32nd Bienal de São Paulo (2016) - List of Works by Bienal São Paulo

32nd Bienal de são paulo list of works The present list was completed after the exhibition had opened, which meant we could match it work-for-work against the original list compiled during production, thus trying to avoid errors, omissions and undue additions. We were able to have some of the information and translations revised by the artists and owners, which made the final list as complete and precise as possible. This is the fourth version of the list of works (November 2017).

Alia Farid

Series Misturinhas, 2000-2016. [Little Mixtures]. Mixed media on

Ma’arad Trablous, 2016. [The Exhibition of Tripoli]. Video 2K. 14’26’’.

cardboard. 20 × 25 cm (249 pieces). Artist’s collection.

Support: Shrook Al Ghanim; Rana Sadik & Samer Younis; Galerie Imane Farès; marra.tein; Amer Huneidi; Mohammed Hafiz; Ziad

BÁrbara Wagner & benjamin de burca

Mikati. Director: Alia Farid; Director of Photography: Mark Khalife;

Estás vendo coisas, 2016. [You Are Seeing Things]. Video installation,

Editing: Malek Hosni, Vartan Avakian; Sound Consultant: Amin Fari;

4K HD video (color, sound). 16’. Support: The Arts Council of

Music and Sound Design: Nadim Mishlawi; Producer: Jowe Harfouche;

Ireland; Fundo de Incentivo à Cultura do Estado de Pernambuco,

Cast: Nowar Yusuf; Sound Engineer: Karine Basha; Colouring: Belal

FUNCULTURA. Casting: MC Porck, Dayana Paixão and Alan Ka

Hibri; Production Manager: Jennifer Haddad; Production Assistant:

(Banda Mais Amor), Leydson Dedesso, Singleds Cass, MC Meta

Rosette Stephan; 1st Camera Assistant: Ziad Choucha; 2nd Camera

Safadão, Dany Bala, Allany Carvalho, Jurema Fox, Joás Junior

Assistant: Joseph Rai; Key Grip: Hatem Chayna; Grip Assistant: Boudi

(JJ Óculos), Lucas Santos, Neguin do Charme, DJ Jadson, Fernando

Said; Technical Equipment and Crew Supplied by: Platform Studios;

Pato, Victor Ronã, Italo Monteiro (ProRec Filmes); Cinematographer:

Distribution: Galerie Imane Farès. Acknowledgements: Iman Farés;

Pedro Sotero; Assistant Director: Jerônimo Lemos; Camera Assistant:

George Awde; Jared McCormick; Kristine Khoury; George Arbid; Amal

Raphael Malta Clasen; Sound Recordist: Phelipe Joannes, Sálua

Khalaf; Sarah Chalabi; Wassim Naghi; Farida Sultan; Ginger Beirut

Oliveira; Electricians: Alexandre Aranha, Fernando Marinho;

Productions; Ziad Mikati. Commissioned by the Fundação Bienal de

Executive Production: Carol Vergolino, Daiana Dultra (Alumia);

São Paulo for the 32nd Bienal (2016).

Production Assistant: Lara Mafra; Editing: Rodrigo Carneiro; Finishing: Frederico Benevides; Original Soundtrack: Dany Bala,

Alicia Barney

Tiquinho Lira (Studio Grife); Sound Mixing and Mastering: Daniel

Valle de Alicia, 2016. [Valley of Alicia]. Installation composed of

Turini, Fernando Henna; Sound Effects: Henrique Chiurciu, Sérgio

metal, wood, paper, PVC, acrylic emulsion. Dimensions variable.

Abdalla, João Victor Coura; Dialogue Editing: Cauê Shimoda,

Yamile Velosa / Maria Belén Saes de Ibarra / Departamento Cultural

Mariana Vieira; Sound Studio: Confraria de Sons & Charutos;

Universidad Nacional de Colombia Collection. Commissioned by the

Transcription, translation and subtitles: Daniel Chediek (4Estações).

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Acknowledgments: Thiago Leal (Planeta Show), Vanclécio Vasconcelos, Júlio Propaganda, MC Leozinho, MC Kaio da Corea,

Ana Mazzei

MC Joaozinho da Patrão, MC Tróia, Lipinho Dantas, Elvis and PP,

Espetáculo, 2016. [Spectacle]. Installation composed of wood,

Kelly Alves, Scarllet Lima, Sara Ferreira, Rita Azevedo, Marcelo

painted wood, felt, iron, industrial rubber. 4.30 × 14 m (approx. 70

Caetano, Gisela Domschke, Edouard Fraipont, Marcio Harum. Shot in

pieces). Commissioned by the Fundação Bienal de São Paulo for the

Planeta Show, Recife, Pernambuco, Brazil, June 2015.

32nd Bienal (2016).

Presentation produced in partnership with Sesc-SP.

Anawana Haloba

BÁrbara Wagner

Close-Up, 2016. Installation composed of rock salts, dishes, contact

Series Mestres de Cerimônias, 2016. [Masters of Ceremony]. Mineral

microphones and sound. Dimensions variable. Support: The Office

pigment on cotton paper. 16 pieces, 80 × 120 cm each. Project carried

for Contemporary Art Norway (OCA), Nordic Culture Fund, Nordic

out with incentive of the ZUM / IMS Photography Grant, 2015.

Culture Point.

Presentation produced in partnership with Sesc-SP. Veríssimo da Prata, 2016. Mineral pigment on cotton paper,

Antonio Malta Campos

80 × 120 cm.

Capacete, 2015. [Helmet]. Oil on canvas. 230 × 360 cm (diptych).

Cego Abusado, 2016. Mineral pigment on cotton paper,

Assistance by Antonia Baudouin. Artist’s collection.

80 × 120 cm.

Dimensão, 2016. [Dimension]. Oil on canvas. 230 × 360 cm (diptych).

Patrão é patrão, 2016. [A Boss is a Boss]. Mineral pigment on

Assistance by Antonia Baudouin. Artist’s collection.

cotton paper, 80 × 120 cm.

Mapa-múndi, 2015. [World Map]. Oil on canvas. 230 × 360 cm

Gleice, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

(diptych). Assistance by Antonia Baudouin. Artist’s collection.

Ana e Yasmin, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

Sim Não, 2015. [Yes No]. Oil on canvas. 230 × 360 cm (diptych).

Léo da Lagoa, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

Assistance by Antonia Baudouin. Artist’s collection.

Scarllet, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

Tô nem aí, 2016. [I Don’t Care]. Mineral pigment on cotton paper,

Towards a Homoerotic Historiography #1 #7, 2013. Gold washed

80 × 120 cm.

silver figure. 0.7 × 1.5 × 1.5 cm. Based on sculpture attributed to

Afala e Case, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Mical, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

New York.

Neguin do Charme, 2016. Mineral pigment on cotton paper,

Towards a Homoerotic Historiography #1 #8, 2013. Gold washed

80 × 120vcm.

silver figure. 0.7 × 1.5 × 1.5 cm. Based on sculpture of an unidentified

Elloco, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

ethnic Mexican group. Courtesy: the artist and P.P.O.W., New York.

Kelly e Kaio da Coréia, 2016. Mineral pigment on cotton paper,

Towards a Homoerotic Historiography #1 #9, 2013. Gold washed

80 × 120 cm.

silver figure. 2 × 1 cm. Fictional depiction. Courtesy: the artist and

Tamires, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

P.P.O.W., New York.

Bele, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

Towards a Homoerotic Historiography #1 #10, 2013. Gold washed

Jessica, 2016. Mineral pigment on cotton paper, 80 × 120 cm.

silver figure. 0.7 × 1.5 × 2.5 cm. Based on sculpture attributed to the Quimbaya culture from Colombia. Courtesy: the artist and P.P.O.W.,

Bené Fonteles

New York.

Ágora: OcaTaperaTerreiro, 2016. Installation with straw roof

Towards a Homoerotic Historiography #2 #1, 2014. Gold washed

and clay walls, collection of objects and artworks; performative

silver figure (tumbaga). 1.27 × 0.64 × 0.32 cm. Based on an ancient

activations. 5.2 × 18 × 8 m.

sculpture of the Tolita culture. Courtesy: the artist and P.P.O.W., New York.

Carla Filipe

Towards a Homoerotic Historiography #2 #2, 2014. Gold washed

Migração, exclusão e resistência, 2016. [Migration, Exclusion and

silver figure (tumbaga). 2.22 × 1.58 × 0.64 cm. Based on an ancient

Resistance]. Installation composed of plastic canisters, metal barrels,

sculpture of an undentified ethnic Mexican group. Courtesy: the artist

concrete rings with two different measures, tires, unconventional food

and P.P.O.W., New York.

plants and popular plants. Overall dimensions variable. Support:

Towards a Homoerotic Historiography #2 #3, 2014. Gold washed

Fundação Calouste Gulbenkian; Trelleborg Wheel Systems; República

silver figure (tumbaga). 1.27 × 0.95 × 0.64 cm. Based on sculpture

Portuguesa – Cultura | Direção-Geral das Artes. Acknowledgments:

attributed to a culture from Central Mexico. Courtesy: the artist and

Peter Webb, Vera Pezzini, Pedro Coelho, Mafê Vieira, Rafael Flaborea,

P.P.O.W., New York.

Pedro Allioto. Commissioned by the Fundação Bienal de São Paulo

Towards a Homoerotic Historiography #2 #4, 2014. Gold washed

for the 32nd Bienal (2016).

silver figure (tumbaga). 1.58 × 0.93 × 0.93 cm. Based on sculpture

Presentation produced in partnership with Sesc-SP.

attributed to a culture from Ecuador. Courtesy: the artist and P.P.O.W., New York.

Carlos Motta

Towards a Homoerotic Historiography #2 #5, 2014. Gold washed

Nefandus, 2013-2016. Archival inkjet print in Hahnemühle Photo

silver figure (tumbaga). 1.27 × 0.95 × 0.31 cm. Based on sculpture

Rag Satin paper. 76.2 × 50.8 cm. Courtesy: the artist and P.P.O.W.,

attributed to a culture from Ecuador. Courtesy: the artist and

New York.

P.P.O.W., New York.

Towards a Homoerotic Historiography #1 #1, 2013. Gold washed

Towards a Homoerotic Historiography #2 #6, 2014. Gold washed

silver figure. 0.5 × 1.5 × 1 cm. Based on graphic illustration of the

silver figure (tumbaga). 1.58 × 0.95 × 0.37 cm. Based on sculpture

Maya culture. Courtesy: the artist and P.P.O.W., New York.

atrtributed to the Moche culture from Peru. Courtesy: the artist and

Towards a Homoerotic Historiography #1 #2, 2013. Gold washed

P.P.O.W., New York.

silver figure. 0.7 × 2 × 1.5 cm. Based on sculpture of an unidentified

Towards a Homoerotic Historiography #2 #7, 2014. Gold washed

ethnic Mexican group. Courtesy: the artist and P.P.O.W., New York.

silver figure (tumbaga). 1.58 × 0.95 × 0.95 cm. Based on a sculpture of

Towards a Homoerotic Historiography #1 #3, 2013. Gold washed

Xochipilli, the Aztec god of art, dance, flowers and song. Courtesy:

silver figure. 0.8 × 1.7 × 1.5 cm. Based on sculpture attributed to

the artist and P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Towards a Homoerotic Historiography #2 #8, 2014. Gold washed

New York.

silver figure (tumbaga). 1.85 × 1.9 cm. Based on an ancient drawing

Towards a Homoerotic Historiography #1 #4, 2013. Gold washed

of an unidentified ethnic Mexican group. Courtesy: the artist and

silver figure. 0.5 × 1.7 × 2 cm. Based on sculpture attributed to

P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Towards a Homoerotic Historiography #2 #9, 2014. Gold washed

New York.

silver figure (tumbaga). 1.58 × 0.35 × 0.35 cm. Based on sculpture

Towards a Homoerotic Historiography #1 #5, 2013. Gold washed

atrtributed to the Moche culture from Peru. Courtesy: the artist and

silver figure. 0.5 × 0.5 × 1 cm. Based on sculpture attributed to

P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Towards a Homoerotic Historiography #2 #10, 2014. Gold washed

New York.

silver figure (tumbaga). 1.27 × 0.64 × 0.32 cm. Based on an ancient

Towards a Homoerotic Historiography #1 #6, 2013. Gold washed

sculpture of an undentified ethnic Mexican group. Courtesy: the artist

silver figure. 1.3 × 1.5 × 1 cm. Based on sculpture attributed to

and P.P.O.W., New York.

the Moche culture from Peru. Courtesy: the artist and P.P.O.W.,

Series Untitled Self-Portraits, 1998 / 2016. Courtesy: the artist and

New York.

P.P.O.W., New York.

Untitled, 1998. Silver gelatin print. 27.94 × 21.59 cm.

Council, Embaixada da Colômbia no Brasil. Commissioned by the

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

Watu, 2016. From the series A Gente Rio – Be Dammed [The People

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

River – Be Dammed]. Marker over Canson paper. 173.5 × 66.4 cm

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

each. Support: Ana Laide Soares, Ailton Krenak, Yuli Diana, British

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

Council, Embaixada da Colômbia no Brasil. Commissioned by the

Untitled, 1998. Archival inkjet print. 88.9 × 101.6 cm.

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Untitled, 1998. Archival inkjet print. 76.2 × 114.3 cm.

Yuma, 2016. From the series Be Dammed. Marker over Canson

Untitled, 1998. Archival inkjet print. 50.8 × 60.96 cm.

paper. 173.8 × 47 cm each. Support: Instituto de Visión (Bogotá),

Untitled, 1998. Archival inkjet print. 50.8 × 60.96 cm.

Cesar Reyes Collection (Puerto Rico), British Council, Embaixada da Colômbia no Brasil.

Carolina Caycedo

Yaqui, 2016. From the series Be Dammed. Marker over Canson

A Gente Rio, 2016. [The People River]. From the series A Gente

paper. 174.5 × 47.1 cm each. Support: Instituto de Visión (Bogotá),

Rio – Be Dammed. [The People River – Be Dammed]. HD video

Cesar Reyes Collection (Puerto Rico), British Council, Embaixada da

(color, sound). 30’. Support: MAB Movimento dos Atingidos por

Colômbia no Brasil.

Barragens – Coordenação Nacional (São Paulo), MAB Amazônia

Elwha, 2016. From the series Be Dammed. Marker over Canson

(Altamira), MAB Minas Gerais (Mariana, Barra Longa, Rio Doce),

paper. 173.5 × 47.2 cm each. Support: Instituto de Visión (Bogotá),

Movimento Xingu Vivo Para Sempre (Altamira, Belém), Comissão

Cesar Reyes Collection (Puerto Rico), British Council, Embaixada da

dos Atingidos pelo Rompimento da Barragem de Fundão (Mariana),

Colômbia no Brasil.

Jornal A Sirene (Mariana), MOAB Movimento dos Ameaçados por

Jornadas de Debate Modelo Energético – Geocoreografias, 2016.

Barragens (Vale do Ribeira), EAACONE Equipe de Articulação e

[Journeys of Debate Energy – Geochoreography Model]. Public

Assessoria às Comunidades Negras (Vale do Ribeira), Rodrigues

space intervention. Event held within the 32nd Bienal de São

Family – Quilombo de Ivaporunduva (Vale do Ribeira), Neves Family

Paulo. Support: MAB Movimento dos Atingidos por Barragens –

(Ilha do Cardoso / Vale do Ribeira), Restaurante Comunitário Recanto

Coordenação Nacional (São Paulo), Um Minuto de Sirene (Mariana),

dos Golfinhos (Ilha do Cardoso), Dona Esperança Quilombo do

MOAB Movimento dos Ameacados por Barragens (Vale do Ribeira),

Sapatu (Vale do Ribeira), Rios Vivos Colombia, Temporal Films,

Restaurante Comunitário Recanto dos Golfinhos (Ilha do Cardoso),

Veronica Villa, Estúdio-9Voltios, Estúdio CVS, Cinedelia, Creative

British Council, Embaixada da Colômbia no Brasil. Commissioned by

Capital, FAAP Fundação Armando Alvares Penteado, British Council,

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Embaixada da Colômbia no Brasil. Commissioned by the Fundação

Presentation produced in partnership with Sesc-SP.

Bienal de São Paulo for the 32nd Bienal (2016). A Gente Xingú, A Gente Doce, A Gente Paraná, 2016. [The People

Cecilia Bengolea & Jeremy Deller

Xingú, The People Doce, The People Paraná]. From the series

Bombom’s Dream, 2016. HD video. 12’48’’. Support: British Council.

A Gente Rio – Be Dammed. [The People River – Be Dammed].

Camera: Justin Meekel; Additional Cameras: Cecilia Bengolea, Jeremy

Satellite photographs, UV print on aluminum dibond. 900 × 300 cm.

Deller; Editing: Justin Meekel; Effects: Arnaud Dezoteux, Maru

Support: FAAP Fundação Armando Alvares Penteado, British Council,

Cantos; Dancers: BOMBOM DHQ JAPAN, Shelly Belly. Commissioned

Embaixada da Colômbia no Brasil. Commissioned by the Fundação

by the Fundação Bienal de São Paulo for the 32nd Bienal (2016) and

Bienal de São Paulo for the 32nd Bienal (2016).

the Hayward Gallery, London.

Cosmotarrafas con Cosmotarrayas, 2016. [Cosmotarrafas with Cosmofishing Nets]. From the series A Gente Rio – Be Dammed.

Charlotte Johannesson

[The People River – Be Dammed]. Installation composed of

Achtung – Actions Speak Louder Than Words, 1976. [Attention –

fishing nets, dyeing, ceramics, seeds, bats, candles, oil, fishing rods,

Actions Speak Louder Than Words]. Tapestry. 100 × 150 cm. Artist’s

alpargatas, wool, cotton, embroidery, oars, arpilleras. Dimensions

collection. Support: Swedish Arts Grants Committee; Moderna

variable. Support: MAB Movimento dos Atingidos por Barragens –

Museet, Stockholm; Nordic Culture Fund.

Coordenação Nacional (São Paulo), MAB Amazônia (Altamira), MAB

Attack Attitude, 1977. Tapestry. 200 × 100 cm. Malmö

Minas Gerais (Mariana, Barra Longa, Rio Doce), Atingidas Bordando

Konstmuseum / Malmö Art Museum Collection. Support: Swedish

a Resistência, Movimento Xingú Vivo Para Sempre (Altamira / Belém),

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

Neves Family − Ilha do Cardoso (Vale do Ribeira), Restaurante

Culture Fund.

Comunitário Recanto dos Golfinhos (Ilha do Cardoso), Centro do

Chile eko i skallen, 1973 / 2016. [Chile Echoes in My Skull].

Artesanato Quilombo do Sapatu (Vale do Ribeira), ISA Instituto

Tapestry, branches, cinnamon branch. 55 × 100 cm. Support: Swedish

Socioambiental (Altamira / Pará), Rios Vivos Colombia, Creative

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

Capital, Instituto de Visión (Bogotá), British Council, Embaixada da

Culture Fund.

Colômbia no Brasil. Commissioned by the Fundação Bienal de São

Drop Dead, 1977. Tapestry. 190 × 100 cm. Malmö Konstmuseum /

Paulo for the 32nd Bienal (2016).

Malmö Art Museum Collection. Support: Swedish Arts Grants

Iguaçu, 2016. From the series A Gente Rio – Be Dammed [The People

Committee; Moderna Museet, Stockholm; Nordic Culture Fund.

River – Be Dammed]. Marker over Canson paper. 173.3 × 66.2 cm

Frei Die RAF, 1976. [Free the RAF]. Tapestry. 100 × 150 cm. Artist’s

each. Support: Ana Laide Soares, Ailton Krenak, Yuli Diana, British

collection. Support: Swedish Arts Grants Committee; Moderna

Museet, Stockholm; Nordic Culture Fund.

Rainer Werner Fassbinder. Apple II and computer (Digital Theatre

Longing, 1972. Tapestry. 200 × 100 cm. Private collection. Support:

Studio). 29.7 × 42 cm.

Swedish Arts Grants Committee; Moderna Museet, Stockholm;

Revelation. Apple II and computer (Digital Theatre Studio).

Nordic Culture Fund.

29.7 × 42cm.

New Wave, 1977. Tapestry. 107 × 156 cm. Private collection. Support:

Richard Wagner. Apple II and computer (Digital Theatre Studio).

Swedish Arts Grants Committee; Moderna Museet, Stockholm;

29.7 × 42 cm.

Nordic Culture Fund.

Rocket. Apple II and computer (Digital Theatre

No Choice Amongst Stinking Fish, 1976. Tapestry. 60 × 90 cm.

Studio). 29.7 × 42 cm.

Support: Swedish Arts Grants Committee; Moderna Museet,

Safe. Apple II and computer (Digital Theatre Studio). 29.7 × 42cm.

Stockholm; Nordic Culture Fund.

Save Us. Apple II and computer (Digital Theatre Studio).

No Future, 1977. Tapestry. 105 × 94 cm. Courtesy: Det Nya Museet,

29.7 × 42 cm.

Sundbyberg. Support: Swedish Arts Grants Committee; Moderna

Self-Portrait 1. Apple II and computer (Digital Theatre Studio).

Museet, Stockholm; Nordic Culture Fund.

29.7 × 42 cm.

Series Original Computer Graphics Art, 1981-1986. Artist’s

Self-Portrait 2. Apple II and computer (Digital Theatre Studio).

Collection. Support: Swedish Arts Grants Committee; Moderna

29.7 × 42 cm.

Museet, Stockholm; Nordic Culture Fund.

Self-Portrait 3. Apple II and computer (Digital Theatre Studio).

Ahmad Shah Massoud. Apple II and computer (Digital Theatre

29.7 × 42 cm.

Studio). 29.7 × 42 cm.

Texture 1. Apple II and computer (Digital Theatre Studio).

Ahmad Shah Massoud. Apple II and computer (Digital Theatre

29.7 × 42cm.

Studio). 29.7 × 42 cm.

Texture 2. Apple II and computer (Digital Theatre Studio).

Arab. Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

29.7 × 42cm.

Björn Borg. Apple II and computer (Digital Theatre Studio).

Texture 3. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

29.7 × 42cm.

Black Hole. Apple II and computer (Digital Theatre Studio).

Texture 4. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Boy George. Apple II and computer (Digital Theatre Studio).

Texture 5. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Communication. Apple II and computer (Digital Theatre Studio).

Texture 6. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

David Bowie. Apple II and computer (Digital Theatre Studio).

Texture 7. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Design. Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

Texture 8. Apple II and computer (Digital Theatre Studio).

Dragon. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

There. Apple II and computer (Digital Theatre Studio).

Guardian? Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

To Space. Apple II and computer (Digital Theatre Studio).

Guardian? Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Transformation. Apple II and computer (Digital Theatre Studio).

I Went. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Victoria Benedictsson. Apple II and computer (Digital Theatre

Identity. Apple II and computer (Digital Theatre Studio).

Studio). 29.7 × 42 cm.

29.7 × 42 cm.

Vote for Me. Apple II and computer (Digital Theatre Studio).

Joseph Beuys. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Vote? Apple II and computer (Digital Theatre Studio). 29.7 × 42 cm.

Me and My Computer. Apple II and computer (Digital Theatre

Walk 2. Apple II and computer (Digital Theatre Studio).

Studio). 29.7 × 42 cm.

29.7 × 42 cm.

nr.77. Gösta. Apple II and computer (Digital Theatre Studio).

Walk 3. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Our World. Apple II and computer (Digital Theatre Studio).

Walk 4. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Parliament. Apple II and computer (Digital Theatre Studio).

Where. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Programs. Apple II and computer (Digital Theatre Studio).

World. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Programs. Apple II and computer (Digital Theatre Studio).

World. Apple II and computer (Digital Theatre Studio).

29.7 × 42 cm.

Terror, c.1972 / 2016. Tapestry, barbed wire. 55 × 110 cm. Support:

...he was only 12... (...when they grow up...), 2016. Mixed media

Swedish Arts Grants Committee; Moderna Museet, Stockholm;

print on hand cut, watercolor paper with beads, appliques,

Nordic Culture Fund.

embellishments, broaches, plastic, glitter, fabric and toys.

Trampa entre på gräset, 1971 / 2016. [Don’t Step on the Grass].

193.04 × 337.82 cm. Courtesy: the artist and Monique Meloche

Tapestry, branches. 100 × 100 cm. Artist’s collection. Support: Swedish

Gallery, Chicago. Commissioned by the Fundação Bienal de São

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

Paulo for the 32nd Bienal (2016).

Culture Fund.

...love… (…when they grow up…), 2016. Hand cut Jacquard

Utmätt Gods (Make a Distress), 1975. [Distressed Goods (Make a

woven tapestry with beads, appliques, embellishments, broaches,

Distress)]. Tapestry. 100 × 150 cm. Private collection. Support: Swedish

plastic, glitter, fabric, and stuffed toys. 284.48 × 308.61 × 30.48 cm.

Arts Grants Committee; Moderna Museet, Stockholm; Nordic

Courtesy: the artist and Monique Meloche Gallery, Chicago.

Culture Fund.

Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Cristiano Lenhardt

...they were discovering things and finding ways to understand... (...

Trair a espécie, 2014-2016. [To Betray the Species]. Sculpture made

when they grow up...), 2016. Hand cut Jacquard woven tapestry

from cará with internal metal rods. Dimensions variable.

with beads, appliques, embellishments, broaches, plastic, glitter,

Uma Coluna, 2016. [A Column]. Performance / site specific, various

fabric, toys, embellished knapsack, book and handmade shoes.

materials weaved by people. Dimensions variable. Assistance: Luiz

208.28 × 287.02 cm. Courtesy: the artist and Monique Meloche

Henrique Chipan; Vocal Preparation: Luciana Freire; Performers:

Gallery, Chicago. Commissioned by the Fundação Bienal de São

Cupuaçu Group. Commissioned by the Fundação Bienal de São Paulo

Paulo for the 32nd Bienal (2016).

for the 32 Bienal (2016).

...they were filled with hope, desire, and beauty... (...when they grow

up...), 2016. Mixed media print on hand cut, watercolor paper with

Dalton Paula

beads, appliques, embellishments, broaches, plastic, glitter, fabric

Series Rota do tabaco, 2016. [Tobacco Route]. Oil painting and

and toys. 232.41 × 378.46 cm. Courtesy: the artist and Monique

leaves of gold and silver on alguidar. 15 cm, 30 cm and 50 cm ⌀ (51

Meloche Gallery, Chicago. Commissioned by the Fundação Bienal

pieces). Courtesy: Sé Galeria, São Paulo. Support: Sé Galeria, UFRB,

de São Paulo for the 32nd Bienal (2016).

Dannemann, Instituto Identidade Brasil, Associação Quilombola de Piracanjuba Ana Laura, Fortaleza de San Carlos de La Cabaña,

Eduardo Navarro

ISA – Universidad de las Artes. Commissioned by the Fundação Bienal

Sound Mirror, 2016. Mixed media. Dimensions variable. Acoustic

de São Paulo for the 32nd Bienal (2016).

tool that connects the sound from a palm tree located outside the

Presentation produced in partnership with Sesc-SP.

building with the inside of the Bienal Pavilion. Support: Consulado Geral da República Argentina em São Paulo. Acknowledgments:

Dineo Seshee Bopape

M.A.T.A; Daina Leyton, Leonardo Catilho (MAM Educational Team);

:indeed it may very well be the _______ itself, 2016. Installation

Elaine Fontana. Commissioned by the Fundação Bienal de São Paulo

composed of compressed soil, ceramics, ash, charcoal, fertility and

for the 32nd Bienal (2016).

restorative herbs, brass, crystals, rope, seeds, flowers, sheepskin, leather, glass. Dimensions variable. Commissioned by the Fundação

Em’kal Eyongakpa

Bienal de São Paulo for the 32nd Bienal (2016).

Breathe II, 2013. Mixed media installation. Dimensions variable. Artist’s collection, Intermedia Studios / KHaL!SHRINE. Support: Em’kal

Donna Kukama

Eyongakpa Intermedia Studios; KHaL!SHRINE; Mondriaan Fund.

A: The Anatomy of History, 2016. Performance at the Museu

Rustle 2.0, 2016. From the series Rustle. Installation composed of

Afro Brasil (9 September, 2016). 15’ approx. Commissioned by the

plant fibre, surroundsound, metal, kinetic sculpture, text, cables,

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

plastic, light, electronic interfaces, magnetism. Dimensions variable.

B: I, Too, 2016. Performance (10 September, 2016). 3h approx.

Support: Em’kal Eyongakpa Intermedia Studios; KHaL!SHRINE;

Commissioned by the Fundação Bienal de São Paulo for the

Mondriaan Fund. Commissioned by the Fundação Bienal de São

32nd Bienal (2016).

Paulo for the 32nd Bienal (2016).

C: The Genealogy of Pain, 2016. Performance in the Cemetery of

Untitled XXIV, 2016. From the series Memory Maps for an

Consolação (7 September, 2016). 20’ approx. Commissioned by the

Overload. Installation composed of camera obscura, ambient sound,

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

kinetic sculptures, text, episcope, electronic interface. Dimensions variable. Support: KHaL!SHRINE; Mondriaan Fund. Commissioned by

Ebony G. Patterson

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

...doing what they always do... (…when they grow up…), 2016. Hand cut Jacquard woven tapestry with beads, appliques, embellishments,

Erika Verzutti

broaches, plastic, glitter, fabric, toys, embellished knapsack, book and

Branco, 2016. [White]. Oil on papier-mache and expanded

handmade shoes. Diptych: 200 × 294 cm and 210 × 313 cm. Courtesy:

polystyrene. 335 × 900 × 20 cm. Commissioned by the Fundação Bienal

the artist and Monique Meloche Gallery, Chicago. Commissioned by

de São Paulo for the 32nd Bienal (2016).

the Fundação Bienal de São Paulo for the 32 Bienal (2016).

Halo, 2016. Oil on papier-mache and expanded polystyrene.

300 × 300 × 20 cm. Commissioned by the Fundação Bienal de São

Gilvan Samico

Paulo for the 32nd Bienal (2016).

No Reino da Ave dos Três Punhais, 1975. [In the Kingdom of the

Nova, 2016. Oil on papier-mache and expanded polystyrene.

Three Daggers Bird]. Woodcut. 74.7 × 41 cm. Museu de Arte Moderna

335 × 800 × 20 cm. Commissioned by the Fundação Bienal de São

Aloisio Magalhães – MAMAM Collection.

Paulo for the 32nd Bienal (2016).

Recordação de um Malabarista, 1976. [Recollection of a Juggler].

Presentation produced in partnership with Sesc-SP.

Woodcut. 90 × 35.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM Collection.

Felipe Mujica

A Luta dos Homens, 1977. [The Struggle of Men]. Woodcut.

Las universidades desconocidas, 2016. [The Unknown Universities].

84.5 × 46 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

From the series Cortinas, 2016. [Curtains]. Cotton fabric and

Collection.

thread. 30 pieces, 295 × 160 cm each. Support: Consejo Nacional de

O Encontro, 1978. [The Encounter]. Woodcut. 73.5 × 50 cm. Museu

la Cultura y las Artes; Alex Cassimiro & Valentina Soares (Platô);

de Arte Moderna Aloisio Magalhães – MAMAM Collection.

Galeria Metrópole; Grupo Bordadeiras do Jardim Conceição.

O Guardião, 1979. [The Guardian]. Woodcut. 91 × 40.2 cm. Museu de

Commissioned by the Fundação Bienal de São Paulo for the

Arte Moderna Aloisio Magalhães – MAMAM Collection.

32nd Bienal (2016).

O Outro Lado do Rio, 1980. [The Other Side of the River]. Woodcut.

Presentation produced in partnership with Sesc-SP.

90 × 47 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM Collection.

Francis AlŸs

A Mãe dos Homens, 1981. [The Mother of Men]. Woodcut.

Series In a Given Situation, 2010-2016. Oil, pencil and collage on

52.4 × 69.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

tracing paper; mirrors. 14 pieces, 43 × 32.3 cm (framed). Courtesy: the

Collection.

artist and Galerie Peter Kilchmann, Zurich.

O Fazedor da Manhã, 1982. [The Morning Maker]. Woodcut.

Untitled, 2016. Oil on canvas. 25.3 × 32.3 cm. Courtesy: the artist and

57.5 × 70.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Galerie Peter Kilchmann, Zurich. Commissioned by the Fundação

Collection.

Bienal de São Paulo for the 32nd Bienal (2016).

O Segredo do Lago, 1983. [The Secret of the Lake]. Woodcut.

Untitled, 2016. Oil on canvas. 25.3 × 32.3 cm. Courtesy: the artist and

56.2 × 92 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Galerie Peter Kilchmann, Zurich. Commissioned by the Fundação

Collection.

Bienal de São Paulo for the 32nd Bienal (2016).

O Rapto do Sol, 1984. [The Abduction of the Sun]. Woodcut.

Untitled, 2016. Oil on canvas. 25.3 × 32.3 cm. Courtesy: the artist and

57.1 × 90.8 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Galerie Peter Kilchmann, Zurich. Commissioned by the Fundação

Collection.

Bienal de São Paulo for the 32nd Bienal (2016).

A Primeira Homenagem ao Cometa, 1985. [The First Tribute to

Untitled, 2016. Drawings and animated paintings; 16mm

the Comet]. Woodcut. 55 × 90 cm. Museu de Arte Moderna Aloisio

projection. Courtesy: the artist and Galerie Peter Kilchmann, Zurich.

Magalhães – MAMAM Collection.

Collaborators: Emilio Rivera, Federico Navarrete, Felix de Smedt and

O Senhor do Dia, 1986. [The Lord of the Day]. Woodcut.

Elena Pardo. Commissioned by the Fundação Bienal de São Paulo for

55.7 × 90.3 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

the 32nd Bienal (2016).

Collection. O Sonho de Matheus, 1987. [Matheus's Dream]. Woodcut.

Frans Krajcberg

90.5 × 50.2 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Sem título (Bailarinas), n.d. [Untitled (Bailarinas)]. Sculptures

Collection.

of wood from burnings and natural pigments. 10 pieces,

O Diálogo, 1988. [The Dialogue]. Woodcut. 90.3 × 55.3 cm. Museu de

dimensions variable.

Arte Moderna Aloisio Magalhães – MAMAM Collection.

Sem título (Coqueiros), n.d. [Untitled (Coqueiros)]. Sculptures

O Enigma, 1989. [The Enigma]. Woodcut. 89.8 × 50.3 cm. Museu de

of wood from burnings and natural pigments. 62 pieces,

Arte Moderna Aloisio Magalhães – MAMAM Collection.

dimensions variable.

A Fonte, 1990. [The Fountain]. Woodcut. 89.5 × 53.5 cm. Museu de

Sem título (Gordinhos), n.d. [Untitled (Gordinhos)]. Sculptures

Arte Moderna Aloisio Magalhães – MAMAM Collection.

of wood from burnings and natural pigments. 8 pieces,

Virgem dos Cometas, 1991. [Virgin of the Comets]. Woodcut.

dimensions variable.

90.7 × 53.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Presentation produced in partnership with Sesc-SP.

Collection. A Queda, 1992. [The Fall]. Woodcut. 35.7 × 20.2 cm. Museu de Arte

Gabriel Abrantes

Moderna Aloisio Magalhães – MAMAM Collection.

Os humores artificiais, 2016. [The Artificial Humours]. S16mm

A Criação – Homem e Mulher, 1993. [The Creation – Man and

transferred to HD. 30’. Courtesy: of the artist and Galeria Francisco

Woman]. Woodcut. 90.7 × 49.7 cm. Museu de Arte Moderna Aloisio

Fino, Lisbon. Support: Fundação Calouste Gulbenkian; República

Magalhães – MAMAM Collection.

Portuguesa – Cultura | Direção-Geral das Artes. Commissioned by the

A Dama da Noite, 1994. [The Lady of the Night]. Woodcut.

Fundação de Serralves, Colección Inelcom, and the Fundação Bienal

90.5 × 49.5 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

de São Paulo for the 32nd Bienal (2016).

Collection.

Presentation produced in partnership with Sesc-SP.

O Retorno, 1995. [The Return]. Woodcut. 55.5 × 90.3 cm. Museu de

Arte Moderna Aloisio Magalhães – MAMAM Collection.

Approx. 45’. Support: Goethe-Institut São Paulo; República

A Bela e a Fera, 1996. [The Beauty and the Beast]. Woodcut.

Portuguesa – Cultura | Direção-Geral das Artes. Commissioned by the

91.5 × 47 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Collection. O Sagrado, 1997. [The Sacred]. Woodcut. 56 × 81 cm. Museu de Arte

GuGuOu (Güneş Terkol, Güçlü Öztekin & Oğuz Erdin)

Moderna Aloisio Magalhães – MAMAM Collection.

Along Song, 2016. Sound performance. Support: SAHA – Supporting

Fruto Flor, 1998. [Flower Fruit]. Woodcut. 90 × 50.2 cm. Museu de

Contemporary Art from Turkey. Commissioned by the Fundação

Arte Moderna Aloisio Magalhães – MAMAM Collection.

Bienal de São Paulo for the 32nd Bienal (2016).

O Devorador de Estrelas, 1999. [The Star Eater]. Woodcut. 93.2 × 55 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Güneş Terkol

Collection.

Series Couldn’t Believe What She Heard, 2015. Embroidery and

A Espada e o Dragão, 2000. [The Sword and the Dragon]. Woodcut.

drawing on fabric. 14 pieces, dimensions variable. Artist’s collection.

91.5 × 48.7 cm. Museu de Arte Moderna Aloisio Magalhães – MAMAM

Support: SAHA – Supporting Contemporary Art from Turkey.

Collection.

Series The Girl Was Not There, 2016. Embroidery and drawing on

Rumores de Guerra em Tempos de Paz, 2001. [War Rumors in Times

fabric. 16 pieces, dimensions variable. Artist’s collection. Support:

of Peace]. Woodcut. 91.5 × 50.5 cm. Museu de Arte Moderna Aloisio

SAHA– Supporting Contemporary Art from Turkey. Commissioned by

Magalhães – MAMAM Collection.

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Criação das Sereias – Alegorias Barrocas, 2002. [Creation of the Sirens – Baroque Allegory]. Woodcut. 55.5 × 91 cm. Museu de Arte

Heather Phillipson

Moderna Aloisio Magalhães – MAMAM Collection.

TRUE TO SIZE – Wind, 2015-2016. Monitors, speakers, giant

A Caça, 2003. [The Hunt]. Woodcut. 92.7 × 47 cm. Museu de Arte

soft toy bears, prom dress, umbrella, digital prints on cardboard,

Moderna Aloisio Magalhães – MAMAM Collection.

digital prints on vinyl, cardboard, timber, bungee, pillows, fishing

A Ascensão, 2004. [The Ascension]. Woodcut. 93 × 53 cm. Museu de

wire and gaffer tape. Dimensions variable. Support: British Council;

Arte Moderna Aloisio Magalhães – MAMAM Collection.

The Henry Moore Foundation. TRUE TO SIZE, 2016 by

Júlia e a Chuva de Prata, 2005. [Júlia and the Silver Rain]. Woodcut.

Heather Phillipson is a 70th anniversary commission for the Arts

93 × 50 cm. Samico Family Collection.

Council Collection. Founded in 1946, the Arts Council Collection

A Árvore da Vida e o Infinito Azul, 2006. [The Tree of Life and the

is the largest national loan collection of modern and contemporary

Infinite Blue]. Woodcut. 93 × 49.5 cm. Samico Family Collection.

British art and includes important examples by all of the UK’s

A Pesca, 2007. [The Fishery]. Woodcut. 93 × 52 cm. Samico Family

prominent artists.

Collection.

TRUE TO SIZE – Fire, 2015-2016. Monitors, speakers, giant soft

Via Láctea – Constelação da Serpente II, 2008. [Milky Way –

toy bears, prom dress, umbrella, digital prints on cardboard, digital

Constellation Snake II]. Woodcut. 116 × 80 cm. Samico Family

prints on vinyl, cardboard, timber, bungee, pillows, fishing wire and

Collection.

gaffer tape. Dimensions variable. Support: British Council; The Henry

Criação das Estrelas, 2009. [Creation of the Stars]. Woodcut.

Moore Foundation. TRUE TO SIZE, 2016 by Heather Phillipson

93 × 50 cm. Samico Family Collection.

is a 70th anniversary commission for the Arts Council Collection.

A Conquista do Fogo e do Grão, 2010. [The Conquest of Fire and

Founded in 1946, the Arts Council Collection is the largest national

Grain]. Woodcut. 94.8 × 51.3 cm. Samico Family Collection.

loan collection of modern and contemporary British art and includes

Criação – O Sol, a Lua e as Estrelas, 2011. [Creation – the Sun,

important examples by all of the UK’s prominent artists.

the Moon and the Stars]. Woodcut. 92.5 × 53 cm. Samico Family Collection.

Henrik Olesen

O Delírio ou as Sete Luas de Ícaro, 2012. [The Delirium or the Seven

1, 2016. Acrylic paint, edding marker, paper, high-density

Moons of Icarus]. Woodcut. 92.5 × 53 cm. Samico Family Collection.

fiberboard. 210 × 193 cm. Courtesy: the artist and Galerie Buchholz,

Estudo colorido para xilogravura, 2013. [Colorful Study for

Berlin / Cologne / New York. Support: Danish Arts Foundation;

Woodcut]. Acrylic on cardboard. 116 × 80 cm. Samico Family

Nordic Culture Fund; Nordic Culture Point; ifa (Institut für

Collection.

Auslandsbeziehungen). 2, 2016. Inkjet print on photo paper, self-adhesive film, edding

Grada Kilomba

marker, acrylic paint, oil paint, high-density fiberboard. 243 × 210 cm.

The Desire Project, 2015-2016. Video installation composed of 3

Courtesy: the artist and Galerie Buchholz, Berlin / Cologne / New York.

video channels with sound, 3 “print form” prints with image and

Support: Danish Arts Foundation; Nordic Culture Fund; Nordic

text. 3 monitors with total dimensions 204 cm × 115 cm. 2’37” loop.

Culture Point; ifa (Institut für Auslandsbeziehungen).

Support: Goethe-Institut São Paulo; República Portuguesa – Cultura |

3, 2016. Acrylic paint, edding marker, paper, high-density

Direção-Geral das Artes. Music: Moses Leo; Text Revision: Júlia

fiberboard. 220 × 210 cm. Courtesy: the artist and Galerie Buchholz,

Soares Correia; Assistance: Anne Wiegmann; Special thanks: Lann

Berlin / Cologne / New York. Support: Danish Arts Foundation;

Hornscheidt, Babalaô Fábio Felipe Maia.

Nordic Culture Fund; Nordic Culture Point; ifa (Institut für

Illusions, 2016. Performance with screen video projection (1 channel,

Auslandsbeziehungen).

sound), table, texts, microphone. Screen stage size of 4 meters.

4, 2016. Inkjet print on photo paper, self-adhesive film, edding

marker, acrylic paint, oil paint, high-density fiberboard. 210 × 193 cm.

National Gallery; Adam Mickiewicz Institute; Culture.pl; Goethe-

Courtesy: the artist and Galerie Buchholz, Berlin / Cologne / New York.

Institut São Paulo. Participants: Cachuera Group, string-player

Support: Danish Arts Foundation; Nordic Culture Fund; Nordic

Filpo Ribeiro, accordionist Gabriel Levy and Iza Tarasewicz.

Culture Point; ifa (Institut für Auslandsbeziehungen).

Acknowledgments: Willian Fernandes, Barbara Alge, Prof. Alberto

5, 2016. Inkjet print on photo paper, self-adhesive film, edding

Tsuyoshi Ikeda, Acácio Piedade, Pula Leme, Piotr Zgorzelski, “All

marker, acrylic paint, oil paint, high-density fiberboard. 210 × 830 cm.

the World’s Mazurkas” – Festival in Poland. Commissioned by the

Courtesy: the artist and Galerie Buchholz, Berlin / Cologne / New York.

Fundação Bienal de São Paulo for the 32nd Bienal (2016)

Support: Danish Arts Foundation; Nordic Culture Fund; Nordic Culture Point; ifa (Institut für Auslandsbeziehungen).

Jonathas de Andrade O peixe, 2016. [The Fish]. 16mm film transferred to digital HD.

Hito Steyerl

38’. Support: Funcultura; Governo do Estado de Pernambuco.

Robots Today, 2016. HD video, environment. 8’. Support: Bariş

Fishermen: Carlos dos Santos (Menezes), Cícero dos Santos (Ciço),

Şehitvan; Zelal Özmen; Sümer Kültür Merkezi Diyarbakır;

Cipriano Batista Alves (Cipriano), Genivaldo Santos de Lima

Goethe-Institut São Paulo; ifa (Institut für Auslandsbeziehungen).

(Irmão), Gileno Cândido Bezerra (Leno), José Ailton Almeida de

Camera: Savaş Boyraz; Translation: Rojda Tugrul, Övül Durmosoğlu;

Liza (Xau), José Dalmo dos Santos (Curió), José Elenildo Oliveira

Production: Misal Adnan Yıldız, Şener Özmen; Protagonists: Nevin

dos Santos (Keno), Romerig Francisco dos Santos (Rom), Ronaldo

Soyukaya (archaeologist, researcher, writer head of the Department

Vieira Santos (Ronaldo); fishes: Pirarucu, Tambuacu, Tilápia.

Cultural Heritage and Tourism, Diyarbakır); Researcher, Writer:

Assistant Director: Jeronimo Lemos; Production: Rachel Daisy

Abdullah Yaşin, Cizre; Dancers: Ibrahim Halil Saka, Vedat Bilir,

Ellis; Co-production: Jennifer Lange; Production Director: Vanessa

Sezer Kılıç. Music: Kassem Mosse; Postproduction: Christoph

Barbosa; Cinematographer: Pedro Urano; Cinematographer Assistant:

Manz, Maximilian Schmoetzer; Assistant: Milos Trakilović.

Leandro Gomes, Camila Freitas; Editing: Tita, Ricardo Pretti; Sound

Acknowledgements: Alice Conconi, Andrew Kreps, Sümer Kültür

Design: Mauricio d’Orey; Sound Mixing: Paul Hill; Color Correction:

Merkezi, Diyarbakir, Sanat Merkezi, Gunnar Wendel, Esme Buden.

Mike Olenick; Finishing: Film / Video Studio Program, Wexner

Hell Yeah We Fuck Die, 2016. 3 channel video installation,

Center for the Arts; Fish providers: Fernando (Coruripe), Galindo

environment, HD video. 4’. Support: Goethe-Institut São Paulo; ifa

(Piaçabuçu), Wellinton (Coruripe); Camera Boat Pilots: Carlos

(Institut für Auslandsbeziehungen). Original Soundtrack: Kassem

Roberto Bento e Silva, Chico Pescador, Ronaldo Vieira Dos Santos;

Mosse; based on research by David Taylor identifying the 5 most

Driver: Marcinho; Set helpers: Gileno Cândido Bezerra (Leno), José

popular words in English song titles since 2010. Robot push recovery,

Américo dos Santos (Zé), José Caetano Santos (Juquinha), José

AI falling simulation and bipedal gait footage with many thanks by:

Neoson dos Santos (Neo), Manuel Jacinto de Oliveira (Mãozinha);

Thomas Geijtenbeek (www.goatstream.com), Michiel van de Panne,

Special Acknowledgements: Redfish. Acknowledgements: Agnês, Ana

Frank van der Stappen, Natural Motion, MIT Darpa Robotics Team

Maria Maia, Antônio Amorim, Antônio José Pereira (Baixinho), Arto

(http://drc.mit.edu), Siyuan Feng (The Robotics Institute, Carnegie

Lindsay, Bruno Corrêa Meurer, Barbara Wagner, Camile Reis, Camila

Mellon University Team), WPI-CMU, Benjamin Stephens Ph.D work

Salgado, Colônia dos Pescadores de Piaçabuçu Z19, Cristina Gouvêa,

(Carnegie Mellon University), Zhibin (Alex) LI, PhD (Assistant

Cristiano Lenhardt, Eduardo Serrano, Esdras Bezerra de Andrade,

Professor, School of Informatics, University of Edinburgh), Mr. Noel

Gabriel Mascaro, Gilberto Falbo, Hernani Heffner, Jairo Dornelas,

Maalouf and Dr. Imad Elhajj (members of the Vision and Robotics

Lelo (Olinda), Marie Carangi, Miguel Alencar, Naná Vasconcelos,

Laboratory at the American University of Beirut), Seedwell Media.

Pelado, Pousada Santiago, Pousada Rosa dos Ventos, Priscila de

Dancers: Ibrahim Halil Saka, Vedat Bilir, Sezer Kılıç; Postproduction:

Souza Gonzaga, Rodrigo Tavares; Produced by: Desvia Wexner

Christoph Manz, Maximilian Schmoetzer; Line Producer:

Center for the Arts.

Lawren Joyce; Producer and Director Photography California

Presentation produced in partnership with Sesc-SP.

Robotic Challenge: Kevan Jenson. Assistant: Milos Trakilovic. Acknowledgements: Alice Conconi, Andrew Kreps, Gunnar Wendel,

Jordan Belson

Esme Buden. Commissioned by the Fundação Bienal de São Paulo for

Abraxas, c.1950. Paper, pigment, cut board, tape. 18.41 × 15.24 cm.

the 32nd Bienal (2016).

Courtesy: Catherine Heinrich. Elephant Parts, n.d. Paper, pigment, glass, mashing tape, cardboard.

Iza Tarasewicz

20.95 × 17.14 cm (framed). Courtesy: Catherine Heinrich.

TURBA, TURBO, 2015. Installation composed of a modular system

Gordian Knot, n.d. Paper, pigment, glass, black tape, cardboard.

and the elements: white titanium, yellow iron, red iron, brown iron,

24.13 × 18.42 cm (framed). Courtesy: Catherine Heinrich.

black iron, green chrome, cobalt iron, ash, metal, cement, hemp

Horns of Unplenty, n.d. Masonite, pigment, wood, stain.

fibre, resin, asphalt, rubber mass, water glass, glue; 25 metal hoops

30.48 × 40.64 cm. Courtesy: Catherine Heinrich.

connected to 75 shelves / frames. 1000 cm x 1000 cm x 150 cm.

Phoenix, n.d. Paper, pigment, matboard, tape. 18.41 × 15.24 cm.

Courtesy: of the artist. Support: Deutsche Bank; Zachęta National

Courtesy: Catherine Heinrich.

Gallery; Adam Mickiewicz Institute; Culture.pl; Goethe-Institut

Red Cosmic Egg, n.d. Mixed media drawing. 20.32 × 15.24 cm

São Paulo.

(framed). Courtesy: Catherine Heinrich.

Mbamba Mazurek, 2016. Music and dance performance. 50’.

Samadhi, 1967. 16 mm film transferred to digital HD. 5’. Courtesy:

Support: Adam Mickiewicz Institute; Deutsche Bank; Zachęta

Center for Visual Music, Los Angeles.

Snake, n.d. Paper, pigment, matboard. 18.41 × 15.24 cm. Courtesy:

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Catherine Heinrich. Spools, n.d. Masonite, pigment, wood, stain. 30.48 × 40.64 cm.

José Antonio Suárez Londoño

Courtesy: Catherine Heinrich.

Series Planas: del 1 de enero al 31 de diciembre del año 2005, 2005.

Turbine Wheel, n.d. Masonite, pigment, wood, stain.

[Exercises: from January 1 to December 31 of the year 2005]. Mixed

30.48 × 40.64 cm. Courtesy: Catherine Heinrich.

media on paper. 365 pieces, dimensions variable. Series performed

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

daily by the artist in exercise pages for one year (2005). Support:

Catherine Heinrich.

Embassy of Colombia in Brazil. Acknowledgments: Emiliano Valdés –

Untitled, n.d. Mixed media, drawing. 22.86 × 30.48 cm. Courtesy:

MAMM, Medellín; Miguel Suárez Londoño; Ana Mercedes Suárez

Catherine Heinrich.

Londoño; Casas Riegner.

Untitled, n.d. Mixed media, drawing. 22.86 × 30.48 cm. Courtesy: Catherine Heinrich.

José Bento

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

Chão, 2004 / 2016. [Floor]. Slats of various woods, iron, steel cables

Catherine Heinrich.

and springs. Dimensions variable.

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

Do pó ao pó, 2016. [From Dust to Dust]. 25 wood types from

Catherine Heinrich.

Brazilian biomas that were and are marketed: Angelim, Angico,

Untitled, n.d. Mixed media drawing. 22.86 × 30.48 cm. Courtesy:

Santos Mahogany, Bicuíba, Baraúna, Caixeta, Canela, Oak, Spanish

Catherine Heinrich.

cedar, Eucalyptus, Garapa, Jatobá, Brazilian rosewood, Jequitibá

Untitled (Scroll), n.d. Mixed media drawing. 190.5 × 30.48 cm.

Rosa, Itapicuru, Oiticica, Brazilwood, Pau-pereira, White Peroba,

Courtesy: Catherine Heinrich.

Peroba-rosa, Roxinho, Tumujú, Vinhático, Sapucaia, Sucupira. 25

Untitled (Scroll), n.d. Mixed media drawing. 190.5 × 30.48 cm.

parts of 57 × 42 × 91 cm.

Courtesy: Catherine Heinrich. Untitled (Scroll), n.d. Mixed media drawing. 190.5 × 30.48 cm.

Kathy Barry

Courtesy: Catherine Heinrich.

Series 12 Energy Diagrams, 2015-2016. Watercolor and pencil on

Untitled, 1952. From the series Brain Drawings. Paper, ink.

paper. 12 pieces of 70 × 72 cm. Support: Creative New Zealand.

19.68 × 19.68 cm. Courtesy: Catherine Heinrich.

12 Minute Movement, 2016. HD video. 12’12’’. Support: Creative

Untitled, 1952. From the series Brain Drawings. Paper, ink.

New Zealand.

19.68 × 19.68 cm. Courtesy: Catherine Heinrich. Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Katia Sepúlveda

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

Dispositivo doméstico, 2007-2012/2016. [Domestic Device].

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Installation composed of: 2 channels video (The Horizontal Man,

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

2016), model (White House Lego) and collages (made in 2007-

Untitled, c.1952. From the series Brain Drawings. Paper, pigment,

2012) and cut-out vinyl on the floor. Collages: 140 × 70 cm; video:

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

3’23’’; model: 11 × 2 × 8 cm. Acknowledgements: Felipe González.

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Commissioned by the Fundação Bienal de São Paulo for the 32nd

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

Bienal (2016).

Untitled, 1952. From the series Brain Drawings. Paper, pigment,

Feminismo Mapuche, 2016. [Mapuche Feminism]. Performance.

artboard. 22.22 × 22.22 cm. Courtesy: Catherine Heinrich.

Action with the participation of the artist, Margarita Calfio and

Untitled, n.d. Paper, pigment, plastic, tape, cardboard.

Maria Angelica Valderrama. Acknowledgements: Marta Ormazabal.

20.32 × 15.24 cm (framed). Courtesy: Catherine Heinrich.

Commissioned by the Fundação Bienal de São Paulo for the

Untitled, n.d. Paper, pigment, glass, mashing tape, cardboard.

32nd Bienal (2016).

20.32 × 15.24 cm (framed). Courtesy: Catherine Heinrich.

Koo Jeong a Jorge Menna Barreto

ARROGATION, 2016. Skatepark. Concrete, metal, paint and

Restauro, 2016. [Restoration]. Restaurant designed for the

luminescent dust. 1700 cm ⌀. . Support: Arts Council Korea (ARKO);

32nd Bienal, in which the menu prioritizes the diversity of the plant

ifa (Institut für Auslandsbeziehungen). In collaboration with

kingdom of agroforestry origin. Eaters become participants of an

Aleksandrina Rizova. Commissioned by the Fundação Bienal de São

environmental sculpture in the process, to the extent that the act

Paulo for the 32nd Bienal (2016).

of feeding regenerates and shapes the landscape in which we live. Support: Lab.SONAR – Laboratório de Sonoridades, Organicidades,

Lais Myrrha

Nomadismos, Artes e Radiofonias (UERJ); Extension Project “Arte

Dois pesos, duas medidas, 2016. [Double Standard]. Concrete,

Colaborativa, Sonoridades e Biopolítica” (UERJ); Extension Project

brick, mortar, roof tile, glass, PVC tubes, conduits, wires, metal,

“Consciência Contextual: entre o artístico e o ambiental” (Secretaria

wood, palm fiber, bamboo and compacted soil. 800 × 300 × 300 cm

do Meio Ambiente do Estado de São Paulo). Collaborators: Neka

each. Commissioned by the Fundação Bienal de São Paulo for the

Menna Barreto, Marcelo Wasem, O Grupo Inteiro, Escola Como

32nd Bienal (2016).

Como de Ecogastronomia, Vitor Braz. Commissioned by the

Leon Hirszman

Liláses I, 1980. [Lilacs I]. Pencil and colored pencil on paper.

Cantos de trabalho – Cacau, 1976. [Work Songs – Cocoa]. 16 mm

50 × 66 cm.

film transferred to video. 11’. Production: Leon Hirszman Produções;

Liláses II, 1980. [Lilacs II]. Crayon on paper. 50 × 66 cm.

Brazilian Product Certificate: 233 / 10.1979; Directed by: Leon

Liláses III, 1980. [Lilacs III]. Colored pencil on paper. 50 × 66 cm.

Hirszman; Photography: José Antônio Ventura; Video-editing: Sérgio

Malmequeres, 1980. [Marigolds]. China Ink on paper. 45.5 × 66 cm.

Sanz; Sound: Francisco Balbino; Narration: Ferreira Gullar; Final

Malmequeres, 1980. [Marigolds]. Litograph, natural elements.

coordination: Marcos Farias; Image lab: Líder (RJ); Sound studio:

65 × 50 cm.

Tecnisom (RJ). Courtesy: Leon Hirszman Family.

Malmequeres, 1980. [Marigolds]. Pencil of 4 colors on paper.

Cantos de trabalho – Cana-de-açúcar, 1976. [Work Songs – Sugar

50 × 66 cm.

Cane]. 16 mm film transferred to video. 10’. Production: Leon

Malmequeres, 1980. [Marigolds]. Pencil of 4 colors on paper.

Hirszman Produções, Marcos Farias; Brazilian Product Certificate:

50 × 66 cm.

234 / 10.1979; Written and directed by: Leon Hirszman; Photography:

Malmequeres, 1980. [Marigolds]. Silver pencil on paper. 57 × 76 cm.

José Antônio Ventura; Video-editing: Sérgio Sanz. Courtesy: Leon

Miosótis, 1984. [Myosotis]. Pencil on paper. 37.5 × 55 cm.

Hirszman Family.

Muguet, 1980. [Lily of the Valley]. China Ink on paper. 50 × 66 cm.

Cantos de trabalho – Mutirão, 1975. [Work Songs – Joint Effort].

Narcisos, 1980. [Narcissus]. Crayon and colored pencil on paper.

35 mm film transferred to video. 12’. Production: Departamento

48.2 × 64 cm.

de Assuntos Culturais (Plano de Ação Cultural – MEC); Executive

Narcisos secos, 1980. [Dry Narcissus]. Colored pencil on paper.

Producer: Leon Hirszman; Directed by: Leon Hirszman; Adivisory

50.3 × 66 cm.

text: Vicente Salles; Photography, Camera: José Antônio Ventura;

Primaveras I, 1980. [Bougainvillea I]. China Ink and cutout on

Camera Assistant: Francisco Balbino; Video-editing: Raul Soares;

paper. 66 × 50 cm.

Sound: Francisco Balbino; Location: Chã Preta, Alagoas; Image

Primaveras II, 1980. [Bougainvillea II]. Colored pencil on paper.

Lab: Revela (SP); Sound Studio: Tecnisom (RJ); Photo Compositing:

66 × 50 cm.

Movedoll (SP). Courtesy: Leon Hirszman Family.

Ranúnculos, 1980. [Ranunculus]. China Ink on paper. 50 × 66 cm.

Lourdes Castro

Salsa, 1980. China Ink and cutout on paper. 61 × 39 cm.

Series Sombras à volta de um centro, 1980-1987. [Shadows Around

Sem título, 1980. [Untitled]. China Ink and cutout on paper.

a Center]. Artist's collection deposited in the Fundação de Serralves –

50 × 66 cm.

Museu de Arte Contemporânea, Porto. Support: Fundação Calouste

Sem título, 1984. [Untitled]. China Ink on paper. 50.5 × 70.5 cm.

Gulbenkian; República Portuguesa – Cultura | Direção-Geral das

Sem título, 1984. [Untitled]. Colored pencil on paper. 37.2 × 55 cm.

Artes.

Strelitzia, 1985. Crayon on paper. 50 × 70.5 cm.

Rosa, 1985. [Rose]. Colored pencil on paper. 56 × 38.5 cm.

Aucuba japónica, 1985. Colored pencil on paper. 50 × 70 cm.

Strelitzia, 1985. Crayon on paper. 37.5 × 55 cm.

Beladonas, 1987. [Amaryllis]. Marker pen on tracing paper.

Strelitzia, 1985. Colored pencil on paper. 55 × 37.8 cm.

76 × 76 cm.

Tulipas II, 1980. [Tulips II]. Crayon on paper. 66 × 50 cm.

Camélia, 1985. [Camellia]. Crayon on paper. 55 × 37.5 cm.

Tulipas III, 1980. [Tulips III]. Crayon on paper. 66 × 50 cm.

Cearas / Lentilhas, 1985. [Cearas / Lentils]. Crayon, colored pencil and collage on paper. 48 × 76.7 cm.

Lourdes Castro & Manuel Zimbro

Cearas / Lentilhas, 1985. [Ceara / Lentils]. Marker pen and crayon

Un Autre livre rouge I, 1973. [Another Red Book I]. Artist book.

on paper. 39 × 61.5 cm.

164 p.; 47 × 35 cm. 82 sheets of white cardboard and various

Cesto rosas, 1986. [Basket Roses]. Crayon on paper. 56.5 × 76 cm.

shades of red, with various thicknesses; all sheets with collages

Cesto rosas, 1986. [Basket Roses]. Crayon on paper. 50.3 × 70.3 cm.

whose common theme is the “red” (clippings from newspapers

Cyclamen, 1980. China Ink on paper. 50 × 66 cm.

and magazines, postcards, packaging paper, photocopies with text

Cyclamen de perse, 1980. Crayon and colored pencil on paper.

excerpts); 2 serigraphs: sheet 56 ex. 39 / 50, 1968, and sheet 58 ex.

66 × 46 cm.

14 / 35, n.d. Packed in a carton cover, red, tied by two ribbons. Signed.

Folha de palmeira, 1986. [Palm Leaf]. Colored pencil on paper.

Artist’s collection; Fundação Calouste Gulbenkian – Biblioteca

90 × 68.3 cm.

de Arte. Support: Fundação Calouste Gulbenkian; República

Folha de palmeira, 1986. [Palm Leaf]. Pencil and colored pencil on

Portuguesa – Cultura | Direção-Geral das Artes.

paper. 90 × 68.3 cm.

Un Autre livre rouge II, 1974. [Another Red Book II]. Artist book.

Folhas, 1980. [Leaves]. Crayon on paper. 66 × 50 cm.

188 p. ; 40 × 30.5 cm 94 sheets of white cardboard with various

Folhas, 1985. [Leaves]. Colored pencil on paper. 37.5 × 55 cm.

thicknesses, except: 10 sheets black; 15 sheets red and 1 sheet green;

Geranium Robert, 1984. China Ink and colored pencil on paper.

cutout of the sheets painted red. All sheets with collages: clippings

38.5 × 57 cm.

from newspapers and magazines, postcards, packaging paper,

Goivos, 1980. [Brassicaceae]. Colored pencil on paper. 57 × 76 cm.

photocopies with excerpts from texts in which the common theme is

Íris, 1980. [Iris]. Crayon on paper. 66 × 50 cm.

the “red”. Packed in a red carton cover, tied with six ribbons. Artist’s

Íris, 1980. [Iris]. Colored pencil on paper. 50 × 66 cm.

collection; Fundação Calouste Gulbenkian – Biblioteca de Arte.

Íris Azul, 1980. [Blue Iris]. Crayon and colored pencil on paper.

Support: Fundação Calouste Gulbenkian; República Portuguesa –

50 × 66 cm.

Cultura | Direção-Geral das Artes.

Luiz Roque

Journal #1, 1997 (Forever), 2016. Archival inkjet print on Epson

HEAVEN, 2016. HD video (5.1 sound, color). 9’. Cast: Mavi Veloso,

lustre paper. 127 × 183 cm.

Glamour Garcia, Danilo Grangheia, Danna Lisboa, Gretta Starr,

Journal #1, 1997 (Haile Selassie), 2016. Archival inkjet print on

Maitê Schneider, Latoya Prado, Dani Pinheiro, Bruno Mendonça;

Epson lustre paper. 127 × 183 cm.

Executive Production: Camila Groch; Written by: Josefina Trotta

Orange Journal, 1997, 2016. 90 archival inkjet prints on Epson

& Luiz Roque; Cinematography: Joana Luz; Casting preparation

lustre paper. 29 × 42 cm each.

for “Debate”: Tomás Rezende; Production Direction: Mary Garske;

Untitled (Beachwood Canyon, circa mid 1990’s), 2016. Video

Direction Assistant: Thiago Villas Boas; Art Production: Adriana

installation, MiniDV video (color), video projection onto four silk

Michalski & Tyaga Sá Britto; Costume: Alex Cassimiro & Tina

panels. 304.8 × 114.3 cm each.

Soares; Make-up: Carlinhos Rosa; Electrician: Bruno Homem de

Untitled (Blue Snow), 2016. MiniDV video on broadcast monitor

Mello; Machinist: Weber Cunha “Cabelo”; Platô: Bruno Possati

(color and sound). 4’.

& Erik Vítor; Direct Sound: Tiago Bittencourt; Editing: Manga

Untitled (Silver Lake, 1994), 2016. Hi8 video (color). 25’.

Campion; Original Soundtrack: Márcio Biriato; Artist’s Assistant:

Untitled (Obsessão), 2016. [Untitled (Obsession)]. Mixed-media

Pedro Gallego; Artists Collaborators: Bruno 9li, Erika Verzutti,

collage. Dimensions variable.

Rodolpho Parigi; Executive Assistant: João Metzner; Set Assistant:

Untitled (Prelude to The Watering Hole), 1991-1996. Gold leaf on

Raphael Matos; Contra Regra: Marcão Araújo; 1st Camera Assistant:

magazine covers. 27 × 20 cm each.

André Keller; 2nd Camera Assistant: Lucas Lourenço; 3rd Camera

Untitled (for Tommy), 2016. Two-channel video installation, Hi8

Assistant: Gabriel Silveira; Logger: Guilherme Castelli; Electrical

video (color and sound). 38’.

Assistants: Joel Santos, Nigéria; Machinery Assistants: Ferpa, Nick,

Acknowledgements: Tommy Gear, Producer; Parissah Lin, Studio

Vinicius Ribeiro da Cunha; Camera: A. Ermel, Base 1 Locadora; Light

Manager; Gregory Carideo, Joseph Imhauser, John Edmonds, Eric

and Motion: Electrica Cinema & Vídeo; Drone: Disk Films; Set’s

Santoscoy-Mckillip and Dorothy Chi Hung Lam, Assistants; Bonnie

Infrastructure: Estrutura Cine; Image Finishing: Lilit Laboratório

Lane and Mayid Guerrero, Video Editors; Billy Gerard, Video

Digital; Coordination of Post Production: Laura Futuro; Editing

Consultant; Aniyah McNeal, Intern. Commissioned by the Fundação

Assistant: Joana Reis; Colouring: Julia Bisilliat; Composition and

Bienal de São Paulo for the 32nd Bienal (2016).

VFX: Uriel Arakilian; Sound Editing and Foley Recording: Effects Filmes; Sound Design and Mixing: Ricardo Reis, ABC; Sound

Maria Thereza Alves

Editing: Débora Morbi, Vitor Moraes, Camila Mariga; Secretary of

Uma possível reversão de oportunidades perdidas, 2016. [A Possible

Production: Andreia da Silva; Sound Editing Coordination: Miriam

Reversal of Missed Opportunities]. 6 posters, 3 different models, 3

Biderman, ABC. Acknowledgments: Alberto Youssef & Bruna Macedo,

formats, versions in Portuguese and English (Rio Branco, Aquidauana,

Aldeia / Julia Bock & Simone Elias, Alexandre Ermel, Auditório

Dourados). Digital print on paper, 2 × 1.47 m each. Versions for

Ibirapuera / Alexandre Sacchi di Pietro & team, Bar Fama, Big

distribution: 55 posters, 4 × 0 colors, 60 × 90 cm, offset high brightness

Bonsai, Breno Trindade, Caio César, Casa Juisi, Clarice Cunha, Dudu

120g paper; 150 posters, 4 × 0 colors, A3 (42 × 29.7 cm), offset high

Quintanlha / MEXA, FAAP – Sergio Moussali & team, Fernanda Gassen,

brightness 120 g paper; 5100 posters, 4 × 0 colors, A3 (42 × 29.7 cm),

Fernando Cozendey, Filmland, Gabriel Base 1, Guaraná Turismo

matte couche 115 g paper. Commissioned by the Fundação Bienal de

(Andréa Grynszpan), Jacob Solitrenik, José Roberto Eliezer, Márcia

São Paulo for the 32nd Bienal (2016).

Rocha, Maxwell Jackson, Michel Zózimo, Nadezhda Rocha, Núcleo

Presentation produced in partnership with Sesc-SP.

de Pesquisa & Curadoria / ITO, Ovo Design, Pedro Farkas & team, Psycho’ n’ Look, Ricardo Tapajós, Rita Faustini, Rogerio Francisco

Mariana Castillo Deball

& Laika team, Ruy Ohtake, Sabrina Wilkins, Tereza Zózimo, Tiago

Hipótese de uma árvore, 2016. [Hypothesis of a Tree]. Installation

Guiness. Commissioned by the Fundação Bienal de São Paulo for the

composed of bamboo structure based on a phylogenetic tree; paper

32nd Bienal (2016).

rubbings from fossil sediments in the Crato Formation (Araripe

Presentation produced in partnership with Sesc-SP.

Basin), Museu and Instituto de Paleontologia (Universidade Regional do Cariri), Museu, Instituto and Oficina de Réplicas (Universidade

Luke Willis Thompson

de São Paulo); linocut stamps. 9.2 m ⌀. Support: ifa (Institut für

Sucu Mate – Born Dead, 2016. Installation composed of concrete

Auslandsbeziehungen). Assistants: Alberto Abascal, Anna Szaflarski.

headstones. 9 pieces, 800 × 400 × 60 cm each (approx.). Courtesy:

Special thanks to: Gabriela Aguileta. Antonio Alamo Feitosa, Luiz

the artist and Hopkison Mossman, Auckland. Support: Creative

Eduardo Anelli. Renan Machado Bantim, Juliana Manso Sayao,

New Zealand.

Flaviana Jorge de Lima. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Lyle Ashton Harris Uma vez, uma vez, 2016. [Once, Once]. Installation.

Maryam Jafri

Ektachrome Archives (Brazil Mix), 2016. 3-channel video

Product Recall: An Index of Innovation, 2014-2015. Installation

installation with sound component, continuous loop. 221 × 124 cm,

composed of framed photos, framed texts, plinths and objects.

148 × 263 cm, 124 × 221 cm.

Dimensions variable. Courtesy: the artist and Laveronica Arte

Journal #1, 1997 (An Educated Heart), 2016. Archival inkjet print

Contemporanea, Modica. Support: Danish Arts Foundation.

on Epson lustre paper. 127 × 183 cm.

Michael Linares

Acknowledgements: Assistant Architects: Paulius Vaitiekūnas, Jautra

Museu do Pau, 2013-2016. [Museum of the Stick]. Installation

Bernotaitė; Design: Goma Oficina; Platô (Valentina Soares, Alex

composed of various materials collected by the artist. Dimensions

Cassimiro); Research Assistance, São Paulo: Luiza Schulz; Scientific

variable.

Research Assistance, São Paulo: Edison de Souza / Brasmicel.

Una historia aleatoria del palo, 2014. [An Aleatory History of the Stick]. Video (sound). 53’25’’. The duration of this video refers to

Oficina de imaginação política

Brian Panky’s world record obtained by holding a stick in balance

Oficina de Imaginação Política, 2016. [Workshop on Political

for 53’25”. Acknowledgments: Beta-Local, Olga Casellas, Fabián

Imagination]. Installation and intervention in the form of a public

Wilkins, Michelle Marxuach, Galería Agustina Ferreyra, Museu Afro

program (workshops, presentations and debates). Proposer: Amilcar

Brasil, Clube de Atletismo BM&F BOVESPA.

Packer; Collaborators: Diego Ribeiro, Jota Mombaça (Monstra Errátika), Rita Natálio, Thiago de Paula,Valentina Desideri.

Michal Helfman

Commissioned by the Fundação Bienal de São Paulo for the

Running Out of History, 2015-2016. Video. 21’. Private collection,

32nd Bienal (2016).

Israel. Courtesy: the artist and Sommer Contemporary Art, Tel Aviv. Support: Artis Grant Program; Consulado Geral de Israel em São

OPAVIVARÁ!

Paulo; Mifal Hapais for art and culture; Nathalie and Jean-Daniel

TRANSNÔMADES, 2016. [Transnomads]. Ambulant relational

Cohen-Luxembourg; Myriam and Jacques Salomon collection, Paris;

devices. 7 devices, dimensions variable. Support: Cooperativa de

Ayelet and Yair Landau; Art Partners; Diane Henin.

Catadores da Baixada do Glicério, São Paulo. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Misheck Masamvu

Presentation produced in partnership with Sesc-SP.

Spiritual Host, 2016. Oil on canvas. 175 × 450 cm. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Öyvind Fahlström

Midnight, 2016. Oil on canvas. 175 × 450 cm. Commissioned by the

Column no. 1 (Wonder Bread), 1972. Offset lithograph. 71 × 59 cm.

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Deichtorhallen Hamburg / Falckenberg Collection. Support: Moderna Museet.

Mmakgabo Helen Sebidi

Column no. 2 (Picasso 90), 1973. Silkscreen (26 colors). 76 × 55.9 cm.

Tears of Africa, 1987-1988. Collage, charcoal and pastel on paper.

Deichtorhallen Hamburg / Falckenberg Collection. Support: Moderna

195 × 390 cm (diptych). Support: Everard Read Gallery.

Museet.

Untitled, 2016. 230 × 298 cm. Support: Goethe-Institut Salvador-

Column no. 3 (Chile F), 1974. Silkscreen in colors. 99.5 × 69.5 cm.

Bahia. Commissioned by the Fundação Bienal de São Paulo for the

Deichtorhallen Hamburg / Falckenberg Collection. Support: Moderna

32 Bienal (2016).

Museet.

Column no. 4 (IB-Affair), 1974. Silkscreen (26 colors). 75.9 × 56.4 cm.

Naufus Ramírez-Figueroa

Deichtorhallen Hamburg / Falckenberg Collection. Support: Moderna

Series Corazón del Espantapájaros, 2015-2016. [Heart of the

Museet.

Scarecrow]. Acquatint. 9 pieces, 37 × 29 each. Courtesy: the artist

Den svåra resan (för blandad talkör), 1954. [The Difficult Journey

and Proyectos Ultravioleta, Guatemala. Support: Goethe-Institut

(for mixed voice choir)]. Mixed voice choir. Performance recorded

São Paulo.

live by Swedish National Radio, April, 1972 at Fylkingen, Stockholm.

Corazón del Espantapájaros, 2016. [Heart of the Scarecrow].

Installation with wall text suggested by Antonio Sergio Bessa in

Performance and installation (props and costume). Support: Proyectos

2001. 5’25’’. Collection Sharon Avery-Fahlström. Support: Moderna

Ultravioleta, Guatemala; Goethe-Institut São Paulo. Collaborators:

Museet.

Wingston González (poem); Co-directed by: Martha Kiss Perrone;

Elements from “Masses”, 1976. Baked enamel on metal with

Interpreters: Felipe Riquelme, Jaya Batista, Lowri Evans, Natália

magnets. 69.9 × 69.9 × 1.4 cm. Collection Sharon Avery-Fahlström.

Mendonça, Ricardo Januário; Costume: Valentina Soares, Alex

Support: Moderna Museet.

Cassimiro. Acknowledgements: Byron Figueroa, Wingston González,

Mao-Hope March, 1966. 16mm film. 4’5’’. Collection Sharon Avery-

José Luis Blondet, Rita González, Pilar Tompkins, Stefan Benchoam,

Fahlström. Support: Moderna Museet.

Dominique Ratton. Commissioned by the Fundação Bienal de

Packing the Hard Potatoes (Chile 1: Last Months of Allende Regime.

São Paulo for the 32 Bienal (2016) and Los Angeles County

Words by Plath and Lorca), 1974. Variable structure. Painted

Museum of Art (LACMA).

forms attached to spring wires and magnets. Acrylic and India ink

on vinyl. Painted metal panel. 112 × 211 × 10 cm. Museo Nacional

Nomeda & Gediminas Urbonas

Centro de Arte Reina Sofia Collection, Madrid. Long-term of

Psychotropic House: Zooetics Pavilion of Ballardian Technologies,

Sharon Avery-Fahlström. Support: Moderna Museet.

2016. From the series Mycomorph Laboratory. Climate chambers,

Sketch for World Map, 1973. Silkscreen print. 55.9 × 106 cm.

series of workshops, mycelium, agricultural waste, metal and PVC.

Collection Helena Tatay. Support: Moderna Museet.

Dimensions variable. Support: Lithuanian Council for Culture;

Sketch for World Map Part 1 (Americas. Pacific), 1972. Offset

Contemporary Art Centre (CAC); School of Architecture and

lithograph on newsprint. 85.4 × 101.6 cm. Deichtorhallen

Planning, MIT; Creative Arts Council, MIT; HASS Fund Award, MIT.

Hamburg / Falckenberg Collection. Support: Moderna Museet.

Sitting...Blocks, 1965-1966. Tempera on vinyl mounted on wood. 10

Pope.L

blocks, 38 × 38 × 38 cm (each). Collection Sharon Avery-Fahlström.

Baile, 2016. [Ball]. Endurance performance. 4 days, 24 hours per day.

Courtesy: Galerie Aurel Scheibler, Berlin. Support: Moderna Museet.

Support: U.S. Consulate General in São Paulo; Mitchell-Innes & Nash

Sitting...Directory, 1962-1963. Tempera, ink and pencil on paper.

Gallery. Commissioned by the Fundação Bienal de São Paulo for the

30 × 38.3 × 1 cm (closed), 66 pages (front and back). Collection Sharon

32nd Bienal (2016).

Avery-Fahlström. Support: Moderna Museet.

Baile: Document, 2016. [Ball: Document]. “Landscape that

Sitting...Dominoes, 1966. Silkscreen in colors on vinyl, plexiglass,

Michel Temer may have drawn with framed Festa de Debutante

magnets, enamel on metal. Framed: 115 × 83.5 × 10.5 cm, no frame:

photograph”, latex skull, plaster dust, pen, and cut paper in

71.8 × 102.6 × 1.8 cm. Collection Sharon Avery-Fahlström. Courtesy:

conjunction with 72-hour performance of resistance. Dimensions

Galerie Aurel Scheibler, Berlin. Support: Moderna Museet.

variable. Support: U.S. Consulate General in São Paulo; Mitchell-Innes

Study for “Sitting...The Stamp”, 1963. Tempera and India ink on

& Nash Gallery. Commissioned by the Fundação Bienal de São Paulo

canvas mounted on wood panel. Framed: 52.8 × 58 cm. Collection

for the 32nd Bienal (2016).

Sharon Avery-Fahlström. Courtesy: Galerie Aurel Scheibler, Berlin. Support: Moderna Museet.

Priscila Fernandes

Study for World Model (Garden), 1974. Silkscreen in colors.

GOZOLÂNDIA E OUTROS FUTUROS, 2016. [Cuckoo-land and

69.2 × 99.4 cm. Deichtorhallen Hamburg / Falckenberg Collection.

Other futures]. Installation with video projection, Inkjet Fine Art

Support: Moderna Museet.

prints, beach chairs and printed fabric. Support: Fundação Calouste Gulbenkian; Mondriaan Fund; República Portuguesa – Cultura |

Park McArthur

Direção-Geral das Artes. Commissioned by the Fundação Bienal de

Sometimes You’re Both, 2016. Stainless steel, various products

São Paulo for the 32nd Bienal (2016).

made of latex rubber. 25 plinths, 86.4 × 48.3 × 83.8 cm each.

Ahahah, 2016. Inkjet Fine Art Print. 200 × 150 cm, framed.

Acknowledgments: ESSEX STREET, New York; Lars Friedrich,

Ergonomia do abstracionismo, 2016. [Ergonomics of

Berlin. Commissioned by the Fundação Bienal de São Paulo for the

Abstractionism]. Teka wood and print on fabric. 120 × 100 × 70 cm.

32nd Bienal (2016).

Gozolândia, 2016. [Cuckoo-land]. Full HD video projection (color and sound). 17’35’’.

Pia Lindman

O salto, splash, 2016. [The Jump, Splash]. Inkjet Fine Art Print.

Nose Ears Eyes, 2016. Structure of Bamboo and mud; treatment

200 × 150 cm, framed.

bench, ink, oil crayon, paper, plants, air, mycorrhiza, tree, soil;

Uma vista em fuga, 2016. [A Vanishing View]. Inkjet Fine Art Print.

and performative activations. Dimensions variable. Support:

200 × 150 cm, framed.

Arts Promotion Centre; KONE Foundation; Aalto University; Nordic Culture Fund; Frame Visual Art Finland; Nordic Culture Point.

Rachel Rose A Minute Ago, 2014. HD video. 8’43’’. Courtesy: Gavin Brown’s

Pierre Huyghe

Enterprise, New York; Pilar Corrias Gallery, London. Support: U.S.

Cerro Indio Muerto, 2016. [Dead Indian Hill]. Photograph.

Consulate General in São Paulo.

80 × 120 cm. Support: Consulado Geral da França em São Paulo;

Everything and More, 2015. HD video. 10’31’’. Courtesy: Gavin

Institut Français. Commissioned by the Fundação Bienal de São Paulo

Brown’s Enterprise, New York; Pilar Corrias Gallery, London.

for the 32nd Bienal (2016).

Support: U.S. Consulate General in São Paulo.

De-Extinction, 2016. Film (color, 5.1 sound). 12’38’’. Support: Consulado Geral da França em São Paulo; Institut Français.

Rayyane Tabet

De-Extinction (S.P. Evolution), 2016. Insects. Dimensions variable.

Sósia, 2016–ongoing. Publication and narration in Arabic of the book

Support: Consulado Geral da França em São Paulo; Institut Français.

Um copo de cólera [A Cup of Rage] by Raduan Nassar, translated

Commissioned by the Fundação Bienal de São Paulo for the

from Portuguese by Mamede Jarouche. The novel was written in

32nd Bienal (2016).

1970 and first published in 1978. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Pilar Quinteros Smoke Signals, 2016. Video. Approx. 45’. Support: Consejo Nacional

Rikke Luther

de la Cultura y las Artes de Chile (CNCA), Dirección de Asuntos

Overspill: Universal Map, 2016. Drawings printed on tiles, original

Culturales del Ministerio de Relaciones Exteriores de Chile (DIRAC),

tiles for the Ciccillo Matarazzo Pavilion, toxic mud from Mariana,

Mário Eduardo de Cico. Director: Pilar Quinteros; Camera: Alexis

slime molds with biotopes, and found and modelled objects.

Llerena; Video Editor: Pilar Quinteros; Video Editing Assistant: Alexis

Overall dimensions: 3.88 × 30.6 m (approx.). Support: Danish

Llerena; Assistants: Ignacio Helmke, Héctor Vergara; Tour Guide and

Arts Foundation; Nordic Culture Fund; Nordic Culture Point; ifa

Host: Maurinhio Ferreira da Silva; Boat Driver: Fabio Delcio Tonin

(Institut für Auslandsbeziehungen). Acknowledgements: Instituto de

Tanhadera; Locations: Serra do Roncador (Mato Grosso, Brazil);

Geociências – USP; Museu Valdemar Lefèfre (MUGEO). Commissioned

Rio das Mortes (Mato Grosso, Brazil); Original Soundtrack: Diego

by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Lorenzini. Commissioned by the Fundação Bienal de São Paulo for

Outer Space, 2016. Panel of tiles. 210 × 375 cm.

the 32nd Bienal (2016).

Antarctica, 2016. Panel of tiles. 210 × 375 cm.

High Sea, 2016. Panel of tiles. 210 × 375 cm.

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

Atmosphere, 2016. Panel of tiles. 210 × 375 cm.

Auslandsbeziehungen); Goethe-Institut São Paulo.

Rita Ponce de León

Sonia Andrade

En forma de nosotros, 2016. [In the Shape of Us]. Installation

Hydragrammas, 1978-1993. Set composed of approx. 110 objects

composed of sculptures made of plywood sheets, reinforced mortar

and their reproductions in slide with a word in Portuguese or French.

of cement and sand, wire mesh, wood, kraft paper, structured

Dimensions variable.

plaster with burlap and jute canvas, cement finish, clay, glue, audio

Presentation produced in partnership with Sesc-SP.

recordings and 8 drawings (China ink and pencil on paper). Overall dimensions: 1650 × 800 cm (approx.). Aknowledgements: Educational

Susan Jacobs

Program (Bienal de São Paulo); Emilie Sugai; Peter Webb; Dorothy

Through the Mouth of the Mantle, 2016. Installation composed

Lenner; Michiko Okano; Tilsa Otta; Yaxkin Melchy; Mauricio de

of compressed sand, HD video (sound), glass, motor, lazy susan,

la Puente; participants of the Dias de Estudo (Lamas, Peru); team of

aluminium, gallium. Dimensions variable. This project was supported

Waman Wasi, Pratec; communities of Alto Pucalpillo, El Naranjal,

by the Victorian Government through Creative Victoria and the

Anaq Churuyacu; Elaine Fontana; Joelle Gruenberg; Arnulfo Rendón;

Victorian College of the Arts, Australia. Commissioned by the

Víctor Florido; Livia Benavides; Associação Tochigi; Fundação

Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Armando Alvares Penteado (FAAP). Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Till Mycha (Helen Stuhr-rommereim & Silvia Mollicchi) The First Decade of June, 2016. Text, print. Poster graphic design by

Rosa Barba

Eliza Koch. 59 × 84 cm. Support: Consulado-Geral dos Estados Unidos

Disseminate and Hold, 2016. 16 mm film transferred to digital,

da América em São Paulo. Commissioned by the Fundação Bienal de

archival material, sound. 21’13”. Courtesy: the artist. Commissioned

São Paulo for the 32nd Bienal (2016).

by Fondation Prince Pierre de Monaco, XLVIème Prix International d’Art Contemporain.

Tracey Rose

White Museum (São Paulo), 2010 / 2016. 35 mm white film,

A Dream Deferred (Mandela Balls), 1 / 95 Health Vitality Skin &

projector. Dimensions variable. 30’. Support: ifa (Institut für

Care, 2013-2014. Papier collé, plastic and tape. Dimensions variable.

Auslandsbeziehungen).

Museo Nacional Centro de Arte Reina Sofía Collection, Madrid. Courtesy: the artist.

Ruth Ewan

A Dream Deferred (Mandela Balls), 2 / 95 A Rock and Hard Place:,

Back to the Fields, 2015 / 2016. Installation composed of plants,

A TRIBUTE #16061976, 2013-2014. Papier collé, plastic and tape.

bones, agricultural tools and minerals. Dimensions variable. Support:

Dimensions variable. Museo Nacional Centro de Arte Reina Sofía

British Council; The Henry Moore Foundation; Arts Council

Collection, Madrid. Courtesy: the artist.

England. Acknowledgments: Museu da Imigração do Estado de

A Dream Deferred (Mandela Balls), 3 / 95 An Exercise in Colour

São Paulo / Governo do Estado de São Paulo; Museu do Vinho

Control, 2014. Handmade Paper Capellades 100% cotton, butchers

Wine Weekend – Vinho Magazine – Vinícola Goes; Museu Afro

paper, newsprint, acrylic paint, packaging tape, black garbage bag,

Brasil; Manuel Silveira Corrêa; Helena Isola; Museu de Geociências

cling wrap, air. 40 × 50 × 53 cm. Courtesy: the artist and Dan Gunn.

IGc / USP; Fabio Pugliese; Família Geld; Museu de Anatomia

A Dream Deferred (Mandela Balls), 4 / 95 Genghis Khan Cack

Veterinária da Faculdade de Medicina Veterinária e Zootecnia da

Handed Sperm, 2014. Butchers paper, The International Herald

Universidade de São Paulo; Museu do Instituto Biológico do Estado

Tribune, blank newsprint, The Mercury Racing Tab, packaging tape,

de São Paulo.

acrylic gel, plastic bags. 43 × 75 × 52 cm. Courtesy: the artist and Dan Gunn.

Sandra Kranich

A Dream Deferred (Mandela Balls), 5 / 95 Placebo Domino, 2014.

Times Wire, 2010. Knitted electric cable, firework and electric

Powered stones, wire, plastic bags, blank newsprint, The Sunday

ignition. Dimensions variable. Support: ifa (Institut für

Times, The International Herald Tribune, paper towel, acrylic paint,

Auslandsbeziehungen); Goethe-Institut São Paulo.

packaging tape, acrylic gel and conservation glue. 42 × 66 × 55 cm.

R. Releif 7, 2016. Lacquered metal reliefs, fireworks and

Courtesy: the artist and Dan Gunn.

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

A Dream Deferred (Mandela Balls), 7 / 95 Eye & I (maquette),

Auslandsbeziehungen); Goethe-Institut São Paulo. Commissioned by

2016. Cardboard box cameras, monster ball, acrylic paint, elastic

the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

band. Dimensions variable. Courtesy: the artist and Dan Gunn.

R. Relief 8, 2016. Lacquered metal reliefs, fireworks and

Commissioned by the Fundação Bienal de São Paulo for the

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

32nd Bienal (2016).

Auslandsbeziehungen); Goethe-Institut São Paulo.

A Dream Deferred (Mandela Balls), 9 / 95 For the Olive People: How

R. Relief 9, 2016. Lacquered metal reliefs, fireworks and

long is a peace of string?, 2013 – ongoing. Medium: Floss, string,

electric ignition. 188 × 144 × 6 cm. Support: ifa (Institut für

cord, ribbon, thread, rope, line, drawstring. Dimensions variable.

Auslandsbeziehungen); Goethe-Institut São Paulo.

Courtesy: the artist and Dan Gunn. Commissioned by the Fundação

R. Relief 10, 2016. Lacquered metal reliefs, fireworks and

Bienal de São Paulo for the 32nd Bienal (2016).

A Dream Deferred (Mandela Balls), 10 / 95 Viral virus: The Mandela

Vivian Caccuri & KEYZuZ, Ghalileo, Kuvie, MensaHighlife,

Effect, 2016. Acrylic paint, glue, beach ball, newspaper, drawings and

Mutombo Da Poet, Panji Anoff, Sankofa, Steloo, Wanlov,

prints on Hahnemühle paper, plastic domes. Dimensions variable.

Yaw P

Courtesy: the artist and Dan Gunn. Commissioned by the Fundação

TabomBass, 2016. Subwoofers, amplifiers, software, wood, candles

Bienal de São Paulo for the 32nd Bienal (2016).

and stereo audio. Dimensions variable. Support: Dubversão Sistema de

A Dream Deferred (Mandela Balls), 11 / 95 Mud on [the] Dan’s

Som. Commissioned by the Fundação Bienal de São Paulo for the 32nd

floor, 2016. Charcoal, chalk, mosaic tiles and mirrors, rubber ball,

Bienal (2016).

chains, tape, soil. Dimensions variable. Courtesy: the artist and Dan

Presentation produced in partnership with Sesc-SP.

Gunn. Commissioned by the Fundação Bienal de São Paulo for the 32nd Bienal (2016).

Wilma Martins

FALSE FLAG: A deed in 2 acts (Mandela Balls) 8 / 95, 2016. From

Cotidiano, 1975-1984. [Everyday]. Artist’s notebook, 144

the series Mandela Balls. Rubber, glass, tape, glue, pen, air, plastic.

p. / 18 × 15.6 × 2 cm; 62 fac-simile prints. Artist’s collection.

Dimensions variable. Courtesy: the artist and Dan Gunn, Berlin.

Interior, 1974. [Inside]. Acrylic on canvas. 100 × 73 cm. Artist’s

Mandela Balls 6 / 95 (Strange Fruit #JeSuisPatriceLumumba), 2015.

collection.

Plastic, plant (strelitzia reginae), tape, Belgian chocolate on wood

Cotidiano, 1974. [Everyday]. Acrylic on canvas. 100 × 73 cm.

board. 30 × 60 × 42 cm. Courtesy: the artist and Dan Gunn.

Collection Frederico Morais.

Portrait for a Young Black Man, 2013. Mixed media on paper.

Cotidiano, 1976. [Everyday]. Acrylic on canvas. 100 × 73 cm.

240 × 210 cm. Courtesy: the artist and Dan Gunn.

Artist’s collection. Cotidiano, 1978. [Everyday]. Acrylic on canvas. 100 × 73 cm.

Ursula Biemann & Paulo Tavares

Collection Frederico Morais.

Forest Law – Selva jurídica, 2014 / 2016. 2 channel video projection,

Cotidiano, 1979. [Everyday]. Acrylic on canvas. 75 × 50 cm. Private

assemblage of documents, soil samples and publication. 41’. Support:

collection.

Pro-Helvetia. Commissioned by Ely and Edythe Broad Art Museum,

Cotidiano, 1979. [Everyday]. Acrylic on canvas. 75 × 50 cm. Artist’s

State University of Michigan.

collection. Cotidiano, 1981. [Everyday]. Acrylic on canvas. 100 × 73 cm.

Víctor Grippo

Collection Frederico Morais.

Analogía I, (2da. versión), 1970 / 1977. [Analogy I, (2nd Version)].

Sem título, 1982. [Untitled]. Vinyl paint on canvas. 100.3 × 73.3 cm.

Installation composed of 400kg of potato, zinc electrodes and copper

Collection Gilberto Chateaubriand Museu de Arte Moderna do Rio

electrodes, electrical cables, electric meter DC voltage, electric push,

de Janeiro.

chair, white linen tablecloth, text, wood, wooden easels, synthetic

Sem título, 1983. [Untitled]. Oil on canvas. 65.3 × 54.3 cm. Collection

enamel and white paint. Dimensions variable. Jointly acquired

João Leão Sattamini Netto (Museu de Arte Contemporânea de

by The Art Institute of Chicago, prior gift of Adeline Yates; and

Niterói).

the Philadelphia Museum of Art, with funds contributed by the

Cotidiano, 1984. [Everyday]. Acrylic on canvas. 70 × 50 cm. Artist’s

Committee on Modern and Contemporary Art. Support: Consulado

collection.

Geral da República Argentina em São Paulo.

Cotidiano, 1984. [Everyday]. Acrylic on canvas. 70 × 50 cm. Artist’s

Naturalizar al hombre, humanizar a la naturaleza, o Energía vegetal,

collection.

1977. [Man Naturalization, Nature Humanization, or Vegetal Energy].

Santa Teresa 1 – com elefantes, 1984. [Santa Teresa 1 – with

Installation composed of 400kg of potato, 8 or 10 kinds of lab

Elephants]. Acrylic on canvas. 100 × 73 cm. Artist’s collection.

flasks, rubber stoppers, cotton swabs, drawing ink of different colors

Santa Teresa 2, 1984. Acrylic on canvas. 100 × 73 cm. Artist’s collection.

diluted with water, white linen tablecloth, bronze plaque with text,

Santa Teresa 3 – com cristais, 1984. [Santa Teresa 3 – with Crystals].

wood, sawhorses and white paint. Dimensions variable. Courtesy: the

Acrylic on canvas. 100 × 73 cm. Artist’s collection.

Estate of the Artist and Alexander and Bonin, New York. Support:

Rio de Janeiro com cristais, 1986. [Rio de Janeiro with Crystals].

Consulado Geral da República Argentina em São Paulo.

Acrylic on canvas. 160 × 190 cm. Artist’s collection. Cotidiano, 1993. [Everyday]. Ink and ecoline on paper. 100 × 72 cm.

Vídeo nas Aldeias

Artist’s collection.

O Brasil dos Índios: um arquivo aberto, 2016. [The Brazil of the

Cotidiano, 1993. [Everyday]. Ink and ecoline on paper. 100 × 72 cm.

Indians: An Open Archive]. Installation with 81 video fragments

Artist’s collection.

from the archive material of Vídeo nas Aldeias, produced in its

Morro Dona Marta 24 horas, 2016. [Dona Marta Hill 24 hours].

30 years of experience with the indigenous peoples in Brazil, and

Colored pencils on paper Fabriano. 25 pieces, 25 × 23 cm each.

sequences of films of filmmakers, activists, indigenous leaders, partner

Artist’s collection.

institutions and collaborators, between the years 1911 and 2016. Concept, research and video-editing: Ana Carvalho, Tita and Vincent

Wlademir Dias-Pino

Carelli. Commissioned by the Fundação Bienal de São Paulo for the

Enciclopédia Visual Brasileira, 1970-2016. [Brazilian Visual

32nd Bienal (2016).

Encyclopedia]. Digital collages and collages on paper installed on

Presentation produced in partnership with Sesc-SP.

6 painted walls. 14 reproductions and 397 original collages, A3 format approx.

Outdoors, 2015-2016. Acrylic on wood. 20 images, 220 × 160 cm. Invited Curators: Tobi Maier, Leandro Nerefuh; Assistance: Caetano Carvalho, Octávio Ferran; Collaborator: Regina Pouchain. Presentation produced in partnership with Sesc-SP.

Xabier Salaberria Restos materiales, obstáculos y herramientas, 2016. [Material Remains, Obstacles and Tools]. Wood, iron, concrete, mineral water, photography; artwork from the Fundação Bienal de São Paulo Collection (Animal, 1963, by Liuba Wolf. Bronze sculpture, 96 × 61 × 49 cm). Dimensions variable. Support: Acción Cultural Española, AC / E; Etxepare.