra, Edgar Cobian, Emanuel Tovar,
Lydia Genin, Mayra Huerta, Victor
Sanchez and Juan Pablo Vadillo, Gabriela
Castañeda, Madlen Schering, José Davila,
Mariana Munguia and Patrick Charpenel
Manon de Boer
Dissonant · 2010 · film installation ·
16 mm, DVD transfer, color, sound ·
10’40” · courtesy: Jan Mot, Brussels
Marcelo Silveira
Tudo certo [All right] · 2010 · installation
· Cajacatinga wood · 700 × 500 cm ·
courtesy: artist; Galeria Nara Roesler, São
Paulo; Galeria Mariana Moura, Recife ·
commissioned by: Fundação Bienal de
São Paulo
Paisagem II [Landscape II] · 2008 – 2009 ·
collage · magazines; books · 150 × 150 cm
· collection: artist · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem III [Landscape III] · 2008 – 2009
· collage · magazines; books · 52 × 94 cm
· collection: artist · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem VI [Landscape VI] · 2008 – 2009
· collage · magazines; books · 61 × 111 cm
· courtesy: Galeria Nara Roesler, São
Paulo; Galeria Mariana Moura, Recife
Paisagem IX [Landscape IX] · 2008 – 2009
· collage · magazines; books · 61 × 111 cm
· courtesy: Galeria Nara Roesler, São
Paulo; Galeria Mariana Moura, Recife
Paisagem X [Landscape X] · 2008 – 2009 ·
collage · magazines; books · 51 × 164 cm ·
courtesy: Galeria Nara Roesler, São Paulo;
Galeria Mariana Moura, Recife
Paisagem XI [Landscape XI] ·
2008 – 2009 · collage · magazines; books
· 150 × 150 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem XII [Landscape XII] ·
2008 – 2009 · collage · magazines; books ·
150 × 150 cm · collection: artist · courtesy:
Galeria Nara Roesler, São Paulo; Galeria
Mariana Moura, Recife
Paisagem XIII [Landscape XIII] ·
2008 – 2009 · collage · magazines; books
· 150 × 300 cm diptych · courtesy: Galeria
Nara Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem XIV [Landscape XIV] ·
2008 – 2009 · collage · magazines; books
· 82 × 114 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem XV [Landscape XV] ·
2008 – 2009 · collage · magazines; books
· 82 × 114 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem XVI [Landscape XVI] ·
2008 – 2009 · collage · magazines; books
· 82 × 114 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem XVII [Landscape XVII] ·
2009 – 2010 · collage · magazines; books
· 150 × 150 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Paisagem XVIII [Landscape XVIII] ·
2008 – 2009 · collage · magazines; books
· 150 × 150 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife

Paisagem XIX [Landscape XIX] · 2009 ·
collage · magazines; books · 51 × 164 cm ·
courtesy: Galeria Nara Roesler, São Paulo;
Galeria Mariana Moura, Recife
Paisagem XX [Landscape XX] ·
2009 – 2010 · collage · magazines; books
· 183 × 444 cm · courtesy: Galeria Nara
Roesler, São Paulo; Galeria Mariana
Moura, Recife
Marcius Galan
Ponto em escala real [Dot in real scale] ·
2010 · sculpture · concrete, iron, paint ·
sculpture 30 × 500 × 600 cm · collection:
artist · courtesy: Galeria Luisa Strina,
São Paulo · commissioned by: Fundação
Bienal de São Paulo
Entre [In between] · 2010 · scanning
electron microscopy · inkjet print on
cotton paper · 8 prints 70 × 100 cm each
· collection: artist · courtesy: Galeria Luisa
Strina, São Paulo · commissioned by:
Fundação Bienal de São Paulo
Maria Lusitano
The War Correspondent · 2010 · video ·
HD, color, sound · 59’ · collection: artist
Maria Thereza Alves
On the importance of words, a holy
(stolen) mountain and the ethics of
the nations · 2009 / 2010 · photograph;
Krenak - Portuguese / Portuguese -
Krenak dictionary; petition · adhesive
plotter on glass; print on paper ·
protograph 380 × 608 cm; dictionary
print run 700 · courtesy: Galerie Michel
Rein, Paris; Maumaus, Lisbon · photo:
Arne Kaiser · support: Fundação Bienal
de São Paulo
Iracema (de Questemberg) [Iracema
(of Questemberg)] · 2009 · from the
series: On the importance of words, a
holy (stolen) mountain and the ethics of
the nations · video · DVD, color, sound ·
26’43” · courtesy: Michael Rein Gallery,
Paris
Uma história dos Krenak [A history from
the Krenak] · 2009 · from the series: On
the importance of words, a holy (stolen)
mountain and the ethics of the nations ·
video · DVD, color, sound · 5’24”
Marilá Dardot & Fabio Moraes
Longe daqui, aqui mesmo [Far away,
right here] · 2010 · terreiro · masonry;
wallpaper; rugs; tiles; books; stools ·
dimensions variable · commissioned by:
Fundação Bienal de São Paulo
Mário Garcia Torres
Las variables dimensiones del arte
[The variable dimensions of art] · 2010
· installation · inkjet prints; slideshow ·
dimensions variable · courtesy: artist;
Galerie Jan Mot, Brussels; Proyectos
Monclova, Mexico City · support:
Fundação Bienal de São Paulo; Fundacion
Diagonal Colleción Jumex
Marta Minujín & Ruben
Santantonín
La menesunda · 1965 · installation
documentation · 16 mm film, DVD transfer
· 12’ · courtesy: Marta Minujín and
Leopoldo Maler · with the collaboration
of: Pablo Suárez, David Lamelas, Rodolfo
Prayon, Floreal Amor, and Leopoldo Maler
Matheus Rocha Pitta
Fontes [Fountains] · 2010 · from the
series: Provisional Heritage · photograph
· inkjet print on Hahnemuehle Photo
Rag 308 g · 24 prints 24 × 16 cm each ·
commissioned by: Fundação Bienal de
São Paulo
Sem título [Untitled] · 2010 · from the
series: Provisional Heritage · photograph
· inkjet print on Hahnemuehle Photo Rag
308 g · 60 × 90 cm · commissioned by:
Fundação Bienal de São Paulo
Overturned Tires · 2010 · from the series:
Provisional Heritage · photograph · inkjet
print on Ilfrod Galeria Smooth High paper ·
13 prints 20 × 30 cm cada · commissioned
by: Fundação Bienal de São Paulo
Sem título [Untitled] · 2010 · from the
series: Provisional Heritage · photograph
· inkjet print on Hahnemuehle Photo Rag
308 g · 50 × 75 cm · commissioned by:
Fundação Bienal de São Paulo
Sem título [Untitled] · 2010 · from the
series: Provisional Heritage · photograph
· inkjet print on Hahnemuehle Photo
Rag 308 g · 2 prints 50 × 57 cm each ·
commissioned by: Fundação Bienal de
São Paulo
Hot Shots · 2010 · from the series:
Provisional Heritage · photograph · inkjet
print on Hahnemuehle Photo Rag 308 g ·
4 prints 50 × 75 cm each · commissioned
by: Fundação Bienal de São Paulo
Provisional Heritage · 2010 · from the
series: Provisional Heritage · video · HD,
color, sound · approx. 15’ · commissioned
by: Fundação Bienal de São Paulo
Mateo López
Palacio del papel [Paper palace] · 2010 ·
installation · drawings; objects; models ·
dimensions variable · support: Fundação
Bienal de São Paulo
Miguel Angel Rojas
Tres en platea [Three in the stalls] · 1979
· from the series: Faenza · photograph
· digital print on cotton fiber paper · 5
photographs 82.5 × 122 × 4 cm each ·
collection: artist · courtesy: Sicardi Gallery,
Houston
Fisgón [Snooper] · 1979 · from the
series: Faenza · photograph · digital print
on cotton fiber paper · 5 photographs
82.5 × 122 × 4 cm each · collection: artist ·
courtesy: Sicardi Gallery, Houston
Antropofagia [Anthropophagy] · 1979
· from the series: Faenza · photograph
· digital print on cotton fiber paper · 9
photographs 82.5 × 122 × 4 cm each ·
collection: artist · courtesy: Sicardi Gallery,
Houston
Via Láctea [Milky Way] · 1979 · from the
series: Faenza · photograph · digital print
on cotton fiber paper · 3 photographs
82.5 × 122 × 4 cm each · collection: artist ·
courtesy: Sicardi Gallery, Houston
Niño lindo [Pretty boy] · 1979 · from the
series: Faenza · photograph · digital print
on cotton fiber paper · 4 photographs
82.5 × 122 × 4 cm each · collection: artist ·
courtesy: Sicardi Gallery, Houston
Sobre porcelana – Paquita [Over
porcelain – Paquita] · 1979 · from the
series: Faenza · photograph · digital print
on cotton fiber paper · 7 photographs
82.5 × 122 × 4 cm each · collection: artist ·
courtesy: Sicardi Gallery, Houston
Miguel Rio Branco
Nada levarei qundo morrer aqueles
que mim deve cobrarei no inferno [I
will take nothing wen dead those that
me owe I charge in 'ell] · 1979 – 1981 ·
film · 16 mm, HD transfer · approx. 20’ ·
courtesy: Galeria Millan, São Paulo
Milton Machado
Série I [Series I] · 1978 · from the series:
História do futuro [History of the future]
· drawings · pencil on paper · 8 drawings
35 × 50 cm each · collection: artist
Série II [Series II] · 1978 · from the series:
História do futuro [History of the future]
· drawings · pencil on paper · 6 drawings
35 × 50 cm each · collection: artist
Estudos [Studies] · 1978 · from the series:
História do futuro [History of the future]
· drawings · mixed media on paper · 30
drawings 23.5 × 32.5 cm each · collection:
artist
Módulo de destruição na posição alfa
[Module of destruction at position alpha]
· 1990 – 1991 / 2010 · from the series:
História do futuro [History of the future] ·
photograph · lambda print glued on PVC ·
150 × 100 cm · collection: artist
Nômade [Nomad] · 1990 – 1991 / 2010 ·
from the series: História do futuro [History
of the future] · photograph · lambda print
glued on PVC · 150 × 100 cm · collection:
artist
Módulo de destruição na posição alfa
[Module of destruction at position alpha]
· 1990 – 1991 / 2010 · from the series:
História do futuro [History of the future] ·
photograph · lambda print glued on PVC ·
60 × 40 cm · collection: artist
Nômade [Nomad] · 1990 – 1991 / 2010 ·
from the series: História do futuro [History
of the future] · photograph · lambda print
glued on PVC · 40 × 60 cm · collection:
artist · commissioned by: Fundação Bienal
de São Paulo
Módulo de destruição na posição alfa
[Module of destruction at position alpha]
· 2010 · from the series: História do futuro
[History of the future] · sculpture · iron
· 380 × 380 cm · support: Galeria Nara
Roesler, São Paulo · commissioned by:
Fundação Bienal de São Paulo
Nômade [Nomad] · 2010 · from the series:
História do futuro [History of the future] ·
sculpture · marble · 18 cm ø
Mira Schendel
Sem título [Untitled] · 1964 / 1965 · from
the series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
47 × 23 cm · collection: Ada Schendel ·
courtesy: Galeria Millan, São Paulo
Sem título [Untitled] · 1964 / 1965 · from
the series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
47 × 23 cm · collection: Ada Schendel ·
courtesy: Galeria Millan, São Paulo
Sem título [Untitled] · 1965 · from the
series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
47 × 23 cm · collection: Ada Schendel ·
courtesy: Galeria Millan, São Paulo
Sem título [Untitled] · 1965 · from the
series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
47 × 23 cm · collection: Rose e Alfredo
Setúbal
Sem título [Untitled] · 1965 · from the
series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
47 × 23 cm · collection: Rose e Alfredo
Setúbal
Sem título [Untitled] · 1965 · from the
series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
47 × 23 cm · collection: Rose e Alfredo
Setúbal
Sem título [Untitled] · 1965 · from the
series: Escritas · monotipias [Writings
· monotype] · oil on Japanese paper ·
433
47 × 23 cm · collection: Rose e Alfredo
Setúbal
Que beleza [How beautiful] · 1966 ·
drawing · ecoline and crayon stick on
paper · 43 × 61 cm · collection: Nara
Roesler
Objeto gráfico [Graphic object] · 1967
· drawing; object · oil and tracing on
paper installed in between acrylic plates
· 50 × 50 cm · collection: Marta e Paulo
Kuczynski
Objeto gráfico [Graphic object] · 1967 ·
drawing; object · typing on paper installed
in between acrylic plates · 100 × 100 cm ·
collection: Marta e Paulo Kuczynski
Monir Shahroudy
Farmanfarmaian
Square and Pentagon · 2008 · painting ·
mirror; reverse-glass painting; plaster on
wood · 100 × 160 cm · courtesy: artist; The
Third Line, Dubai
Pentagon and Hexagon · 2008 · painting
· mirror; reverse-glass painting; plaster on
wood · 100 × 160 cm · courtesy: artist; The
Third Line, Dubai
Hexagon and Heptagon · 2008 · painting
· mirror; reverse-glass painting; plaster on
wood · 100 × 160 cm · courtesy: artist; The
Third Line, Dubai
Heptagon and Octagon · 2008 · painting
· mirror; reverse-glass painting; plaster on
wood · 100 × 160 cm · courtesy: artist; The
Third Line, Dubai
Octagon and Nonagon · 2008 · painting ·
mirror; reverse-glass painting; plaster on
wood · 100 × 160 cm · courtesy: artist; The
Third Line, Dubai
Nonagon and Decagon · 2008 · painting ·
mirror; reverse-glass painting; plaster on
wood · 100 × 160 cm · courtesy: artist; The
Third Line, Dubai
Moshekwa Langa
Kamora [Room] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Kitchi [Kitchen] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Gartene [Curtain] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Monyako [Door] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
35.6 × 27.9 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Mpete [Bed] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Kamora [Room] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Baefrom [Bathroom] · 2005 / 2006 · from
the series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Lebota [Wall] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
35.6 × 27.9 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Patchisi [Passage] · 2005 / 2006 · from
the series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Kamora Matlou [Matlou's room] ·
2005 / 2006 · from the series: Untitled
· photograph · c-print · 27.9 × 35.6 cm
434
· courtesy: artist; Goodman Gallery,
Johannesburg
Monyako Matlou [Matlou's door] ·
2005 / 2006 · from the series: Untitled
· photograph · c-print · 35.6 × 27.9 cm
· courtesy: artist; Goodman Gallery,
Johannesburg
Moshasha [Kitchen] · 2005 / 2006 · from
the series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Koloyana [Toy car] · 2005 / 2006 · from
the series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Dipitša [Pots] · 2005 / 2006 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Lefastere [Window] · 2005 / 2006 · from
the series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Motšega [Water vessel] · 2005 / 2006 ·
from the series: Untitled · photograph ·
c-print · 27.9 × 35.6 cm · courtesy: artist;
Goodman Gallery, Johannesburg
Gartene [Curtains] · 2005 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Di-empty [Empty bottles] · 2005 · from
the series: Untitled · photograph · c-print ·
35.6 × 27.9 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Ka ntle [Outside] · 2005 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Ka ntle [Outside] · 2005 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Panka [Bench] · 2005 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Saepoto [Sideboard] · 2005 · from the
series: Untitled · photograph · c-print ·
35.6 × 27.9 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Setilo [Armchair] · 2005 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Mmetse [Rug] · 2005 · from the
series: Untitled · photograph · c-print ·
27.9 × 35.6 cm · courtesy: artist; Goodman
Gallery, Johannesburg
Nan Goldin
The Ballad of Sexual Dependency ·
1979 – 2004 · slideshow · 35 mm, DVD
transfer, color, sound · approx. 45’ ·
collection: private, Houston · photo: Nan
Goldin
Nancy Spero
Cri du Coeur [Cry of the heart] · 2005
· painting; installation · handprinting
on paper mounted on canvas · overall
dimensions 83.2 × 4,893.1 cm · courtesy:
Estate of Nancy Spero; Galerie Lelong,
New York
Nástio Mosquito / Bofa da Cara
My African Mind · 2009 · video ·
DVPAL; mixed media of animation and
postproduction of photographic and
printed material; books and comic strips
from archive · 6’12” · courtesy: artist
Nelson Leirner
Javavoa · 2010 · installation · stuffed
paca; wooden airplane · approx. 500 cm
ø · commissioned by: Fundação Bienal
de São Paulo
Nnenna Okore
Slings · 2006 / 2010 · installation ·
newspaper; burlap; rope · dimensions
variable
NS Harsha
Come Give Us a Speech · 2008 · painting ·
acrylic on canvas · 6 panels 186 × 186 cm
each · courtesy: artist; Victoria Miro
Gallery, London
Nuno Ramos
Bandeira branca [White flag] · 2010
· installation · sand; granite; glass;
vulture; safety net; loudspeakers, sound
· dimensions variable · collection: artist
· courtesy: Galeria Fortes Vilaça, São
Paulo · support: Morlan SA, Orlândia ·
commissioned by: Fundação Bienal de
São Paulo
Oscar Bony
La familia obrera [The working-class
family] · 1968 / 1999 · performance;
documentation · black-and-white
photograph on paper · 200 × 180 cm ·
collection: Carola Bony, Buenos Aires
Oswaldo Goeldi
Luz sobre a praça [Light on the square]
· [1930] · woodcut · print on paper ·
18,6 × 24 cm · collection: MNBA/IBRAM/
MINC, Rio de Janeiro
Noturno [Nocturne] · [1950] · woodcut
· print on paper · 20,8 × 26,9 cm ·
collection: MNBA/IBRAM/MINC, Rio de
Janeiro
Noturno [Nocturne] · [1953] · woodcut
· print on paper · 20,5 × 27,7 cm ·
collection: MNBA/IBRAM/MINC, Rio de
Janeiro
Paisagem urbana [Urban landscape]
· [1940] · woodcut · print on paper ·
8,9 × 13,6 cm · collection: MNBA/IBRAM/
MINC, Rio de Janeiro
Cena de rua [Street scene] · [1940] ·
woodcut · print on paper · 20,7 × 24,7 cm
· collection: MNBA/IBRAM/MINC, Rio
de Janeiro
Paisagem noturna [Nocturnal landscape]
· [1930] · woodcut · print on paper ·
15,9 × 12,1 cm · collection: MNBA/IBRAM/
MINC, Rio de Janeiro
Bairro industrial [Industrial
neighborhood] · [1930] · woodcut · print
on paper · 22 × 17 cm · collection: MNBA/
IBRAM/MINC, Rio de Janeiro
Casario e urubus [Houses and vultures]
· [1940] · woodcut · print on paper ·
23 × 38,5 cm · collection: MNBA/IBRAM/
MINC, Rio de Janeiro
Rua molhada [Wet street] · [1970] ·
woodcut · print on paper · 22,4 × 24,8 cm
· collection: Gilberto Chateaubriand MAM
RJ, Rio de Janeiro
Otobong Nkanga
Dolphin Estate Area · 2008 · from the
series: Dolphin Estate · photograph ·
lambda print · 78 × 120 cm · courtesy:
artist; Lumen Travo Gallery, Amsterdam
Dolphin Estate · 2008 · from the series:
Dolphin Estate · photograph · lambda
print · 90 × 120 cm · courtesy: artist;
Lumen Travo Gallery, Amsterdam
Dolphin Estate 2 · 2008 · from the series:
Dolphin Estate · photograph · lambda
print · 90 × 120 cm · courtesy: artist;
Lumen Travo Gallery, Amsterdam
Dolphin Estate 3 · 2008 · from the series:
Dolphin Estate · photograph · lambda
print · 90 × 120 cm · courtesy: artist;
Lumen Travo Gallery, Amsterdam
Dolphin Estate 4 · 2008 · from the series:
Dolphin Estate · photograph · lambda
print · 90 × 120 cm · courtesy: artist;
Lumen Travo Gallery, Amsterdam
Dolphin Estate Extended · 2008 · from
the series: Dolphin Estate · photograph ·
lambda print · 100 × 180 cm · courtesy:
artist; Lumen Travo Gallery, Amsterdam
The Otolith Group
Nervus Rerum · 2008 · video · DVD, color,
sound · 32’57” · collection: artist
Palle Nielsen
Modellen - En modell för ett kvalitativt
samhälle [The model - a model for
a qualitative society] · 1968 / 2010
· exhibition documentation · slide
projection, three channels, color; prints
of articles and letters; fac-simile of
exhibition map; sound · dimensions
variable · collection: MACBA. Museu d'Art
Contemporani de Barcelona Consortium;
Gift of the artist
Paulo Bruscky
O que é arte? Para que serve? [What is
art? What is it for?] · 1978 · performance
documentation · print on photographic
paper · 4 photographs 70 × 50 cm ·
courtesy: artist; Galeria Nara Roesler,
São Paulo
Arte paisagem: saudade não é apenas
um bairro em Belo Horizonte, é uma
proposta, um sentimento, é arte (gabarito
de anúncio) [Art landscape: saudade is
not only a neighborhood in Belo Horizonte,
it is a proposal, a feeling, it is art
(advertisement template)] · 2009 · from
the series: Arteclassificada [Classifiedart]
· newspaper · text in newspaper ·
19.2 × 22.2 cm · courtesy: artist; Galeria
Nara Roesler, São Paulo
Ruídos adventícios da escultura pulmonar
[Adventitious sounds in lung sculpture] ·
1987 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 19 × 18.5 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Arteaeronimbo [Aeronimboart] · 1974
· from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 28 × 31.5 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Projeto de máquina Xerox Reflex para
artistas [Project of Reflex Xerox machine
for artists] · 1986 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 58 × 35 cm · courtesy:
artist; Galeria Nara Roesler, São Paulo
2 anúncios – poema de repetição [2
ads – repetition poem] · 1997 · from the
series: Arteclassificada [Classifiedart]
· publishing · text in newspaper ·
57.8 × 37.5 cm · courtesy: artist; Galeria
Nara Roesler, São Paulo
Arte paisagem: saudade não é apenas um
bairro em Belo Horizonte, uma proposta,
um sentimento, é arte [Art landscape:
saudade is not only a neighborhood in Belo
Horizonte, a proposal, a feeling, it is art]
· 2009 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 57.7 × 31.5 cm · courtesy:
artist; Galeria Nara Roesler, São Paulo
Concerto celulasonial [Celulasonial
concert] · 2008 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 56 × 32 cm · courtesy:
artist; Galeria Nara Roesler, São Paulo
2 anúncios – Pintura bifocal e Borrachas
para apagar palavras [2 ads – bifocal
painting and erasers to erase words] ·
1984 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 41 × 30 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Eletroencefalógrafo musicado
[Musicalized electroencephalograph] ·
1986 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 58 × 35 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Soneto – tu me ensinas a fazer renda, eu
te ensino a sonetar [Sonnet – you teach
me how to make lace and I will teach you
how to sonnet] · 2008 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 57.5 × 31.5 cm ·
courtesy: artist; Galeria Nara Roesler,
São Paulo
Esqueçam a copa e pensem no governo
[Forget the World Cup and think about
the government] · 1990 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 31.5 × 21.7 cm ·
courtesy: artist; Galeria Nara Roesler,
São Paulo
Disco antropofágico [Antropophagic Disc]
· 1984 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 41 × 29 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Máquina de filmar sonhos [Dream-
filming machine] · 1977 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 58 × 38 cm · courtesy:
artist; Galeria Nara Roesler, São Paulo
Arte classificada e poesia paga
[Classified art] · 1977 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 58 × 38 cm · courtesy:
artist; Galeria Nara Roesler, São Paulo
Brasileiro adverte: trabalhar, estudar,
comer, habitar, ter saúde e viver é
prejudicial à saúde [Brazilian warns: to
work, study, eat, inhabit, be healthy, and
live is harmful to your health] · 1994 · from
the series: Arteclassificada [Classifiedart]
· publishing · text in newspaper ·
56 × 34.5 cm · courtesy: artist; Galeria
Nara Roesler, São Paulo
Confederação do Equador [Ecuador
Confederation] · 1989 · from the series:
Arteclassificada [Classifiedart] · publishing
· text in newspaper · 21 × 33 cm · courtesy:
artist; Galeria Nara Roesler, São Paulo
Vervendo [Seeseeing] · 2008 · from the
series: Arteclassificada [Classifiedart]
· publishing · text in newspaper ·
56.5 × 31.5 cm · courtesy: artist; Galeria
Nara Roesler, São Paulo
Poema de repetição [Repetition poem]
· 2008 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 28 × 31.5 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Poema visual [Visual poem] · 1970 · from
the series: Arteclassificada [Classifiedart]
· publishing · text in newspaper ·
57.7 × 35.5 cm · courtesy: artist; Galeria
Nara Roesler, São Paulo
Composição aural [Aural composition] ·
1976 · from the series: Arteclassificada
[Classifiedart] · publishing · text in
newspaper · 58 × 37.6 cm · courtesy: artist;
Galeria Nara Roesler, São Paulo
Máquina tradutora [Translator machine]
· 1984 · from the series: Arteclassificada
[Classifiedart] · publishing · text in

newspaper · 41 × 29 cm · courtesy: artist; HESMD (Marcelo Doido) · 2006 – 2008 ·
Galeria Nara Roesler, São Paulo from the series: Noturnas [Night shots] ·
Fogueira de gelo [Ice fire] · 1974 · photographic documentation · prints over
sculpture · superimposed ice blocks · photographic paper, color · 110 x 71.7 cm
approx. 220 × 80 × 80 cm · courtesy: artist; · photo: Choque Photos · commissioned
Galeria Nara Roesler, São Paulo by: Fundação Bienal de São Paulo
Arte/pare [Art/stop] · 1973 · film · Super SURRA rudá · 2006 – 2008 · from
8 mm, DVD transfer, color, silent · 2’30” the series: Noturnas [Night shots] ·
· courtesy: artist; Galeria Nara Roesler, photographic documentation · prints over
São Paulo photographic paper, color · 110 x 71.7 cm
Postes [Lampposts] · 1978 · photograph · photo: Choque Photos · commissioned
· photo prints on wood frames · 37 photos by: Fundação Bienal de São Paulo
13 × 18 cm each · courtesy: artist; Galeria NAJAS clt > JAMAICA mnh > RIJA
Nara Roesler, São Paulo · 2006 – 2008 · from the series:
Noturnas [Night shots] · photographic
Pedro Barateiro documentation · prints over photographic
Plateia [Audience] · 2008 · sculpture · paper, color · 110 x 71.7 cm · photo:
reinforced concrete platform; 16 chairs Choque Photos · commissioned by:
· 400 × 500 × 75 cm · courtesy: artist; Fundação Bienal de São Paulo
Galeria Pedro Cera, Lisbon CANSADOS DA VIDA die > TUMULOS
doido > DEMONIOS nd · 2006 – 2008 ·
Pedro Costa from the series: Noturnas [Night shots] ·
Minino macho, minino fêmea · 2006 · photographic documentation · prints over
video installation · HD, 2 synchronized photographic paper, color · 110 x 71.7 cm
channels, color, stereo sound · 34’ · · photo: Choque Photos · commissioned
collection: Fundação de Serralves, Museu by: Fundação Bienal de São Paulo
de Arte Contemporânea, Lisboa · image HESMD (Marcelo Doido) · 2006 – 2008 ·
and direction Pedro Costa; sound Philippe from the series: Noturnas [Night shots] ·
Morel, Olivier Blanc; edition Pedro photographic documentation · prints over
Marques photographic paper, color · 110 x 71.7 cm
O nosso homem [Our man] · 2010 · video · photo: Choque Photos · commissioned
installation · HD, cor, stereo sound · 23’ by: Fundação Bienal de São Paulo
· collection: artist · support: Fundação RAFAEL PIXOBOMB - “Arte como Crime,
Bienal de São Paulo · image and direction Crime como Arte” · 2006 – 2008 · from
Pedro Costa; sound Vasco Pedroso, the series: Noturnas [Night shots] ·
Olivier Blanc, Branko Neskov; edition photographic documentation · prints over
Patrícia Saramago, João Dias; with Alfredo photographic paper, color · 110 x 71.7 cm
Mendes, Ventura, José Alberto Silva, · photo: Choque Photos · commissioned
Lucinda Tavares, and António Semedo by: Fundação Bienal de São Paulo
COMA wil · 2006 – 2008 · from the series:
Pixação SP Noturnas [Night shots] · photographic
from the series: Noturnas [Night] · documentation · prints over photographic
2006 – 2008 · shots · photographic paper, color · 110 x 71.7 cm · photo:
documentation · prints over photographic Choque Photos · commissioned by:
paper, color · 22 photographs Fundação Bienal de São Paulo
110 × 71.7 cm each · photo: Choque VOLUME-3 dentinho! > SEM MEDO
Photos · commissioned by: Fundação juca > SURRA rudá · 2006 – 2008 ·
Bienal de São Paulo from the series: Noturnas [Night shots] ·
24 horas de Pixação [24 hours of Pixação] photographic documentation · prints over
· 2010 · video · High-8, DVD, color, sound photographic paper, color · 110 x 71.7 cm
· 32’ · commissioned by: Fundação Bienal · photo: Choque Photos · commissioned
de São Paulo · documentation and script by: Fundação Bienal de São Paulo
Cripta Djan; edition Tony Z/L Studio; CLONES dok · 2006 – 2008 · from
photography Choque Photos the series: Noturnas [Night shots] ·
Opus 666 · 2010 · slideshow · DVD, color, photographic documentation · prints over
sound · approx. 4’ · commissioned by: photographic paper, color · 110 x 71.7 cm
Fundação Bienal de São Paulo · actions · photo: Choque Photos · commissioned
and script Rafael Pixobomb by: Fundação Bienal de São Paulo
— ANTBOYS duda · 2006 – 2008 · from
[Folhinhas] · aprox. 1980 – 2010 · the series: Noturnas [Night shots] ·
desenho · copy on A4 paper, black & photographic documentation · prints over
white · 29.7 × 21 cm · collection: Cripta photographic paper, color · 110 x 71.7 cm
Djan · commissioned by: Fundação Bienal · photo: Choque Photos · commissioned
de São Paulo by: Fundação Bienal de São Paulo
SURRA rudá · 2006 – 2008 · from ZICAS stan · 2006 – 2008 · from
the series: Noturnas [Night shots] · the series: Noturnas [Night shots] ·
photographic documentation · prints over photographic documentation · prints over
photographic paper, color · 110 x 71.7 cm photographic paper, color · 110 x 71.7 cm
· photo: Choque Photos · commissioned · photo: Choque Photos · commissioned
by: Fundação Bienal de São Paulo by: Fundação Bienal de São Paulo
SURRA rudá > COMA wil · 2006 – 2008 CRIPTA djan · 2006 – 2008 · from
· from the series: Noturnas [Night shots] · the series: Noturnas [Night shots] ·
photographic documentation · prints over photographic documentation · prints over
photographic paper, color · 110 x 71.7 cm photographic paper, color · 110 x 71.7 cm
· photo: Choque Photos · commissioned · photo: Choque Photos · commissioned
by: Fundação Bienal de São Paulo by: Fundação Bienal de São Paulo
SURRA rudá > VOLUME-3 dentinho! JUSTICEIROS ruds > G · 2006 – 2008 ·
· 2006 – 2008 · from the series: from the series: Noturnas [Night shots] ·
Noturnas [Night shots] · photographic photographic documentation · prints over
documentation · prints over photographic photographic paper, color · 110 x 71.7 cm
paper, color · 110 x 71.7 cm · photo: · photo: Choque Photos · commissioned
Choque Photos · commissioned by: by: Fundação Bienal de São Paulo
Fundação Bienal de São Paulo
NOJOS bis > CLONES dok · 2006 – 2008
· from the series: Noturnas [Night shots] ·
photographic documentation · prints over
photographic paper, color · 110 x 71.7 cm
· photo: Choque Photos · commissioned
by: Fundação Bienal de São Paulo
NOVATOS nil > PINOTS m > OS LOPES
tgn > JUSTICEIROS ruds > OSCURURU
gds > AJATOS ralf · 2006 – 2008 · from
the series: Noturnas [Night shots] ·
photographic documentation · prints over
photographic paper, color · 110 x 71.7 cm
· photo: Choque Photos · commissioned
by: Fundação Bienal de São Paulo
JUSTICEIROS ruds > OS LOPES tgn >
TURCO · 2006 – 2008 · from the series:
Noturnas [Night shots] · photographic
documentation · prints over photographic
paper, color · 110 x 71.7 cm · photo:
Choque Photos · commissioned by:
Fundação Bienal de São Paulo
SURRA rudá > SEM MEDO juca > COMA
wil · 2006 – 2008 · from the series:
Noturnas [Night shots] · photographic
documentation · prints over photographic
paper, color · 110 x 71.7 cm · photo:
Choque Photos · commissioned by:
Fundação Bienal de São Paulo
ZICAS stan · 2006 – 2008 · from
the series: Noturnas [Night shots] ·
photographic documentation · prints over
photographic paper, color · 110 x 71.7 cm
· photo: Choque Photos · commissioned
by: Fundação Bienal de São Paulo
SURRA rudá · 2006 – 2008 · from
the series: Noturnas [Night shots] ·
photographic documentation · prints over
photographic paper, color · 110 x 71.7 cm
· photo: Choque Photos · commissioned
by: Fundação Bienal de São Paulo
Qiu Anxiong
The New Classic of Mountains and
Seas – Parts 1 and 2 · 2006; 2009 · video
installation · animation, 3 projections,
black & white, sound · 30’15”; 29’35”
· collection: Spencer Museum of Art,
Lawrance,USA; Museum of Modern Art,
New York; Museum of Contemporary
Art, Tokyo
Raqs Media Collective
Escapement · 2009 · installation · 27
clocks, high glass aluminum with LED
lights; video, 4 synchronized channels,
color; sound · dimensions variable; loop
· courtesy: artists; Frith Street Gallery,
London
Roberto Jacoby
El alma nunca piensa sin imagen [The
soul never thinks without image] · 2010 ·
installation; program of talks and political
actions · stage; microphones and light;
posters; lambe lambe; band; t-shirts;
caps; buttons; flyers; lecturers; activists
and public; drawings in collaboration with
a group of Argentinian artists · dimensions
variable · commissioned by: Fundação
Bienal de São Paulo · produced by
Fundação Start, Buenos Aires
Rochelle Costi
Paisagem [Landscape] · 2010 · from
the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 123 × 156 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Casa Giacomet [Giacomet House] · 2010
· from the series: Residência [Residency]
· photograph · inkjet print on cotton
435
fiber paper · 67 × 100 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Casa Colognesi [Colognesi House] · 2010
· from the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 67 × 100 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Estante [Bookshelf] · 2010 · from
the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 120 × 80 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Casa desmedida [Rampant house] · 2010
· from the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 67 × 100 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Coluna Brasília [Brasília column] · 2010
· from the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 100 × 150 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Variações sobre colunas [Variations
on columns] · 2010 · from the series:
Residência [Residency] · photograph
· inkjet print on cotton fiber paper · 5
photographs 53 × 35 cm each · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Lagos [Lakes] · 2010 · from the series:
Residência [Residency] · photograph
· inkjet print on cotton fiber paper ·
100 × 150 cm · courtesy: artist; Galeria
Luciana Brito, São Paulo · commissioned
by: Fundação Bienal de São Paulo
Redes [Hammocks] · 2010 · from
the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 100 × 150 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Coluna bolhas [Bubble column] · 2010 ·
from the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 120 × 80 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Cortina [Curtain] · 2010 · from the series:
Residência [Residency] · photograph
· inkjet print on cotton fiber paper ·
123 × 156 cm · courtesy: artist; Galeria
Luciana Brito, São Paulo · commissioned
by: Fundação Bienal de São Paulo
Escada descida [Descent stair] · 2010 ·
from the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 120 × 80 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Escada subida [Rise stair] · 2010 · from
the series: Residência [Residency]
· photograph · inkjet print on cotton
fiber paper · 123 × 156 cm · courtesy:
artist; Galeria Luciana Brito, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
436
Rodrigo Andrade
Rua deserta [Desert street] · 2010 · from
the series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Rua deserta com cerca [Desert
street with fence] · 2010 · from the
series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Beira do mar [Offshore] · 2010 · from the
series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Perturbação [Disturbance] · 2009 · from
the series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Viaduto [Viaduct] · 2009 · from the
series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Sem título [Untitled] · 2010 · from the
series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Estrada [Road] · 2010 · from the
series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 240 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Lua cheia sobre a cidade [Full moon over
the city] · 2010 · from the series: Matéria
noturna [Night matter] · painting · oil on
canvas on particle board · 180 × 270 cm
· collection: artist · commissioned by:
Fundação Bienal de São Paulo
Interior escuro [Inner darkness] · 2010
· from the series: Matéria noturna [Night
matter] · painting · oil on canvas on
particle board · 180 × 240 cm · collection:
artist · commissioned by: Fundação Bienal
de São Paulo
Promontório [Promontory] · 2010 · from
the series: Matéria noturna [Night matter]
· painting · oil on canvas on particle
board · 180 × 270 cm · collection: artist
· commissioned by: Fundação Bienal de
São Paulo
Ronald Duarte
Fogo cruzado [Crossfire] · 2002 · from
the series: Guerra é guerra [War is war]
· action documentation · video, color,
sound · 4’39” · collection: artist
Nimbo Oxalá · 2004 · from the series:
Guerra é guerra [War is war] · action
documentation; performance · video,
color, sound; · 3’05” · collection: artist
O que rola VCV [Blood bath] · 2001 · from
the series: Guerra é guerra [War is war]
· action documentation · video, color,
sound · 4’30” · collection: artist
Rosângela Rennó
Hoje eu atingi o reino da despalavra.
[Today I have reached the kingdom of the
unword.] · 2008 · from the series: Matéria
de poesia (para Manuel de Barros)
[Poetry matter (to Manuel de Barros)] ·
photographic polyptych · 6 inkjet prints of
superimposed slides; text; plexiglass box;
slides · 234 × 226 cm; box 10 × 15 × 3 cm ·
collection: Marcela and Vinicius Reis
Eu queria construir uma ruína. [I wish
I built a ruin.] · 2008 · from the series:
Matéria de poesia (para Manuel de
Barros) [Poetry matter (to Manuel de
Barros)] · photographic polyptych · 6
inkjet prints of superimposed slides; text;
plexiglass box; slides · 234 × 226 cm; box
10 × 15 × 3 cm · collection: Esther Faingold
As coisas sem importância são bens
de poesia. [The unimportant things
are goods of poetry.] · 2008 · from the
series: Matéria de poesia (para Manuel
de Barros) [Poetry matter (to Manuel
de Barros)] · photographic polyptych · 6
inkjet prints of superimposed slides; text;
plexiglass box; slides · 234 × 226 cm; box
10 × 15 × 3 cm · collection: private
Perder a inteligência das coisas para
vê-las / é bom para a poesia. [To lose
things' intelligence to see them / it is
good for poetry.] · 2008 · from the series:
Matéria de poesia (para Manuel de
Barros) [Poetry matter (to Manuel de
Barros)] · photographic polyptych · 6
inkjet prints of superimposed slides; text;
plexiglass box; slides · 234 × 226 cm; box
10 × 15 × 3 cm · collection: Regina Pinho
de Almeida
As coisas que existem são mais bonitas.
[The things that exist are the most
beautiful ones.] · 2008 · from the series:
Matéria de poesia (para Manuel de
Barros) [Poetry matter (to Manuel de
Barros)] · photographic polyptych · 6
inkjet prints of superimposed slides; text;
plexiglass box; slides · 234 × 226 cm; box
10 × 15 × 3 cm · collection: Roberto Profili
O que é bom para o lixo é bom para
a poesia. [What is good for garbage
is good for poetry.] · 2010 · from the
series: Matéria de poesia (para Manuel
de Barros) [Poetry matter (to Manuel
de Barros)] · photographic polyptych ·
6 inkjet prints of superimposed slides;
text; plexiglass box; slides · 234 × 226 cm;
box 10 × 15 × 3 cm · courtesy: Galeria
Vermelho, São Paulo
Há histórias tão verdadeiras / que às
vezes parece que são inventadas. [There
are stories so true / that they sometimes
seem invented.] · 2010 · from the series:
Matéria de poesia (para Manuel de
Barros) [Poetry matter (to Manuel de
Barros)] · photographic polyptych · 6
inkjet prints of superimposed slides; text;
plexiglass box; slides · 234 × 226 cm;
box 10 × 15 × 3 cm · courtesy: Galeria
Vermelho, São Paulo
Menos-valia [leilão] [Minus value
[auction]] · 2010 · installation;
performance · objects; table; labels ·
approx. 40 objects; dimensions variable
· commissioned by: Fundação Bienal de
São Paulo · auctioneer Aloísio Cravo
Runa Islam
This Much Is Uncertain · 2009 – 2010 ·
film installation · 16 mm, color and black
& white, silent · approx. 8’ · courtesy:
artist; White Cube, London · support:
Vhernier · commissioned by: Nicoletta
Fiorucci
Samuel Beckett
Not I · 1972 · TV adaptation of play ·
video, black & white, sound · 13’10” ·
courtesy: Estate Curtis Brown, London
Sandra Gamarra
Milagros II [Miracles II] · 2010 ·
installation · oil on paper; press clippings
· dimensions variable · courtesy: Galeria
Leme, São Paulo · commissioned by:
Fundação Bienal de São Paulo
Pág. 11 [Page 11] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· 101.5 × 118 cm · collection: LiMAC,
Lima · courtesy: Galeria Leme, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Pág. 13 [Page 13] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· 127 × 102.5 cm · collection: LiMAC,
Lima · courtesy: Galeria Leme, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Pág. 15 [Page 15] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· 170.5 × 108.5 cm · collection: LiMAC,
Lima · courtesy: Galeria Leme, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Pág. 18 [Page 18] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· 99.5 × 117.5 cm · collection: LiMAC,
Lima · courtesy: Galeria Leme, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Pág. 19 [Page 19] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· 99.6 × 117.5 cm · collection: LiMAC,
Lima · courtesy: Galeria Leme, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Pág. 20 [Page 20] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· 102 × 117.5 cm · collection: LiMAC,
Lima · courtesy: Galeria Leme, São Paulo
· commissioned by: Fundação Bienal de
São Paulo
Pág. 22 [Page 22] · 2010 · from the series:
Catálogo October 18, 1977 [October 18,
1977 catalogue] · painting · oil on canvas
· diptych 170.5 × 249 cm · collection:
LiMAC, Lima · courtesy: Galeria Leme,
São Paulo · commissioned by: Fundação
Bienal de São Paulo
Sara Ramo
A banda dos sete (titulo provisório) [The
band of seven (working title)] · 2010 ·
video installation · HD, color, sound · loop
· commissioned by: Fundação Hermés
Simon Fujiwara
The Personal Effects of Theo Grünberg
· 2010 · video installation; performance
· collection of books and objects; library;
video, color, sound · video approx. 40’;
overall dimensions variable · courtesy:
artist; Neue Alte Brücke, Frankfurt/Main;
Gio Marconi, Milan · support: Julia Stoschek
Foundation e.V., Düsseldorf; Fundação
Bienal de São Paulo · commissioned
by: Philippe Fürnkäs · actor Wu Ingrid
Tsang; director of photography Ashley
Hunt; assistant director of photography
Harold Batista; production assistants Feliz
Solomon, Harold Batista; assistant editor
Michael De Angelis; sound editor Lidia
Tamplenizza; Mixer Alexa Zimmerman;
performance support Justin Perkins; crew
Jane Anderson, Lily Benson, Cynthia Chris,
Cassandra Xin Guan; location Industry City,
Sunset Park, Brooklyn
Sophie Ristelhueber
series: WB · 2005 · photograph · inkjet
print on wallpaper · 6 photographs
310 × 387.75 cm each
Steve Mcqueen
Static · 2009 · film installation · 35 mm,
HD transfer · loop · courtesy: artist;
Thomas Dane Gallery, London; Marian
Goodman Gallery, New York/Paris
Sue Tompkins
Untitled · 2010 · drawing · typewritten
text on newsprint · dimensions variable ·
courtesy: artist; The Modern Institute/Toby
Webster Ltd., Glasgow
Hallo, Welcome to Keith Street · 2010
· performance · approx. 25’ · courtesy:
artist; The Modern Institute/Toby Webster
Ltd., Glasgow · commissioned by:
Fundação Bienal de São Paulo
Superstudio
Vita Supersuperficie [Life Supersurface]
· 1972 / 1973 · from the series: Gli
atti fondamentali [The fundamental
acts] · storyboard · ink on paper ·
103 × 73 × 3.5 cm · collection: Archivio
Superstudio, Florence
Vita Supersuperficie [Life Supersurface]
· 1972 / 1973 · from the series: Gli atti
fondamentali [The fundamental acts]
· illustration · lithography on paper ·
103 × 73 × 3.3 cm · collection: Archivio
Superstudio, Florence
Educazione [Education] · 1972 / 1973
· from the series: Gli atti fondamentali
[The fundamental acts] · illustration ·
lithography on paper · 103 × 73 × 3.3 cm ·
collection: Archivio Superstudio, Florence
Cerimonia [Ceremony] · 1972 / 1973
· from the series: Gli atti fondamentali
[The fundamental acts] · illustration ·
lithography on paper · 103 × 73 × 3.3 cm ·
collection: Archivio Superstudio, Florence
Amore [Love] · 1972 / 1973 · from
the series: Gli atti fondamentali [The
fundamental acts] · illustration ·
lithography on paper · 103 × 73 × 3.3 cm ·
collection: Archivio Superstudio, Florence
Morte [Death] · 1972 / 1973 · from
the series: Gli atti fondamentali [The
fundamental acts] · illustration ·
lithography on paper · 103 × 73 × 3.3 cm ·
collection: Archivio Superstudio, Florence
L'accampamento [The camping]
· 1972 / 1973 · from the series: Gli
atti fondamentali [The fundamental
acts] · illustration · print on acetate
· 76.5 × 62 cm · collection: Archivio
Superstudio, Florence
Vita Supersuperficie [Life Supersurface]
· 1972 · from the series: Gli atti
fondamentali [The fundamental acts]
· video · color, sound · 10’ · collection:
Archivio Superstudio, Florence
Educazione [Education] · 1972 / 2010 ·
from the series: Gli atti fondamentali [The
fundamental acts] · video · color, sound
· 15’ · collection: Archivio Superstudio,
Florence · © Archivio Superstudio,
Florença; Fundação Bienal de São Paulo
· support: Fundação Bienal de São Paulo
· made in 2010 following the storyboards
and images from 1972; text and image
selection, direction Gian Piero Frassinelli
(Archivio Superstudio); sound technician
Benedict Frassinelli; music Philiph Glass:
Music with changing parts, Eric Satie:
Vexationes
Cerimonia [Ceremony] · 1972 · from
the series: Gli atti fondamentali [The
fundamental acts] · video · color, sound

· 20’ · collection: Archivio Superstudio,
Florence
Amore [Love] · 1972 / 2010 · from
the series: Gli atti fondamentali [The
fundamental acts] · video · color, sound
· 15’ · collection: Archivio Superstudio,
Florence · © Archivio Superstudio,
Florença; Fundação Bienal de São Paulo
· support: Fundação Bienal de São Paulo
· made in 2010 following the storyboards
and images from 1972; text and image
selection, direction Gian Piero Frassinelli
(Archivio Superstudio); sound technician
Benedict Frassinelli; music Philiph
Glass: Music with changing parts, Laurie
Anderson: Superman, Musica tradizionale
giavanese, Johannes Brahms, Ludwigh
van Beethoven: Nona sinfonia: Inno
alla gioia
Morte [Death] · 1972 / 2010 · from
the series: Gli atti fondamentali [The
fundamental acts] · video · color, sound
· 15’ · collection: Archivio Superstudio,
Florence · © Archivio Superstudio,
Florença; Fundação Bienal de São Paulo
· support: Fundação Bienal de São Paulo
· made in 2010 following the storyboards
and images from 1972; text and image
selection, direction Gian Piero Frassinelli
(Archivio Superstudio); sound technician
Benedict Frassinelli; music Philiph Glass:
Music with changing parts, Luigi Nono:
Contrappunto dialettico alla mente
Susan Philipsz
To the Greenwood · 2010 · sound
installation · digital sound, 3-channel
surround · 1’ every 10’ · courtesy: artist
and Tanya Bonakdar Gallery, New York
· commissioned by: Fundação Bienal de
São Paulo
Tacita Dean
Teignmouth Electron · 1999 · film
installation · 16 mm, color, optical sound
· 7’ · courtesy: Marian Goodman Gallery,
New York / Paris
Tamar Guimarães
Sem título (título provisório) [Untitled
(working title)] · 2010 · film installation
· 16 mm, HD transfer, color, sound ·
courtesy: artist · support: Danish Arts
Council Committee for International
Visual Art, Copenhagen · commissioned
by: Danish Arts Council Committee for
International Visual Art, Copenhagen;
Fundação Bienal de São Paulo
Tatiana Blass
Metade da fala no chão – Piano surdo
[Half of the speech on the ground – Deaf
piano] · 2010 · performance; installation
· grand piano; microcrystalline wax;
video · approx. 30’; dimensions variable
· courtesy: Galeria Millan, São Paulo ·
photo: Everton Ballardin · commissioned
by: Fundação Bienal de São Paulo
Tatiana Trouvé
350 Points towards Infinity · 2009 ·
installation · plumb lines; magnets ·
485 × 950 × 950 cm · courtesy: Galerie
Johann Koenig, Berlin; Galerie Emmanuel
Perrotin, Paris; Almine Rech Gallery,
Brussels
Tobias Putrih
Alvorada · terreiro The skin of the invisible
· 2010 · wood; cardboard; seats · approx.
120 sq m · commissioned by: Fundação
Bienal de São Paulo
UNStudio
Youturn · terreiro I am the street · 2010
· CNC-cut wooden structure; plywood
cladding; plaster; paint; led lightining;
video projectors · approx. 120 sq m ·
support: The Netherlands Architecture
Fund, Rotterdam; The Netherlands
Foundation for Visual Arts, Design and
Architecture, Amsterdam; Zumtobel Licht
GmbH, Lemgo; p+p, Fuerth, Odenwald ·
architect: UNStudio, Amsterdam - Ben
van Berkel, Caroline Bos with Christian
Veddeler and Jordan Trachtenberg;
building and engineering: p+p, Fuerth,
Odenwald
Wendelien van Oldenborgh
Pertinho de Alphaville [So close to
Alphaville] · 2010 · installation · HD video,
transferred to slides, sound · courtesy:
artist; Wilfried Lentz, Rotterdam · support:
The Netherlands Foundation for Visual
Arts, Design and Architecture (Fonds
BKVB) · commissioned by: Fundação
Bienal de São Paulo · collaboration
with Fábrica Wearplay and Teatro
Oficina, São Paulo; camera Heloisa
Passos; architecture Milica Topalovic;
acknowledgments Mario Campanella,
Barbara Wagner, Wanderley Moreira, Jorge
Loureiro, Claudia Yammine, Edda Bihr
Campanella, Suely Rolnik, Denise Garcia
Wilfredo Prieto
Apolítico [Apolitical] · 2001 · installation
· black-and-white flags · 70 flags
122 × 244 cm each; overall dimensions
variable · collection: Daros Latinamerica,
Zürich
Yael Bartana
Mary Koszmary [Nightmare] · 2007 ·
film · 16 mm, HD transfer, color, sound
· 10’30” · collection: Van Abbemuseum,
Eindhoven · courtesy: Annet Gelink
Gallery, Amesterdã; The Netherlands and
Sommer Contemorary Art, Tel Aviv
Mur i Wieża [Wall and tower] · 2009 · film
· 16 mm, HD transfer, color, sound · 13’ ·
collection: Van Abbemuseum, Eindhoven
· courtesy: Annet Gelink Gallery,
Amesterdam; The Netherlands and
Sommer Contemporary Art, Tel Aviv
Yoel Diaz Vázquez
La torre del ruido [The tower of noise]
· 2006 – 2010 · video installation · TV
monitors; wood structure; posters on
offset print · 40 monitors, videos approx.
5’ each; 7 posters 104 × 74 cm each;
overall dimensions variable · support:
Fundação Bienal de São Paulo · Rappers
Abelito-Manigua, Osmany-Manigua,
Dayana-Amazona, Gleiser-Real negro,
Lazaro-Oscar, Misluanis-Vietnam,
Ashlie-Yoruba Tradition, Rositika-Yoruba
Tradition; artist advisory Juan Carlos
Betancourt; architect Jan Stauf, Torben
Shomaker
Yonamine
Os mestres e as criaturas novas
(remixstyle) [The masters and the new
creatures (remixstyle)] · 2010 · installation
· sound; silkscreen; newspaper; plastic;
video, color · dimensions variable ·
courtesy: Cristina Guerra Contemporary
Art, Lisbon; Soso Arte Contemporânea
Africana, Luanda, São Paulo · support:
Fundação Sindika Dokolo, Luanda/Bienal;
Fundação Bienal de São Paulo
437
Yto Barrada gelatin print · 86.5 × 60.5 cm · courtesy:
A modest proposal · 2010 · installation Michael Stevenson, Cape Town
· offset prints · 12 posters, 2,000 prints, Thandi ‘Mancane’ Selepe, Braamfontein,
59.4 × 42 cm each · collection: artist Johannesburg · 2010 · from the series:
Faces and Phases · photograph · silver
Zanele Muholi gelatin print · 86.5 × 60.5 cm · courtesy:
Makho Ntuli, Braamfontein, Michael Stevenson, Cape Town
Johannesburg · 2010 · from the series: Nunu Sigasa, Germiston, Johannesburg
Faces and Phases · photograph · silver · 2010 · from the series: Faces and
gelatin print · 86.5 × 60.5 cm · courtesy: Phases · photograph · silver gelatin print
Michael Stevenson, Cape Town · 86.5 × 60.5 cm · courtesy: Michael
Gazi T Zuma, Umlazi Township, Durban Stevenson, Cape Town
· 2010 · from the series: Faces and Tumi Mkhuma, Katlehong, Johannesburg
Phases · photograph · silver gelatin print · 2010 · from the series: Faces and
· 86.5 × 60.5 cm · courtesy: Michael Phases · photograph · silver gelatin print
Stevenson, Cape Town · 86.5 × 60.5 cm · courtesy: Michael
Puleng Mahlati, Embekweni, Paarl Stevenson, Cape Town
· 2009 · from the series: Faces and Lerato Nkutha, Braamfontein,
Phases · photograph · silver gelatin print Johannesburg · 2010 · from the series:
· 86.5 × 60.5 cm · courtesy: Michael Faces and Phases · photograph · silver
Stevenson, Cape Town gelatin print · 86.5 × 60.5 cm · courtesy:
Amogelang Senokwane, District Six, Michael Stevenson, Cape Town
Cape Town · 2009 · from the series: Faces Ayanda Magudulela, Braamfontein,
and Phases · photograph · silver gelatin Johannesburg · 2010 · from the series:
print · 86.5 × 60.5 cm · courtesy: Michael Faces and Phases · photograph · silver
Stevenson, Cape Town gelatin print · 86.5 × 60.5 cm · courtesy:
Thuli Ncube, Braamfontein, Michael Stevenson, Cape Town
Johannesburg · 2010 · from the series: Shirley Ndaba, Braamfontein,
Faces and Phases · photograph · silver Johannesburg · 2010 · from the series:
gelatin print · 86.5 × 60.5 cm · courtesy: Faces and Phases · photograph · silver
Michael Stevenson, Cape Town gelatin print · 86.5 × 60.5 cm · courtesy:
Wewe Ngidi, Observatory, Johannesburg Michael Stevenson, Cape Town
· 2009 · from the series: Faces and Bakhambile Skhosana, Natalspruit
Phases · photograph · silver gelatin print · 2010 · from the series: Faces and
· 86.5 × 60.5 cm · courtesy: Michael Phases · photograph · silver gelatin print
Stevenson, Cape Town · 86.5 × 60.5 cm · courtesy: Michael
Lerato Morumolwa, Embeweni, Paarl Stevenson, Cape Town
· 2009 · from the series: Faces and Bathandwa Mosho, Braamfontein,
Phases · photograph · silver gelatin print Johannesburg · 2010 · from the series:
· 86.5 × 60.5 cm · courtesy: Michael Faces and Phases · photograph · silver
Stevenson, Cape Town gelatin print · 86.5 × 60.5 cm · courtesy:
Kasha N Jacqueline, Toronto · 2009 Michael Stevenson, Cape Town
· from the series: Faces and Phases
· photograph · silver gelatin print · Zarina Bhimji
86.5 × 60.5 cm · courtesy: Michael Waiting · 2007 · film installation · 35 mm,
Stevenson, Cape Town HD transfer, color, Dolby 5.1 sound ·
Lebo Mashifane, District Six, Cape 7’45” · collection: artist
Town · 2009 · from the series: Faces
and Phases · photograph · silver gelatin
print · 86.5 × 60.5 cm · courtesy: Michael
Stevenson, Cape Town
Nhlanhla Esther Mofokeng, Thokoza,
Johannesburg · 2009 · from the series:
Faces and Phases · photograph · silver
gelatin print · 86.5 × 60.5 cm · courtesy:
Michael Stevenson, Cape Town
Charissa Granger, Amsterdam · 2009
· from the series: Faces and Phases
· photograph · silver gelatin print ·
86.5 × 60.5 cm · courtesy: Michael
Stevenson, Cape Town
Michele Clarke, Toronto · 2009 · from the
series: Faces and Phases · photograph
· silver gelatin print · 86.5 × 60.5 cm ·
courtesy: Michael Stevenson, Cape Town
Lebo Mashifane, District Six, Cape
Town · 2009 · from the series: Faces
and Phases · photograph · silver gelatin
print · 86.5 × 60.5 cm · courtesy: Michael
Stevenson, Cape Town
Sisipho Ndzuzo, Embekweni, Paarl
· 2009 · from the series: Faces and
Phases · photograph · silver gelatin print
· 86.5 × 60.5 cm · courtesy: Michael
Stevenson, Cape Town
Thandi Mbatha, Braamfontein,
Johannesburg · 2010 · from the series:
Faces and Phases · photograph · silver
gelatin print · 86.5 × 60.5 cm · courtesy:
Michael Stevenson, Cape Town
Refilwe Mahlaba, Thokoza,
Johannesburg · 2010 · from the series:
Faces and Phases · photograph · silver
image credits
ARTISTS
Aernout Mik · p. 94
courtesy: Carlier / Gebauer, Berlin · photo:
Elsje de Bruijn
Albano Afonso · p. 240
1–3 · courtesy: Casa Triangulo, São Paulo ·
photo: Everton Ballardin
Alberto Greco · p. 40
courtesy: Montserrat Santamaria Puigbo
· photo: Montserrat Santamaria Puigbo
· © Família Alberto Greco; Montserrat
Santamaria Puigbo
Alessandra Sanguinetti · p. 286
1–4 · courtesy: Yossi Milo Gallery, New
York; Ruth Benzacar Gallery, Buenos Aires
· © Alessandra Sanguinetti
Alfredo Jaar · p. 64
courtesy: Daros Collection, Zürich
Allan Sekula · p. 68
1–7 · courtesy: Christopher Grimes
Gallery, Santa Monica
8 · courtesy: Christopher Grimes Gallery,
Santa Monica; Galerie Michel Rein, Paris
· photo: Museum van Hedendaagse Kunst
Antwerpen M HKA, Antwerpen
Allora & Calzadilla · p. 114
photo: Internet Image, Public Domain
Amar Kanwar · p. 298
courtesy: Marian Goodman Gallery,
New York
Amelia Toledo · p. 232
1–2 · photo: Du Ribeiro
Ana Gallardo (Coletivo com
Mario Gómez Casas e Ramiro
Gallardo) · p. 356
photo: Mario Gómez Casas, Ana Gallardo
Andrea Büttner · p. 236
1 · courtesy: Hollybush Gardens, London ·
photo: George Eksts
2–4 · courtesy: Hollybush Gardens,
London
Andrea Geyer · p. 124
1–6 courtesy: Galerie Thomas Zander,
Cologne · photo: Stefan Rohmer, Andrea
Geyer
Anna Maria Maiolino · p. 324
1 · photo: Bernardo Magalhães
2 · photo: Rômulo Fialdini
4 · photo: Regina Vater
Anri Sala · p. 320
1–4 · courtesy: Galerie Chantal Crousel,
Paris; Marian Goodman Gallery, New York;
Gallery Hauser & Wirth, Zurich, London;
Johnen Galerie, Berlin
Antonio Dias · p. 378
1 · photo: Udo Grabow
2 · photo: Gabriele Basilico
Antonio manuel · p. 110
1 · photo: Rômulo Fialdini
2–5 · photo: Lula Rodrigues
Antonio Vega Macotela · p. 170
1 · photo: Brenda Ortiz
Apichatpong Weerasethakul
· p. 98
courtesy: Animate Projects/ Kick the
Machine Films, London · photo: Chaisiri
Jiwarangsan · © Kick the Machine Films
Artur Barrio · p. 177
1 · courtesy: Instituto Inhotim,
Brumadinho · photo: César Carneiro
Artur Żmijewski · p. 270
courtesy: Foksal Gallery Foundation,
Warsaw; Galerie Peter Kilchmann, Zürich ·
photo: Zofia Waslicka, Artur Żmijewski
Cada – Colectivo Acciones De
Arte · p. 353
1–3 , 6–8 · photo: Lotty Rosenfeld
4 · photo: Jorge Brantmayer
5 · photo: Kena Lorenzini
Cao Fei · p. 86
1–2 · courtesy: Vitamin Creative Space,
Guangzhou
Carlos Bunga · p. 180
courtesy: Galería Elba Benítez, Madrid
Carlos Garaicoa · p. 330
1–4 · courtesy: Galeria Luisa Strina, São
Paulo; Galleria Continua, San Gimignano,
Beijing, Le Moulin · photo: Ela Bialkowska
5 · courtesy: Galeria Luisa Strina, São
Paulo; Galleria Continua, San Gimignano,
Beijing, Le Moulin · photo: Alex Delfanne
Carlos Teixeira
p. 216–217 · photo: João Parenti
Carlos ZIlio · p. 210
photo: Paulo Rubens Fonseca
Chantal Akerman · p. 66
1 · courtesy: Marian Goodman, Paris, New
York · photo: © Stephan Wyckoff
2 · courtesy: Marian Goodman, Paris, New
York · photo: © Chantal Akerman
Chim Pom · p. 182
1–2 · courtesy: Mujin-to Production, Tokyo
· photo: © Chim Pom
Cinthia Marcelle · 83
1 · courtesy: Sprovieri, London; Box4, Rio
de Janeiro; Vermelho, São Paulo · photo:
Cinthia Marcelle, Tiago Mata Machado
2 · courtesy: Sprovieri, London; Box4, Rio
de Janeiro; Vermelho, São Paulo · photo:
Cinthia Marcelle, Michael Asbury
Daniel Senise · p. 306
photo: Marianne Giuliano
David Claerbout · p. 60
1–2 · courtesy: Hauser & Wirth Gallery,
Zürich, London, New York; Yvon Lambert
Gallery, Paris, New York
David Cury · p. 386
photo: Wilton Montenegro
David Goldblatt · p. 90
1–4 · courtesy: Goodman Gallery,
Johannesburg
David Maljković · p. 80
1–3 · courtesy: Annet Gelink Gallery,
Amsterdam; Metro Pictures, New York;
Georg Kargl Fine Arts, Vienna; Sprüth
Magers, London, Berlin
Deimantas Narkevičius · p. 81
courtesy: gb agency, Paris; Jan Mot,
Brussels; Barbara Weiss, Berlin
Douglas Gordon · p. 290
courtesy: Studio lost but found, Berlin
· photo: Studio lost but found (Frederik
Pedersen)
Efrain Almeida · p. 254
1–2 · courtesy: Galeria Fortes Vilaça, São
Paulo · photo: Eduardo Ortega
Emily Jacir · p. 296
courtesy: Alexander and Bonin, New York ·
photo: Jason Mandella
Enrique Ježik · p. 329
courtesy: Galería Enrique Guerrero,
Mexico City · photo: Tania Candiani
Fernando Lindote · p. 82
photo: Karina Zen
Filipa César · p. 244
1–2 · courtesy: Cristina Guerra
Contemporary Art, Lisbon · © 2010 ©
Filipa César
Fiona Tan · p. 319
courtesy: Frith Street Gallery, London
Flávio de carvalho · p. 202
1–4 , 6 · photo: Edouard Fraipont (register)
Francis Alÿs · p. 336
1 · courtesy: David Zwirner, New York · ©
Francis Alÿs
Gabriel Acevedo Velarde · p. 226
courtesy: Galeria Leme, São Paulo;
Maribel López Gallery, Berlin
Gil Vicente · p. 150
1–2 · photo: Flávio Lamenha
Grupo de Artistas de
Vanguardia · p. 152
1–3 · courtesy: Museu d'Art Contemporani
de Barcelona Consortium-MACBA
Grupo Rex · p. 206
7 · José Resende · photo: Rômulo Fialdini
8 · Carlos Fajardo · photo: Silvio Paulo
Soares Bento
9 · Wesley Duke Lee · photo: Vicente
de Mello
Gustav Metzger · p. 108
1 · photo: David Bordes · © 2009 Gustav
Metzger
2 · courtesy: Tate, London: Purchased
with assistance from Tate Members 2007
· photo: © S Madejski · © Tate, London
2010; © 2009 Gustav Metzger
Guy De Cointet · p. 140
courtesy: Air de Paris, Paris; Estate Guy de
Cointet, Paris
Guy Veloso · p. 234
1–5 · courtesy: Galeria Rosely Nakagawa_
Gabinete de Artes, São Paulo
Harun Farocki · p. 328
photo “Immersion” (work in progress)
Harun Farocki, 2009
Hélio Oiticica · p. 260
1 · courtesy: Projeto Hélio Oticica
2 · courtesy: Projeto Hélio Oticica · photo:
Ronald Cultone
High Red Center · p. 176
1–2 · courtesy: The Estate of Jiro
Takamatsu / Yumiko Chiba Associates,
Tokyo
Isa Genzken · p. 312
1 · courtesy: Instituto Inhotim,
Brumadinho; Daniel Buchholz, Cologne,
Berlin; neugerriemschneider, Berlin ·
photo: Jens Ziehe
2 · courtesy: Instituto Inhotim,
Brumadinho; Daniel Buchholz, Cologne,
Berlin; neugerriemschneider, Berlin
Jacobo Borges · p. 133
1 · © Jacobo Borges & Imagen de Caracas
team
James Coleman · p. 138
courtesy: Marian Goodman Gallery, New
York, Paris · © James Coleman
Jeremy Deller & Grizedale Arts
· p. 228
2 · courtesy: Ruskin Museum, Coniston ·
photo: M E Hargreaves
Jimmie Durham · p. 392
courtesy: Kurimanzutto Gallery, Mexico
City
Joachim Koester · p. 238
courtesy: Jan Mot Gallery, Brussels
Jonas Mekas · p. 294
courtesy: James Fuentes Gallery, New
York
José Leonilson · p. 256
1–2 · photo Ding Musa
Kendell Geers · p. 123
courtesy: Stephen Friedman, London;
Galleria Continua, San Gimignano, Beijing,
Le Moulin; Galerie Rodolphe Janssen,
Brussels

Kiluanji Kia Henda · p. 357
1–3 · courtesy: Fundação Sindika Dokolo,
Luanda
Kutluğ Ataman · p. 102
courtesy: Thomas Dane Gallery, London
Luiz Zerbini · p. 58
1 · courtesy: Pedro Évora and Pedro
Rivera | RUA arquitetos
Lygia Pape · p. 169
courtesy: Projeto Lygia Pape; Museu de
Arte Moderna do Rio de Janeiro MAM-RJ ·
photo: Paula Pape
Manfred Pernice · p. 332
courtesy: Galerie NEU, Berlin
Manon de Boer · p. 284
courtesy: Jan Mot Gallery, Brussels
Marcelo Silveira · p. 316
1–2 · courtesy: Galeria Nara Roesler, São
Paulo; Galeria Mariana Moura, Recife ·
photo: Robson Lemos
Marcius Galan · p. 76
1–2 · courtesy: Galeria Luisa Strina, São
Paulo
Maria Thereza Alves · p. 221
1 · courtesy: Maumaus – Escola de Artes
Visuais, Lisbon; Galerie Michel Rei, Paris ·
photo: Arne Kaiser
2 · courtesy: Maumaus – Escola de Artes
Visuais, Lisbon; Galerie Michel Rei, Paris ·
photo: Fabrício de Souza Pereira
3 · courtesy: Shirley, Douglas, Tam and
Waldemar Krenak; Maumaus – Escola de
Artes Visuais, Lisbon
Mario Garcia Torres · p. 352
photo: E. Diaz, 1963, published in the
magazine Elite, Caracas, August 8, 1967,
p. 32.
Marta Minujín & Ruben
Santantonín · p. 360
courtesy: Marta Minujín and Leopoldo
Maler
Miguel Angel Rojas · p. 246
1–3 · courtesy: Sicardi Gallery, Houston
Mira Schendel · p. 144
1–2 · courtesy: Galeria Millan, São Paulo ·
photo: Edouard Fraipont
Monir Shahroudy
Farmanfarmaian · p. 388
1–2 · courtesy: The Third Line, Dubai
Moshekwa Langa · p. 156
1–6 · courtesy: Goodman Gallery,
Johannesburg
Nan Goldin · p. 248
1–12 · courtesy: Michael Zilkha
Nancy Spero · p. 300
courtesy: Galerie Lelong, New York ·
photo: Jason Mandela
Nástio Mosquito / Bofa da Cara
· p. 126
courtesy: Bofa da Cara · photo: Pere Ortín;
Alex Guimerà
Nelson Leirner · p. 318
photo: Ricardo Miyada
Ns Harsha · p. 200
1–2 · courtesy: Victoria Miro Gallery,
London · photo: Malikajun Katakol
Nuno Ramos · p. 380
1 · courtesy: Galeria Fortes Vilaça, São
Paulo · photo: Marilia Teixeira
2 · courtesy: Galeria Fortes Vilaça, São
Paulo · photo: Renato Silva
3 · courtesy: Galeria Fortes Vilaça, São
Paulo · photo: Mila Petrillo
Oswaldo Goeldi · p. 384
1–2 · courtesy: Museu Nacional de Belas
Artes, Rio de Janeiro
Otobong Nkanga · p. 194
1–3 · courtesy: Lumen Travo Gallery,
Amsterdam
the Otolith Group · p. 92
© The Otolith Group 2008
Pedro Barateiro · p. 191
courtesy: Galeria Pedro Cera, Lisbon ·
photo: Pedro Tropa; Teresa Santos
Pedro Costa · p. 174
1 · courtesy: Fundação de Serralves-
Museu de Arte Contemporânea, Oporto
Pixação SP · p. 147
1–6 · photo: Choque Photos
Raqs Media Collective · p. 292
courtesy: Frith Street Gallery, London ·
photo: Alex Delfanne
Roberto Jacoby · p. 132
photo: Antonio Cruz/Abr; Silvio Tanaka
Rochelle Costi · p. 308
1–4 · courtesy: Galeria Luciana Brito,
São Paulo
Rodrigo Andrade · p. 158
1–3 · photo: Eduardo Ortega Studio
Ronald Duarte · p. 196
1 · courtesy: Pedro Stephan
2 · courtesy: Wilton Montenegro
Rosângela Rennó · p. 55
1 · photo: Alexis Azevedo
2 · courtesy: Galeria Vermelho, São Paulo
Runa Islam · p. 51
courtesy: White Cube, London
Samuel Beckett · p. 145
courtesy: Estate Curtis Brown, London
Sandra Gamarra heshiki · p. 262
1–2 · courtesy: Galeria Leme, São Paulo ·
photo: Manuel Blanco
3 · courtesy: Galería Juana de Aizpuru,
Madrid · photo: Antoine Henry-Jonquères
439
Simon Fujiwara · p. 224 Breathing Place
1 · courtesy: Neue Alte Brücke, Frankfurt, STELA BARBIERI
Main; Gio Marconi, Milan · photo: Yun Lee p. 403 · photos: Mariana Galender
and VG Bildkunst p. 405 · photo: Gustavo Melo
2 · courtesy: Neue Alte Brücke, Frankfurt p. 406 · photo: Denise Adams
Sophie Ristelhueber · p. 78
1–2 · courtesy: Adagp, Paris On the Construction of
an Archipelago
Steve McQueen · p. 52 Marta Bogéa
courtesy: Marian Goodmann Gallery, New p. 412–421 · images: Arquitetura
York, Paris; Thomas Dane Gallery, London
Sue Tompkins · p. 142 CAPACETE PROJECT
1–2 · courtesy: The Modern Institute / Toby p. 422 · photo: Helmut Batista
Webster Ltd, Glasgow; Tanya Bonakdar,
Nova York
Tacita Dean · p. 54
courtesy: Marian Goodman Gallery, New
York, Paris; Frith Street Gallery, London
Tamar Guimarães · p. 322
photo: Kasper Akhøj
Tatiana Blass · p. 154
courtesy: Galeria Millan, São Paulo ·
photo: Everton Ballardin
Tatiana Trouvé · p. 34
courtesy: Gagosian Gallery, New York;
Johann Kobig, Berlin; Almine Rech,
Brussels; Emmanuel Perrotin, Paris ·
photo: A. Altenburger · © Migros Stefan
Altenburger
Wendelien van Oldenborgh ·
p. 268
courtesy: Wilfried Lentz, Rotterdam
Wilfredo Prieto · p. 32
courtesy: Nogueras Blanchard, Barcelona
Yael Bartana · p. 272
courtesy: Annet Gelink Gallery,
Amsterdam; Sommer Contemporary Art,
Tel Aviv
Yonamine · p. 396
courtesy: Cristina Guerra Contemporary
Art, Lisbon; Soso Arte Contemporânea
Africana, Luanda, São Paulo
Zanele Muholi · p. 242
1–4 · courtesy: Michael Stevenson, Cape
Town
bibliographic credits and references
150
ANDRADE, Mario de. Poesias Completas. Belo
Horizonte: Villa Rica Editoras Reunidas,
1993, p. 88. [Jeffery Hessney (trans.)].
30
ARENAS, Reinaldo. Antes que anoiteça. Irène
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280
BARBOSA, Jorge. Obra Poética. Lisboa:
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295
BARROS, Manoel de. Gramática Expositiva
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Editora Civilização Brasileira, 1990,
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154
BARROS, Manoel de. Tratado geral das
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50
BASHÔ. Cem haiku – Antologia. LEITE, Ana
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Hessney (trans.)].
38
BECKETT, Samuel. Not I. Written in English
in spring 1972. First performed at the
Forum Theater of the Lincoln Center,
New York, in September 1972. First
published by Faber and Faber, London,
in 1973. First performed in Britain at
the Royal Court Theatre, London, on 16
January 1973.
183
BONASSI, Fernando. 100 histórias colhidas
na rua. São Paulo: Scritta, 1996, p. 9.
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129, 135
BORGES, Jorge Luis. Ficciones. Donald Leslie
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213, 220
BORGES, Jorge Luis. Selected Poems. W. S.
Merwin (trans) London, Penguin, 1999,
pp. 221, 225.
110, 187, 191
BRECHT, Bertolt. Poemas 1913 - 1956. Paulo
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78
BUARQUE, Chico. Turbulence. Peter Bush
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383
CAIMMY, Dorival. “Acalanto”. Odeon, 1957.
339, 346
CALVINO, Italo. Invisible cities. William Weaver
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194
CAMPOS, Haroldo de. Galáxias. São Paulo:
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52, 362
CARROL, Lewis. Alice’s Adventures in
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204
CARVALHO, Flávio de. Experiência n. 2.Rio de
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397
CASARES, Adolfo Bioy. The Invention of Morel.
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145
CÉSAIRE, Aimé. Cahier d'un retour au pays
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89
CÉSAIRE, Aimé. The Collected Poetry. Clayton
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142
CESAR, Ana Cristina. “Flores do mais”,
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126, 193
CHACAL. Belvedere. São Paulo: Cosac Naify,
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158
CONRAD, Joseph. The Shadow Line. Fairfield:
1st World Library, 2007, p. 123.
72
CONRAD, Joseph. "About geography and
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292
CORTÁZAR, Julio. Cronopios and Famas. Paul
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252
COSTA, Pedro. Casa de Lava. Portugal, France
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376
CRAVEIRINHA, José. Cela 1. Lisboa: Edições
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43
CUMMINGS, E. E. 100 Selected Poems. New
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196
CARVALHO, Flavio de. A cidade do homem
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Republicado em DAHER, Luiz Carlos,
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63, 68
DODGE, Jim. Fup. Fort Bragg: City Miner
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237
DONNE, John. "Êxtase". In CAMPOS, Augusto
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389
DUCHAMP, Marcel. The Bride Stripped Bare
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Jaap Rietman Inc, New York, 1976.
366
DURAS, Marguerite. Destroy, She Said. New
York: Grove Press, Inc., 1970: p. 75.
137
GARCIA, Dora. An interview with Franco Rotelli
and a footnote by Antonin Artaud. Trieste:
May 2010.
266
GODARD, Jean-Luc. Alphaville. France: Athos
Films, 1965.
37
GODARD, Jean-Luc. Je vous salue, Sarajevo.
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328
GODARD, Jean-Luc. Une femme mariée.
France, Gaumont, 1998.
383
GONZAGA, Luiz; TEIXEIRA, Humberto. “Asa
Branca”. RCA Victor, 1947.
96
GULLAR, Ferreira. Poema Sujo [Dirty Poem].
Leland Guyer (trans). Lanham: University
Press of America, 1990, p. 11.
348
HANH, Thich Nhat. The Heart of
Understanding: Commentaries on the
Prajñaparamita Heart Sutra. Berkeley:
Parallax Press, 1988, p. 3.

102
HATOUM, Milton. The Tree of the Seventh
Heaven. Ellen Watson (trans.). New York:
Atheneum, 1994, p. 54.
284
JAMES, Henry. The Beast in The Jungle. São
Paulo: Cosac Naify, 2007, p. 8.
180
KAFKA: The Burrow. in LUNDBERG, Phillip:
Essential Kafka. Rendezvous with
“Otherness”, Five Stories by Franz Kafka.
Chicago: AuthorHouse, 2007.
157
LINS, Osman. Nove, Novena. São Paulo:
Companhia das Letras, 1994. [Jeffery
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262
LISPECTOR, Clarice. “Mineirinho”, 1968. In:
Clarice Lispector. Para não esquecer.
São Paulo: Rocco, 1988, p. 123. [Jeffery
Hessney (trans.)].
146
LISPECTOR, Clarice. The apple in the dark.
Austin: University of Oxford Press.
Gregory Rabassa (trans.), 1961, p. 182.
301
LOPES, Adilia. Antologia [Clube da poetisa
morta]. São Paulo: Cosac Naify, 2002,
p. 165. [Jeffery Hessney (trans.)].
174
MANSFIELD, Katherine. The Garden Party and
Other Stories. Charleston: BiblioBazaar,
2008, p. 134
93
MATTOSO, Chico. Esse filme. In: “Ácaro # 1”.
São Paulo, outubro 2002, p. 3. [Jeffery
Hessney (trans.)].
83
McEWAN, Ian. Atonement. New York: Anchor
Books, 2003, p. 370.
358
MEIRELES, Cecilia. Doze noturnos da Holanda
e outros poemas. Rio de Janeiro: Nova
Fronteira, p. 45. [Jeffery Hessney
(trans.)].
385
MELO NETO, João Cabral de. Entre o Sertão e
Sevilha. Rio de Janeiro: Ediouro, 1997.
[Jeffery Hessney (trans.)].
60
MENDES, Murilo. As metamorfoses. Rio de
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Hessney (trans.).
108
MENDES, Murilo. Mundo enigma (1942) &
Os quatros elementos (1935). Porto
Alegre: Edição da livraria do Globo, 1945.
[Jeffery Hessney (trans.)].
324
MUSIL, Robert. O homem sem qualidades.
Lya Luft & Carlos Abbenseth (trad.) Rio
de Janeiro: Nova Fronteira, 2006, p. 30.
[Jeffery Hessney (trans.)].
273
NAVA, Pedro. Balão cativo. Rio de Janeiro:
Nova Fronteira, 1986, p. 282. [Jeffery
Hessney (trans.)].
380
PESSOA, Fernando. The Book of Disquiet.
Margaret Jull Costa (trans.) London:
Serpent's Tail, 1991, p. 261.
171
PESSOA, Fernando. The Book of Disquietude:
by Bernardo Soares, Assistant
Bookkeeper in the City of Lisbon. Richard
Zenith (trans.). Riverdale: Sheep Meadow
Press, 1996, p. 180.
255, 317
PIRANDELLO, Luigi. Three plays by Luigi
Pirandello: Six Characters in Search of
an Author; Henry IV and Right You Are
(If You Think So). Whitefish: Kessinger
Publishing, 2005, pp. 153, 159
335
POE, Edgar Allan. A Descent into The
Maelstrom. Whitefish: Kessinger
Publishing, 2005.
207
PRATA, Antonio. Flexibilidade. In: “Ácaro # 1”.
São Paulo, outubro 2002, p. 16. [Jeffery
Hessney (trans.)].
161, 168
RIO, João do; GOMES, Renato Cordeiro. João
do Rio. Rio de Janeiro: Agir, 2005, pp. 1,
2. [Jeffery Hessney (trans.)].
98
RODRIGUES, Nelson. "Personagem da
semana", O Globo newspaper, Rio de
Janeiro, 21st December 1964. [Jeffery
Hessney (trans.)].
115, 122
ROSA, Guimarães. Manuelzão e Miguilim
(Corpo de baile). 9a. ed.. Rio de Janeiro:
Nova Fronteira, 1984, pp. 122, 139.
[Jeffery Hessney (trans)].
393
RUI, Manuel. Um morto e os vivos. Lisboa:
Cotovia, 1993, p. 12. [Jeffery Hessney
(trans.)].
441
356
SALOMÃO, Waly. Algaravias; Câmara de ecos.
São Paulo: Editora 34, 1996. [Jeffery
Hessney (trans.)].
371
SUPERSTUDIO, Prologue of the script for
the film Educazione, Superstudio
1972 / 2010 (selected text) by Gian
Piero Frassinelli (Superstudio archive).
Unpublished.
383
VALE, João de; CÂNDIDO, José. “Carcará”.
1964. [Jeffery Hessney (trans.)].
360
VALÉRY, Paul. Eupalinos ou o Arquiteto. São
Paulo: Editora 34, 1999. [Jeffery Hessney
(trans.)].
32
VALÉRY, Paul. Monsieur Teste. Princeton:
Princeton University Press, 1989, p. 62.
80, 244
VILA-MATAS, Enrique. Bartleby & Co. Jonathan
Dunne (trans.). New York: New Directions
Book, 2000, pp. 48, 142.
306
VONNEGUT Jr., Kurt. Breakfast of Champions: a
novel. New York: Delacorte Press, 1973.
40
WATANABE, José. El huso de la palabra. Lima:
Seglusa Editores & Editorial Colmillo
Blanco, 1989, p. 39. [Jeffery Hessney
(trans.)].
321
WISNIK, Marina. Palíndromos. Marina Wisnik
and Paulo Neves (trans.). Rio de Janeiro:
Oficina Raquel, 2008, n/p.
230
WOOLF, Virginia. Mrs. Dalloway. London:
Penguin Books, 1996, p. 6.
All the translations made by Jeffery Hessney,
Maria do Carmo Pontes, Paulo Miyada and
Suzana Vidigal are literal and were conceived
for this catalogue.
The excerpts from “Not I,” by Samuel Beckett,
and “Galáxias,” by Haroldo de Campos, have
been left in the languages in which they were
originally written – English and Portuguese,
respectively – due to the lack of pertinence of
a literal translation and the non-existence of an
authorized poetic translation.
29th BIENAL DE SÃO PAULO

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Glaucos Marcelo Fedozzi Minuera
Guilherme Pacheco Alves de Souza
Guilherme Ramalho dos Santos
Gustavo Avamilano Alvarez
Gustavo Barros Rocha
Helena da Silva Souza
Helena Knoll Bastos
Heloiza Sensulini Soler Olivares
Ildenira Lopes de Sales
Ileane da Silva Ribeiro
Isabella Guimarães Rezende
Isadora do Val Santana
Isaura de Oliveira Ogawa
Izabela Mariano F. de Araújo
Izabella Demercian
Jade Medeiros Tavares
Janaína Nagata Otoch
Jean Luiz Palavicini
Jean Roberto Felipe da Silva
Jeferson Pereira Costa Santos
Jihana Y. A. Nassif
Jonas Rodrigues Pimentel
José Luiz Augusto Alves Pinheiro
Juan Manuel Wissocq
Julia Nóvoa de Campos
Juliana Antunes Mendes
Juliana Cristina Alves da Silva
Juliana Cristina S. Bueno Guimarães
Juliana Marachleian Nersessian
Juliana Solimeo
Karen Herreros
Karina Ayumi Ekami Takiguti
Kelly Cristina da Silva
Laiz Hiromi Fuzinaga
Lara Chaud Palacios Marin
Larissa da Costa Miyazaki
Laura Belik
Laura da Silva Monteiro Chagas
Laura de Barros Chiavassa
Laura Muniz Pacheco
Laura Nogueira Marin
Leila Graziela Costa Oliveira
Leonardo Matsuhei Araki Normande
Letícia da Silva B. Vasconcellos
Livia Mara Botazzo França
Livia Regina Midori Izumi
Luana Cassia Araujo Marcondes
Luana de Paula Perez
Luanda Dessana Ferreira dos Santos
Luara Alves de Carvalho
Luara de Paula Vidal
Lucas Cominato D'Angelo
Lucas Lopes Queiroz
Lucas Silva de Oliveira
Luciana Andreotti Sonck
Luciana Ester Schiel Gigolotti
Luciara dos Santos Ribeiro
Lucilia Santos
Luisa Caetano Escobar da Silva
Luisa Doria Giraldes Teixeira
Luisa Rodrigues Barcelli
Maira Bottan
Manuela D'Albertas G. de Carvalho
Manuela Henrique Nogueira
Marcel Cabral Couto
Marcella Klimuk Uchiyama
Marcello A. M. Avelasco
Marcia Veronica de A. Ferrari
Marco Antonio Biglia Junior
Maria Augusta B. de Souza Aranha
Maria Clara Kanazawa
Maria Isabela Buzolin Lucredi
Maria Livia Nobre Goes
Maria Tereza Bentivegna Belfort
Mariana Coyado Rodrigues Garcia
Mariana Ferreira Ambrosio
Mariana Garau Moll
Mariana Rodrigues Rosell
Mariana Schmidt de Oliveira Iacomo
Mariana Vilela do Nascimento
Mariane Beline Tavares
Mariane N. Ferreira
Marina Borges Sarno
Marina Cunha Martins
Martha Letícia Casalaspro Moreira
Martin Prado Sander Smit
Matias Barboza Pinto
Mayara Medeiros Miussi

Melina Martinho
Mira Serrer Rufo
Natália Pineiro Bressan
Natália Rodrigues Gil
Nathalia Carolina Fuchs
Nayara Datovo Prado
Nei Franclin Pereira Pacheco
Nina de Oliveira Castellano
Nina Pauline Knutson
Olyvia Victorya Bynum
Osvaldo Sant Anna Júnior
Otavio de Camargo Penteado
Paloma F. de Melo Paula
Paola Ribeiro da Silva
Patrícia Regina Vannetti Veiga
Patrick Gomes de Toledo
Paula Franco
Paula Kaori Nishijima
Paula Macedo Pereira
Paula Vaz Guimarães de Araujo
Paulo Chiarella Scharlach
Paulo Henrique Bonosi Futagawa
Paulo Ricardo Gomides Abe
Paulo Vitor F. de B. M. Delgado
Pedro Gabriel Amaral Costa
Pedro Henrique Ferreira Costa
Pedro Henrique Moreira
Pedro Mattoso Boaventura
Pedro Pizante Millan
Priscila Dias Carlos
Priscila Oliveira Herrera Hidalgo
Priscila Palumbo
Priscila Tavares
Queli Cristina Martins Coelho
Rachel Kogawa Carvalho
Rachel Pacheco Vasconcellos
Rafael Calixto da Silva
Rafael D'Amico Flabore
Rafael Florêncio da Silva
Rafael Frattini Coimbra Longhi
Rafael Santolíquido Davini
Rafael Tortorelli Canal
Raissa Monteiro dos Santos
Raphael Yozo Donadio Suguita
Rebeca Lopes da Silva
Renata de Pierro
Renata Barbosa Lima
Renata da Silva Xavier
Renata Osti
Renata Pedroza
Renata Perissinotto Passos
Renata Tsuchiya
445
Renato Nonato Ogasawara
Ricardo Rodrigues Serafim
Roberta Borges de Oliveira
Roberta Maringelli Campi
Rodolfo Borbel Pitarello
Rodolfo Colombo
Rodrigo Pereira Fernandes
Rômulo dos Santos Paulino
Ruana Negri Crusca
Sabrina Alves da Silva
Simei Silva Greb
Simone de Cassia Spilborghs
Stephanie Maluf
Suellen de Souza Barbosa
Sylvia B. P. Fonseca
Tabita Tiede Lopes
Tamara Faifman Maciel
Tamara Takaoka de Oliveira
Tamira Naia dos Santos
Tatiana de Andrade Beltrão
Tatiana G. do Prado
Tatiana P. do Nascimento
Tatiane Ferreira da Silva Santos
Téo C. Garfunkel
Thais A. da Costa Botelho
Thaís Mendes Moura Carneiro
Thamíres Cristina da Silva
Thiago Alves de Oliveira
Thiago Cezar Macete
Thila Pedrozo Lima
Thisby Alarcon Khury
Tiago Salles Rizzo
Tiely Cáceres Correia
Úrsula Passos de Paula
Vanessa Florentino de Jesus
Verônica Sayuri Kuniyoshi
Victor Tasso Garcia Vieira Albertini
Vincenzo Russo Soares
Vinicius Dias Oliveira de Almeida
Vinícius Monteiro de Castro Tubino
Vitor Ballan B. Leite
Vitor Yugo Katanosaka
Wembley Matos dos Santos
William S. de Oliveira
Yasmim de Liz Branco
Yukari Vieira Ritzmann
Yule Liberati Barbosa
Fundação Bienal de São Paulo

Administrative and Design Bienal Institutional Relations

Financial Director Director and Special Projects
Flávio Camargo Bartalotti André Stolarski
Brasil Arte Contemporânea Project,
Wanda Svevo Historical Archive Designers cooperation agreement with
Coordinator Ana Elisa de Carvalho Silva Ministry of Culture
Adriana Villela Felipe Kaizer Flávia Abbud · Coordinator
Marina Terepins · Assistant
Researcher Web Designer Marina Scaramuzza · Assistant
Natália Leoni Victor Bergmann
Integrated Sectional Project
Database Administrator Interns – Brasil Arte Contemporânea,
Jorge Lody Fernando Petrich cooperation agreement with Apex-Brasil
João Parenti Têra Queiroz · Manager
Administrative Assistant Roman Iar Atamanczuk
José Leite de A. Silva (Seu Dedé)
Marketing and Fundraising
Intern Editorial Coordinators
Ana Paula Andrade Marques Producer Alessandra Effori
Diana Dobránszky Marta Delpoio

Directorship Advisor Assistants

Luciana Lehfeld Daher Human Resources and Maintenance Bruna Azevedo
Management Glaucia Ribeiro
Legal Advisory Mário Rodrigues · Manager
Cesnik, Quintino e Salinas Advogados Marcus Vinícius Cardoso da Silva
Rodrigo Martins Exhibition Production
Bienal Digital Valdemiro Rodrigues da Silva Administrative Coordination
Adriana Villela Vinícius Robson da Silva Araújo Vânia Mamede C. Shiroma · Coordinator
Ana Maria Maia Wagner Pereira de Andrade Mônica Shiroma de Carvalho ·
Ângela Teixeira Cultural Producer
André Stolarski Financial Management Viviane Teixeira · Assistant
Chico Caminati Kátia Marli Silveira Marante · Manager
Diana Dobránszky Amarildo Firmino Gomes Technology and Inovation
Diego Matos Felipe Araújo Machado Marcos Machuca · Special advisor
Marcos Machuca Lisânia Praxedes dos Santos Anderson de Andrade
Paulo Miyada Thatiane Pinheiro Ribeiro Valdemiro Rodrigues da Silva
Pedro Weingärtner
Rony Rodrigues General Secretariat Management
Victor Bergmann Maria Rita Marinho · Manager
Anderson Fernandes
Angélica de Oliveira Divino
Josefa Gomes
M. da Glória do E. S. de Araújo
29th bienal catalogue 447

Editors Graphic Design

Agnaldo Farias Director
Moacir dos Anjos André Stolarski

Editorial Coordination Designers

Cristina Fino Ana Elisa de Carvalho Silva
Felipe Kaizer
Assistants
Galciani Neves Web Designer
Maria do Carmo Pontes Victor Bergmann

Editorial Production Interns

Diana Dobránszky Fernando Petrich
João Parenti
Texts Roman Iar Atamanczuk
Agnaldo Farias
Ana Maria Maia
Diego Matos Graphic Production
Filipa Oliveira Signorini Produção Gráfica
Galciani Neves
Ligia Afonso Pre-Press
Maria do Carmo Pontes Burti
Moacir dos Anjos
Paulo Miyada Printing
Pedro França Ipsis

Collaborators
Aline Rezende
Dados Internacionais de
Anders Kreuger
Catalogação na Publicação (CIP)
Dorothee Albrecht (Câmara Brasileira do Livro, SP, Brasil)
Fernanda Lopes
Isabel Teixeira
Stina Edblon Catalogue of the 29th Bienal de São Paulo
: There is always a cup of sea to sail in /
Translation curators Agnaldo Farias, Moacir dos Anjos.
Anthony Doyle -- São Paulo : Fundação Bienal de São Paulo,
2010.
Jeffery Hessney
Suzana Vidigal
Título original: Catálogo da 29ª Bienal de São
Paulo : Há sempre um copo de mar para um
Proofreading homem navegar.
Regina Stocklen Vários tradutores.
ISBN  978 – 85 – 85298 – 33 – 3

1. Arte - Exposições - Catálogos 2. Arte

contemporânea I. Farias, Agnaldo. II. Anjos,
Moacir dos.

10-09219CDD-700.74

Índices para catálogo sistemático:

1. Arte contemporânea : Exposições : Catálogos

700.74
Fundação Bienal de São Paulo and the participating artists of the 29th Bienal de São Paulo thank to:
Lenders to the exhibition
Ada Schendel, São Paulo · Adrian Piper Research Archive Foundation, Berlin · Ana
Celina Dias Reichert, São Paulo · Annet Gelink Gallery, Amsterdam · Archigram
Archives, London · Archivio Superstudio, Florence · Carola Bony Collection, Buenos
Aires · César and Cláudio Oiticica, Rio de Janeiro · Coleção Gilberto Chateaubriand |
Museu de Arte Moderna do Rio de Janeiro – MAM · Coleção Inhotim, Brumadinho ·
Coleção João Sattamini | Museu de Arte Contemporânea de Niterói – MAC · Comodato
Eduardo Brandão and Jan Fjeld | Museu de Arte Moderna de São Paulo – MAM · Daros
Latinamerica Collection, Zurich · Estate of Guy de Cointet / Air de Paris, Paris · Esther
Faingold, São Paulo · Frith Street Gallery, London · Fúlvia Leirner, São Paulo · Fundação
do Museu da Imagem e do Som do Estado do Rio de Janeiro – FMIS/RJ · Galeria Millan,
São Paulo · Galeria Vermelho, São Paulo · Galerie Lelong and Estate of Nancy Spero,
New York · Gema Giaffone, São Paulo · Jean Cardilès, Grand Rodez · kurimanzutto,
Mexico City · Liceu de Artes e Ofícios de São Paulo · LiMac, Lima · Luciana Brito
Galeria, São Paulo · Marcela and Vinicius Reis, São Paulo · Marta and Paulo Kuczynski,
São Paulo · Museu d’Art Contemporani Barcelona – MACBA Museu de Arte de São
Paulo Assis Chateaubriand – MASP · Museu de Arte Moderna de São Paulo – MAM ·
Museu Nacional de Belas Artes – MNBA/IBRAM/MINC, Rio de Janeiro · Projeto Lygia
Pape, Rio de Janeiro · Paulo Pimenta, Porto · Regina Pinho de Almeida, São Paulo ·
Ricardo de Carvalho Crissiuma Pisciotta, Valinhos · Rivista Domus, Milan · Roberto
Profili, São Paulo · Rose and Alfredo Setubal, São Paulo · Ruskin Museum, Coniston ·
Sicardi Gallery, Houston · Tate Collection, London · Van Abbermuseum, Eindhoven ·
Vanda Mangia Klabin, Rio de Janeiro · And those who whised to remain anonymous.
Galleries
Alexander and Bonin, New York · Amparo 60, Recife · Anita Schwartz Galeria de Arte,
Rio de Janeiro · Box4, Rio de Janeiro · Carlier | Gebauer, Berlin · Christopher Grimmes
Gallery, Santa Monica · Cristina Guerra Contemporary Art, Lisbon · David Zwirner, New
York · Galeria Baró, São Paulo · Galeria Casas Riegner, Bogotá · Galería Elba Benítez,
Madrid · Galeria Enrique Guerrero, Mexico City · Galeria Fortes Vilaça, São Paulo ·
Galeria Graça Brandão, Lisbon · Galeria Leme, São Paulo · Galeria Luisa Strina, São
Paulo · Galeria Mariana Moura, Recife · Galeria Marília Razuk, São Paulo · Galeria Nara
Roesler, São Paulo · Galeria Pedro Cera, Lisbon · Galeria Sílvia Cintra, Rio de Janeiro ·
Galeria Triângulo, São Paulo · Galerie Almine Rech, Brussels · Galerie Barbara Weiss,
Paris · Galerie Chantal Crousel, Paris · Galerie Daniel Buchholz, Cologne / Berlin ·
Galerie Emmanuel Perrotin, Paris · Galerie Jan Mot, Brussels · Galerie Michael Rein,
Paris · Galerie Neu, Berlin · Galerie Polaris, Paris · Galerie Thomas Zander, Cologne
· Galleria Continua, San Gimignano / Beijing / Le Moulin · Galleria Gio Marconi, Milan
· gb agency, Paris · Georg Kargl Fine Arts, Vienna · Goodman Gallery, Johannesburg
· H.A.P. Galeria, Rio de Janeiro · Hauser & Wirth, Zurich / London / New York ·
Hollybush Gardens, London · Johani Koenig Gallery, Berlin · Johnen Galerie, Berlin ·
Laura Marsiaj, Rio de Janeiro · Lumen Travo Gallery, Amsterdam · Marian Goodman
Gallery, New York / Paris · Mercedes Viegas Arte Contemporânea, Rio de Janeiro
· Metro Pictures, New York · Michael Stevenson, Cape Town · Neue Alte Brücke,
Frankfurt · neugerriemschneider, Berlin · Peter Kilchmann Gallery, Zurich · Soso Arte
Contemporânea Africana, Luanda / São Paulo · Sprovieri, London · Sprüt Magers,
London / Berlin · Tanya Bonakdar Gallery, New York · The Modern Institute, Glasgow ·
The Third Line, Dubai · Thomas Dane Gallery, London · Victoria Miro Gallery, London ·
White Cube Gallery, London · Yvon Lambert, Paris / New York
Institutions and firms
1st World Library, Fairfield · Administração do Parque do Ibirapuera, São Paulo
· Americas Society, New York · Animate Projects, London · Associação Artística
Cultural Oswaldo Goeldi, Taubaté · Auditório Ibirapuera, São Paulo · Balé da Cidade
de São Paulo · Associação Cultural Videobrasil, São Paulo · AuthorHouse, Chicago ·
Belvedere, Rio de Janeiro · BiblioBazaar, Charleston · Bloomsbury UK, London · British
Council, London · British Council, São Paulo · Caixa Cultural, São Paulo · Camberwell
College of Arts, London · Casco – Office for Art, Design and Theory, Utrecht · Centro
Cultural Banco do Brasil, São Paulo · Centro Cultural da Espanha, São Paulo · Centro
Cultural São Paulo · Centro de Cultura Judaica, São Paulo · Centro de Estudos e
Documentação Alexandre Eulálio da Universidade Estadual de CEDAE-UNICAMP,
Campinas · Cinemateca da Embaixada da França, Rio de Janeiro · Colección
Fundación Museos Nacionales, Caracas · Consejo Nacional para la Cultura y las Artes
- CONACULTA, México City · Centro de Integração Empresa Escola – CIEE, São Paulo
· Centros Educacionais Unificados- CEU, São Paulo · Companhia de Engenharia de
Tráfego, São Paulo · Comunidade NUA, São Paulo · Consulado Geral da Bélgica, São
Paulo · Consulado Geral da França, São Paulo · Consulado Geral da Holanda, São Paulo
· Consulado Geral da República Argentina, São Paulo · Consulado Geral da República
da Polônia, São Paulo · Consulado Geral do México, São Paulo · Consulado Geral
dos Estados Unidos da América, São Paulo · Consumer Electronics Unlimited - IFA,
Berlin · CULTURESFRANCE, Paris · Curtis Brown Estate, London · Danish Visual Arts,
Copenhagen · Delacorte Press, New York · DGArtes, Lisbon · DIMUS Bahia, Salvador
· Edições 70, Lisbon · Ediouro, Rio de Janeiro · Éditions Présence Africaine, Paris ·
Editora 34, São Paulo · Editora Casa da Palavra, Rio de Janeiro · Editora Companhia das
Letras, São Paulo · Editora Cosac Naify, São Paulo · Editora BestBolso, Rio de Janeiro
· Editora Brasiliense, São Paulo · Editora Casa da Palavra, Rio de Janeiro · Editora
Civilização Brasileira, Rio de Janeiro · Editora Cotovia, Lisbon · Editora Ediouro, Rio de
Janeiro · Editora Leya, Rio de Janeiro · Editora Globo, Rio de Janeiro · Editora Jorge
Zahar, Rio de Janeiro · Editora José Olympio, Rio de Janeiro · Editora Leya, São Paulo
· Editora Martin Claret, São Paulo · Editora Melhoramentos, São Paulo · Editora Nova
Fronteira, Rio de Janeiro · Editora Pensamento-Cultrix, São Paulo · Editora Planeta,
São Paulo · Editora Record, Rio de Janeiro · Editora Rocco, Rio de Janeiro · Editora
Revan, Rio de Janeiro · Editora Scriptum, Belo Horizonte · Editora Scritta, São Paulo ·
Editora WMF Martins Fontes, São Paulo · El Museo del Barrio, New York · Embaixada da
Colômbia no Brasil, Brasília · Embaixada de Israel no Brasil, Brasília · EMEF Presidente
Campos Salles, São Paulo · Escola Municipal de Iniciação Artística, São Paulo · Espaço
Unibanco de Cinema, São Paulo · Faculdade Mozarteum de São Paulo, São Paulo ·
Faculdades Belas Artes, São Paulo · Faculdades Santa Marcelina, São Paulo · FIESP/
SESI, São Paulo · Flemish Institute for Visual, Audiovisual and Media Art - BAM,
Brussels · Fondation d’enterprise Hermès, Paris · Fondazione Galleria Civica di Trento ·
Fundación Proa, Buenos Aires Fundação de Serralves, Porto · Fórum Permanente, São
Paulo · Fundação Abrinq, São Paulo · Fundação Armando Álvares Penteado, São Paulo
· Fundação Casa, São Paulo · Fundação Dorina Nowill, São Paulo · Fundação Japão,
São Paulo · Fundação Japão, Tokyo · Fundação Joaquim Nabuco, Recife · Fundação
Oscar Niemeyer, Rio de Janeiro · Fundação Padre Anchieta - Centro Paulista de Rádio
e TV Educativas, São Paulo · Goethe-Institut, São Paulo · Hogeschool Sint-Lukas,
Brussels · Fundação para o Desenvolvimento da Educação- Programa Cultura é
Currículo, São Paulo · Fundação Sindika Dokolo, Luanda · Gasworks / TrAIN, London
· Grant & Cutler, London · Grove Press, New York · Iniva – Institute of International
Visual Arts, London · Instituto Arte Contemporânea - IAC, São Paulo · Instituto Arte na
Escola, São Paulo · Instituto Moreira Salles, São Paulo · Instituto Tomie Ohtake, São
Paulo · Istituto Italiano di Cultura, São Paulo · Itaú Cultural, São Paulo · Julia Stoschek
Foundation e.V., Düsseldorf · Kessinger Publishing, Whitefish · Memorial da América
Latina, São Paulo · Ministerio de Asuntos Exteriores y de Cooperación de España -
AECID, Madrid · Ministerio de Relaciones Exteriores / República Argentina, Buenos
Aires · Ministerio de Relaciones Exteriores / República de Colombia, Bogotá · Ministry
of the French Speaking Community, Brussels · Mondriaan Foundation, Amsterdam
· Morlan S.A., Orlândia · Museu Afro Brasileiro, São Paulo · Museu Brasileiro da
Escultura - Mube, São Paulo · Museu da Casa Brasileira, São Paulo · Museu da Cidade,
São Paulo · Museu da Imagem e do Som - MIS, São Paulo · Museu de Arte Brasileira
da Fundação Armando Álvares Penteado, São Paulo · Museu de Arte Contemporânea
da USP – MAC, São Paulo · Museu de Arte de São Paulo - MASP, São Paulo · Museu
de Arte Moderna - MAM, São Paulo · Museu de Arte Moderna AloIsio Magalhães -
MAMAM, Recife · Museu Lasar Segall, São Paulo · Museum van Hedendaagse Kunst
Antwerpen, Antwerp · New Directions Book, New York · Norton Critical Editions, New
York · Núcleo Vocacional, São Paulo · Oficina Raquel, Rio de Janeiro · Oxford University
Press, Oxford · Paço das Artes, São Paulo · Parallax Press, Berkeley · Penguin Books,
London · Pinacoteca do Estado, São Paulo · Pinakotheke Cultural, Rio de Janeiro / São
Paulo · Prefeitura Municipal de Santos · Programa Cultura Viva- Pontos de Cultura, São
Paulo · Programa de Iniciação Artística- PIA, São Paulo · Programa de Valorização de

Iniciativas Culturais- VAI, São Paulo · ProHelvetia, Zurich · Projeto Anchieta, São Paulo
· Proyetos Monclova, Mexico City · RCR Cultural Foundation, Los Angeles · Relógio
d’água editores, Lisbon · Revista Ácaro, São Paulo · Revista Urbânia, São Paulo ·
Secretaria da Educação do Estado de São Paulo · Secretaria da Educação e Cultura de
Araraquara · Secretaria de Estado da Cultura de São Paulo · Secretaria Municipal de
Assistência e Desenvolvimento Social de São Paulo · Secretaria Municipal de Cultura de
São Paulo · Secretaria Municipal de Educação de Santo André · Secretaria Municipal
de Educação de São Caetano do Sul · Secretaria Municipal de Educação de São Paulo
· Secretaria Municipal de Educação Diadema · Secretaria Municipal de Educação e
São Bernardo do Campo · Secretaria Municipal dos Transportes de São Paulo · Seglusa
Editores & Editorial Colmillo Blanco, Lima · Serpent's Tail, London · SESC, São Paulo ·
Tablado de Arruar, São Paulo · Sheep Meadow Press, Riverdale · Sociedad Estatal para
la Acción Cultural Exterior - SEACEX, Madrid · SOSO Arte Contemporânea Africana,
Luanda / São Paulo · St. Paul’s School, São Paulo · Teatro Arena, São Paulo · Teatro
Oficina, São Paulo · Teatro Vertigem, São Paulo · The Netherlands Foundation for Visual
Arts, Design and Architecture – Fonds BKVB, Amsterdam · The New Press, New York ·
The Teatre Dramatyczny Warsaw · Triptique Arquitetura, São Paulo · União de Núcleos,
Associações e Sociedades dos Moradores de Heliópolis e São João Clímaco – UNAS,
São Paulo · Universidade Camilo Castelo Branco, São Paulo · Universidade Cidade de
São Paulo, São Paulo · Universidade de São Paulo, São Paulo · Universidade Estadual
Paulista Júlio de Mesquista Filho – UNESP, São Paulo · WBI | Wallonie-Bruxelles
International, Brussels · University Press of America, Lanham · Vhernier, Milan · Villa
Rica Editoras Reunidas, Belo Horizonte · Vlaams Audiovisuele Fonds, Brussels
Individuals
Adolpho Leirner · Adriana Pineda · Afonso Luz · Alanna Lockward · Alessandro Sartore
· Alexandra Cruz · Alexandre Kassin · Aline Souza · Aloísio Cravo · Álvaro Faleiros ·
Amal Khalaf · Amilcar Packer · Amina Urasaki · Ana Farinha · Ana Francisca Barros ·
Ana Longoni · Ana Luiza Leão · Ana Mae Barbosa · Ana Paula Hisayama · Ana Rubia
· Ana Tomé · André Amaral · André Cortez · André Millan · Andrea Branzi · Andrea
Tonacci · Andrei Ujica · Angela Lopes Ruiz · Anna Vass · Ann-Sofi Noring · Antonio
Prata · Arnaldo Antunes · Arthur Nestrovski · Arthur Omar · Augusto de Campos ·
Augusto Lívio Malzoni · Augusto Massi · Aurélio Michiles · Barbara Wagner · Bel Coelho
· Ben Hayward · Beth Goulart · Black Audio Film Collective (John Akomfrah, Lina
Gopaul, David Lawson) · Bob N · Bozo · Bruno Caracol · Esther Goes · Bruno Guanambi
· Cacilda Teixeira da Costa · Camila Juarez · Camila Mota · Carla Maia · Carlos Fajardo
· Carole Morrison · Carolyn Alexander · Cassiano Elek Machado · Catalina Lozano ·
Cecília Cotrim · Celso Pinhata Júnior · Chacal · Charles Cosac · Chico Buarque de
Hollanda · Chico Mattoso · Chiei Ishida · Christina Rizzi · Cid Campos · Cida Peres ·
Clarice Lacerda · Clarice Lacerda · Cláudia Yammine · Cláudio Willer · Cleide Terzi ·
Clio Bugel · Corinne Diserens · Cristiane Esteves · Cristina Cortez · Dan Zimmerman ·
Dani Umpi · Daniel Rangel · Daniel Roesler · Daniel Santiago · Daniela Castro · Daniela
Labra · Davi Arrigucci · Denise Garcia · Dennis Crompton · Denise Milfond · Dora Longo
Bahia · Dulce Vivas · Edda Bihr Campanella · Edgard Navarro · Eduardo Brandão ·
Eduardo Climachauska · Eduardo Coutinho · Eduardo Jorge · Eduardo Leme · Eduardo
Macabelli · Elaine Caramella · Eliana Zugaib · Emília Rosa · Enrique Vila-Matas · Erika
Gartner Hopfgartner · Eryk Rocha · Eugênio M. Cordaro · Evaldo Mocarzel · Fabiana de
Barros · Fabiana Faleiros · Fabiano Marques · Fabio Cimino · Fábio Delduque · Fábio
Savino · Fernanda Boechat · Fernando Bonassi · Ferreira Gullar · Flávia Carneiro Leão ·
Flora Sussekind · Florence Bonnefus · Florencia Battiti · Francisca Bagulho · Francisco
Canestri · Frederico Morais · Gabriel Borba · Gabriel Menotti · Gabriel Perez-Barreiro
· Gabriela Rangel · Gabriela Salgado · Gillian Duffy · Gláucia Craveiro de Almeida ·
Glória Ferreira · Graziela Mantoanelli · Guerrilla Girls (Kathe Kollwitz and Frida Kahlo) ·
Gustavo Melo · Haco de Ridder · Hélio Goldsztejn · Heitor Fecarotta · Heloísa Buarque
de Hollanda · Helson Léver Camilli · Heraldo Guiaro · Horácio Costa · Hu Fang · Ian
McEwan · Ícaro Santos · Ilona Rechlin · Inês Bogéa · Inti Guerrero · Isaac Julien ·
Isabel Teixeira · Ismar Tirelli · Isobel Whitelegg · Jalal Toufic · Jana Binder · Jards
Macalé · Jean-Martin Tidori · Jessica Paz · Jim Dodge · Jo Takahashi · João Bandeira ·
Joacélio Batista · Joana da Conceição · João Dumans · João Fernandes · João Sodré ·
Jochen Volz · Jorge Barreto Xavier · Jorge Loureiro · Jorn Konijn · Jorge Menna Barretto
449
· Jørgen Leth · Jose Arnaud-Bello · José Augusto Ribeiro · José Celso Martinez Corrêa
· José Ignácio Roca · José Luiz Herencia · José Resende · Juan Gaitán · Julia Arana ·
Juliana Braga · Karel Kaivanto · Karen Cunha · Karla Jasso · Lani Goeldi · Lars Bang
Larsen · Laura Lima · Laureana Toledo · Laymert Garcia dos Santos · Lenora de Barros
· Leon Cakoff · Lia Chaia · Lia Mity Ono · Lilia M. Schwarcz · Lisa Robertson · Lisette
Lagnado · Lucia Koch · Luisa Duarte · Luiz Antonio Almeida Braga · Lukash Weglinski ·
Luzinete Nunes · Maiza Verstagui · Manoel de Barros · Manthia Diawara · Manuel Costa
Cabral · Manuela Afonso · Manuel Rui · Marcelo Brodsky · Marcelo Pedroso · Marcelo
Suzuki · Márcia Xavier · Márcio Botner · Marco Antonio Nakata · Marco Paulo Rolla ·
Marcos Cesar Santos Simões · Marcos Moraes · Maria Alice Milliet · Maria Dora Mourão
· Maria Elvira Pombo Holguin · Maria Estela Segatto Corrêa · Maria Iovino · Mariette
Dölle · Marilena Chauí · Marina Wisnik · Mario Almeida · Mario Campanella · Marketta
Seppala · Marita Silva · Marko Stamenkovic · Markus Richter · Marta Lança · Marta
Mestre · Martine d'Anglejan-Chatillon · Mary Sabbatino · Mattia Denisse · Mauricio
Ianês · Mauricio Oliveira · Max Perlingeiro · Maya Da-Rin · Micha Schijlen · Michael
Asbury · Michel Favre · Michel Groisman · Mike Davis · Milton Hatoum · Mio Iwakiri ·
Molly Taylor · Monica Caldiron · Nara Roesler · Neka Menna Barreto · Niccolò Sprovieri
· Nicoletta Fiorucci · Nilson Garrido · Nora Hochbaum · Norma Macabelli · Oscar
Carvajal · Oto Milfont · Pamela Prado · Patrícia Moran · Patrícia Mourão · Patrícias
Durães · Paul Chan · Paula Amaral · Paula Gaitán · Paula Lopez · Paula Pape · Paula
Possani · Pedro Aspahan · Pedro Moreira · Pedro Vanucchi · Pedro Veneroso · Pena
Schmidt · Peter Pal Pelbart · Philippe Ariagno · Philippe Fürnkäs · Pontogor · Rachel
Tompson · Rafael Barros · Rafael RG · Rejane Coutinho · Renata de Almeida · Renato
Pinto Coelho Filho · Ricardo Aleixo · Ricardo Basbaum · Ricardo de Carvalho Crissiuma
Pisciotta · Ricardo Holcer · Ricardo Miyada · Ricardo Ohtake · Ricardo Resende ·
Richard Riley · Roberta Estrela Dalva · Roberto Civita · Roberto Condurú · Roberto
Marti · Rodolfo García Vázquez · Rodrigo Andreolli · Rodrigo Moura · Rui Costa Reis
· Ruth Estevez · Ruy Ohtake · Sabrina van der Ley · Samir Abujamra · Sandra Vieira
Jurgens · Sebastião Barbosa Muniz · Serge Nokoué · Sérgio Baur · Shihoko Iida · Silvio
de Sicco · Sindika Dokolo · Sir Nicholas Serota · Socorro de Andrade Lima · Stephen
Rimmer · Sueko Hashimoto · Suely Rolnik · Tadeu Chiarelli · Tatiana Cuevas · Tatjana
Gretschmann · Ted Bonin · Thairna Patrícia Lee · Thaís Medeiros · Thich Nhat Hanh ·
Tiago Mata Machado · Tiganá Santana · Tine Colstrup · Ton Marar · Trinh T. Minh-ha
· Valdinar Rocha Fernandes · Veronica Cordeiro · Victor César · Victor Nieuwenhuijs ·
Victória Ferraz · Victoria Noorthom · Vinícius Spricigo · Vitor César Junior · Wanderley
Moreira · Yasumitsu Takai · and to all the galleries, institutions, firms and individuals
who cooperated with the realization of the 29th Bienal de São Paulo.
Educativo of 29th Bienal de São Paulo specially thank the cities:
Araçatuba – SP · Araraquara – SP · Barra Mansa – RJ · Birigui – SP · Campinas – SP
· Curitiba – PR · Itirapina – SP · Londrina – PR · Marilia – SP · Osasco – SP · Ourinhos
– SP · Porto Feliz – SP · Porto Alegre – RS · Recife – PE · Ribeirão Preto – SP · Santa
Cruz do Rio Pardo – SP · Santos – SP · São Sebastião – SP · São Carlos – SP · São José
do Rio Preto – SP · São Luis do Maranhão – MA · Volta Redonda – RJ
The 29th Bienal counts on the strategic partnership of the Ministry of Culture with the support of Lei Rouanet

major sponsorship

educational project

terreiros

climatized area digital guide

support

media support publicity

institutional support
international support
Amigos da Bienal [friends of the bienal]

Ana Elisa Estrela Ferreira

Andréa e José Olympio Pereira
Ativa Corretora
Carlos Francisco Bandeira Lins
Link Investimentos
Wieland Gurlit