Page 94 - ARTE!Brasileiros #45

FREEDOM IS HARD WORK ENGLISH VERSION
BIENNIALS BERLIM 2020 | PAGES 20 AND 21 BIENNIALS MERCOSUR | PAGE 22
BERLIN BIENNALE WILL BE THE 12 MERCOSUR
TH
LED BY “RADICAL WOMEN” BIENNIAL WILL EXPLORE

GROUP OF FOUR CURATORS SELECTED HAS THREE LATINAS, AMONG THEM POSSIBLE MEETINGS
THE BRAZILIAN LISETTE LAGNADO, AND AGUSTÍN PÉREZ RUBIO, FORMER
DIRECTOR OF MALBA THE EXHIBITION WILL BE SEDIATED IN PORTO ALEGRE
AND WILL EMPHASIZE LATIN AMERICAN PRODUCTION
BY FABIO CYPRIANO
BY LEONOR AMARANTE
FOR THE SECOND TIME, Lisette Lagnado is selected for the biennial curatorship after
presenting a project and being evaluated by an independent commission. Now, it will FROM THE MOMENT in which art curator has reached the leading role of a director of cinema,
be the curation of the 11th edition of the Berlin Biennale, in 2020, along with the Chilean to know who will lead a international show has become paramount. By choosing Andrea
María Berríos, the Argentinean Renata Cervetto and the Spanish Agustín Pérez Rubio. Giunta for general curatorship of the 12th Mercosur Biennial, which will take place from
In 2005, Lagnado was chosen to organize the 27th São Paulo Biennil, held April 9 to July 5, 2020, the exhibition returns to its origins. Tightly linked to Latin American
in 2006 under the title How to Live Together, from the seminars of the production, criticism and researcher will explore the relationships between art, feminism
philosopher Roland Barthes, in the 1970s, inspired by the works of Hélio Oiticica. and emancipation. I ask how she will do it: “The biennial has already begun, last week, with
It is the second time that Latin America leads the German show, since it was organized a seminar where we put the themes on the agenda which we are interested in exploring.
by the Colombian curator Juan Gaitán in 2014. The chosen team is now a group that has One of the senses in which I understand the term emancipation, besides emancipation
never worked together, but gravitates around Latin America with transgressive practices. in the political sense, is that linked to knowledge”. For Giunta, knowledge contributes to
Rubio directed the Malba (Museum of Latin American Art of Buenos Aires) in the last the transformation of thought structures. “We will work from feminism, the concept of
four years, where he had a program that reinforced the presence of female artists, such an extended subject that contemplates not only women, but includes the bodies and the
as Claudia Andujar, and a radical educational program in the institution. He organized in demarcated affections and all that the discourse monolithic marginalizes”. As part of the
São Paulo the exhibition Memories in Progress, from the collection of Cultural Association Biennial project a Seminar is being organized to discuss these themes. Working at a biennial
Videobrasil, at Sesc Pompéia, in 2014. Before that, Rubio directed Musac (Museum of is something complex and is the first experience of Giunta in an exhibition. In this sense, she
Contemporary Art of Castilla and Leon), where he devoted much of his work to Latin intends to use her experience and research methodologies. Search intensively explore the
American artists. Argentine curator Cervetto worked with Rubio at Malba on public programs. potential of a city as Porto Alegre, with resources that were not present in no other biennial.
Lagnado is recognized as the most experimental curators in Brazil. The biennial Giunta makes a classic commentary of some curators international events that have gone
How to live together was inspired by the work of Oiticica, but did not present works through our three Biennials, the one of São Paulo, Curitiba and the one of Porto Alegre. “I do
by the artist, only by contemporaries who produced works with similar principles. In not want that the biennial landed like an UFO in the city, but in the creative and institutional
2010, she organized “Desvios de la Deriva, Experiencias, Travesías, y Morfologias”, setting where it is located. We have already taken some steps towards this”. The curator talks
with Berrios, at the Reina Sofia Museum in Madrid, showing that one of the central about the involvement of “stunning” institutional have been in a biennial or in universities. From
axes was the work by Flavio de Carvalho (1899 - 1973) and his provocative actions. experience she will take into account the importance of the relationship between curatorship,
She also directed the School of Visual Arts at Parque Lage in Rio between exhibitions, research and also among the schools. The curator believes she can take to the
2014 and 2017, dedicating herself to arts education, which she had already biennial experiences that add up, such as the recent curatorship of Radical Women, “which
begun in São Paulo, in the Master’s program at Santa Marcelina College. had the dimension of a biennial in relation to the number that artists involved”. In addition,
Berrios, besides curator also participated in the 31st São Paulo Biennial, How to talk about Giunta says she has the experienced team of Mercosur Biennial, which formed many young
things that do not exist, in 2014, in the artistic project ‘The revolution must be an unrestricted people. Before the current political situation, I ask how the Argentine criticism aims to address
school of thought’, organized with the Danish Jakob Jakobsen, based on the “Del Tercero the themes and works of ideological load. “I can not say that I do not worry of the scenario
Mundo” show, that happened in 1968, in Cuba, the center of a series of events that sought in which this project will develop. But I also believe that it is an opportunity to keep activate
to discuss the role of art and language in the context of the struggle against imperialism. culture and thought. We will surely have to dialogue communities that understand the sense
The group starts living in Berlin in early 2019 and will succeed a biennial with a highly of what we have pointed out. It’s a time to work about the culture of dialogue, not that of
positive repercussion, We don’t need another hero, led by the South African Gabi confrontation”. Giunta says that the theme undoubtedly invokes a pedagogical meaning.
Nboco with four other curators, among them the Brazilian Thiago de Paula Souza. And for her, the challenge will be to find ways of to transform the state of belligerence we
While São Paulo Biennial Foundation follows with imperial indications, both the are in submerged. “Not only in Brazil, but also in many other countries, art is also a space for
curator of the Biennial and the Brazilian representative in Venice are chosen by reflection community. I hope to achieve this poetic climate, which is also political. “
the president of the institution, Berlin is an example of a democratic process. After the port warehouses were no longer available to the Biennal, the exhibition was
This year’s commission was formed by curators Doryun Chong (M +, Hong reduced by almost 60%, in relation to the exhibition spaces, and became more to the
Kong), Adrienne Edwards (Whitney Museum, New York), Reem Fadda, Solange O. Museum of Art of Rio Grande do Sul, Rio Grande do Sul Memorial and Santander Cultural.
Farkas (Videobrasil Cultural Association, São Paulo), Krist Gruijthuijsen , Miguel
A. López (TEOR / ethics, San José) and the artist Omer Fast (Berlin). The group FAIRS ART BASEL MIAMI BEACH | PAGES 24 TO 26
to be evaluated in person, and the last one for interviews and final selection. BASEL MIAMI AT FULL BLAST
met three times: one to know the rules and start naming, another to select projects
The Berlin Biennial was created in 1997 by KunstWerke (KW) and has as its main sponsor
the Federal Cultural Foundation of Germany, with about 3 million euros (R $ 13 million) - the 17TH ART BASEL EDITION IN MIAMI HAS 14 BRAZILIAN GALLERIES
budget of the 33rd. São Paulo Biennial is twice as much, R $ 26 million, most of it coming IN DIFFERENT SECTIONS
through incentive laws, that is, public funds.
BY JAMYLE RKAIN

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