Jaider Esbell showed us that future biennials will need to look to art activists and ethnic collectives not as contingent collaborators but as authoring agents.
Many works take disruption and repetition as their themes, and many artists resurface in different sections, creating multiple affinities.
Emphasizing obscured histories, Vento inspires hope that the biennial programs to come will be potent enough to raise some dust in Niemeyer’s drafty halls.
Recognizing that art can and does fail gave me room to think about my own tendencies and predilections as I walked through the exhibition.
Gabriel Pérez-Barreiro discusses the impact of rejecting overwrought political themes in a show that welcomes everyone to slow down and focus on their own experience of the art.
SÃO PAULO — Critics in major Brazilian newspapers have been calling the 32nd São Paulo Biennial too “politically correct,” all ideas and no art.
After registering objections from 61 participating artists that were supported by the entire curatorial delegation of its 31st São Paulo Biennial, the Fundaçao Bienal São Paulo has agreed to “clearly disassociate” Israeli funding from the general sponsorship of the exhibition.
The curators of the 31st São Paulo Biennial have supported the artists’ call on the organization to return Israeli sponsorship funds, a demand they believe “should be a trigger to think about the funding sources of major cultural events.”
Artists participating in the 31st São Paulo Biennial have signed an open letter calling on the organizers to return sponsorship funds accepted from the Israeli state, Hyperallergic has learned.