CURADORIA

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This biennial attempts to devise a contract of sensibility, a zone to exchange visualities, actions, and affects, and confirm the bounties of democratic life without eliding its complexities.

 

ESTAÇÕES

FREE TRANSPORT

 

Underscores creativity’s ability to push limits and constraints.

It is inspired by the poetic words of Carolina Maria de Jesus, an Afro-Brazilian peasant, poet, and chronicler, who insisted on finding room between paid working and taking care of her children to write. She wrote in the fertile terrain of the Brazilian favela and despite the limitations imposed by (post)colonial racial violence. “Until the rain has stopped” is what she wrote on pages where words and images would create territories of potential freedom. Because the act of writing explores the limits that circumstances impose on language.

 

Writer Clarice Lispector was likely alluding to the conditions surrounding creation when she spoke of the task of making the way through impossibilities: “I cannot write everything I know,” she wrote, while also speaking of the “luxury of silence.” More than the obviousness of the senses, displaced at a time when they have been reduced to commonplace, to flat communication, the biennial’s exhibition layout is geared to careful reading by an interpretative community capable of tackling a complex mesh of sensibilities and discourses that embrace dissent as springboard of argumentation and deliberation. Because, as we know, we must speak and explore different ways of naming things in order to avoid blanket classifications.

Andrea Giunta

Curator

Biennial 12, Porto Alegre

EQUIPE CURATORIAL

ANDREA GRACIELA GIUNTA

Curadora Geral

A writer, curator, and professor at the Universidad de Buenos Aires, where she received her Ph.D. She is a researcher at the CONICET, Argentina, and a visiting scholar at the University of Texas at Austin. She is the author of several books on Latin American art, including Avant-garde, Internationalism and Politics: Argentine Art in the Sixties (Durham: Duke University Press, 2007). In 2018, she published Feminismo y arte latinoamericano: Historias de artistas que emanciparon el cuerpo (Buenos Aires: Siglo XXI, 2018, and forthcoming in translation by the University of California Press). She was a co-curator of Radical Women: Latin American Art, 1960–1985 (2017–2018, Hammer Museum, Los Angeles, Brooklyn Museum, New York, and the Pinacoteca de São Paulo).

DOROTA MARIA BICZEL

Curadora Assistente

(Poland/USA) holds a Ph.D from the University of Texas at Austin. She is currently a visiting assistant professor of art history at the University of Houston. Her research, writing, and curatorial projects focus on contemporary Latin American art seen in the global context, particularly at the intersections of material experimentation, social practice, and politics. She has published articles and essays in academic journals such as Caiana, Buildings & Landscapes, Art Journal, ARARA, and alter/nativas, and in exhibition catalogs. She curated Moving Mountains: Extractive Landscapes of Peru at the UT’s Visual Arts Center (2016) and co-curated Teresa Burga’s Chronology: Reports, Diagrams, Intervals (2011, Württembergischer Kunstverein Stuttgart), among other projects.

FABIANA LOPES

Curadora Assistente

A New York- and São Paulo-based independent curator, writer, and Ph.D. candidate in Performance Studies at New York University, where she is a Corrigan Doctoral Fellow. Her research centers on the contemporary production of artists of the African diaspora in Brazil and the Americas in general. Her writings have appeared in Harper’s Bazaar Art, O Menelick 2o Ato, ARTE!Brasileiros, Contemporary And (C&), and in exhibition catalogs such as Rosana Paulino: The Sewing of Memory, Pinacoteca, São Paulo (2018), Lucia Laguna: Neighborhood, MASP, São Paulo (2018), Of Darkness and Of Light, Minnette Vári, Johannesburg (2016), Territories: Artists of African Descent at Pinacoteca’s Collection, Pinacoteca, São Paulo (2015).

IGOR SIMÕES

Curador do programa educativo

A PhD in Visual Arts - Art History, Theory and Criticism from the PPGAV (Graduate Program in Visual Arts) at UFRGS. Assistant professor in the Art History, Theory and Criticism and Art Teaching Methodology and Practice course at UERGS. Member of the curating committee of the National Association of Plastic Art Researchers-ANPAP, and member of the UERGS-MARHS Education Hub. Member of the collection committee at the Rio Grande do Sul Museum of Art-MARGS. He works with articulations between exhibitions, film editing/montage, art history, and the racialization of Brazilian art and the visibility of black individuals in the visual arts world. Author of thesis Film Montage and exhibitions: Black Voices in the White Cube of Brazilian Art. Member of Flume - Education and Visual Arts Research Group. 

EQUIPE COMPLETA

CURADORIA

CURADORIA GERAL

Andrea Graciela Giunta

CURADORES ADJUNTOS

Dorota Maria Biczel

Fabiana Lopes

Igor Moraes Simões 

PRODUÇÃO

DIREÇÃO DE PRODUÇÃO EXECUTIVA
Carina Dias 

COORDENAÇÃO DE PRODUÇÃO EXECUTIVA
Nelson Azevedo

 

SUPERVISÃO

Carolina Grippa

PRODUTORAS

Fernanda Almeida 

Liege Ferreira 

Taís Cardoso 

ASSISTENTES 

Isabella Mendonça

Laís Werneck 

DESIGN DAS EXPOSIÇÕES

Ceres Storchi

Laura Hagel

COLABORAÇÃO

Natan Arend

MONTAGEM 

COORDENAÇÃO

Alexandre Moreira

COMUNICAÇÃO

ASSESSORIA DE IMPRENSA

Roger Lerina Ferreira

REDES SOCIAIS

Thaís Leidens

WEB DESGIN E VÍDEOS

EROICA conteúdo

CRIAÇÃO DO LOGOTIPO DA BIENAL 12

Márcia Valadão

PROGRAMA EDUCATIVO

COORDENADORA DE MEDIAÇÃO

Renata Sampaio

ASSISTENTE E PRODUTOR GERAL
Lucas Vilela Souza

PRODUÇÃO

Katiana Ribeiro

GESTÃO DE PARCERIAS

COORDENAÇÃO

Roberta Manaa

ADMINISTRAÇÃO

COORDENAÇÃO GERAL

Volmir Luiz Gilioli

FINANCEIRO

Jéssica Tairine Rodrigues

Luisa Schneider

AUDITORIA

Capital Auditores e Consultores Empresariais S/S

 

Fundação Bienal de Artes Visuais do Mercosul

Rua General Bento Martins, 24 - Conj. 1201

Centro  | CEP (Zip code) 90010-080 | Porto Alegre - RS - Brazil 

contato@bienalmercosul.art.br   |  +55 51 3254 7500

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