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is presented by the artist and artistic director of on Twitter. Among the facts that helped to collapse that Brazilian governments and society have [page 10]
the 12th edition of the Biennial, Kader Attia, in the democracies, Chavalarias points to the election of made of racism and the brutal inequality that
catalog of the show. In his diagnosis, he argues Bolsonaro in Brazil. characterizes us as a colonial country…
that the wounds of current society are not repaired Also in the same museum, one of the Biennial’s Kader Attia – I believe that decolonial discourse
because they have become invisible by colonialist most controversial works touches on another and dialogue is a conversation that needs to [pages 11 aND 12]
narratives “still present”, as is the title of this biennial. wound: the violence of the 2003 invasion of Iraq by evolve permanently. Fundamentally in the field
still present, however, does not only refer to the us troops. It is an installation in the form of a labyrinth we are talking about, that of art. Capitalism
European colonialist past, which generated all the by Jean-Jacques Lebel, composed of images of tries to recover, through culture and art, by [pages 13 to 15]
wealth of modernity, but is also an affirmation of scenes of violence, many of them publicized by the appropriating political messages, such as that of
resistance: being alive and “still present”, despite all media, in which soldiers violently abuse Iraqis. The decolonization, and with that we run the risk of
the perversions that follow in the world, is, therefore, controversy lies in using such strong images that them becoming institutionalized. In other words,
a necessary act. they end up reinforcing stereotypes of violence we have to be able to take care of the rhetoric,
Occupying six spaces in Berlin, now including an instead of questioning them, a very current debate to invent a language, always new, almost new
entire wing of the Hamburger Bahnhof, in addition that seeks not to re-victimize the pain of others. vocabularies, who knows how to abandon the
to the original headquarters, the KW, the show, on The counterpoint in this group is Clément word “decolonial” and create another one, for
view until September 18, is carried out by Attia Cogitore’s infectious video, in which dancers of example, “demodernize”, because decolonial
together with Ana Teixeira Pinto, Đỗ Tường Linh, various races engage in a Krump-style battle, set does not include feminism, for example.
Marie Helene Pereira , Noam Segal and Rasha Salti. to the 1735 opera, The gallant Indies (the amorous
It is not a biennial that can be seen without a indians), by Jean-Philippe Rameau, which also You are an artist and you have curated several
strong impact. At KW, for example, Ariella Aïsha gives the title to the work. The opera, in its original exhibitions. What was the biggest challenge
Azoulay presents The Natural History of Rape, staging, brought Africans to perform on French of thinking about a Biennial?
an investigation into the thousands of rapes that stages for the first time. The performance in the For me, a biennial is not an art fair, it is a
German women suffered after the Second World video is a contrast to the formality of opera – for many laboratory in which we have to invent the world.
War, which were practically erased from the books the most sophisticated style of art – bringing the And in this invention, we need to preserve the
of the time. According to Azoulay, in one of the texts spontaneity of the manifestations of these battles. “ history from which we came, which precedes us.
in the installation, of thousands of photos taken Still present is a biennial which focuses on Because amnesia is not good. I know feminists,
in April and May 1945, there are no mentions of known problems from the perspective of art, often like Paula Bacchetta, who told me the other
rape and, in 9.558 pages about the period, only 161 bringing up rather frightening revelations, such day how young people today say that there
address the massive rapes of women. as low-temperature torture. Many works, such as were no black or Arab feminists in the 1970s.
A table presents the books that deal with the Azoulay or Lebel, start from real issues to create Paula also told me that there were feminists
subject, but the images are covered with a black files and devices that seek to avoid erasure and in the 1970s who collaborated with the Puerto
stripe, as if to protect the victims. The artist presents oblivion. It may not be easy to live with, but it’s a Rican independence movements as well as the
a complex documentation on the subject also on necessary confrontation, as it doesn’t take place Black Panthers. I mean, feminism was already
a wall. Next to this set is the Great Anti-Fascist in many other fields. decolonial, much earlier than we thought.
Collective Painting, performed by five artists in That’s why I included many files in the
Milan in 1960, a denunciation of the torture and deMocracy and reparation iNterVieW WitH biennial. We have, for example, very specific
rape suffered by Djamila Boupacha, a leader of the KaDer attia [pages 20 to 24] projects, such as the one by Israeli Ariella
National Front for the Liberation of Algeria, unfairly Aïsha Azoulay, The Natural History of Rape,
accused of having carried out a bomb attack in INVITE FOR A and in other places there are objects in shop
Algeria in the same year. windows, such as books from the Archiv der
When exhibited for the first time, the painting REAPPROPRIATION Avantgarden collection, by Egidio Marzona. ,
was confiscated by the Italian police and was OF ATTENTION” and the book Djamila Boupacha, by Simone de
returned only 27 years later, circulating since then Beauvoir, which talks about the young Algerian
in several countries. Still in the same room, cold In an interview with arte!brasileiros, the militant who was raped by French soldiers and
cases , by Susan Schuppli, presents in impressive French artist Kader Attia, curator of the 12th echoes the incredible painting Grand Tableau
videos reports of how in Canada and the usa the Berlin Biennial, talks about the importance Antifasciste Collectif, which is at the Biennial.
police use low temperatures to torture and even kill of creating dialogues between the works We also had meetings with amazing
indigenous people, in the case of the first country; presented in the exhibition so that the people who have come to speak here, such
and scare Latino immigrants, in the second. These spectator builds narratives, and thus opens as Françoise Vergès, Felwine Sarr, Joseph
are truly unbelievable stories. On the border between up his thoughts; He also warns of the Tonda and Stefania Pandolf.
Mexico and the United States, for example, there manipulation of public opinion exerted by I would say that, as an artist, I found it easy
are detention cells with temperatures close to zero techno-liberal capitalism on social networks. to relate to other artists, because I understood
degrees, to discourage asylum applications. certain difficulties. It helped my sense of space
If the stories behind these works in different by patricia rousseaux aND Fabio cypriaNo and how to work with limited savings. As an
environments and times are so absurd, another artist, we work with other artists, who are other
section, in the same space, manages to show how Generous, Kader Attia spoke to us at the KW intellectual and emotional universes.
art resists difficult times. This is a small overview of Institute for Contemporary Art, home of the Berlin It’s a huge responsibility, which works with
the collection. Vanguard Archive, by Egidio Marzona, Biennial, in what he called “an excellent meeting, the trust that artists give you, and to create
from Dresden. This collection brings together 1,5 more than an interview”. French artist, curator this message and share it with the public, you
million documents and objects gathered by Marzona and thinker, born in 1970, Attia grew up between have to think a lot about spaces that separate
since the 1960s, recently donated to the Dresden France and Algeria, making this experience of the works. Interstitial spaces, and then create
Public Museums Collection. Publications include belonging to different cultures his practice. He dialogues between the works, like what happens
everything from German anti-Nazi magazines to stages sensitive work, in the search for an aesthetic between Calida Garcia Rawles’ painting and
anti-Vietnam War pamphlets, as well as anti-racist and ethical result in his relationships and in his Dana Levy’s video Erasing the Green.
manifestos from the 1960s. production. He is an unconditional supporter of the In other words, as an artist, creating a
Throughout the Biennial, the curatorial team need to bring to light the impact that colonialism space for dialogue to share a vision and thus
includes other research works, which did not had on modernity, and his research focuses on open the public’s thinking. Because especially
necessarily arise in the field of art, such as the different forms of reparation in the face of Western we, who work with the topics of reparation,
recently released book Toxic Data, by mathematician cultural hegemony. Winner of awards from the decolonization, modernization, do not do it
David Chavalarias, from the National Center for Miró Foundation and Marcel Duchamp, in 2016, for our own community. We agree with their
Scientific Research in France. From the publication, and the Yanghyun Art Prize, from Seoul, in 2017, importance, but the exhibitions – I don’t know
he created the installation Shifting Collectives Attia has, among his most recent solo shows, The how many people will come to the Biennial,
,at the Hamburger Bahnhof, where he presents, Museum of Repair. around 100 thousand – play a very important
through videos, images and sounds, how French political role in society, because the public, in
democratic values collapsed with the strengthening my view, is lost in a world where information

of xenophobia and nationalism. All this from a tool – In Brazil, we have an important and opinions are constantly being manipulated
that analyzes hundreds of thousands of comments ongoing discussion regarding the erasure by political means.
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