Saturday, 14 November 2009


Paul Ramirez Jonas, 'Publicar', granite rock, cork and pins, 2009

'Absurdo' curated by Laura Lima

'Cabare' by Alejandra Seeber

hanging sculpture by Nina Lola Bachhuber

'La Mer' installation by Cabelo

'Fictions of Invisibility' curated by Victoria Noorthoorn

theatrical black curtains separating video spaces

Jerome Bel, 'Veronique Doiseneau', 2004

Francois Bucher, 'Severa Viglilancia', 2008

Gabriel Sierra, 'Spatial Composition to organize a week', 2009

Mario Peixoto, 'Limite', 1931

'Collective Biographies' curated by Camilo Yanez

Jordi Colomer, 'Avenida Ixtapaluca', 2009

Juan Downey, 'Video-TransAmerica', 1976-1977, filmed while living with the Yanomanmi indians, the world's largest isolated indigenous community, in the Brazilian Amazonia.

Hoffman's House, upside down tree with earphones with counterculture music from Porto Alegre

'Arvore Magnetico/Magnetic Tree' curated by Mario Navarro:
All the works will undergo ten changes in order to demonstrate to the audience that a work of art and its processes do not come to an end in the artist's studio or at the beginning of an exhibition. The works will follow three diverse dynamics for change. First, a cluster entitled "constructive," where the works take on new elements in order to comment on the evolution of the show. A second group of works deals with the notion of neutrality in the sense of apparent inactivity. The final cluster of works tackles change from a destructive perspective, where, basically, parts of the works will be removed. As a whole, the Magnetic Tree exhibition attempts to be a living system for the artist's work and a model of visual thinking on art and its processes.

in my opinion, the best work of the bienale, Jonathas de Andrade, 'Ressaca Tropical', 2009
a reconstruction of Recife narratives constructed from different perspectives: modern buildings, the experience of modernity, the found personal diary, found personal photos, archival air photos, continuously re-arranged to create new narratives, real and fiction, hetero and homo erotic...

Jose Carlos Martinat, 'Monumentos vandalizables: Abstracción de poder I, Abstracción de poder II ', 2009

Diego Fernandez, 'Protocolo Ouro Preto', 2009 ( reconstruction and destruction of Cildo Meireles' pavillion at the 2009 Venice Biennale)

Mariela Scafati, 'En Busca del Cuadro sin Nombre', 2009

Cristobal Lehyt, 'Lagoa', 2009

'Projetaveis' curated by Roberto Jacoby

Fabiana de Barros, 'Fiteiro Cultural Second Life', 2007-2009

Terence Gower, 'The Dance Music Collaborations', 2009

Karina Peisajovich, 'Machine to Produce Colours', 2009

'Desenho das Ideias' curated by Victoria Noorthorn

Iran do Espirito Santo, mural, 2009

Juan Downey, drawings done while living among the Yanomami, 1976-1977

Edgardo Antonio Vigo, 'Three details of a work which I have never done', 1978

Cildo Meireles, 'In a beach or in a desert, dig a hole of the size you want, sit down and wait in silence, until the wind fills it entirely', 1969

Jorge Carballo, 'SudamericanOS', 1974-1976

Edgardo Antonio Vigo, 'Diagonal Cero', publication, 1968

Flavio de Carvalho, walking down the Viaduto do Chá in Sao Paulo wearing his tropical suit, 1956

Paulo Bruscky, 'Poesia Viva', 1977

Marta Minujin, 'The Parthenon of Books', 1983

Milton Machado, 'Hotel Tropical in Guanabara Bay', 1978

7th Mercosul Biennial
Grito e Escuta (Scream and Listen)
Porto Alegre, Brazil
October 16 to November 29, 2009

The conceptual foundation for the 7th Mercosul Biennial entails a methodological shift: it positions a reflection on artistic processes today at the core of the Biennial, focusing on the creative energy of artists who posit both reflexive pauses and expansive actions. We are interested in working with artists who reflect on their roles, while making way for new critical perspectives, affirming their importance as social players and constant producers of necessary critical visions. We are interested in minimal, specific signalings whose consequences are vast. We are interested in generous gestures, in the constructive quality of those gestures, in the artists´ aesthetic, ethical and conceptual formulations, and in their ability to listen. As a whole, we propose a system focused on creative processes –rather than specific themes–, a system bound together by the notions of action and reflection and their attendant tools. We attempt to create a Biennial that is, in itself, a system of dynamic possibilities, where each autonomous viewer can build his or her own system for reading the event.

In line with this shift, in the curatorial team of the 7th Biennial, artists will occupy the role of curators, develop the educational tools and programs, take a leading role in creating the Biennial’s image and communication, and conceptualize its publishing projects including the mass-scale, low-cost publications to be produced. The curatorial team includes Chief Curators Victoria Noorthoorn (Argentina) and Camilo Yáñez (Chile), Curator of Education Marina De Caro (Argentina), Adjunct Curators Roberto Jacoby (Argentina), Artur Lescher (Brazil), Laura Lima (Brazil) and Mario Navarro (Chile), RadiovisuaL Curator Lenora De Barros (Brazil), and Curators of Publications Erick Beltrán (Mexico) and Bernardo Ortiz (Colombia). The centrality of the artist is felt in each and every action undertaken by the Biennial, as well as in its exhibitions and programs.

All the while, the 7th Biennial attempts to break limits in terms of both time and space. In time, because this is an ongoing Biennial: it is our hope that its educational methodologies will continue to operate for a time after the formal closing of the event; while one of the Biennial’s exhibitions will be open indefinitely on the www. In space, because the physical limits of the Biennial do not coincide with the boundaries of Porto Alegre, Brazil or even Mercosul: the artists and their areas of operation go beyond borders.

The Biennial’s programs will be geared towards a public from a variety of locations and backgrounds. The Residency Program - a part of the Educational Project - is to take place months before the opening of the Biennial in Porto Alegre and in various communities throughout the State of Rio Grande do Sul. In it, artists will design new methodologies for the educational system. The Publishing Program envisions a system of mobile, low-cost publications that can be assembled by the viewers themselves, who will be able to access the works in the Biennial from multiple perspectives. This program also supports a multifaceted conception of communication: in this Biennial, there will be artworks in the media. Finally, our RadiovisuaL program, which symbolizes the communication interest of this 7th Biennial, will bring the Biennial’s processes of construction and debate to both nearby and distant listeners.

Together, the Biennial’s exhibitions and programs constitute an organic system, geared towards expansion and openness. To underscore the importance of the latter, the 7th Biennial will organize an open call for submissions for Projetáveis [Projectables], an exhibition that will travel with no luggage and be displayed simultaneously at the Biennial itself as well as in a number of cities around Brazil and the rest of the world.

Furthermore, the title of the Biennial, Grito e Escuta [Screaming and Hearing], speaks of the importance of exploring multi-directional communication between a world in a state of conflict and an artist who listens and responds, an artist who produces meanings for the world to listen. Such communication takes place through multiple languages and seeks to break the hegemony of visuality. Thus, the 7th Biennial explores sound, body movement, and social and educational experience as integral parts of art today. Furthermore, the title underscores our intention to include a wide range of contents: from the artist who undertakes an action to effect a change or have a specific impact on reality, to the artist with a reflexive attitude who carefully owns up to his or her environment and captures the power of conversation as a possible model for a better world.

Victoria Noorthoorn and Camilo Yáñez
Chief Curators, 7th Mercosul Biennial

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