Page 93 - ARTE!Brasileiros #48

THE ART OF MEMORY ENGLISH VERSION
in 2019 and in this issue he signs an interview with photographer João Pina and article and Exiles”. The work of Brazilian artist Rosângela Rennó – the installation Good Apples,
about the Meta–Arquivo show. Bad Apples, mounted at MUNTREF – as well as that of Betsabé Romero, form part of the
JAMYLE RKAIN is a journalist, graduated from Mackenzie Presbyterian University. In 2016 “Memories and Forgetfulness” axis, but also intersect with the problematic of “Monumento
and 2017, s he dedicated herself to the magazine CULTURA!Brasileiros and since the / Anti –monument”. An artist proposes his project and is selected, from there we think
beginning of 2018 has been working as a reporter for ARTE!Brasileiros. In this issue, about his work and see which institution or city it can work best.
she writes about the 36 Panorama da Arte Brasileira, ArtRio, the AI–5 50 anos book For example, Colombian artist Iván Argote had proposed his “Children’s Activism
th
and the International Seminar Art as Worldbuilding. Workshop”, an experiment he had carried forward in France. As BIENALSUR, we asked
ENELITO CRUZ, graphic designer, head of art at ARTE!Brasileiros since 2012, he has a degree if he would be interested in setting up the project in Benin, Africa, to be carried out with
in Computer Science and Mathematics, but switched software and numbers to graphic one of our partners, the Zinsou Foundation, who became interested because he works
arts. He worked for 16 years at Istoé magazine and followed the evolution of the computer with projects that are very community–oriented. It was a success and gave powerful
graphics process. Also part of the magazine Vero and MRS Editorial. and moving results.
Another similar case was that of Uruguayan artist Paola Monzillo who entered Marrakesh
Cover: Gervane de Paula, Arte Aqui Eu Mato, 2016. Ink on iron plate. through a first residency and a show later at the MACCAL Annual Program, which
eventually incorporated her work into the collection.
BIENNIALS BIENALSUR INTERVIEW | PAGES 14 TO 17 It is a practical way to contribute to the cultural integration of the countries participating
NEW COLLABORATION in the platform, the network that is being built. It goes beyond the artistic process, since
as a cultural project that was born in the South, it becomes an “operator” (from the
PLATFORMS FOR singular space of culture), of international reality. The choices and exchanges are not
CONTEMPORARY ART SEEK governed by the number of audiences or the number of exhibitions that took place at
the venue, but most often by their symbolic value or historical significance. For example,
TO REVISE BIENNIALS the show that was set up in Potosí, Bolivia, which is not a city within the traditional circuit
of contemporary art, was added in this edition to the Paco Urondo Center in Buenos
Aires, both working on the concept. of “friction”, whether political, aesthetic or identity.
DIANA WECHSLER, ARGENTINE RESEARCHER AT CONICET (NATIONAL COUNCIL Thus, putting on an exhibition at Rome’s MAXXII, clearly identified as a center of
FOR SCIENTIFIC AND TECHNICAL RESEARCH) AND DIRECTOR OF THE ART AND contemporary art, at MUNTREF in Buenos Aires or at the Colombian–Venezuelan border,
CULTURE AREA AT THE NATIONAL UNIVERSITY OF TRES DE FEBRERO (UNTREF), as we have already done, we believe we are building new logics of production and
HAS BEEN FOLLOWING BIENALSUR SINCE ITS INCEPTION AND NOW IN ITS SECOND consumption of symbolic and cultural goods.
EDITION, COMMENTS ON THE RESULTS. THIS CHALLENGE
Do you understand that you are reaching the objectives in relation to the contribution
you want to bring to the contemporary art system?
BY PATRICIA ROUSSEAUX Yes, BIENALSUR works in dialogue, networking and associatively. It establishes collabo-
rative systems between artists, curators, and institutions, and these relationships have
ARTE!Brasileiros: Now that BIENALSUR is already completing its second edition, better in fact grown, despite the enormous budgetary difficulties of the first edition for this
explain how this project started?
Diana Wechsler: BIENALSUR emerged in 2015 from a series of dialogues within a public ANALYSIS TRENDS | PAGES 18 TO 20
was a dialogue between two different disciplines, the sociology of international relations JUST PICTURING IS
university, UNTREF (National University Tres de Febrero) in Buenos Aires, Argentina. It
and the study of the sociology of culture and the history of art. Dialogues that were born NO LONGER ENOUGH
from the beginning between Aníbal Jozami, rector of UNTREF, and me.
From the beginning we had a critical eye on the way in which the [socio–economic–cultural]
exchange takes place between those countries that are commonly defined as “centers” BECAUSE SWINGUERRA, BY BARBARA WAGNER AND BENJAMIM DE BURCA,
and those others that, within the instituted scheme of sharing the world, recognize IS A WORK THAT DIALOGUES WITH THE CONCEPT OF “STANDPOINT”
themselves as “peripheries”.
Focusing on the terrain of art and culture provides a privileged platform for observing the BY FABIO CYPRIANO
way these exchanges take place and certainly a fertile ground for thinking and suggesting
revisions. Thus, after studying circuits pre–established by the international biennials since THERE IS A NECESSARY DEBATE, currently, about the relationship between the artist, the
the late twentieth century, how to establish curatorship, determine themes, “marks of representations contained in his/her works and the concept that has been constituted
the identity of the biennial format”, we think of trying to deconstruct them and rehearse as a “standpoint”, having Djamila Ribeiro as one of its protagonists.
others, keeping the name of biennial, because it is a form of easy identification. The question is to think what is ethically correct, now in 2019, to make it clear if an artist or
a white artist can portray, for example, indigenous issues, when there are many indigenous
What exactly is the differential of this platform in relation to the other Biennials? artists who can speak about their reality with much more propriety?
BIENALSUR does not focus on a city. You choose to work simultaneously and in tune It is essential to think of Claudia Andujar and all her activism with the Yanomami, which,
with various cities in different countries and continents. In a way, this dispersion seeks far from addressing an ongoing massacre since the 1970s, has made fighting it her central
to build a new cartography, a global territory that surpasses borders without neglecting mission. Her radicalness goes so far as to make her photographic work really an extension
each other’s identities. Seeking to include diversity and different voices. of this dedication and a significant part of every sale of her work on this subject being
Another difference is that we do not work with a single curator, but with a board of passed on to the indigenous people. Before the term was formed, Andujar was in fact
international collaborators, a way to disable a certain authoritarianism or a predetermined seeking to approach the indigenous standpoint in a radical way.
theme. We open–call, receive hundreds of projects from well–known and otherwise The representation of the real in contemporary art is an essential key to their own
established artists, and from there we select and build converging cores. This year understanding and began when artists began to use cameras and video cameras in the
emerged, from countless of these proposals, themes that presented synergy. 1960s and 1970s, which are incorporated into their repertoire of working instruments.
We managed to get some cities to align conceptually through, for example, the “Ways of In fact, we saw an important movement: the departure from the protected space of creation
Viewing” or “Memories and Forgetting” axis, others on the theme “Transits, Migrations as the studio for the search for contact with the other, with the things of the world, while

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