STATEMENTS Objects from the Museu Nacional
Citrine
From the Mineralogy collection at the Departamento de Geologia e Paleontologia – Museu Nacional/UFRJ. Rescued by the Núcleo de Resgate de Acervos [Collections Rescue Nucleus] after the fire
Ritxòkò
Karajá doll donated in 2018 by Kaimote Kamaiura to the Collection of Setor de Etnologia e Etnografia –Museu Nacional/UFRJ
Santa Luzia Meteorite, 1921
Goiás (Brazil). Collection: Setor de Meteorítica –Museu Nacional/UFRJ
The Bell from Ouro Preto
Documentation in video of the bell of the Capela da Nossa Senhora do Rosário dos Homens Brancos (also called Capela do Padre Faria), shot on 2nd November 2020, All Souls’ Day. It was the first time that the bell returned to play since the suspension of religious rites in Minas General due to the covid-19 pandemic. Recording and Editing: Lucas Gontijo de Godoy Duration: 12h A Ronda da Morte by Hélio Oiticica
Draft for the Parangolé-área: A Ronda da Morte project, May, 1979
Facsimile
Letter from Hélio Oiticica to Martine Barrat, May, 1979
Facsimile
Reading by Martine Barrat of the letter written by Hélio Oiticica
Notebooks by Carolina Maria de Jesus
Diary, 07/04/61 – 06/05/61
Manuscript
The Portraits of Frederick Douglass, 1841-1895
Fine art print in poster format 60 × 40 cm
120 portraits of the approximately 160 carried out in Frederick Douglass’ lifetime were collected and printed. Collections: Greg French; Onondaga Historical Association; Albert Cook Myers Collection / Chester County Historical Society; MoorlandSpingarn Research Center / Howard University; National Portrait Gallery / Smithsonian Institution; The Art Institute of Chicago; John Chester Buttre; Nelson-Atkins Museum of Art; Clements Library / University of Michigan; New York Historical Society; University of New Mexico Art Museum; National Park Service; Swann Auction Galleries; Massachusetts Historical Society; Hillsdale College; Special Collections / Lavery Library / St. John Fisher College; Lynn Museum and Historical Society / Hutchinson Family Singers Album; Virginia Historical Society; Connecticut Historical Society; R. R. Auction; Division of Rare and Manuscript Collections / Cornell University; Boston Athenaeum; Kansas State Historical Society; American Antiquarian Society; Gilder Lehrman Institute of American History; Cincinnati History Library and Archives; Beinecke Rare Book and Manuscript Library; Kansas State Historical Society; Anacostia Community Museum Archives / Smithsonian Institution; Monroe County Public Library / State Archives of Florida; Frank Leslie’s Illustrated Newspaper; Smithsonian National Museum of African American History and Culture; John White Hurn; Rochester Public Library; Chicago History Museum; The Metropolitan Museum of Art; Mississippi Department of Archives and History and Manuscript Library; Augustus Robin; Anna Roelofs; Tuskegee University; Schlesinger Library on the History of Women in America, Radcliffe Institute and New Bedford Whaling Museum
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Diary, 13/07/60 – 24/07/60
Manuscript
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Diary, 26/10/60 – 03/12/60
Manuscript
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Diary, 6/10/60 – 03/12/60
Manuscript
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Manuscripts of “A senhora perdeu o direito”, 1960
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Manuscripts of “Dr. Silvio”, undated
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Manuscripts of “O escravo”, undated
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik
Video 5’30’’
Manuscripts of “Oh Se eu soubesse”, undated
Collection: Arquivo Público Municipal de Sacramento: Cônego Hermógenes Casimiro de Araújo Bruonswik Two Embroideries by João Cândido
Amôr, c. 1910
Love
Embroidery
50 × 80 cm
Collection: Museu Municipal Tomé Portes Del Rei
O adeus do marujo, c. 1910
The sailorman’s goodbye Embroidery
80 × 50 cm
Collection: Museu Municipal Tomé Portes Del Rei
Letters from Joel Rufino to his son
Paris-Varsovie, 1947
Paris-Warsaw, Notebooks of Ivry-sur-Seine Manuscript (facsimile)
Pour en finir avec le jugement de dieu, 1947
To have done with the judgment of God, Notebooks of Ivry-sur-Seine Manuscript (facsimile)
Sort à Roger Blin, 1939 Sortilege to Roger Blin Manuscript (facsimile)
Édouard Glissant
Support: Institut français à Paris
Afrique, Afrique, 1981
Africa, Africa
Manuscript (facsimile)
Brésil, undated
Brazil Manuscript (facsimile)
Cahier d’un Voyage sur le Nil, 1988 Notebook of a Trip to the Nile Manuscript (facsimile)
Cut/Relation in Antonin Artaud and Édouard
Glissant
Antonin Artaud
Support: Institut français à Paris
Notebooks of Rodez, 1946
Manuscript (facsimile)
Lettre à Ella, undated Letter to Ella Manuscript (facsimile)
Preparatory notebook for Le Discours antillais
The Antillean Discourse Notebook cover (facsimile)
29 letters and 2 telegrams, 1973-1974 Facsimile
Preparatory writings for Le Discours antillais, 1981
The Antillean Discourse
Manuscript (facsimile)
Violence sans cause. Colonialisme et culture. L’Identité culturelle
Senseless Violence, Colonialism and Culture, Cultural Identity Manuscript (facsimile)
The Engraved Image of Coatlicue
Alexander von Humboldt
Aztec basaltic porphyry idol found under the sidewalk of the great square of Mexico City. In: Vues des cordillères, et monuments des peuples indigènes de l’Amérique. Première partie, Relation Historique, Voyage de Humboldt et Bonplant, Atlas Pittoresque [Views of the Cordilleras, and monuments of the indigenous peoples of America.
Part 1, Historical Relation, Voyage of Humboldt and Bonplant, Atlas Pittoresque]. Paris, 1810
Collection: The George Peabody Library, The Sheridan Library, The John Hopkins University Facsimile
Antonio León y Gama
Descripción histórica y cronológica de las dos piedras: Que con ocasión del nuevo empedrado que se está formando en la plaza principal de México, 1792 [Historical and chronological description of the two stones: That on the occasion of the new paving that is being formed in the main square of Mexico].
Mexico City: Imprenta del ciudadano Alejandro Valdés, 1832 [1st edition: 1792]
Collection: Dumbarton Oaks, Washington, D.C. Trustees for Harvard University Facsimile
Paulo
Freire – Circles
The Art Circles were moments of conversation between the public and the mediation team of the 34th Bienal, inspired by the principles of autonomy, horizontality and dialogicity proposed by Paulo Freire. Thirteen Art Circles were held, one a week, on the statements that organize the exhibition
Hiroshima mon amour by Alain Resnais
Hiroshima mon amour, 1959
Excerpt of the film
4' © Argos Films
Support: Consulado Geral da França em São Paulo
The Dedication from Constantin Brancusi
Catalog of Constantin Brancusi at the Brummer Gallery, New York, 1926, which belonged to Tarsila do Amaral. On the first page, there’s a dedication from the artist to the newlyweds Tarsila and Oswald de Andrade
Collection: Pedro Corrêa do Lago
Tikmũ’ũn Songs
Installation with audios of the Tikmũ’ũn ritual songs, 9 books and transcriptions and translations of the songs. The songs Piabinha, Cabeça branca, Você aguenta, Cabeça vermelha e Tié-preto envergonhado were recorded with the community of women, men and Yãmĩyxop from Pradinho in the Maxakali Indigenous Land (Bertópolis-MG), in October 2003. The songs Sobrinho, Papa-mel and Beija-flor were recorded with the community of women, men and Yãmĩyxop from Água Boa in the Maxakali Indigenous Land (Santa Helena de MinasMG), in October 2003.
Song Recording, Editing and Mastering: Leonardo Pires Rosse Editing Assistant: Eduardo Pires Rosse.
Research Coordinator: Rosângela Pereira de Tugny The approach to the tikmũ‘ũn songs was only possible due to multiple conversations with: Charles Bicalho, Isael Maxacali, Paula Berbert, Roberto Romero and Sueli Maxacali, whom the curators of the 34th Bienal de São Paulo are thankful to
Cerâmica Paulista
Bowl, Tupi culture, undated
Ceramic
38 × 30 cm
Collection: Museu de Arqueologia e Etnologia da Universidade de São Paulo
Ceramic from São Paulo, undated
Ceramic
31 × 26 × 14 cm
Collection: Centro de Arqueologia de São Paulo
Ceramic from São Paulo, 17th-18th centuries
Ceramic 26 × 16 × 12 cm
Collection: Centro de Arqueologia de São Paulo
Ceramic from São Paulo, 19th century
Ceramic
35 × 50 cm
Collection: Museu Histórico Sorocabano
Ceramic from São Paulo, 20th century
Ceramic
18 × 26 cm
Collection: Museu Nossa Senhora Aparecida
Saucepan, 20th century
Ceramic
30 × 40 cm
Collection: Centro Cultural Ribeirão Grande, Casa Grande, São Paulo
Tupiniquim Ceramic, undated
Ceramic
16 × 25 cm
Private collection
Urn, Tupi culture, undated
Ceramic
70 × 55 cm
Collection: Museu de Arqueologia e Etnologia da Universidade de São Paulo
Abel Rodríguez
Participation in the 34th Bienal supported by: Cancillería de Colombia – Embajada de Colombia en Brasil
El árbol de la vida y de la abundancia, 2018
Tree of Life and Abundance
Ink on paper 153 × 153 cm
Private collection
Árbol de la vida y de la abundancia, 2018
Tree of Life and Abundance
Pencil and ink on paper 153 × 153 cm
Private collection
Árboles tutelares del bosque maduro (1–5), 2005
Guardian Trees of the Cultivated Forest (1-5)
Pencil and ink on paper Dimensions variable Collection: Tropenbos Internacional Colombia, Bogotá Courtesy: Tropenbos Colombia (Making knowledge work for forests and for people)
La montaña firme, 2018
The Firm Mountain Acrylic on paper 75 × 104,5 cm
Private collection
Orilla de río, 2018 River Bank
Ink on paper 72,5 × 102,3 cm
Private collection
Río Cahuinarí, 1998
Cahuinarí River
Pencil and ink on paper 78 × 108 cm Collection: Tropenbos Colombia (Making knowledge work for forests and for people)
ARTISTS
Terraza Baja, 2020
Ink on paper
76,7 × 106 cm
Private collection
Terraza de Centro, 2021
Center Terrace
Acrylic on paper 76,7 × 106 cm
Collection: Instituto de Vision
Terraza Vaja III, 2020
Ink on paper 59,5 × 80 cm
Private collection
Terraza Vajo, 2020
Ink on paper 61,5 × 82,5 cm
Private collection
Courtesy of the artist Adrián Balseca
Participation in the 34th Bienal supported by: PCAI –Polyeco Contemporary Art Initiative
BadYear, 2020-2021
Natural rubber, metal clips
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Medio Camino, 2014
Half Way
4K video
15’41” (loop)
Artist’s collection
Courtesy of the artist
Alfredo Jaar
Participation in the 34th Bienal supported by: Ministerio de Relaciones Exteriores y Ministerio de las Culturas, las Artes y el Patrimonio – Gobierno de Chile
A Hundred Times Nguyen, 1994
Installation: 24 framed pigment prints, large framed matrix print, unique collage, video, 24’ Courtesy of the artist and Kamel Mennour, Paris
Chiaroscuro, 2021
Printed ink on paper 90 × 60 cm
Courtesy of the artist and Galeria Luisa Strina, São Paulo
Alice Shintani
Mata (series), 2019-2021
Forest / Kill
Gouache on paper 70 pieces, 75 × 55 cm (each) Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Menas (series), 2015-2021
Less
Gouache and embroidery on paper boxes of food and cleaning products 150 pieces, dimensions variable Artist’s collection
The series Mata was also included in the exhibition Vento, between November 14th and December 13th, 2020
Amie Siegel
Asterisms, 2020
4K Multichannel video installation 54’
Artist’s collection
Courtesy of the artist and Thomas Dane Gallery
Co-commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Surrogates, 2016
Continuous slide projection
Courtesy of the artist and Thomas Dane Gallery
Ana Adamović
My Country is the Most Beautiful of All, 2011-2013
HD video-installation in 3 channels
2’51”
Artist’s collection
Two Choirs, 2013-2014
2-channel HD video installation
2’05”
Lyrics: Srećko Djurdjević; choir: Sara Dukić, Milica Dobroka, Danica Gojković, Ivan Jovičić, Kenan Kučević, Jovana Madlić, Nadja Manić, Mihajlo Nikolić, Saša Prendić, Nevena Stojković, Ognjen Tasovac, Milica Vučković; conductor: Dijana Dukić; piano: Srdjan Marković; DP and video post production: Vladan Obradović; audio: Srdjan Bajski Artist’s collection
The Choir, 1962/2020
O coro
Photographic print on cotton paper (exhibition copy)
20 × 14 cm
Collection: Museum of Yugoslavia, Belgrade
Kolibri, Kolarac Concert Hall, Belgrade, 1987/2021
Still from TV footage
20 × 14 cm
Artist’s collection
Fraser
Reporting from São Paulo, I’m from the United States, 1998
5-channel video installation
5’40”, 4’06”, 2’25”, 5’16”, 6’50”
Artist’s collection
Anna-Bella Papp
Molehills I, 2020
Clay, glaze and decal
40 × 27 × 2,5 cm
Artist’s collection Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Molehills II, 2020 Clay
41 × 28,5 × 2,5 cm
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Molehills III, 2020 Clay
40 × 28 × 2,5 cm Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
The Summer Had Swelled the Park, the Trees and Air Chaotically, as is a Madman’s Drawing, 2014 Clay
29,5 × 32 × 3,2 cm
Courtesy of the artista and Stuart Shave/Modern Art London
Untitled, 2012 Clay
35,5 × 25,5 × 3 cm
Artist’s collection
Andrea
Untitled, 2012
Clay
33 × 26 × 4 cm
Artist’s collection
Untitled, 2013 Clay
29 × 25 × 1,5
Artist’s collection
Untitled, 2013 Clay
30 × 24,5 × 3,5 cm
Artist’s collection
Untitled, 2013 Clay
31,7 × 23 × 2 cm
Artist’s collection
Untitled, 2014 Clay
30 × 26,6 × 3 cm
Artist’s collection
Untitled, 2014 Clay
28 × 25,5 × 4 cm
Artist’s collection
Untitled, 2014 Clay
31,5 × 27 × 3 cm
Artist’s collection
Untitled, 2014 Clay
29 × 25 × 2,3 cm
Artist’s collection
Untitled, 2014 Clay
29 × 25,5 × 2,3 cm
Artist’s collection
Untitled, 2014
Clay
29,5 × 24 × 2 cm
Artist’s collection
Untitled, 2015 Clay
32,5 × 30 × 3,5 cm
Artist’s collection
Untitled, 2015 Clay 32,5 × 29 × 4 cm
Artist’s collection
Untitled, 2016 Clay 34,5 × 27 × 2,3 cm
Artist’s collection
Untitled, 2016 Clay 37 × 32,5 × 6 cm
Artist’s collection
Untitled, 2016 Clay 35 × 28,2 × 2,5 cm
Artist’s collection
Untitled, 2016 Clay 37 × 33 × 5 cm
Artist’s collection
Untitled, 2016 Clay 33,3 × 28,5 × 2,5 cm
Artist’s collection
Untitled, 2016 Clay 34 × 27,5 × 2,5 cm
Artist’s collection
Untitled, 2016
Clay
35 × 28,2 × 2,5 cm
Artist’s collection
Untitled, 2016 Clay
36 × 33 × 3,7 cm
Artist’s collection
Untitled, 2016 Clay
35 × 32 × 5 cm
Artist’s collection
Untitled, 2016 Clay
36 × 33 × 6 cm
Artist’s collection
Untitled (mica), 2019
Clay
40 × 31 × 2,5 cm
Artist’s collection
Untitled (Perhaps to say that I’m the snow under my own footsteps would be accurate as a description), 2019 Clay
40 × 29,5 × 1 cm
Artist’s collection
Untitled (soundproofing), 2019 Clay
40,5 × 39,5 × 2,3 cm
Artist’s collection
Untitled (soundproofing II), 2019 Clay
39,7 × 29 × 2,3 cm
Artist’s collection
Untitled (studio I), 2020 Clay
43 × 31,5 × 3,5 cm and 43 × 31 × 2,5 cm
Artist’s collection
Untitled (studio II), 2020
Clay
43 × 33 × 3,5 and 44,5 × 32 × 3,5 cm
Artist’s collection
With eyes closed I’m walking in a black room, with open eyes I’m walking in a white room, 2013
Com os olhos fechados, estou andando em uma sala escura, com os olhos abertos, estou andando em uma sala branca
Argila
28,5 × 20,5 × 1,8 cm
Coleção da artista Antonio Dias
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Antonio Dias could be seen in the Antonio Dias: derrotas e vitórias exhibition at the Museu de Arte Moderna de São Paulo (MAM São Paulo), from October 14, 2020 to March 21, 2021.
ANTONIO DIAS / ARQUIVO / O LUGAR DO TRABALHO, an exhibition of mainly documentary character, took place simultaneously with the Bienal at the Instituto de Arte Contemporânea (IAC), between September 1 and December 18, 2021
Black Mirror, 1968
Wood and formica 30 × 20 cm
Private collection
Environment for the Prisoner, 1970
Acrylic on canvas 95 × 95 cm
Private collection, Fortaleza, CE Illusion, 1971
Acrylic on canvas 130 × 165 cm
Private collection
Mirage, 1970
Acrylic on canvas 95 × 95 cm
Private collection
Project for an Artistic Attitude, 1970
Acrylic on canvas
200 × 300 cm
Collection: Nina Dias
Sem título, 1971
Untitled
Acrylic on canvas 60 × 60 cm
Collection: Marconi Foundation Modern Art
Courtesy: Gió Marconi, Milan
Terror Square (panther-darkness), 1968
Acrylic on canvas 86 × 86 cm
Courtesy: Gió Marconi, Milan
The Hardest Way, 1970
Acrylic on canvas 200 × 300 cm
Private collection
The Image, 1972
Acrylic on canvas 120 × 120 cm
Private collection
The Image: The Day as a Prisoner, 1971
Acrylic on canvas 120 × 120 cm
Private collection, Rio de Janeiro
The Incomplete Biography, 1971
Acrylic on canvas
95 × 95 cm
Collection: João Sattamini, Museu de Arte
Contemporânea de Niterói
The Incomplete Biography, 1971
Acrylic on canvas 130 × 195 cm
Collection: Marconi Foundation Modern Art Courtesy: Gió Marconi, Milan
The Place, 1972
Acrylic on canvas 95 × 95 cm
Collection: João Sattamini, Museu de Arte Contemporânea de Niterói
The Secret Life, 1970
Acrylic on canvas 95 × 95 cm
Courtesy: Gió Marconi, Milan
The Space: Memory, c. 1970
Acrylic on canvas 150 × 150 cm
Collection: Acacio Lisboa
The Traveler, 1970
Acrylic on canvas 120 × 120 cm
Collection: Marconi Foundation Modern Art Courtesy: Gió Marconi, Milan
The Tripper, 1971
Acrylic on canvas 130 × 195 cm
Collection: Marconi Foundation Modern Art Courtesy: Gió Marconi, Milan
Some of the exhibited works were also included in the Vento [Wind] exhibition, between November 14 and December 13, 2020
Antonio Vega Macotela
The Q’aqchas ballade: Ghost Blankets, 2021
Tempered glass blinds with printed leather 6 blinds, 180 × 180 cm (each)
Artist’s collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Arjan Martins
Complexo Atlântico (Corda), 2021
Atlantic Complex (Rope)
Installation with rope and anchor Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Complexo Atlântico (Oceano), 2021
Atlantic Complex (Ocean)
Acrylic on canvas 275 × 765 cm
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Beatriz Santiago Muñoz
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Beatriz Santiago Muñoz could be seen in the exhibition Oriana at Pivô, between September 5 and November 11, 2021
El cuervo, la yegua y la fosa, 2021
The crow, the mare, and the pit Video
16’
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Portrait of Guy Regis Jr., undated Video 3’19”
Belkis Ayón
Arrepentida (Haz que el arrepentimiento sea sincero), 1993
Sorry (Make the regret be sincere)
Collography 93,5 × 67,5 cm
Collection: Belkis Ayón Estate
Dormida (“…renueva tu maternidad sobre mi alma.”), 1993
Asleep (“… renovate your maternity on my soul.”)
Collography 66,5 × 97 cm
Collection: Belkis Ayón Estate
La sentencia (Apártame de todo pecado), 1993
The sentence (Separate me from all sin)
Collography 93,5 × 67,5 cm
Collection: Belkis Ayón Estate
Limbo (“…dame la fortaleza para levantarme…”), 1993
Limbo (“… give me the strength to get me up…”)
Collography 68,5 × 100 cm
Collection: Belkis Ayón Estate Mokongo, 1991
Matrix for collography 200 × 141 cm Private collection
Nuestro deber (“…dame tu reverencia y tu amor…”), 1993
Our duty (“… give me your reverence and your love…”)
Collography 94,5 × 68 cm
Collection: Belkis Ayón Estate
Siempre vuelvo (“…que yo nunca tema lo que la multitud pueda pensar o decir de mí…”), 1993
I always return (“… may I never fear what the crowd may think or say about me…”)
Collography
95 × 68 cm
Collection: Belkis Ayón Estate
Sikan, 1991
Matrix for collography 201 × 141 cm
Private collection
Sin título (Mujer en posición fetal), 1996
Untitled (Woman in Fetal Position)
Collography
193 × 137 cm
Collection: Belkis Ayón Estate
Sin título [Hombre con Sikán en sus manos] (El que venga a mí no tendrá nunca sed.), 1993
Untitled [Man with Sikán in his hands] (He who comes to me shall never be thirsty)
Collography
94 × 71 cm
Collection: Belkis Ayón Estate
Sin título [Sikán con chivo] (Ayúdame a llevar mi cruz con paciencia), 1993
Untitled [Sikán with goat] (Help me carry my cross with patience)
Collography
79 × 67,5 cm
Collection: Belkis Ayón Estate
Sin título [Sikán con puntas blancas] (“… llena de dolor, ve morir...”), 1993
Untitled [Sikán with white tips] (“… full of pain, sees one dying…”)
Collography
79 × 63,5 cm
Belkis Ayón Estate
Sin título [Sikán con serpientes y cruz blanca] (”Crucifícale, caiga su sangre sobre nosotros.”), 1993
Untitled [Sikán with snakes and white cross] (”Crucify him, his blood be upon us”)
Collography
96 × 67 cm
Collection: Belkis Ayón Estate
Sin título [Sikán entrando al rio] (“… átame a Jesús para siempre.”), 1993
Untitled [Sikán entering the river] (“… Tie me to Jesus forever”)
Collography
73 × 94 cm
Collection: Belkis Ayón Estate
Sin título [Sikán, Nasakó y Espíritu santo] (“…yo he sido la causa de tanto dolor…”), 1993
Untitled [Sikán, Nasakó and the Holy Ghost] (”… I was the cause of so much pain…”)
Collography 89 × 70,8 cm
Collection: Belkis Ayón Estate
Vamos (“…prepárame dignamente para comulgar.”), 1993
Let’s go (“… prepare me worthily to commune.”)
Collography 68,5 × 100 cm
Collection: Belkis Ayón Estate
Yo te di el poder (”Que Él me encuentre siempre dispuesto en la acción.”), 1993
I gave you the power (”May He always find me willing to act”)
Collography
94 × 68,5 cm
Collection: Belkis Ayón Estate
Belkis Ayón and Angel Ramírez
Dando y dando, 1997
Giving and Giving
Collography
208 × 197 cm (7 parts)
Private collection Carmela Gross
A carga, 1968
The Load
Canvas and iron structure 250 × 300 × 500 cm
Private collection
Barril, 1969 Barrel
Iron barrel and crystal plastic 60 × 130 cm
Artist’s collection
Boca do Inferno, 2020
Hell’s Mouth
Monotypes on silk and paper Dimensions variable
Artist’s collection Courtesy of the artist
The work was held at the Ateliê de Gravura da Fundação Iberê Camargo Thanks to Fundação Iberê Camargo
Presunto, 1968
Ham
Stitched canvas with styrofoam
208 × 206 × 50 cm
Collection: Pinacoteca do Estado de São Paulo
Christoforos Savva
Abstract Composition, 1962-1963
Oil on hardboard 64,9 × 53 cm
Collection: The Leventis Municipal Museum of Nicosia
Abstract Composition, 1962
Mixed media on hardboard 57 × 80 cm
Private collection
Circles and Squares, 1967-1968
Pins on canvas on styrofoam 30 × 49 cm
Private collection
Composition with Yellow Rectangle, 1966-1967
Yfasmatography (fabric) 127 × 94 cm
Collection: The Leventis Municipal Museum of Nicosia Goose, 1961
Yfasmatography (fabric) 113 × 89 cm
Private collection
Motherhood, 1966-1967
Yfasmatography (fabric) 105,5 × 127 cm
Collection: State Collection of Cypriot Art. Cyprus Ministry of Education, Culture, Sport and Youth –Culture Services – Visual Arts
Red Goat, 1961
Yfasmatography (fabric) 162 × 109 cm
Private collection
Rural Scene, 1960-1961
Cement relief with pebbles and glass 51 × 59 cm
Private collection
Sphere, 1968
Pins on canvas on styrofoam
98 × 68 cm
Collection: State Collection of Cypriot Art. Cyprus Ministry of Education, Culture, Sport and Youth –Culture Services – Visual Arts
Untitled, 1967
Cement relief
201 × 150,5 cm
Private collection
Winter Landscape, 1962
Mixed media on hardboard 58 × 70 cm
Collection: Bank of Cyprus Cultural Foundation
Clara Ianni
Derrubada, 2021
The Felling
Flag poles of various materials
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Educação pela noite, 2020
Education Through the Night
6 overhead projectors and wooden math blocks
Artist’s collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
poema de fachada, 2021
façade poem
Poem on clipping vinyl
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Replicante, 2021
Whatsapp robot
Courtesy of the artist
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal in colaboration with www.aarea.co
A solo exhibition by Clara Ianni would occupy the Bienal Pavilion between April and June 2020, but was canceled due to the Covid-19 pandemic. Educação pela noite participated in the Vento [Wind] exhibition, between November 14 and December 13, 2020 Claude Cahun
Claude Cahun as Diable in Le Mystère d’Adam, 1929
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Claude Cahun as Elle in Barbe Bleue, 1929
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Claude Cahun, Roger and Solange
Roussot in Le Mystere d’Adam, 1929
Photographic print on cotton paper 40 × 50 cm
Collection: Jersey Heritage Museum
Gloves with Sword and Feathers, 1936
Photographic print on cotton paper 40 × 50 cm
Collection: Jersey Heritage Museum
Hands, undated
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
I am in training don’t kiss me, 1927
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Je tends les bras, 1932
I stretch my arms
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Lucy Schwob/ Claude Cahun, 1945
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (aerial view on blanket), 1928
Photographic print on cotton paper
40 × 50 cm
Collection: Jersey Heritage Museum
Self portrait (aerial view on blanket), 1928
Photographic print on cotton paper
40 × 50 cm
Collection: Jersey Heritage Museum
Self portrait (double exposure in rock pool), 1928
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (holding mask), 1947
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (in cloak with cloaked figure), 1939
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (in cupboard), 1932
Impressão sobre papel de algodão 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (in robe with masks attached), 1929
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (in sailor suit), 1915
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (kneeling, naked, with mask), 1928
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (lower body, seaweed and Le Père), 1932
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (lying on leopard skin), 1939
Photographic print on cotton paper 40 × 50 cm
Collection: Jersey Heritage Museum
Self portrait (lying on sand), 1930
Photographic print on cotton paper 40 × 50 cm
Collection: Jersey Heritage Museum
Self portrait (mask obscures face), 1947
Photographic print on cotton paper 50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (naked near rocks), 1930
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (naked, floating in rock pool), 1928
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (on sea wall), 1947
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (reflected), undated
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self-portrait (reflected image in mirror, checqued jacquet), 1928
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (seated cross legged in profile, shaved head), 1920
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (seated cross legged like Buddha), 1927
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (seated on grass wearing long wig and leaves), 1938
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (shaved head, material draped across body), 1920
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (standing and sitting in a garden), 1939
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait (with skull and cigarette), 1947
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait as Elle in Barbe Bleue, 1929
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait as Monsieur in Banlieu, 1929
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self portrait crouched naked in rock pool, 1930
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self-portrait (as young girl in swimsuit), 1916
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self-portrait (with shaved head), 1920
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self-portrait, 1920
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self-portrait, 1927
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Self-portrait, Claude Cahun as a young girl, 1914
Photographic print on cotton paper
40 × 50 cm
Collection: Jersey Heritage Museum
Self-portrait, Young Lucy with shaved head, 1916
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Untitled (Hands and Table), 1936
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Untitled (color negative), undated
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Untitled (color negative), undated
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Untitled (color negative)
Photographic print on cotton paper
50 × 40 cm
Collection: Jersey Heritage Museum
Daiara Tukano
Bo’éda Hori – Arco-íris, 2021 Rainbow
Acrylic on canvas 7 paintings, 100 × 100 cm (each) Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Dabucuri no céu, 2021 Dabucuri in the Sky
Installation: acrylic and feathers on canvas; Tukano’s cerimonial bench
Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
U’awá Hori – Urubu Rei
King Vulture
U’awá Bu’sá – Manto do Urubu Rei
King Vulture’s mantle
Mahá Só’agī – Arara Vermelha
Red Macaw
Mahá Só’agī Bu’sá – Manto da Arara Vermelha
Red Macaw’s mantle
Yé’hé Nhakô – Garça Real
Capped Heron
Yé’hé Nhakô Bu’sá – Manto da Garça Real
Capped Heron’s mantle
 Pakī – Gavião Real
Harpy Eagle
 Pakī Bu’sá – Manto do Gavião Real
Harpy Eagle’s mantle
Kumurô
Kahtiri Ēõrõ – Espelho da vida, 2020
Mirror of Life
Silk feathers and mirror
Dimensions variable Artist’s collection
Ñamíriwi’í – Casa da noite, 2020
Night House
Acrylic on canvas Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Daniel de Paula
circulação, 2019
circulation
Video-negociation 30’49’’
Artist’s collection Daniel de Paula, Marissa Lee Benedict and David Rueter deposition, 2018
Negotiation, property lease agreement between artists and Fundação Bienal de São Paulo, and the former Chicago Mercantile Exchange (CME) / Chicago Board of Trade (CBOT) Corn Trading Pit Floor, comprising 32 pieces, including 24 single steps and 8 four-step sections
Dimensions variable Collection: Daniel de Paula, Marissa Lee Benedict and David Rueter
Support: Graham Foundation for Advanced Studies in the Fine Arts, the Resource Center (Chicago, IL), the University of Oregon, and the Oregon Arts Commission
Darcy Lange
Studies of Teaching in Four Oxfordshire Schools, 1977
Installation composed of 5 videos, 32 photographs and 1 diagram
Courtesy: Govett-Brewster Art Gallery and Darcy Lange Estate Deana Lawson
An Ode to Yemaya, 2019
Pigment print 187 × 148 cm
Artist’s collection
Axis, 2018
Pigment print 140 × 176,5 cm
Artist’s collection Bendy, 2019 Pigment print 160 × 126,5 cm
Artist’s collection Chief, 2019
Pigment print 147,3 × 185,7 cm
Artist’s collection
Daenare, 2019
Pigment print 186,6 × 145,4 cm
Artist’s collection
Holy Mami, 2021
Inkjet print 98,1 × 81,3 cm
Artist’s collection
House of My Deceased Lover, 2019
Pigment print
186,5 × 147,3 cm
Artist’s collection
Latifah’s Wedding, 2020
Pigment print
147,3 × 186,2 cm
Artist’s collection
Taneisha’s Gravity, 2019
Pigment print 127 × 159,6 cm
Artist’s collection
Untitled (Working title), 2018
HD video, color, sound 12’, loop
Artist’s collection
Courtesy of the artist
Young Grandmother, 2019
Pigment print 160 × 126,5 cm
Artist’s collection
Deana Lawson’s solo exhibition, which would occupy the Bienal Pavilion between July and August 2020, was canceled as a result of the Covid-19 pandemic. Co-produced with Kunsthalle Basel, the Centropy exhibition was on display at the Swiss cultural center between June and October 2020
Deana Lawson participated with another work in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Dirk Braeckman
A.D.F.-B.E.-03, 2003
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
B.S.-S.B.-18-#3, 2018
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
B.S.-S.B.-18-#4, 2018
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
G.C.-G.E.-97, 1997
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
I.D.-D.R.-13, 2013
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
R.N.-W.S. #5-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame 180 × 120 cm
Artist’s collection R.N.-W.S.-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame 180 × 120 cm
Artist’s collection
R.S.-B.S. # 2-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame 180 × 120 cm
Artist’s collection U.C.-T.C.I #1-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame 180 × 120 cm
Artist’s collection
U.C.-T.C.I #2-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame
180 × 120 cm
Artist’s collection
U.C.-T.C.I #3-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame
180 × 120 cm
Artist’s collection
U.C.-T.C.I #4-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame
180 × 120 cm
Artist’s collection
U.C.-T.C.I #5-21, 2021
Ultrachrome inkjet print mounted on aluminum in stainless steel frame
180 × 120 cm
Artist’s collection V.B.-C.N.-11, 2011
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
V.G.-H.J.-16, 2016
Gelatin silver print mounted on aluminum 180 × 120 cm
Artist’s collection
E.B. Itso
Participation in the 34th Bienal supported by: Nordic Culture Fund, Danish Arts Foundation and Iaspis – the Swedish Arts Grants Committee’s International Program for Visual and Applied Artists
Carl August Lorentzen’s Escape, 2014
Installation with monitor, bench, wool blanket, light bulb, video (10’38”, loop)
Dimensions variable
Private collection
Courtesy of the artist
We resist, therefore we exist, 2015
Photograph series, inkjet print, frames built from window panels of a squatted house 5 pieces, 175 × 125 cm (each)
Private collection
Edurne Rubio
Participation in the 34th Bienal supported by: AC/E – Acción Cultural Española
daqui, 2020
From Here
Sound installation 20’45”
Sound post-production: Dojo Mix studio. Thanks to: Antoni Muntadas, Cristina Freire, Felix Blume, Hervé Fisher, Isidoro Valcárcel, Leandro Brasilio, Lilia Mestre, Marcos Francisco Napolitano, Margherita Isola, Neusa Zanini, Santiago Eraso Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Ojo Guareña, 2018
Guareña Eye
Film 52’
Collection and courtesy of the artist
The work daqui was included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020 Eleonora Fabião
nós aqui, entre o céu e a terra, 2021
We here, between sky and earth
Performance and installation (27 chairs, 1 mirror, 9 bamboos, 47 photographs, steel cable, letter) Commissioned by Fundação Bienal de São Paulo for the 34th Bienal. The work was installed in Parque Ibirapuera and in the Pavilhão da Bienal
Eleonore Koch
Ally and Dark Trees, 1974
Tempera on canvas 99 × 132 cm
Collection: Bruno Baptistella
Arch on Park, 1967
Tempera on canvas 60 × 73 cm
Private collection Chest on Gray, 1967
Tempera on canvas 70 × 86 cm
Collection: Clara Sancovsky
Despedida com tulipas, 2001
Goodbye with Tulips
Tempera on canvas 65 × 76 cm
Collection: Clara Sancovsky
Late Afternoon Park, 1987
Tempera on canvas 78 × 95 cm
Collection: Orandi Momesso
Lembrando Ipanema, 1992
Remembering Ipanema
Tempera on canvas 72 × 87 cm
Collection: Ladi Biezus
Marinha com farol, 1975
Marine with Lighthouse
Tempera on canvas 81 × 101 cm
Collection: Clara Sancovsky
Marinha com palmeira marsala, 1993
Marine with Marsala Palm Tree
Tempera on canvas 24 × 33 cm
Collection: Pedro Mastrobuono, São Paulo
Natureza-morta com chips, 1991
Still Life with Chips
Tempera on canvas 92 × 73 cm
Private collection, São Paulo Park in Twilight, 1969
Tempera on canvas 60 × 80 cm
Private collection
Sem título, 1959
Untitled
Tempera on canvas 60 × 51 cm
Collection: Orandi Momesso
Sem título, 1966
Untitled Tempera on canvas 63 × 84,5 cm
Private collection, São Paulo Sem título, 1967
Untitled Tempera on canvas 74 × 54 cm
Private collection Sem título, 1973
Untitled
Tempera on canvas 129 × 96 cm
Collection: Clara Sancovsky
Sem título, 1975
Untitled
Tempera on canvas 67 × 94 cm
Collection: Clara Sancovsky
Sem título, 1980s
Untitled
Tempera on canvas
73 × 91 cm
Private collection, São Paulo
Sem título, 1981
Untitled
Tempera on canvas 64 × 79 cm
Collection: Ladi Biezus
Sem título, 1982
Untitled Tempera on canvas 81 × 65 cm
Private collection
Sem título, 1987
Untitled
Tempera on canvas 86 × 70 cm
Collection: Orandi Momesso
Study for My Table, 1974
Tempera on canvas 39,5 × 48,5 cm
Private collection
Trying to Memorize the Park, 1989
Tempera on canvas 95 × 117 cm
Collection: Orandi Momesso
Tulipas sobre fundo rosa, 1985
Tulips on Rose Background
Tempera on canvas 73 × 92 cm
Private collection, São Paulo
Eleonore Koch’s paintings were also included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Éric Baudelaire
Participation in the 34th Bienal supported by: Institut français à Paris
Tu peux prendre ton temps, 2019 You Can Take Your Time
Installation
Courtesy of the artist Beau comme un Buren mais plus loin, 2019
As beautiful as a Buren but further Flag
Prélude à Un Film dramatique, 2019
Prelude to Un Film dramatique
Video installation with two sound channels, 13’, and leaflet Artist’s collection
Un Film dramatique, 2019
A Dramatic Film HD video 114’
Artist’s collection
Courtesy of the artist, Poulet-Malassis Films
Frida Orupabo
Participation in the 34th Bienal supported by: Nordic Culture Fund and Office for Contemporary Art Norway (OCA)
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Frida Orupabo could be seen in the artist’s solo exhibition at the Museu Afro Brasil, from August 28 to December 5, 2021
Untitled, 2019
Collage with paper pins mounted on aluminum 118 × 108 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2019
Collage with paper pins mounted on aluminum 42,9 × 24,4 × 30,5 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2019
Collage with paper pins mounted on aluminum 65 × 62 × 40 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2019
Collage with paper pins mounted on aluminum 69,9 × 62,9 × 30,5 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2019
Collage with paper pins mounted on aluminum 89,9 × 30,3 × 40,6 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2020
UV print on aluminum with steel pins 66 × 58 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2020
UV print on aluminum with steel pins 80 × 71 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, 2020
UV print on aluminum with steel pins 90,5 × 56,9 cm
Courtesy of the artist and Galerie Nordenhake Stockholm AB
Untitled, undated
4:3 video
3’10’’
Courtesy of the artist and Galerie Nordenhake Stockholm AB
27 offerings for the rain at the Field Museum, 2021
Color pencil and Flashe on paper 153 × 123 cm Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Precipitation for an arid landscape, 2021
Copal (resin), dust from the Field Museum storage, institutional structure for rain water, rainwater Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Proposal for Luzia, 2021
Printed ink on paper, ashes on napkin Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Whistling and Language Transfiguration (WaLT), 2012
LP album, cyanotype print, sound 30,5 × 30,5 cm (album’s cover dimensions)
Artist’s collection
Courtesy of the artist and Commonwealth and Council, Los Angeles
The work WaLT was included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
During the traveling exhibition program, in 2022, the work Proposal for Luzia was renamed by the artist as Leaving the Institution through Cremation is Easier than as a Result of a Deaccession Policy
Giorgio Griffa
Guerreiro da luz, 2020
Acrylic on 13 canvas 250 × 800 cm
Artist’s collection Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Gala Porras-Kim
Nurkoszop, 2019
Acrylic on canvas 278 × 192 cm
Artist’s collection
Courtesy: Archivio Giorgio Griffa
SuGiúUpDown, 2020
Acrylic on canvas 274 × 191 cm
Artist’s collection
Courtesy: Archivio Giorgio Griffa Giorgio Morandi
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Giorgio Morandi could be seen in the exhibition Ideias | O legado de Giorgio Morandi at the Centro Cultural Banco do Brasil – São Paulo, from September 22 to November 22, 2021 and at the Centro Cultural Banco do Brasil – Rio de Janeiro, from December 15, 2021 to February 21, 2022
Fiori, 1950
Flowers
Oil on canvas 33,5 × 31 cm
Private collection
Natura Morta, 1939
Still life
Oil on canvas 44 × 51,4 cm
Collection: Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP. Donation: Francisco Matarazzo Sobrinho
Natura Morta, 1946
Still life
Oil on canvas 28,2 × 38,8 cm
Collection: Museu de Arte Contemporânea da Universidade de São Paulo – MAC USP. Donation: Francisco Matarazzo Sobrinho
Natura Morta, 1953
Still life
Oil on canvas 23,5 × 45 cm
Collaboration: Paulo Kuczynski Escritório de Arte
Natura Morta, 1954
Still life
Oil on canvas 33 × 40,2 cm
Private collection
Natura Morta, 1956
Still life
Oil on canvas 30,7 × 35,5 cm
Private collection Grace Passô
The first reinterpretation of Antonin Artaud’s radio play, Pour en finir avec le jugement de dieu, the initial moment of the work presented at the 34th Bienal, was produced in collaboration with the X Festival Novas Frequências (December 1st to 13th, 2020) within the scope of network of partnerships with other institutions in the city proposed by the 34th Bienal
Ficções Sônicas_1: TREMORES, 2021
Sonic Fictions_1: TREMORS
Audio and video installation
Soundtrack: Barulhista and Grace Passô. Camera: Wilssa Esser. Film local excecutive production: Hellio Augusto and Bruna Camargo | Margem Cultural. Sound capture: Lorran dos Santos. Film assembly: Renato Pascoal and Grace Passô. Drivers: Cristiano Teixeira and Jeahn Abner. Consultant: Thelmo Cristóvão. General production: Nina Bittencourt Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
The work was installed in Parque Ibirapuera and in the Bienal Pavilion
Guan Xiao
Things I couldn’t forget n. 1, 2019
Stainless steel tube, fiberglass, aluminum clamps, transport belt, diving lead weight, cable Dimensions variable
Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin and Antenna Space, Shanghai
Things I couldn’t forget n. 2, 2019
Stainless steel tube, fiberglass, aluminum clamps, transport belt, diving lead weight, cable Dimensions variable
Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin and Antenna Space, Shanghai
Things I couldn’t forget n. 3, 2019
Stainless steel tube, fiberglass, aluminum clamps, transport belt, diving lead weight, cable Dimensions variable
Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin and Antenna Space, Shanghai
Things I couldn’t forget n. 5, 2019
Stainless steel tube, fiberglass, aluminum clamps, transport belt, diving lead weight, cable
Dimensions variable
Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin and Antenna Space, Shanghai
Things I couldn’t forget n. 6, 2019
Stainless steel tube, fiberglass, aluminum clamps, transport belt, diving lead weight, cable
Dimensions variable
Courtesy of the artist, Kraupa-Tuskany Zeidler, Berlin, Antenna Space, Shanghai and Bonner Kunstverein, Bonn, 2019 Gustavo Caboco
Kanau’ kyba – Stone Paths, 2020-2021
Installation and animation film
Dimensions variable
Artist’s collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Gustavo
e
Lucilene Wapichana
Extensão Wapichana, 2021
Wapichana Extension
Embroidery on fabric Dimensions variable Artist collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Hanni Kamaly
Participation in the 34th Bienal supported by: Nordic Culture Fund, Office for Contemporary Art Norway (OCA) and Iaspis – the Swedish Arts Grants Committee’s International Program for Visual and Applied Artists
BAIDOO, 2016-2021 Steel 107 × 136 × 163 cm
Courtesy of the artist
HeadHandEye, 2017-2018 Video 17’45”
Courtesy of the artist
MILES, 2017 21 Steel 165 × 58 × 32 cm
Courtesy of the artist
SABA, 2018 2021
Steel and copper 193 × 164 × 96 cm
Courtesy of the artist
SELK’NAM, 2017-2021
Chrome-plated steel, copper and steel 133 × 154 × 160 cm
Courtesy of the artist
Caboco
Haris Epaminonda
Participation in the 34th Bienal supported by: ifa (Institut für Auslandsbeziehungen)
Grids, 2021
18 multiple photographs printed offset on archival paper pasted on museum board 127 × 92 cm
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Chronicles I, 2010
Digitized super 8 film 16’33’’
Artist’s collection
Chronicles II, 2010
Digitised super 8 film 26’55’’
Artist’s collection
Chronicles VI, 2011
Digitize super 8 film 4’42’’
Artist’s collection
Chronicles XVI, 2012
Digitized super 8 film 1’28’’
Artist’s collection
Chronicles XXII, 2020
Digitized super 8 film 14’26’’
Artist’s collection Hsu Che-Yu
Single Copy 副本人, 2019
Video installation with sculpture 21’17’’
Artist’s collection
Jacqueline Nova
Creación de la tierra, 1972
Creation of the Earth
Installation with audio, stereo (19’17”) and printed material
Collection: Biblioteca Nacional de Colombia –
Ministerio de Cultura
The version of Creación de la Tierra presented at the 34th Bienal was conceived by Ana Romano G.
The work Creación de la tierra was included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Jaider Esbell
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, the exhibition Moquém – Surarî: arte indígena contemporânea, curated by Jaider Esbell, could be seen at the Museu de Arte Moderna de São Paulo (MAM São Paulo), between September 4 and November 28, 2021
A guerra dos Kanaimés (série), 2019-2020
The Kanaimés War (series)
Acrylic and Posca pen on canvas 11 pieces, 110 × 145 cm (each)
Private collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Amooko Pantoni – Estórias do vovô Makunaimî (série), 2018
Amooko Pantoni – Stories of Grandpa Makunaimî (series)
Acrylic on canvas 32 pieces, dimensions variable
Artist’s collection
In collaboration with Charles Gabriel
Carta ao velho mundo, 2021
Letter to the Old World
Book and digitized printed book 37,5 × 27,7 cm (each)
Artist’s collection
Entidades, 2021 Entities
Inflatable installation
Dimensions variable
Work installed in Ibirapuera Park
O ataque do Kanaimé, 2011
The Kanaimé Attack
Acrylic on canvas 168 × 129 cm
Artist’s collection
Semente Raposa Serra do Sol, 2018
Raposa Serra do Sol Seed
Acrylic on canvas 69 x 57 cm
Artist’s collection
A guerra dos Kanaimés (series) (2019-2020) and O ataque do Kanaimé (2011) were included in the Vento [Wind] exhibition between November 14 and December 13, 2020
Jaune Quick-to-See Smith
I See Red: Fry-Bread, 1995
Mixed media on canvas
203 × 91,4 cm
Courtesy of the artist and Garth Greenan Gallery, New York
I See Red: In Your Dreams, 1995
Mixed media on canvas 182,9 × 182,9 cm
Collection: Garth Greenan Gallery
I See Red: Indian Time, 1998
Mixed media on canvas 246,4 × 50,8 cm
Private collection
Courtesy of the artist and Garth Greenan Gallery, New York
I See Red: Mutton Stew, 1995
Mixed media on canvas 182,9 × 121,9 cm
Courtesy of the artist and Garth Greenan Gallery, New York
Mixed Blood, 2004
Mixed media on canvas 182,9 × 121,9 cm
Private collection
Courtesy of the artist and Garth Greenan Gallery, New York
Montana Memories: Tierra Roja, 1989
Mixed media on canvas 175,3 × 213,4 cm
Private collection
Courtesy of the artist and Garth Greenan Gallery, New York
Pablo Ledger Pony, 2015
Mixed media on canvas 152,4 × 203,2 cm
Collection: Garth Greenan Gallery
Ronan Robe #11, 1982
Mixed media on canvas 198,1 × 170,2 cm
Private collection
Courtesy of the artist and Garth Greenan Gallery, New York
The Spotted Owl (C.S. 1854), 1990
Mixed media on canvas 203,2 × 194,6 cm
Private collection
Courtesy of the artist and Garth Greenan Gallery, New York
Which Comes First (The Insects or the Humans), 2004
Mixed media on canvas
182,9 × 121,9 cm
Private collection
Courtesy of the artist and Garth Greenan Gallery, New York Joan Jonas
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Joan Jonas could be seen in the exhibition Joan Jonas: Cinco décadas [Joan Jonas: Five Decades], at Pinacoteca do Estado de São Paulo, between October 15th and February 8th 2021
Performance drawing from The Shape, The Scent, The Feel of Things (series), 2008
Acrylic on paper 272 × 560 cm (each)
Courtesy of the artist and Gladstone Gallery, New York and Brussels
Wind, 1968
16 mm film transferred into video, b&w, silent 5’37”
Courtesy: Electronic Arts Intermix (EAI), New York
The work Wind was included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Jota Mombaça and muSa Michelle Mattiuzzi
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Jota Mombaça could be seen in the online exhibition Atravessar a grande noite sem acender a luz, on the Centro Cultural São Paulo website, between September 18th and December 19th, 2021
2021: Spell to Become Invisible, 2019
Writing and erasure with charcoal on paper 3 pieces, 100 × 300 cm (each)
muSa Michelle Mattiuzzi participated, with another work, in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Jungjin Lee
Buddha 02-01, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-02, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-03, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-04, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection Buddha 02-05, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-06, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection Buddha 02-08, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-09, 2002
Photo emulsion on mulberry paper
99 × 122 cm
Artist’s collection
Buddha 02-10, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-11, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-12, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 02-14, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Buddha 0216, 2002
Photo emulsion on mulberry paper 99 × 122 cm
Artist’s collection
Voice 10, 1/3, 2019
Archival Pigment Print
152,5 × 213,3 cm
Artist’s collection Courtesy of the artist
Voice 15, 2019
Archival Pigment Print 152,5 × 213,3 cm
Artist’s collection Courtesy of the artist
Voice 32, 2019
Archival Pigment Print
152,5 × 213,3 cm
Artist’s collection
Courtesy of the artist
Voice 40, 2019
Archival Pigment Print 152,5 × 213,3 cm
Artist’s collection Courtesy of the artist Juraci Dórea
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Juraci Dórea could be seen in the exhibition Debaixo do barro do chão, at the Museu Brasileiro da Escultura e Ecologia (MuBE), between October 30th, 2021 and January 16th, 2022
Carta 260.789 (Carta para Ângela 01), 1989
Letter 260.789 (Letter for Ângela 01)
Charcoal and PVA (polyvinyl acetate) on canvas 210 × 150 cm
Artist’s collection
Carta 310.789 (Carta para Ângela 02), 1989
Letter 310.789 (Letter to Ângela 02)
Charcoal and PVA (polyvinyl acetate) on canvas 210 × 150 cm
Artist’s collection
Diário 01 – Projeto Terra, 1982
Diary 01 – Terra Project
Print on photographic paper 40 typed pages
Artist’s collection
Diário 02 – Projeto Terra, 1983-1998
Diary 02 – Terra Project
Print on photographic paper 103 typed pages
Artist’s collection
Diário 03 – Projeto Terra, 1998-2009
Diary 03 – Terra Project
Print on photographic paper 19 digitized pages
Artist’s collection
Estandarte do Jacuípe XXI, 1980
Jacuípe Flag XXI
Leather, ink, metal and wood 96 × 55 cm
Artist’s collection
Estandarte do Jacuípe XXXI, 1982
Jacuípe Flag XXXI
Leather, ink, metal and wood 90 × 57 cm
Artist’s collection
Estandarte do Jacuípe XXXIII
Jacuípe Flag
Work photographed in Gurunga, 1983
Print on photographic paper 12,5 × 9 cm
Artist’s collection
Estandarte do Jacuípe XXXVIII, 1983
Jacuípe Flag XXXVIII
Leather, ink, metal and wood 118 × 65 cm
Artist’s collection
Projeto Terra – Escultura do Campo do Gado, Feira de Santana, 1984
Terra Project – Sculpture of Campo do Gado, Feira de Santana
Print on photographic paper 24 x 18 cm
Artist’s collection
Projeto Terra – Escultura da Casa de Claudinho, São Gonçalo dos Campos, 1990
Terra Project – Sculpture of Claudinho’s house, São Gonçalo dos Campos
Print on photographic paper
Artist’s collection
Projeto Terra – Escultura da Cascalheira, São Gonçalo dos Campos, 1989
Terra Project – Sculpture of Cascalheira, São Gonçalo dos Campos
Print on photographic paper 18 × 24 cm
Artist’s collection
Projeto Terra – Escultura da Lagoa das Bestas, Monte Santo, 1984
Terra Project – Sculpture of Lagoa das Bestas
Print on photographic paper 18 × 24 cm
Artist’s collection
Projeto Terra – Escultura de Canudos, Canudos, 1985
Terra Project – Sculpture of Canudos
Print on photographic paper
Artist’s collection
Projeto Terra – Escultura da Pedra Vermelha, Monte Santo, 1989
Terra Project – Sculpture of Pedra Vermelha
Print on photographic paper 24 × 18 cm
Artist’s collection
Projeto Terra – Escultura de Utinga, Utinga, 1989
Terra Project – Sculpture of Utinga
Print on photographic paper 17,5 × 25 cm
Artist’s collection
Projeto Terra – Escultura do orfanato, Feira de Santana, 1992
Terra Project – Sculpture of the orphanage
Print on photographic paper
24 × 18 cm
Artist’s collection
Projeto Terra – Exposição de Pedra Vermelha, Monte Santo, 1985
Terra Project – Exhibition of Pedra Vermelha
Print on photographic paper
12 × 18 cm
Artist’s collection
Projeto Terra – Mural da Casa de Edwirges, Monte Santo, 1984
Terra Project – Mural of Edwirges’s house
Print on photographic paper
12 × 18 cm
Artist’s collection
Projeto Terra – Mural da Casa de Edwirges, Monte Santo, 1984
Terra Project – Mural of Edwirges’s house
Print on photographic paper
11,7 × 18 cm
Artist’s collection
Projeto Terra – Mural da Casa de Edwirges, Monte Santo, 1987
Terra Project – Mural of Edwirges’s house
Print on photographic paper
20 × 25 cm
Artist’s collection
Projeto Terra – Escultura do Cumbe 04, Euclides da Cunha, 1985
Terra Project – Sculpture of Cumbe 04
Print on photographic paper
18 × 24 cm
Artist’s collection
Projeto Terra – Escultura do Porteirão, São Gonçalo dos Campos, 1990
Terra Project – Sculpture of Porteirão
Print on photographic paper 18 × 24 cm
Artist’s collection
Projeto Terra – Escultura do Tanque Novo, São Gonçalo dos Campos, 1990
Terra Project – Sculpture of Tanque Novo
Print on photographic paper 24 × 17 cm Artist’s collection
Série Terra I – 2º ato: O Sonho (1981), 1984
Earth Series I – 2nd act, the Dream
Print on photographic paper Artist’s collection
Série Terra I – 2º ato: O Sonho (1981), 1984
Earth Series I – 2nd act, the Dream
Print on photographic paper Artist’s collection
Série Terra II – 1º ato, o Homem, 1981
Earth Series II – 1st act, the Man Wood, leather and pigment 110 × 90 cm Artist’s collection
Série Terra II – 2º ato, o Sonho, 1981
Earth Series II – 2nd act, the Dream Wood, leather and pigment 110 × 90 cm
Artist’s collection
Série Terra II – 3º ato, o Homem, 1981
Earth Series II – 3rd act, the Man Wood, leather and pigment 110 × 90 cm
Artist’s collection
Série Terra II, 1981
Earth Series II
Work photographed at the rural zone of São Gonçalo dos Campos, 1984
Print on photographic paper
18 × 12 cm
Artist’s collection
Série Terra II, 1981
Earth Series II
Work photographed at the rural zone of São Gonçalo dos Campos, 1984
Print on photographic paper
18 × 12 cm
Artist’s collection
Série Terra IV, 1981
Earth Series IV
Work photographed at the rural zone of São Gonçalo dos Campos, 1984
Print on photographic paper
18 × 11,5 cm
Artist’s collection
Série Terra VI, 1981
Earth Series VI
Work photographed at the rural zone of São Gonçalo dos Campos, 1984
Print on photographic paper
18 × 11,5 cm
Artist’s collection
Série Terra VI, 1981
Earth Series VI
Work photographed at the rural zone of São Gonçalo dos Campos, 1984
Print on photographic paper
12 × 18 cm
Artist’s collection
Série Terra VI, 1981
Earth Series VI
Wood, leather and pigment
110 × 90 cm
Artist’s collection
Teréns, 1978–1998
Wooden box covered with recycled paper from cement and fabric bags, PVA painting and handmade paint, metal details 28 × 70 × 44 cm
Artist’s collection
Kelly Sinnapah Mary
Participation in the 34th Bienal supported by: Institut français à Paris and Ministère de la Culture
– DAC Guadeloupe
Notebook 10, childhood of Sanbras (series), 2021
Paper, wire structure, mortar and acrylic
18 pieces, dimensions variable
Artist’s collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Notebook 10, childhood of Sanbras, 2021
Acrylic on tapestry
2 painted rugs, 290 × 290 cm (each)
Artist’s collection
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Koki Tanaka
Abstracted/Family, 2019
Audio-visual installation
Dimensions variable
Artist’s collection
Courtesy of the artist, Vitamin Creative Space, Guangzhou and Aoyama Meguro, Tokio
The project is co-commissioned by Aichi Triennale 2019 and Singapore Art Museum for Singapore
Biennale 2019, also supported by ASO GROUP
Koki Tanaka participated, with other works, in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Lasar Segall
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Lasar Segall could be seen in the exhibition Lasar Segall: Eterno caminhante at the Museu Lasar Segal, between June 29, 2019 and March 16, 2020
Anotações para a floresta, c. 1955
Notes for Forest
Graphite on paper 22 × 31 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Figura e choupana, 1954
Figure and Shack
Oil and sand on canvas 116,7 × 81,5 cm
Collection: Fundação Edson Queiroz
Figuras e árvores, 1955
Figures and Trees Oil on wood 72 × 61,5 cm
Collection: Raquel Arnaud
Floresta com quatro troncos escuros, c. 1955
Forest with four dark trunks
Watercolor, gouache and graphite on paper 31 × 21,5 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta com troncos em V, c. 1956
“V” Tree Trunks Forest
Watercolor on paper 45,8 × 32,2 cm
Collection: Maria Lucia Alexandrino Segall
Floresta com troncos verticais, c. 1955
Forest with Vertical Tree Trunks
Black ink, watercolor and dry brush on paper 32,5 × 45,8 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta com vislumbre de céu, 1954
Forest with a Glimpse of the Sky Oil on canvas 115 × 89 cm Collection: Lucia Arnaud Segall
Floresta crepuscular, 1956
Twilight Forest Oil and sand on canvas 131 × 97,5 cm Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta de galhos entrelaçados, 1956
Tangled Branches Forest Oil on canvas 136 × 102 cm
Collection: Berta Segall Mcdonnell
Floresta de troncos curvos, 1954/56
Curved Trunk Forest Watercolor on Japanese paper 44 × 29,5 cm Private collection
Floresta de troncos densos, c. 1955
Forest of Dense Tree Trunks
Watercolor on Japanese paper 45,8 × 32,4 cm Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta de troncos espaçados, c. 1955
Spaced Tree Trunks Forest
Black ink on paper 45,8 × 32,4 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta ensolarada, 1955
Luminous Forest
Oil on canvas 123 × 90 cm
Private collection
Floresta fechada, 1954
Dense Forest
Oil on canvas 69,5 × 51 cm
Private collection
Floresta salpicada, c. 1955
Dashed Forest
Black ink on paper 32,4 × 45,6 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, 1930
Forest
Graphite on paper 21 × 12,1 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930
Forest
Blue and black ink on paper (notebook) 22 × 31,7 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930
Forest
Blue ink on paper (notebook) 42,5 × 27,2 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930
Forest
Graphite on paper 22,6 × 16 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930
Forest
Graphite on paper 22,6 × 16 cm Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930
Forest
Graphite on paper 22,6 × 16 cm Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930 Forest
Graphite on paper 8,4 × 11,8 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1930 Forest
Gray ink on paper 20,3 × 25,7 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1955 Forest
Black ink and watercolor on paper 37 × 59,4 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1955
Forest
Blue ink on paper
22,2 × 30,8 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1955
Forest
Blue ink on paper
30,8 × 22,2 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1955
Forest
Blue ink on paper
30,8 × 22,2 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, c. 1955
Forest
Graphite on paper
20 × 12,2 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Floresta, 1957 Forest
Watercolor and black ink on paper
32 × 48 cm
Collection: Museu Lasar Segall – IBRAM/ Ministério do Turismo
Grupo Parado, 1956
Standing Group
Oil on canvas
80 × 98 cm
Collection: Maria Lucia Alexandrino Segall
Luz na floresta, 1954
Light in the Forest Oil on canvas 138 × 121 cm
Private collection Lawrence Abu Hamdan
Participation in the 34th Bienal supported by: British Council
After SFX, 2018
Audio-visual installation 26’20”
Artist’s collection Lee “Scratch” Perry
Participation in the 34th Bienal supported by: COINCIDÊNCIA – A program of the Swiss Foundation for Pro Helvetia culture
Ja.L$P (Black Ark), 2000
Marker on cardboard 38 × 38 cm
Private collection
Jamaica Shape (Black Ark), 2010
Collage and mixed media on board 58,4 × 96,5 cm
Private collection
Nativity Painting (Reggae Jam), 2018
Printed pages, empty spray can, Icon painting, stones, computer keyboard, rusty can, coconut water, anatomy book, golden ball & two extra paper collages 140 × 170 cm
Perry Ark Rain (Black Ark), 2008
Marker and collage on paper 48,3 × 35,6 cm
Private collection
Perry Truths Speak Rain (Black Ark), 2008
Marker on paper 67 × 57 cm
Collection: Africana Art Foundation
TV Sculpture (Blue Ark), 2017-2-21
TV, collage, scarf, captain’s hat 57 × 57 × 50 cm
Private collection
Untitled collage (Black Ark), 2010 Collage 30 × 29,2 cm
Private collection
Untitled drawing (Black Ark), mid-2000
Marker and collage on paper 35 × 26 cm
Private collection
Untitled collage (Black Ark), 2011
Collage, marker and acrylic on cardboard 109 × 75 cm
Private collection León Ferrari
Palabras Ajenas: León Ferrari Y la Retórica en Tiempos de Guerra, 2017
Words of Others: León Ferrari and the Rhetoric in Times of War Video, color 46’16”
A project conceived for the Pacific Standard Time: LA / LA (2012-2017), with the initiative and support by the Getty Foundation in Los Angeles, CA. Special thanks to Fundação Augusto y León Ferrari, Buenos Aires and Leopoldo Maler
Palabras ajenas. Conversaciones de Dios con algunos hombres y de algunos hombres con algunos hombres y con Dios
Facsimile of the 1967 original edition
Published by Licopodio, Buenos Aires, 2008
Photographs and flyer: Staging of Operativo Pacem in Terris, 1972
Operation: Pacem in Terris
Adaptation of Palabras ajenas [The Words of Others] by León Ferrari, directed by Pedro Asquini at the Teatro Larrañaga in Buenos Aires. Archives of Adriana Banti and Horacio Paoletta, Buenos Aires
Script and voice assignments for the reading of Palabras ajenas at Museo Nacional Centro de Arte Reina Sofia, MNCARS, Madrid, 2018
The Words of Others (Palabras ajenas), 2017
English version published by X Artists’ Books, Los Angeles, CA
The Words of Others: León Ferrari and Rhetoric in Times of War
Published to accompany Leon Ferrari’s exhibition at REDCAT, Los Angeles Published by JRP/Ringier, 2017
The presentation of the Palabras Ajenas project was also included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Lothar Baumgarten
Monument for the Native Societies of South America, 1978-1982
Site specific wall painting Dimensions variable
Courtesy: Lothar Baumgarten Studio and Marian Goodman Gallery
Unsettled Objects, 1968-1969
Single slide projection, 81 35mm images, color
Courtesy: Lothar Baumgarten Studio and Marian Goodman Gallery
Luisa Cunha
Participation in the 34th Bienal supported by: República Portuguesa – Cultura / Direção-Geral das Artes and Fundação Calouste Gulbenkian
FRYDM!, 2011
Speaker, brown cardboard packing, red and black audio cable, CD player with amplification, CD with recorded voice 23’
Collection: Figueiredo Ribeiro – Quartel da Arte Contemporânea de Abrantes – Portugal
SHIU!, 2018
HUSH! Audio 12’52”
Collection: Museu de Arte Contemporânea de Elvas, Colecção António Cachola
1.680 metros, 2020 1.680 meters
Soundscape 27”
Artist’s collection Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
The work 1,680 metros was also included in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Lydia Ourahmane
Participation in the 34th Bienal supported by: British Council
In the Absence of our Mothers, 2018 x-Ray, text and golden tooth dimensions variable
Collection: Nicoletta Fiorucci Russo De Li Galli, London
Sophia’s dream, 2021
Video, 2’10’’ Dream by Sophia Al-Maria, Harp by Lydia Ourahmane
Throughout the process of constructing the 34th Bienal de São Paulo, its curatorial team, participating artists and guest authors send out letters that directly and indirectly reflect the development of the exhibition. Instead of a text, the artist Lydia Ourahmane sent us a video, Sophia’s dream, which somehow reflects on the way the Bienal itself, as she said, “speaks so much about sound and wind and song”
Lygia Pape
Amazonino Preto e Branco, 1989
Black and White Amazonino
Iron and automobile paint 200 × 200 cm
Collection: Almeida e Dale Galeria de Arte
Amazonino redondo, 1992 Round Amazonino
Iron, automobile paint and rubber Ø 90, 50, 12 cm
Private collection
Amazonino, 1989-1992
Painted metal plaque, nylon strips and laminated and rubberized canvas 171 × 91 cm
Collection: LURIXS: Arte Contemporânea
Amazonino, 1990
Iron and automobile paint 51 × 43 × 13 cm
Collection: Fundação Edson Queiroz
Amazonino, 1990
Painted metal plaque 58 × 58 cm
Private collection
Amazonino, 1992
Iron and automobile paint 200 × 100 cm (díptico)
Collection: Almeida e Dale Galeria de Arte
Amazoninos vermelhos, 1989/2003
Red Amazoninos
Iron and automobile paint
19 pieces, dimensions variable
Private collection
Manto Tupinambá [Tupinambá Mantle], 1996/1999
Wood, acrylic and feathers
Dimensions variable
Collection: Ronald Duarte
Olho do Guará, 1980s
Guará’s Eye
Fabric, paper and neon light 70 × 88 cm
Collection: Banco Itaú
Sem título, 1990
Untitled
Pure pigments on Japanese paper 65 × 88 cm
Collection: Almeida e Dale Galeria de Arte
Sem título, 1992
Untitled
Crayon and collage on artesanal Japanese paper 60 × 83 cm
Collection: Almeida e Dale Galeria de Arte
Sting Amazonino, 1990
Iron and automobile paint 200 × 100 × 50 cm
Collection: Almeida e Dale Galeria de Arte
Volante, 1999
Steering wheel
Copper-coated iron 45 × 40 × 20 cm
Collection: Almeida e Dale Galeria de Arte
Volante, 1999
Steering wheel
Copper-coated iron 50 × 50 × 20 cm
Collection: Almeida e Dale Galeria de Arte
Manthia Diawara
Participation in the 34th Bienal supported by: Institut français à Paris
As part of the network of partnerships with institutions proposed by the 34th Bienal, Towards the New Baroque of Voices was co-produced by the Amant Foundation, New York, USA
An Opera Of The World, 2017
Video 71’
Towards the New Baroque of Voices, 2021 Video 76’
Co-comissioned by Fundação Bienal de São Paulo for the 34ª Bienal Mariana Caló and Francisco Queimadela
Participation in the 34th Bienal supported by: República Portuguesa – Cultura / Direção-Geral ds Artes and Fundação Calouste Gulbenkian
Corpo radial – sala da memória, 2020
Radial Body – Memory Room
Installation: wood and silk structure, vinyl floor, silkscreens and drawings
Dimensions variable
Efeito orla, 2013
Edge Effect
2-channel video installation
Marinella Senatore
Participation in the 34th Bienal supported by: Italian Council, Directorate General for Contemporary Creativity, Italian Ministry of Culture
Nos erguemos ao levantar outras pessoas, 2021
We Rise by Lifting Others
Light sculpture Ø 1000 cm
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
The School of Narrative Dance, 2013-
Movement workshops, video installation Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Mauro Restiffe
Empossamento #1c, 2003
Inauguration #1c
Gelatin silver print 73 × 107 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento #2, 2003
Inauguration #2
Gelatin silver print 121 × 178 cm
Collection: Museu de Arte Moderna de São Paulo –MAM SP
Empossamento #3, 2003
Inauguration #3
Gelatin silver print 104 × 154 cm
Private collection
Empossamento #4, 2003
Inauguration #4
Gelatin silver print 94 × 139 cm
Private collection
Empossamento #7, 2003
Inauguration #7
Gelatin silver print 117 × 230 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento #8, 2003
Inauguration #8
Gelatin silver print 71 × 101 cm
Private collection
Empossamento #9, 2003
Inauguration #9
Gelatin silver print 110 × 166 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento #10, 2003
Inauguration #10
Gelatin silver print 78 × 107 cm
Private collection
Empossamento Revisitado #1, 2003
Revisited Inauguration #1
Gelatin silver print 130 × 195 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento Revisitado #4, 2003
Revisited Inauguration #4
Gelatin silver print 50 × 75 cm
Empossamento Revisitado #5, 2003
Revisited Inauguration #5
C-print 110 × 165 cm
Empossamento Revisitado #6, 2003
Revisited Inauguration #6
C-print 90 × 135 cm
Collection: Casa do Povo
Empossamento Revisitado #7, 2003
Revisited Inauguration #7
C-print 50 × 75 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento Revisitado #8, 2003
Revisited Inauguration #8
Gelatin silver print 84 × 124 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento Revisitado #9, 2003
Revisited Inauguration #9
Gelatin silver print 109 × 75 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento Revisitado #10, 2003
Revisited Inauguration #10
Gelatin silver print 70 × 90 cm
Private collection
Empossamento Revisitado #11, 2003
Revisited Inauguration #11
C-print 91 × 140 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento Revisitado #12, 2003
Revisited Inauguration #12
Gelatin silver print
85 × 124 cm
Collection: Fortes D’Aloia & Gabriel
Empossamento Revisitado #13, 2003
Revisited Inauguration #13
C-print 88 × 127 cm
Private collection
Empossamento Revisitado #14, 2003
Revisited Inauguration #14
Gelatin silver print 49 × 72 cm
Private collection
Inominável #1, 2019
Unnameable #1
C-print 80 × 120
Collection: Fortes D’Aloia & Gabriel
Inominável #2, 2019
Unnameable #2
Gelatin silver print 45 × 65 cm
Private collection
Inominável #3, 2019
Unnameable #3
C-print 60 × 85 cm
Private collection
Inominável #4, 2019
Unnameable #4
C-print 110 × 160 cm
Private collection
Inominável #5, 2019
Unnameable #5
Gelatin silver print 112 × 162 cm
Private collection
Inominável #6, 2019
Unnameable #6
C-print 74 × 104 cm
Private collection
Inominável #7, 2019
Unnameable #7
Gelatin silver print 119 × 176 cm
Private collection
Inominável #8, 2019
Unnameable #8
Gelatin silver print 136 × 201 cm
Private collection
Inominável #9, 2019
Unnameable #9
C-print 84 × 124 cm
Private collection
Inominável #10, 2019
Unnameable #10
Gelatin silver print 84 × 124 cm
Private collection
Inominável #11, 2019
Unnameable #11
Gelatin silver print 94 × 139 cm
Private collection
Inominável #12, 2019
Unnameable #12
Gelatin silver print 73 × 103 cm
Private collection
Inominável #13, 2019
Unnameable #13 Gelatin silver print 79 × 116,5 cm
Private collection
Inominável #14, 2019
Unnameable #14
C-print 105 × 155 cm
Private collection
Inominável #15, 2019
Unnameable #15 C-print 35 × 52 cm
Private collection
Inominável # 16, 2019
Unnameable #16
C-print 129 × 179 cm
Private collection
Inominável #17, 2019
Unnameable #17
Gelatin silver print 49 × 54 cm
Private collection
Inominável #18, 2019
Unnameable #18
Gelatin silver print 66 × 97 cm
Private collection
Inominável #19, 2019
Unnameable #19
C-print 63 × 88 cm
Private collection
Inominável #20, 2009
Unnameable #20
Gelatin silver print 93 × 133 cm
Private collection Melvin Moti
Participation in the 34th Bienal supported by: Mondriaan Fund
Interwoven, 2020
Video 32’
Woven by Yayoi Shimanaka on Taketomi Island, 2015-2018
Woven textile 58 × 287 cm
Artist’s collection
Woven by Akiko Ishigaki on Iriomote Island #1, 2015-2018
Woven textile 72 × 72 cm
Artist’s collection
Woven by Akiko Ishigaki on Iriomote Island #2, 2015-2018
Woven textile 78 × 77 cm
Artist’s collection
Woven by Akiko Ishigaki on Iriomote Island #3, 2015-2018
Woven textile 78 × 60 cm
Artist’s collection
Melvin Moti participated with another work in the Vento [Wind] exhibition, between November 14th and December 13th, 2020
Mette Edvardsen
Participation in the 34th Bienal supported by: Nordic Culture Fund, Office for Contemporary Art Norway (OCA) and Performing Arts Hub Norway
Black, 2011
Performance held on September 4, 2021
No Title, 2014
Performance held on September 3, 2021
Time Has Fallen Asleep in the Afternoon Sunshine, 2010Performance and installation dimensions variable Nalini Malani
Onanism, 1969 16 mm film digitized projection 3’52’’
Private collection Naomi Rincón Gallardo
Resiliencia Tlacuache, 2019
Opossum Resilience HD video 16’01”
Courtesy of the artist
Support: Sistema Nacional de Creadores de Arte 2019-2022 del Fondo Nacional para La Cultura y las Artes
Sangre pesada, 2018
3-channel video installation 18’45”
Courtesy of the artist
Support: Sistema Nacional de Creadores de Arte 2019-2022 del Fondo Nacional para La Cultura y las Artes Neo Muyanga
Participation in the 34th Bienal supported by: British Council and Institut français à Paris
A Maze in Grace, 2020
Pigment print on paper (exhibition copy)
Dimensions variable
A Maze in Grace XIII, 2020
HD video 30’46’’
Conceived and photographed by Neo Muyanga; featuring: chorus: Legítima Defesa; soprano: Tina Mene; animations: Bianca Turner & Neo; collage photographs: Cristina Maranhão / Christiano Jr.; sound mix: Dave Langemann & Neo; recorded at: Bienal Pavilion, São Paulo (February 2020) & studio KwaCha, Cape Town (June 2020) Commissioned by Fundação Bienal de São Paulo for the 34th Bienal in partnership with the Liverpool Biennial
A Maze in Grace, 2021
Vinyl album
Artist’s collection
A Maze in Grace – Publication, 2021
Print on paper Artist’s collection
The performance A Maze in Grace was held at the Ciccillo Matarazzo Pavilion on February 8, 2020. The video installation with the same title was included in the Vento [Wind] exhibition, between November 14 and December 13, 2020
Within the network of partnerships with institutions proposed by the 34th Bienal, this work was co-produced by the Liverpool Biennial
Nina Beier
Participation in the 34th Bienal supported by: Nordic Culture Fund, ifa (Institut für Auslandsbeziehungen) and Danish Arts Foundation
Plug, 2018
Ceramic sinks and rolled cigars Dimensions variable
The Complete Works, 2009Performance Noa Eshkol
Participation in the 34th Bienal supported by: Artis and the Consulado Geral de Israel em São Paulo
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Noa Eshkol could be seen in the exhibition Noa Eshkol: Collective Body at Casa do Povo, between August 21st and October 15th, 2021
Creeper on a Tree, 2000s
Cotton gabardine, untreated cotton cloth, flannelette, cotton lawn, silk lawn, silk jersey, crêpe de Chine 287 × 150 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Einya Cohen, Lila Namir, I. M. Schlesinger. A New Dictionary of Sign Language, 1977
Hardcover book
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Eshkol-Wachman Movement Notation –Way to Shape, 1978
Video excerpts 11’14’’
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Eshkol-Wachman Movement Notation –Way to Shape [film 1], 1978
Video excerpts
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Eshkol-Wachman Movement Notation –Way to Shape, 1978
Video excerpts 10’46’’
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Heavy Soil Fields, 1980
Wool, cotton, rayon 300 × 196 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Ilan Golani & Shmuel Zaidel. The Golden Jackal. Behavioral Studies. Department of Zoology; Tel Aviv University
Publication
Notated by Shmuel Zaidel; under the guidance of Noa Eshkol. Cover design: John G. Harries. Photographs: Ilan Golani. Illustrations and diagrams: Avraham W, 1969
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Ilan Golani, Avraham Wachman & John G. Harries. Preparatory material for The Golden Jackal, 1969
Photography, notes and drawings
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Insects in the Sun, 1990
Cotton, synthetic fibers, lurex, rayon 278 × 216 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Analysis of a Position of the Body, with Accompanying Notation on the Manuscript Page, 1950s
Ink on paper 24,6 × 20 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Illustrations for Dictionary of the Sign Language of the Deaf in Israel, 1950-1958
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Illustrations for The Hand Book. Sign Language/Classical Indian Dance, 1972
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Individual Horizontal Planes of Each Moving Limb, c. 1950
Ink on paper 28 × 26 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Rotary Movement, c. 1950
Ink on paper 25 × 21 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Type of Movement: Conical Movement, c. 1950
Ink and collage on paper 23 × 25 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Type of Movement: Conical Movement, c. 1950
Ink and collage on paper
23 × 31 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Type of Movement: Figure in 180 Degree Turn, c. 1950
Ink and collage on paper
25 × 21 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Type of Movement: Plane Movement, c. 1950
Ink and collage on paper
25 × 31 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Type of Movement: Rotary Movement, c. 1950
Ink and collage on paper
21,5 × 24 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
John G. Harries. Types of Movement, c. 1950
Ink and colored pencil on paper
33 × 321 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Leaves on Tiles, 1979
Wool, cotton, viscose
220 × 136 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Lila Namir, Israel Sella, Mordechai Rimor, Izchak M. Schlesinger. A Dictionary of Sign Language in Israel, 1977
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Musical Carpet – Fugue, 1978
Cotton and synthetic fibers 225 × 149 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Noa Eshkol and Avraham Wachman. Movement Notation, Londres: Weidenfeld and Nicolson, 1958
Publication
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Noa Eshkol; John G. Harries; Shmuel Zeidel; Michal Shoshani. The Hand Book. Sign Language/Classical Indian Dance, 1971
Printed pages and photographic album
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Position of the Body with Skeletal Lines, c. 1950
Ink on paper and on parchment 28,5 × 27 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Shmuel Zaidel. Animal Movement on the Eshkol-Wachman Notation: Flamingo, 1979-1989
13 black and white photographs and notes
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Summarized Hand Positions on the Subject – “Symbols”, 1972
10 photographs
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Sunset at Edom Mountains, 1989
Wool, cotton, cotton-linen, cotton crepe, percale, bark crepe, calico 231 × 248 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Sunset by the Lake, 1995
Wool, cotton, corduroy, silk, polyamide, polyester 254 × 221 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Sunsets, 1975
Cotton, flannel, synthetic fabrics 168 × 180 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Symmetric Flora, 1995
Cotton, cotton-linen, cotton twill, cotton crepe, cotton corduroy, polyester 225 × 173 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
The Abstraction of Body Parts – Seen as a Structure of Lines. Body in (0) position, c. 1950
Ink on paper and on parchment 25,5 × 15 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
The Judean Desert, 1987
Wool, cotton, silk, polymers, rayon, polyester, polyamide, elastane 292 × 150 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
The Original Book. J: Drawings (illustrations) for the First Book from the Estate of Avraham Wachman, 1950-1958
illustration 11 × 7,5 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Tree With Sparrows, 1982
Wool, cotton, polymers, rayon 224 × 117 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Vase with White Apples, 1997
Cotton, wool, silk, cotton-linen, twill, percale, tulle 175 × 158 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Wild Tree II, 1989
Cotton and stretch cotton jersey 260 × 205 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Wonderful Summer That Noa Missed With Birds, c. 1990
Wool, cotton, silk, cellulose 291 × 187 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin
Yellow Tree, 1998
Wool, cotton, damask, percale, polyamide 256 × 252 cm
Courtesy: The Noa Eshkol Foundation for Movement Notation, Holon, Israel and neugerriemschneider, Berlin Olivia Plender
Participation in the 34th Bienal supported by: British Council and Iaspis – the Swedish Arts Grants Committee’s International Program for Visual and Applied Artists
Arrest! (series), 2021
Pencil on paper 7 pieces, 29,7 × 21 cm (each)
Courtesy of the artist and Maureen Paley
Hold Hold Fire, 2020
Video 7’36”
Courtesy of the artist and Maureen Paley Hold Hold Fire, 2020
Video 3’55”
Courtesy of the artist and Maureen Paley Oscar Tuazon
Growth Rings, 2020
Site-specific installation with pine wood Dimentions variable
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Work installed in Parque Ibirapuera and in the Bienal Pavilion
Paulo Kapela
Untitled, 2004
Playing cards, newspaper clippings, pack of tobacco e wood paint 61 × 52 × 3 cm
Collection: Africana Art Foundation
Untitled, 2007-2008
Photograph, paper and paint on card 51 × 60 × 5 cm
Collection: Africana Art Foundation
Untitled, 2007-2008
Photograph, paper and paint on cardboard 53 × 71 × 5 cm
Collection: Africana Art Foundation
Untitled, 2007
Graphite on paper 63 × 77 cm
Private collection
Untitled, 2007 Mixed media 65 × 42 cm
Private Collection
Untitled, 2008-2012
Mixed media on cardboard 155 × 134,5 cm (7 pieces)
Collection: CAAC – The Pigozzi Collection, Geneva
Untitled, 2008-012
Mixed media on cardboard 184 × 122,5 cm (7 pieces)
Collection and courtesy: CAAC – The Pigozzi Collection, Geneva
Untitled, 2008
Collage made with playing cards, newspaper, acrylic, glass, felt pen and ballpoint pen on cardboard 89 × 67 × 6 cm
Collection: Africana Art Foundation
Untitled, 2008
Matchbox, CD-ROM, pack of tobacco, feathers, glitter, posters and paint 35 × 49 × 3,5 cm
Collection: Africana Art Foundation
Untitled, 2008
Mixed media 72 × 53 cm
Private Collection
Untitled, 2008
Newspaper, paint, fabric, coins and glass on fabric 86 × 72 × 4,5 cm
Collection: Africana Art Foundation
Untitled, 2008
Newspapers, seeds, playing cards and paint on cardboard 48 × 31 cm
Collection: Africana Art Foundation
Untitled, 2008
Plastic Christmas ornament and paint on cardboard 94 × 85 × 6 cm
Collection: Africana Art Foundation
Untitled, 2008
Poster and paint on cardboard 51 × 61 × 3 cm
Collection: Africana Art Foundation
Untitled, 2009
Collage made with glass, costume jewellery, feathers and plastic on wood 70 × 71 × 6 cm
Coleção Africana Art Foundation
Untitled, 2009
Mixed media 56 × 76 cm
Private Collection
Untitled, 2009
Mixed media 58 × 31 cm
Private Collection
Untitled, 2009
Mixed media 82 × 40 cm
Private Collection
Untitled, 2010
Mixed media 55 × 41,5 cm
Private Collection
Untitled, 2010
Mixed media 56 × 76 cm
Private Collection
Untitled, 2010
Paper, packs of tobacco, packages and paint on cardboard 51 × 49 × 3 cm
Collection: Africana Art Foundation
Untitled, undated
Acrylic paint on wood
Collection: Africana Art Foundation
Untitled, undated
Collage with photograph xerox, coins, pack of tobacco, caricas, pencil and glass on cardboard 67 × 53 × 5 cm
Collection: Africana Art Foundation
Untitled, undated
Magazine clipping, packages, paint and metal hanger on cardboard 64 × 67 × 5 cm
Collection: Africana Art Foundation
Untitled, undated
Newspaper and paint on cardboard
71 × 86 × 5 cm
Collection: Africana Art Foundation
Untitled, undated
Newspaper, playing cards, glass, postcards, paint, felt and acrylic paint on wood 132 × 66,5 × 6 cm
Collection: Africana Art Foundation
Untitled, undated
Paint and paper collage on newspaper 76,5 × 105 × 6 cm
Collection: Africana Art Foundation
Untitled, undated
Paint on paper 127 × 60 × 4 cm
Collection: Africana Art Foundation
Untitled, undated
Paper and paint on cardboard 116 × 62 × 6 cm
Collection: Africana Art Foundation
Untitled, undated
Paper, coin and acrylic paint on cardboard 179 × 154 × 6 cm
Collection: Africana Art Foundation
Untitled, undated
Paper, coin and acrylic paint on cardboard 158 × 130 cm
Collection: Africana Art Foundation
Untitled, undated
Poster and paint on cardboard 77 × 101 × 6 cm
Collection: Africana Art Foundation
Paulo Nazareth
Corte seco, 2021
Dry cut
9 sculptures on painted metal sheet and MDF: Marielle Franco, João Cândido, Zequinha Barreto carrying Carlos Lamarca, Carlos Marighela, Mario Juruna, Maria Beatriz Nascimento, Tereza de Benguela, Aqualtune, Dina do Araguaia Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Work installed in Parque Ibirapuera
Levante/A impressão, 2021
Uprising / The Printing Performance, installation Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Levante/Amolador de Facas, 2021
Uprising/Knife Sharpener
Performance, installation Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Panfletos, 2021 Pamphlets
Pamphlets in newspaper stock Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Paulo Nazareth participated with other works in the Vento [Wind] exhibition, between November 14 and December 13, 2020
Philipp Fleischmann
Participation in the 34th Bienal supported by:
Federal Ministry Republic of Austria – Arts, Culture, Civil Service and Sport
Untitled (34bsp), 2021
35mm film, silent 5’10”
Team: Fundação Bienal de São Paulo, Vicky Balicas, Amara Barroso, Christoph von Berg, Bruna Canepa, Kathrin Kemp, Cesar Sousa, Gerhard Stocker, Salvatore Viviano
This project was produced in collaboration with Phileas – A Fund for Contemporary Art Support: Federal Ministry Republic of Austria – Arts, Culture, Civil Service and Sport
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Pia Arke
Participation in the 34th Bienal supported by: Nordic Culture Fund and Danish Arts Foundation
Arctic Hysteria, 1996
4:3 video, S-VHS to DVD
Private collection
Jord til Scoresby Sund, 1998
Soil for Scoresby Sund
Coffee filters, coffee, and cotton string 160 × 165 cm
Untitled (Double exposure self-portrait in interior) (series), 1990
Digital file of color double exposure self-portrait in interior
7 pieces, 14,8 × 21 cm (each)
Private collection
Untitled (Kronborg Series), 1996
Photographic print on paper 66 × 76 cm
Untitled (Pinhole camera photograph with car), c. 1990
Print on silver/gelatine baryte paper with silhouette of car 62 × 51 cm
Untitled (Pinhole camera photography with footprints), 1990
Gelatin silver print 61 × 51 cm
Private collection
Pierre Verger
Participation in the 34th Bienal supported by: Institut français à Paris
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Pierre Verger could be seen in the Pierre Verger: Paths and Memories exhibition at the Instituto Tomie Ohtake, between August 13 and November 21, 2021
A cabeça do carneiro é separada do corpo e o noviço a segura e começa a dançar, 1950
The ram’s head is separated from the body and the novice holds it and begins to dance
Gelatin silver print 50 × 50 cm Collection: Fundação Pierre Verger
A cabeça do carneiro é separada do corpo e o noviço começa a dançar, 1950
The ram’s head is separated from the body and the novice begins to dance
Gelatin silver print 80 × 80 cm
Collection: Fundação Pierre Verger
Abiã em momento de transe, 1950
Abiã in a moment of trance
Gelatin silver print 50 × 50 cm Collection: Fundação Pierre Verger
Após o bori de sangue, 1950
After the blood bori
Gelatin silver print
60 × 60 cm
Collection: Fundação Pierre Verger
Axoguns durante uma cerimônia, 1950
Axoguns during a ceremony
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Durante bori de sangue, 1950
During the blood bori
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
George Bataille. Les larmes d’Éros
The Tears of Eros
Book published by: Jean-Jacques Pauvert, 1961 Collection: Fundação Pierre Verger
Georges Bataille. L’érotisme
Erotism
Book published by: Les éditions de minuit, Paris, 1957
Collection: Fundação Pierre Verger
Iaô de Oxóssi, 1950
Oxossi Iao
Gelatin silver print 60 × 60 cm
Collection: Fundação Pierre Verger
Iaô de Oxum e Yemanjá durante festa no barracão, 1950
Oshun Iao and Yemanya during a celebration at the shed
Gelatin silver print 60 × 60 cm
Collection: Fundação Pierre Verger
Iaô de Yemanjá, Oxóssi e Oxum, 1950
Yemanya, Oxossi and Oshun Iao
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Iaô depois da pintura de Efun, 1950
Iao after Efun painting
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Iaô em estado de erê durante a iniciação, 1950
Iao in erê condition during initiation
Gelatin silver print 60 × 60 cm
Collection: Fundação Pierre Verger
Iaô no momento de iniciação, 1950
Iao at the initiation moment
Gelatin silver print 60 × 60 cm
Collection: Fundação Pierre Verger
Iaô no momento de iniciação, 1950
Iao at the initiation moment
Gelatin silver print 50 × 50 cm Collection: Fundação Pierre Verger
Iaô no momento de iniciação, 1950
Iao at the initiation moment
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Iaô no momento de iniciação, 1950
Iao at the initiation moment
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Jovens Ogans, 1950
Young Ogans
Gelatin silver print
50 × 50 cm
Collection: Fundação Pierre Verger
Les Possédes de Bahia
As possuídas da Bahia
Published in: Paris Match, Paris, n. 112, maio [May], 1951
Collection: Fundação Pierre Verger
Notes made by Pierre Verger during a ceremony in Pai Cosme’s terreiro. Salvador, August 19, 1951
Paper and pen
Collection: Fundação Pierre Verger
O Cruzeiro, 15 – IX – 1951
Collection: Fundação Pierre Verger
Pai Cosme de Oxum, oriundo de Recife, 1950
Pai Cosme of Oshun, from Recife
Gelatin silver print
50 × 50 cm
Collection: Fundação Pierre Verger
Pai Cosme diante de um assentamento de Ibeji, 1950
Pai Cosme in front of an Ibeji settlement
Gelatin silver print
50 × 50 cm
Collection: Fundação Pierre Verger
Pai Cosme em transe de Oxum, 1950
Pai Cosme in Oshun trance
Gelatin silver print
50 × 50 cm
Collection: Fundação Pierre Verger
Pierre Verger. Orisha
Orishas
Published by: A.M. Métaillé, Paris, 1982
Collection: Fundação Pierre Verger
Pierre Verger. Orixás
Orishas
Published by: Corrupio, Salvador, 1981 Collection: Fundação Pierre Verger
Transcriptions by Pierre Verger of pages from Pai Cosme’s notebooks, Late 1940s / Early 1950s
Paper and pen Collection: Fundação Pierre Verger
Uma Iaô de Oxum dançando durante a sua primeira saída, 1950
A Oshun Iao dancing during her first leave
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Uma Iaô de Oxum na sua primeira saída com suas ferramentas, 1950
A Oshun Iao at her first leave with her tools
Gelatin silver print 50 × 50 cm
Collection: Fundação Pierre Verger
Uma Iaô de Oxum na sua primeira saída quando é apresentada ao público, 1950
[A Oshun Iao in her first leave, when presented to the public
Gelatin silver print
50 × 50 cm
Collection: Fundação Pierre Verger
Regina Silveira
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Regina Silveira could be seen in the exhibition Regina Silveira: Other paradoxes at the Museum of Contemporary Art of the University of São Paulo (MAC USP), on August 28 of 2021 and July 3, 2022
Alteração em definição de arte, 1977 Jogos de Arte (série)
Changes in art definition. Art games (series)
Offset print 65 × 55 cm
Artist’s collection
Dilatáveis (série), 1981/2020
Dilatables (series)
Laminated vinyl adhesive on plywood plate Dimensions variable
O discurso
The Speech
grandes
The Giants
abraço
Embrace
Para Lizárraga
To Lizárraga
Labirinto, 2021 Labyrinth
Metal structure, printed glass
The realization of this work was made possible by the support of Usina de Arte Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
The Dilatáveis series was included in the Vento show, between November 14th and December 13th, 2020
Roger Bernat
Participation in the 34th Bienal supported by: AC/E – Acción Cultural Española e Institut Ramon Llull
Pim-pam, 2021
Installation, headsets and cargo cart Dimensions variable Support: AC/E – Acción Cultural Española e Institut Ramon Llull Sebastián Calfuqueo (Seba Calfuqueo)
Participation in the 34th Bienal supported by: Ministerio de Relaciones Exteriores y Ministerio de las Culturas, las Artes y el Patrimonio – Gobierno de Chile
Alka Domo, 2017
Videoperformance
Tantas veces apümngeiñ, 2016
So many times apümngeiñ
Installation: resin, mud and video
Private collection
17’
6’28”
Os
O
The
A continência The Salut O time The Team Sombras Shadows — O jogador The Player
Silke Otto -Knapp
Participation in the 34th Bienal supported by: ifa (Institut für Auslandsbeziehungen)
Clouds, 2021
Watercolor on canvas
5 panels, 300 × 390 cm (each)
Screen (Forest), 2020
Watercolor on canvas
5 panels, 240 × 400 cm (each)
Stack, 2020
Watercolor on canvas
6 panels, 299,5 × 370 cm (each)
Artist’s collection Sueli Maxakali
Participation in the 34th Bienal supported by: Instituto Inclusartiz
Kãyã tut xex õm [A cobra grande], 2017
The Big Snake
Sound installation
Artist’s collection
Support: Instituto Inclusartiz Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Kũmxop koxuk yõg [Os espíritos das minhas filhas], 2021
The spirits of my daughters
Installation Dimensions variable
Colaboration: Yãmĩy xax Mamed Maxakali, Alexandre Maxakali, Veronildo Maxakali, Marcinho Maxakali, Tatuzinho Maxakali, Apurinã Maxakali, Lazareno Maxakali, Robertinho Maxakali / Mãm putox Tariana Maxakali, Maria Sônia Maxakali, Valdirene Maxakali, Maína Maxakali, Marinete Maxakali, Anizinha Maxakali, Nezinha Maxakali, Eva Maxakali, Eliane Maxakali, Eva Maxakali, Daldina Maxakali, Neusa Maxakali, Rosineusa Maxakali, Juliana Maxakali, Niva Maxakali, Ariana Maxakali / Kayã tut Paulicia Maxakali, Jurema Maxakali, Isabelinha Maxakali / Tuhut xeka xi tuhut kutiknãg Eni Maxakali, Renata
Maxakali, Marineide Maxakali, Esperança Maxakali, Marilene Maxakali, Creuza Maxakali, Betânia Maxakali, Suel Maxakali, Juraci Maxakali, Zizinha Maxakali / Mĩmãnãm nãg [small Mĩmãnãm] Cassiano Maxakali, Raíque Maxakali, Ian Maxakali, Evaldo Maxakali, Mauricinho Maxakali, Mezinho Maxakali, Eustaquio Maxakali, Dembo Maxakali, Osmino Maxakali, Salvino Maxakali / Mĩmãnãm kup tox nãg [long mimãnãm] Melina Maxakali, Jacilana Maxakali, Detinha Maxakali, Creuzinha Maxakali / Mimãnãm kup tox nãg yãmĩyhex yõg Dédeu Maxakali, Messias Maxakali, Tamborim Maxakali, Marco Maxakali, Zezão Maxakali, Nelsinho Maxakali / Yãmĩy kup Tavinho Maxakali, Denevaldo Maxakali, Nilton
Cardoso Maxakali
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Sung Tieu
Coral Sea as Rolling Thunder, 2017
Installation: HD video, aluminum structure; C-prints on aluminum; programmed LED panel
Courtesy of the artist; Sfeir-Semler Hamburg/ Beirut; and Post Vidai Collection
Destination: Black Virgin Mountain, 2017
Digital print on newspaper stock 50 × 35 cm
Exhale, 2017
C-print mounted on aluminum 84 × 63 × 0,4 cm
Courtesy of the artist; Sfeir-Semler Hamburg/ Beirut; and Post Vidai Collection
Inhale, 2017
C-print mounted on aluminum 96,2 × 80 × 0,4 cm
Courtesy of the artist; Sfeir-Semler Hamburg/ Beirut; and Post Vidai Collection
Inhale Again, 2017
C-print mounted on aluminum 94 × 65,5 × 0,4 cm
Courtesy of the artist; Sfeir-Semler Hamburg/ Beirut; and Post Vidai Collection
Life Plods Along In The Mekong, 2017
Digital print on newspaper stock 50 × 35 cm
Memory Dispute, 2017
HD video, stereo sound 22’42’’
Courtesy of the artist; Sfeir-Semler Hamburg/ Beirut; and Post Vidai Collection
No God, No Masters, 2017
HD video and 4-channel sound 19’13”
Courtesy of the artist; Sfeir-Semler, Hamburg/ Beirut; and Emalin, London
Remote Viewing, 2017
Installation: HD video projection on metal structure, synchronized 4-channel sound, metal structure, wood plinth and mirrors, 4 speakers, 4 media players
Courtesy of the artist and Sfeir-Semler, Hamburg/ Beirut
Shipping Forecast South China Sea, 11th June 2017, 2017
Programmed LED Panel
Courtesy of the artist and Post Vidai Collection
Troops Employ Phantastic New Tools In Nam, 2017
Digital print on newspaper stock 50 × 35 cm
Two Worlds, Four Spirits, 2018
Digital print on newspaper stock
Tamara Henderson
Participation in the 34th Bienal supported by: Canada Council for the Arts
A Desert Sifting Sand for Time to Pass, 2021
Acrylic on canvas, steel mesh, pigment, paper clay 120 × 100 × 20 cm
Produced in collaboration with Nell Pearson
Courtesy of the artists and Rodeo, London / Piraeus
A Skeleton Ascends to Find the Door, 2021
Acrylic on canvas, steel mesh, pigment, paper clay 120 × 100 × 20 cm
Produced in collaboration with Nell Pearson Courtesy of the artists and Rodeo, London / Piraeus
A Solid Afterwards Becomes a Gas, 2021
Acrylic on canvas, steel mesh, pigment, paper clay 120 × 100 × 20 cm
Produced in collaboration with Nell Pearson
Courtesy of the artists and Rodeo, London / Piraeus
And there we find Gondwana in the Heath, 2021
Acrylic on canvas, steel mesh, pigment, paper clay 120 × 100 × 20 cm
Produced in collaboration with Nell Pearson
Courtesy of the artists and Rodeo, London / Piraeus
The Canberran Characters, 2021
Series of 13 sculptures, various materials Dimensions variable
Produced in collaboration with Nell Pearson Courtesy of the artists and Rodeo, London / Piraeus
The Cockatoo
Wire mesh, steel rod, plaster, paint, buddah’s hand citrus 120 × 45 × 40 cm
The Basket
Wire mesh, cat tail reeds, sweetgrass 56 × 35 × 26 cm
Starseed
Wire mesh, collage, anatomy models, newspaper, glue, pigments 77 × 77 × 66 cm
Covid
Wire mesh, steel rod, Canberra maps, hand sanitiser, yellow brick road, mirror, earth, glass cover model, glow in the dark worms, lenses 82 × 72 × 17 cm
—
The Director
Wire mesh, wax, magnets, wire, lighting gels
127 × 50 × 50 cm
The Satellite
Wire mesh, steel rod, steel bar, mirror tiles, grout, pigment, wax, aluminum leaf 127 × 103 × 95 cm
The Pocket
Wire mesh, steel rod, paper, cyanotype 75 × 43 × 47 cm
OZ
Wire mesh, steel rod, dyed wool felt, yarn, moonstone, felt strawberry, felt eye, ceramic wizard, ceramic bricks, purple snail shell 112 × 36 × 30 cm
Turtle
Wire mesh, embossed copper, turtle shells, bells, ceramic beads, rope 180 × 50 × 30 cm
Figure Highway
Wire mesh, aluminum, bitumen, sand, glue, pigment, blown glass third eye 190 × 90 × 53 cm
The Shadows
Wire mesh, steel rod, various metals 140 × 100 × 80 cm
The Dragon
Wire mesh, mohair, Tesla ball, steel 140 × 70 × 80 cm
The Cinnamon Flower
Wire mesh, wool, felt, ceramic, cinnamon, newspaper 190 × 80 × 60 cm
The River’s twin was Sleeping
Underneath, 2021
Acrylic on canvas, steel mesh, pigment, paper clay
120 × 100 × 20 cm
Produced in collaboration with Nell Pearson
Courtesy of the artists and Rodeo, London / Piraeus
Tony Cokes
Evil.16 (Torture.Musik), 2009-2011
HD video
16’27”
Courtesy of the artist, Greene Naftali, New York, Hannah Hoffman, Los Angeles and Electronic Arts Intermix, New York
Evil.27: Selma, 2011
HD video
9’
Courtesy of the artist, Greene Naftali, New York, Hannah Hoffman, Los Angeles and Electronic Arts Intermix, New York
Trajal Harrell
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, Trajal Harrell also presented, on August 28, 2021, the performance The Untitled Still Life Collection at Instituto Bardi / Casa de Vidro
Dancer of the Year, 2019
Dançarino do ano Performance held on September 3 and 4, 2021
Dancer of the Year Shop #3, 2019
Installation, dimensions variable
Uýra
Malhadeira, 2021
Enmeshment
Rubber seeds, scotch tape
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Elementar (Rio Negro), 2018
Elemental (Negro River)
Photograph 100 × 74 cm
Mil Quase Mortos (Boiuna), 2019
Elemental (Boiuna)
Photograph 50 × 89 cm
Elementar (A última Floresta – Terra pelada), 2018
Elemental (The Last Forest – Naked land)
Photograph 73 × 110 cm
Elementar (A última Floresta – Terra pelada, 2018
Elemental (The Last Forest – Naked land)
Photograph 45 × 72 cm
Elementar (A última floresta) Uýra Sodoma, 2019
Elemental (The Last Forest) Uýra Sodoma
Photograph 60 × 90 cm
Elementar (A última Floresta – Fogo), 2017
Elemental (The Last Forest – Fire)
Photograph 60 × 90 cm
Elementar (A última Floresta), 2017
Elemental (The Last Forest)
Photograph 41 × 62 cm
Victor Anicet
Participation in the 34th Bienal supported by: Institut français à Paris and Ministère de la Culture et de la Communication – DAC Martinique
Accouplement, 2017
Coupling
Enameled lava plate 50 × 43 × 1 cm
Appel d’Afrique, 2010
Call from Africa
Ceramic 45 × 40 cm
Bambou, 2017 Bamboo Ceramic 45 × 25 × 10 cm
Bonbon Chouval, 2010 Horse biscuit Ceramic 15 × 15 cm
Bonbon Chouval, 2010 Horse biscuit Ceramic 15 × 15 cm
Bonbon Chouval, 2010 Horse biscuit
Ceramic 15 × 15 cm
Bonbon Chouval, 2010 Horse biscuit
Ceramic 15 × 15 cm
Bonbon Chouval, 2010
Horse biscuit
Ceramic 40 × 40 cm
Caldèras, 2013/2019
Ceramic Ø 25 cm
Artist’s collection
Caldèras, 2013/2020
Ceramic Ø 26 cm
Artist’s collection
Caldèras, 2013/2021
Ceramic Ø 27 cm
Artist’s collection
Carcan, 2002
Enameled lava plate 58 × 58 × 2 cm
Carcan, 2002
Enameled lava plate 50 × 42 × 2 cm
Carcan, 2002
Mixed media 58 × 58 × 2 cm
Chaos Monde, 2003
Chaos world
Enameled lava plate 50 × 50 × 2 cm
Chaos Monde, 2003
Chaos world
Enameled lava plate 50 × 50 × 2 cm
Chaos Monde, 2013
Chaos world
Ceramic and lava plate 42 × 45 × 5 cm
Chaos Monde, 2013
Chaos world
Ceramic and lava plate 50 × 50 × 2 cm
Coui, 2015 Ceramic 23 × 42 cm
Grêve, 2010 Strike
Lava plate 50 × 50 × 2 cm
Lave, 2019 Lava Enameled lava plate 50 × 50 × 2 cm
Le flûtiste, 1970
The flute player
Painted wood 122 × 80 cm
Le gardien, 2010 The guardian Ceramic 41 × 38 × 10 cm
Le Midi quotidien, 1970
The Quotidien Noon
Painted wood 122 × 53 cm
Les Marrons, 2017
The maroons
Enameled lava plate
50 × 43 × 1 cm
Présence de l’Est multiple, 2000
East multiple presence
Enamelled lava plate
50 × 50 × 3
Présence de l’Est multiple, 2000
East multiple presence
Enamelled lava plate
12 × 20 × 2
Sans titre, 2019
Untitled
Ceramic
38 × 40 × 5 cm
Vision du vaincu, 2018
View of the defeated
Ceramic
35 × 50 × 10 cm
Vision du vaincu, 2019
View of the defeated
Ceramic 35 × 50 × 10 cm
Vision du vaincu, 2019
View of the defeated
Ceramic
35 × 50 × 10 cm
Vincent Meessen
Participation in the 34th Bienal supported by: Fédération Wallonie-Bruxelles and WallonieBruxelles International (WBI)
Juste un Mouvement, 2021
Just a Movement
Video 110’
Co-commissioned by Fundação Bienal de São Paulo for the 34th Bienal
The Sun Will Always Rise, 2018-2020
Installation, dimensions variable Co-commissioned by Fundação Bienal de São Paulo for the 34th Bienal
Ximena Garrido-Lecca
Aleaciones con memoria de forma: Realineaciones IV, 2020
Shape Memory Alloys: Realignments IV
Cut and woven copper tubes 130 × 190 × 3 cm
Divergent Lots, 2012
49 c-prints on cardboard 97 × 127,5 cm Exhibition co-produced with: CCA Wattis, São Francisco (USA)
Fields of Polarity III, 2020
Ceramics, tin and lead welding, glass tubes with LED light
Dimensions variable Exhibition co-produced with: CCA Wattis, São Francisco (USA)
Insurgencias botánicas: Phaseolus Lunatus, 2017/2020
Botanical Insurgencies: Phaseolus Lunatus
Installation: hydroponic structure and plants of species Phaseolus Lunatus, mdf wooden box with broad bean seeds, ceramics, acrylic painting on wall Dimensions variable
Transmutaciones – Composition III, 2020
Transmutations – Composition III
Sand-cast copper Dimensions variable
The works of Ximena Garrido-Lecca were shown for the first time, as part of the 34th Bienal in the artist’s solo exhibition, which marked the opening of the show, between February 8th and March 15th, 2020
The work Insurgencias botánicas: Phaseolus Lunatus was included in the Vento [Wind] exhibition, between November 14 and December 13, 2020
Yuko Mohri
Participation in the 34th Bienal supported by: Agency for Cultural Affairs, Government of Japan (Bunka-cho Art Platform Japan) and Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture)
As part of the network of partnerships with institutions in the city proposed by the 34th Bienal, other works by Yuko Mohri could be seen in the exhibition Parade – a dripping drop, a bead, a story, at Japan House São Paulo, between August 31 and 14 November 2021
Orochi (Serpent) AM 88,2 MHz, 2021
Installation Dimensions variable
Untitled (Voice and 9 Receivers), 2021
Motor, speaker, tripod, paper, computer, audio player, transmitter, cable, magnet, amplifier, wood, radio receiver
Dimensions variable Voice and melodica: Tsumugine. Recording and mastering: Makoto Oshiro. Engineering: Nomena. Staff: Nayo Higashide, Gaku Kondo, Koshiro Shikine, Yui Yoshizumi
You Locked Me Up in a Grave, You Owe Me at Least the Peace of a Grave, 2018-2021
Installation made with iron, motor, speaker, tripod, paper, computer, and other materials Artist’s collection
Yuko Mohri participated, with another work, in the Vento [Wind] exhibition, between November 14 and December 13, 2020
Yuyachkani
Untitled
Multimedia installation and archival material
Collection: Yuyachkani
Courtesy: Yuyachkani Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Zina Saro-Wiwa
The Re(a)d Forest, 2021
Video installation Dimensions variable Courtesy of the artist Kum: Soul of the Shadow, 2021
3-channel video installation Commissioned by Fundação Bienal de São Paulo for the 34th Bienal Zózimo Bulbul
Alma no olho, 1973 Soul in the Eye Film 12’
Courtesy: Centro Afro Carioca de Cinema Zózimo Bulbul
