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ENGLISH VERSION ORIGINS

it come, which is established as knowledge of and how, based on this, forms of rupture or today. Since then, it has been improved
the constituent heritage of riverside caboclo resistance can be found. Or even Climate(x) T(r) until it was included in the Rouanet Law
knowledge, transmitted orally in a character emor, which “arises from the affirmation and in 2019.
of resistance, imbued by knowledge arising desire of the impossibility of totality. It is an axis The main objective has always been to
from the relationship with nature and related that accepts the idea that it is impossible to create a platform for debate, construction
among their equals .” account for a “whole”, especially because the and strengthening of the Amazon territory,
And the curatorial text continues: […] “In the idea of a whole, when applied to the Amazon, based on our contemporary art production.
midst of the drastic planetary climate crisis does not fit, due to countless narratives from A biennial that aims to be a platform for
and the growing ideological antagonisms different peoples who inhabit the fields, the many voices, local ones in particular, to
that are spreading throughout Brazil and the side roads, forests, waters and other territories express their views on what it means
world, announcing the multiplicity of desires of a complex and dynamic environment, which to be an Amazonian. The name Bienal
as the field of forces that surrounds bodies is part of Brazilian territory. das Amazônias has already emerged as
in Amazonian territory is, first of all, above Again, according to the curatorial text, “these a provocation, as there is a biome, plus
all, a proposal to establish relational spaces are lives and realities that require constant infinite cultures and ways of understanding
that take into account the human experience reflections on ethnicities, fauna, mineral the territory under the nickname Amazonia.
accumulated within it, its humanism, its wealth, among many dynamics of knowledge Furthermore, it is crucial that we
social imaginary. spaces of self-recognition, and practices of the forest’s medicinal plants do not always need to go to what we
celebration and, above all, spaces of struggle, and, significantly, the environmental balance understand as an axis, to be validated as
resistance and re-existence for the pleasure of the planet. Rhythms coming from border artists, thinkers, creators. It is urgent to
of being plural. In this way, the curatorial core influences that mix with the creativity of each change the movement of the wheel. The
of the Biennale seeks to establish possible place, dance, voices, shamans and thoughts Amazon does not need to be saved by
approximations not only between the nine that don’t let us be in the same place. Listening anyone, it needs to have due attention and
countries that delimit the biome and water to Afro-indigenous, caiçara, riverside, settled, investment so that all those who make it
territory of the Amazon River and the nine indigenous, quilombola intellectual variants of up feel strengthened in their inventiveness
Brazilian states understood as Legal Amazon, listening and silence. And, in this dynamic, we and methodologies and can keep the
but also aims to include the many multifaceted recognize that the attempt to account for the forest standing, based on the possibility of
and invisible Amazons that populate the totality is overwhelming and violent, as well allowing their inhabitants live with dignity.
contemporary imagination, beyond its physical, as completely exhausting and unnecessary.”
social and geographic limits.” The axis Lives Languages recognizes the – When was the project approved?
Some of the curatorial axes that organize different truths, lives and languages proposed Did the initial budget cover the expenses?
the exhibition were inspired by legends and by different worldviews. Finally, there is the The Amazon Biennial, as an incentivized
words from the region, such as Changing Vital Encounters of Desires axis. project, was approved at the beginning of
Sources, which stemmed from research on the The Biennale manifesto argues: “Amazon 2020, and its first fundraising took place
principle and principles of the Amazon River […] is also a global commodity in the time of at the end of this same fiscal year. Due
and its movement. The curatorial text says: the Anthropocene and the climate crisis. The to the pandemic and all the difficulties
“From the source to the mouth. So we arrived Amazon, which was once an Edenic paradise, imposed by the then Federal Government,
in Apurimac, a Peruvian region where there is is still considered by many who believe it to be we ended up planning its holding for the
one of the springs. and, based on the research the lungs of the world. This imaginary mostly year 2022. Until that moment we would
of this place, the expansion of Apurimac; its emerges from the external scenario, of en hold the Biennale in various cultural
concept and narratives. The word designates distorted and exoticized, af er all, everything facilities in the State and the municipality,
a region of Peru where sayhuite is located, an that refers to the Amazon gains globalized and we would build 20 public works that,
archaeological site considered a center of and expanded dimensions. But something to In addition to debating the uses we
religious worship for the Inca people, noted for is real, the Amazon is the fundamental key to make of the city of Belém, I would link
its particular attention and dedication to water. the survival of humanity in the contemporary these different buildings. However, for
In Quechua, apu refers to the gods, sages world.” administrative reasons, we ended up
and also the mountains. Apurimac, in turn, moving our project to 2023 and, as a
designates the “speaking god”, something that conversation with lívia condurú result, the Government of the State of
can be understood as a kind of oracle observed Creator and executive director of the Bienal Pará informed us that we would no longer
and heard by the Andean peoples who inhabit das Amazônias, Lívia Condurú has a master’s have the agendas for the museum spaces
the region. Apurímac is also the name of a river, degree in Arts from the Federal University that we had agreed upon. So, we ended up
one of the sources of the Amazon River. In the of Pará, where she developed research on thrown, so to speak, into the need to create
Andean worldview, this river that originates public policies for culture in the north of Brazil, a new cultural apparatus that could handle
in the middle of the mountains flows to the and has worked for two decades as a cultural what we were institutionally proposing.
Amazon plain (it will flow to the Marajó, on producer in the Amazon. If politically our institutional core is
the northern Brazilian coast of Pará. It flows based on strengthening the territory based
into the Atlantic Ocean between the states – Is the idea of holding an Amazon on the people that make it up, why distance
of Pará and Amapá) and returns to the Andes Biennial recent? Supported to some ourselves from the people? Furthermore,
below the Earth. It was believed that at night extent by the national and international we are an institution because that is the
the sun set beneath the earth, traveling in debate? modus operandi of existing/resisting in
underground canals and drinking the excess The Biennale has been a desire of mine (and to) the market, but to what extent
water so that Apurimac would not overflow as a producer since the beginning of my do we need another art institution? With
during its return journey.” professional life, in the early 2000s. Over the problem of no longer having the
Another relevant axis is that of Splitting as a the years it took shape and became more previously delimited spaces, and with
contract, which arises from the awareness of focused on my main area of activity as an all these questions, I started looking for a
the curatorship of pacts and structures (social, executive producer, in the visual arts, and non-institutional place that would house
economic , racial) that govern our existence in 2011 it gained the name and format it has the 1st edition of the Bienal das Amazônias.

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