director of photography and camera: roseane yariana yanomami
producers: eryk rocha, gabriela carneiro da cunha
editors: aida harika yanomami, edmar tokorino yanomami, carlos eduardo ceccon, julia faraco, rodrigo ribeiro-andrade
sound editor: waldir xavier
sound mixing: guilherme lima de assis
direct sound: marcos lopes da silva
color grading: cassiana umetsu, marcelo brandt translators: ana maria machado, richard duque, corrado dalmonego, marcelo silva, morzaniel ɨramari yanomami
general supervision: davi kopenawa yanomami, dário vitório kopenawa yanomami
responsible for yanomami audiovisual training: marília garcia senlle
camera operators: aline motta, caio rosa, daniel cabrel, lucas magalhães camera assistant: flavio muniz drone operator: francisco “cochi” guimarães additional drone operator: felipe macedo generator and electricity: luther modesto video projection: daniel cabrel video projection assistant: juliana bento production coordinators: caio rosa, giulia maria reis costume designer: aline motta costume tailor: awa guimarães editing: aline motta, ana julia travia post-production supervisor: tatiana macedo supervising colorist: maísa joanni colorist: diran serafim, maísa joanni motion graphics: marina quintanilha motion graphics assistant: thais suguiyama soundtrack: aline motta, jessica gaspar, spirito santo music production and sound mixing: pedro santiago audiovisual and acoustics consultant: doo sung you 5.1 sound mixing: confraria de charutos musicians: spirito santo e caio rosa singers: jessica gaspar e spirito santo english subtitles: sophie lewis, julia sanches performers: aline motta, mari si Commissioned by the Sharjah Art Foundation and co-commissioned by Fundação Bienal de São Paulo for the 35th Bienal. Funded in part by ZUM Photography Grant/Instituto Moreira Salles, Brazil, and Programa Coincidência, Swiss Arts Council Pro Helvetia
A água é uma máquina do tempo, 2023
Water is a Time Machine Performance
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Não corte os negativos, 2023
Do Not Cut the Negatives
Video, color, sound
1’10’’
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
360°, 2020/2023
A rigor, 2022/2023
Formal Attire
Apontamentos, 2020/2023 Pointing
Cartão de visita, 2021/2023 Business Card
Cofre, 2020/2023
Safe
Descanso, 2023
Rest
Espelho, 2023
Mirror
Frestas, 2023
Cracks
Imponderabilia institucional, 2018/2023
Institutional Imponderabilia
Isopor, 2021/2023 Cooler
Ronda, 2018/2023
Patrol
Sit-in, 2016/2023
Vidro, 2023
Glass
Visita técnica, 2023 Technical Visit
all works: Performance
amos gitaï
Bait, 1980
House
16mm film transferred to video
51’
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Gift: Amos Gitaï, 2015
cinematography: emanuel aldema
sound: oded hornik
editing: rina ben melech
production: Channel 1 tv
ana pi, taata kwa nkisi mutá imê
This participation is supported by: Institut français
ANTENA IA MBAMBE
Mimenekenu Ê Lá Tempo!, 2023
Footwork, ceramics, iron oxide, revolving metallic structure, motors, various suns, monitors, looping video-animation, printed flag, photography and digital manipulation, various moons, cowrie shells and palha da costa, bell, all directions, fio de contas from Tempo Nkisi, mast, cabaça, audio, sound system, 16 baobab seeds, various earths, para-raios leaves from Kaiongo Nkisi, quebrafeitiço and mukumbi leaves from Rogi Nkisi, various eyes from Unzó Mutálambô Ye Kaiongo in Cajazeiras XI, various winds, transmission, various waters and fundamental continuity of the Divinal Bakongo secret
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal and co-produced with Sesc –Serviço Social do Comércio
ana pi
The Divine Cypher, 2023 Performance
anna boghiguian
Woven Winds – The Making of an Economy –Costly Commodities, 2016-2023
Installation composed of paintings, cut-out wax figures and pencil on paper; supports in wood and metal
Collection: E. Righi
Woven Winds – The Making of an Economy –Costly Commodities, 2023
Mural painting
Woven Winds – The Making of an Economy –Costly Commodities, 2023
Installation composed of earth and cotton branches
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
anne-marie schneider
This participation is supported by: Institut français
La Mer bleue, 2012
The Blue Sea
Gouache and black lead on paper
270 × 317 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Untitled (Box-Character), 2018
Graphite on paper
29,5 × 35 cm
Courtesy of the artist and Michel Rein, Paris / Brussels
Untitled (Blue Interior), 2012
Acrylic on paper mounted on wood and plexiglass
70 × 170 cm
Courtesy of the artist and Michel Rein, Paris / Brussels
Untitled (Brick Door with Character), 2019
Acrylic on paper
46 × 42,3 cm
Courtesy of the artist and Michel Rein, Paris / Brussels
Untitled (Room), 2012
Gouache, graphite and Indian ink on paper
30 × 30 cm
Courtesy of the artist and Michel Rein, Paris / Brussels
Untitled (Fall), 2000
Graphite and Indian ink on paper
32,8 × 37,5 cm
Courtesy of the artist and Peter Freeman, Inc., New York / Paris
Untitled, 1999
38 × 32,9 cm
Indian ink on paper
Courtesy of the artist and Peter Freeman, Inc., New York / Paris
Untitled, 2000
32,7 × 38 cm
Charcoal, acrylic and Indian ink on paper
Courtesy of the artist and Peter Freeman, Inc., New York / Paris
Untitled, 2001
Indian ink on paper
38 × 33,2 cm
Courtesy of the artist and Peter Freeman, Inc., New York / Paris
Untitled, 2003
Indian ink on paper
33 × 38 cm
Courtesy of the artist and Michel Rein, Paris / Brussels
Untitled, 2020
Acrylic on paper
161,5 × 114 cm
Collection: Marie-Puck Broodthaers
archivo de la memoria trans
Destellos, 2023
Sparkles
Site-specific installation, composed of photographs and documents of the archivo de la memoria trans since the 1960s
Dimensions variable Collection: Archivo de la Memoria Trans (AMT), Buenos Aires
arthur bispo do rosário
Avenida Rosangela Maria, undated
Rosangela Maria Avenue
Fabric, thread, cotton thread, ink, graphite and wood
129 × 177 × 10 cm
Colônia Juliano Moreira, undated
Juliano Moreira Colony
Fabric, thread, cotton thread and wood
136 × 164,5 × 10 cm
Dicionário de nomes letra A I, undated
Name Dictionary Letters A I
Fabric, thread, cotton thread, wood and plant fiber
140 × 231 × 10 cm
Eu preciso destas palavras escrita, undated
I Need These Written Words
Fabric, thread, cotton thread, wood, felt tip pen and ink
126 × 208 × 10 cm
Navios de guerra, undated War Ships
Fabric, thread, cotton thread, wood and ballpoint pen
141 × 132 × 10 cm
Recordações, undated
Memories
Fabric, thread, cotton thread, wood, metal, plastic, synthetic leather, paper, felt tip pen and graphite
135 × 223 × 4 cm
Vós habitantes do planeta Terra, eu apresento as suas nações..., undated
You, inhabitants of planet Earth, I introduce your nations…
Fabric, thread, cotton thread, wood, ink, graphite and metal
139 × 200 × 10 cm
all works:
Collection: PCRJ/SMS/IMAS- JM/Museu Bispo do Rosário Arte Contemporânea, Rio de Janeiro
aurora cursino dos santos
A brasileira, undated
The Brazilian Woman
50 × 34,5 cm
Autorretrato, undated
Self-portrait
50 × 32,5 cm
Cursino Rembrandt, 1950
62 × 50 cm
Hotel Avenida, undated
Avenida Hotel
50 × 40,5 cm
Nocturno no Juquery, undated
Nocturnal on Juquery
53,7 × 35,5 cm
Untitled, 1950
58 × 50 cm
Untitled, 1950
60 × 50 cm
Untitled, 1951
50 × 35 cm
Untitled, undated
49,6 × 44,8 cm
Untitled, undated
37 × 55 cm
Untitled, undated
55 × 50 cm
Untitled, undated
60 × 50 cm
Untitled, undated
60 × 50 cm
Untitled, undated
50 × 59,5 cm
Untitled, undated
50 × 65,5 cm
Untitled, undated 65 × 50 cm
Untitled, undated
47,5 × 32 cm
Untitled, undated 60 × 50 cm
Untitled, undated 75,6 × 59,5 cm
Untitled, undated 79,3 × 49,5 cm
Untitled, undated 78 × 60 cm
all works: Oil on paper
Collection: Museu de Arte Osório Cesar, Franco da Rocha
Courtesy: Complexo Hospitalar do Juquery and Prefeitura de Franco da Rocha
ayrson heráclito, tiganá santana
Floresta de infinitos, 2023
A Forest of Infinite
Site-specific installation composed of bamboo, coconut fiber, mirrors, pots, quartinha, quartinhão, bowls, stones, balaios, ojás (white fabrics), white morim, purple morim, black morim, abanos, capanga, iruquerês, gourds, solution of carboxy methyl cellulose and pigment, tulle, ofá and spear
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
exhibition design: stella tennenbaum light design: anna turra
interaction design and sensor programming: jarbas jácome
animation, computer graphics and interactive projection: fernando rabelo drums: tiganá santana, sebastian notini voices: tiganá santana, Itabuna Estúdio recordings: sebastian notini
clarinets and recordings: joana queiroz, Estúdio Volante
musical production, sound design, mixing and mastering: andré magalhães image credits:
mãe stella de oxóssi: photo: mario cravo neto, collection: Instituto Mario Cravo Neto/ Instituto Moreira Salles
índio do buraco: photo: Funai dom phillip: image created from private collection bruno pereira: image created from private collection mãe edna do espírito santo (risolá de cassarangongo): image created from private collection joãozinho da goméia: photo: pierre verger / Fundação Pierre Verger chico mendes: image created by artificial intelligence mãe mirinha de portão: image created from private collection doce river: image created by artificial intelligence leistes defilippii: image created by artificial intelligence phrynomedusa fimbriata: image created by artificial intelligence ficus gomelleira: photo: ayrson heráclito tools (ofá and spear): cláudio bispo
benvenuto chavajay
Camino/en la grieta a Xib’alb’á, 2023
Path/in the Crevice of Xib’alb’á 2 channel videoperformance 6’, 7’
production: Association Rokya, Paris / Association Originale, Marrakech
co-production: MuCEM / Festival de Marseille
cabello / carceller
Una voz para Erauso. Epílogo para un tiempo trans, 2021-2022
A Voice for Erauso. Epilogue for a Trans Time 4k videoinstallation transferred to HD, color, sound 28’15’’
carlos bunga
This participation is supported by: República Portuguesa – Cultura / Direção-Geral das Artes
Habitar el color, 2018/2023
To Inhabit the Color Ink on floor
480 × 1680 cm
carmézia emiliano
Assando castanha de caju, 2023
Baking Cashew Nut
70 × 70 cm
Buritizeiro no lavrado, 2023
Buriti Tree at the Cultivated Ground
70 × 70 cm
Fazendo rede, 2023
Making Hammock
50 × 50 cm
Festival de panela de barro, 2023
Clay Pan Festival
70 × 70 cm
Lenda do casal americano, 2023
The American Couple Legend
70 × 70 cm
Mulheres colhendo buriti, 2023
Women Harvesting Buriti
40 × 60 cm
Muquiando peixe, 2023
Smoking Fish
70 × 70 cm
Os caçadores, 2023
The Hunters
70 × 70 cm
Salgando peixe, 2022
Salting Fish
70 × 70 cm
Wazaka, 2023
50 × 50 cm
all works:
Oil on canvas
Collection of the artist
Courtesy: Central Galeria, São Paulo
castiel vitorino brasileiro
Montando a história da vida, 2023
Manufacturing the History of Life
Site-specific installation composed of black soil, fishing boat, alguidars, eucalyptus logs, bricks, corten steel and 4 paintings
Dimensions variable
Untitled, 2023 from the series Edificações
Buildings Oil on linen 92 × 75 cm
Untitled, 2023 from the series Edificações
Buildings Oil on linen 123 × 77 cm
Passagens secretas, 2023
Secret Passages from the series Edificações
Buildings Oil on linen 110 × 74 cm
Direito ao fogo, 2023
Right to the Fire from the series Edificações
Buildings Oil on linen subjected to burning process 110 × 74 cm
all works: Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
ceija stojka
This participation is supported by: Federal Ministry Republic of Austria – Arts, Culture, Civil Service and Sport and Phileas – The Austrian Office for Contemporary Art
Dachau KZ, 1994
Acrylic on cardboard
69,5 × 99 cm
Collection: Antoine de Galbert, Paris
Das Elent [sic]. Das L[e]id ich rich es noch. Die Leichen mit uns nah Lebenden, 2003
The Elect [sic]. I Enrich the Sorrow. The Corpses
Living Nearby
Ink on paper
29,5 × 42 cm
Collection: Antoine de Galbert, Paris
Landleben, 1993
Life in the Countryside
Acrylic on cardboard
50 × 65 cm
Collection: Marcus Meier
Où est la mort ? Elle nous a échappé. 1945 (Bergen-Belsen), undated
Where is death? It went away from us. 1945 (Bergen-Belsen)
Ink on paper
29,5 × 42 cm
Collection: Antoine Frérot, Paris
Tot, undated
Dead
Ink on paper
29,5 × 42 cm
Collection: Antoine de Galbert, Paris
Untitled, 1993
Acrylic on cardboard
50 × 65 cm
Collection: Marcus Meier
Untitled, 1993
Ink on paper
29 × 41 cm
Collection: Antoine Frérot, Paris
Untitled, 1993
Gouache on cardboard
50 × 65 cm
Fonds Kervahut / Collection: Laurent Fiévet
Untitled, 1995
Acrylic on cardboard
69 × 99 cm
Collection: Philippe Gellman
Untitled, 1995
Acrylic on cardboard
69,5 × 99 cm
Collection: Antoine de Galbert, Paris
Untitled, 2003
Acrylic and gouache on paper
41,7 × 29,4 cm
Collection: Antoine de Galbert, Paris
Untitled, 2003
Acrylic and chalk on paper
100 × 70 cm
Collection: Noëlig Le Roux, Paris
Untitled, undated
29,5 × 42 cm
Ink on paper
Collection: Antoine de Galbert, Paris
Unsere Omis und Müttern. Und keiner schaute weg von den SS-Soldaten, undated
Our grandmothers and mothers. And nobody turned away from the SS soldiers
Ink on paper
42 × 29,5 cm
Private collection, Paris
Courtesy: Galerie Christophe Gaillard, Paris
Z6399, 1994
Acrylic on cardboard
81 × 110,5 cm
Pinault Collection
Z.B. [Zyklon B] Gaskammer am 2.8.1944 in Auschwitz. Die Endauflösung, 2006
Z.B. [Zyklon B] Gas Chamber in 2.8.1944 in Auschwitz. The “Final Solution”
Ink, acrylic and sand on cardboard
48,5 × 32,5 cm
Collection: Antoine de Galbert, Paris
Zum Krematorium, 2003
To the Crematorium
Ink on paper
30 × 42 cm
Collection: Antoine de Galbert, Paris
charles white
Bessie Smith, 1950
Linocut print on Japanese paper
48,2 × 40,6 cm
Exodus, 1961
Linocut print
80 × 125 cm
Frederick Douglass, 1951
Lithograph print on wove paper
89,5 × 76,2 cm
Gideon, 1951
Lithograph print
70,4 × 58,4 cm
Harvest, 1964
Lithograph print on wove paper
76,8 × 95,8 cm
Untitled (Bearded Man), c. 1949
Lithograph print on wove paper
26,7 × 21,1 cm
Untitled (Man with Pointing Finger), 1949-1950
Linocut print on Japanese paper
51,4 × 41,2 cm
all works:
Collection: The Charles White Archives
citra sasmita
Timur Merah Project IX: Beyond The Realm of Senses (Allegory of The Archipelago), 2023
Installation, acrylic on traditional Kamasan canvas, cotton cloth layered with rice flour, yellow stone powder, wooden carving, fiber and gold paint
90 × 800 cm (canvas);
33 × 33 × 58 cm (sculpture)
Timur Merah Project IX: Beyond The Realm of Senses (Oracle and Demons), 2023
Installation, acrylic on traditional Kamasan canvas
80 × 250 cm Ø;
80 × 200 cm Ø;
80 × 300 cm Ø (3 pieces)
all works:
Collection of the artist
collectivo ayllu
This participation is supported by: Acción Cultural Española (AC/E) and Embajada de España en Brasil
¿Dónde están las cartas de nuestras ancestras al caminar sobre fuego?, 2023
Where are the letters from our ancestors when walking on Fire?
Screen-printed and embroidered fabrics, with interventions of other objects
320 × 845 cm
collectivo ayllu and abigail campos leal, aldones nino, alla soüb d’nadah, anderson feliciano, bárbara esmenia, bia marins, bruno dos santos, camila fontenele de miranda, constanza alvarez, dilma angela da silva, gisela casimiro, malu avelar, manauara clandestina, ricarda vicente de araújo, tao itacaramby, uarê erremays
Bordar-Lands: las cartas son el tejido, 2023
The Letters are the Fabric
Screen-printed and embroidered fabrics, with interventions of other objects (workshop)
290 × 390 cm
all works: Collection: collectivo ayllu
cozinha ocupação 9 de julho – mstc
Lute como quem cuida, 2021
Fight as Someone Who Cares
Video, color, sound
13’03’’
Manifestações, 2023
Demonstrations
Fabric banners and flags
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Quem ocupa cuida, 2023
Occupying is Caring
Installation composed of a restaurant and a food hall
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
daniel lie in collaboration with other-than-human
Outres, 2023
Site/time-specific installation
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
studio dan lie director: ruli moretti assistants: tete catharino, thamú pèrégùn fabric dying and sewing: zang – artesania industriosa
daniel lind-ramos
Con-junto (The Ensemble), 2015
Assemblage composed of steel, aluminum, nails, metal buckets, paint buckets, casseroles, palm tree branches, dried coconuts, branches, palm tree trunks, wood panels, burlap, machetes, leather, ropes, sequin, awning, plastic ropes, fabric, trumpet, cymbals, speaker, pins, and duct tape
289,6 × 304,8 × 121,9 cm
Collection: Scott Mueller
Courtesy of the artist and The Ranch, Montauk
davi pontes and wallace ferreira
Repertório n. 3, 2023
Repertoire n. 3
Performance
dayanita singh
Mona and Myself, 2013
Video
3’45’’
Mona Montage XVII, 2021
Gelatin silver and archival pigment print
41,3 × 61,3 cm
Mona Montage XVIII, 2021
Gelatin silver and archival pigment print
41,3 × 61,3 cm
Mona Montage XX, 2021
Gelatin silver and archival pigment print
41,3 × 61,3 cm
Mona Montage XXI, 2021
Gelatin silver and archival pigment print
41,3 × 61,3 cm
Mona Study Table, 2001-2021
Desk, stool and “Myself Mona Ahmed”, hardcover book, 176 pages, published by Scalo, Zurich, 2001
Museum of Dance (Mother Loves to Dance), 2021
Teak structures and archival pigment prints
108 prints, 30,5 × 45,8 cm (each)
86,4 × 61 × 221 cm (structure)
all works:
Courtesy of the artist and Frith Street Gallery, London
deborah anzinger
An Unlikely Birth, 2018
Acrylic, synthetic hair, Aloe barbadensis and polystyrene on canvas
203,2 × 332,7 cm
Before you realized you could be seen, I watched you soaked in the shade while I was conceiving, 2018
Acrylic, mirror and synthetic hair on canvas
182,9 × 137,2 cm
Coy, 2016
Acrylic, styrofoam, Aloe barbadensis and mirror on canvas
182,9 × 137,2 cm
Eye, 2018
Acrylic, Aloe barbadensis and ceramic
76,2 × 71,1 × 50,8 cm
Fiction as a Vessel for Reality, 2016
Acrylic, Aloe barbadensis and ceramic
30,5 × 30,5 × 10,2 cm
I Told You, 2016
Acrylic and mirrored glass on canvas
182,9 × 137,2 cm
Inhospitable, 2018
Acrylic, mirror and synthetic hair on canvas
172,7 × 137,2 cm
Resonant, 2017
Acrylic on ceramic
50,8 × 35,6 × 7,6 cm
Unfeed, 2019
Acrylic on ceramic
71,1 × 43,2 × 7,6 cm
all works: Collection of the artist
denilson baniwa
Kwema, 2023
Dawn
Site-specific installation composed of 2 stones, earth, gravel, metallic structure, wood, maize plants, canvas and artificial featherwork
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
in collaboration with francineia baniwa
Itá, 2023
Bas-relief stone carving
Courtesy of the artist and A Gentil Carioca, Rio de Janeiro
in collaboration with jerá guarani
Kaá, 2023
Guarani corn farm
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
in collaboration with aparecida baniwa
Tatá, 2023
Baniwa featherwork on tururi fiber canvas
Courtesy of the artist and A Gentil Carioca, Rio de Janeiro
denise ferreira da silva
Metaphysics of the Elements – The Studio, 2023
Site-specific installation composed of rug, pillows and modular metallic furniture
Dimensions variable
Commissioned by the Fundação Bienal de São Paulo to the 35th Bienal
diego araúja, laís machado
SUMIDOURO n. 2 — diáspora fantasma, 2023
SUMIDOURO n. 2 — Phantom Diaspora
Installation with coastal straw and sisal curtains on steel rails powered by Arduino; 20’ sound piece
Dimensions variable
Commissioned by the Fundação Bienal de São Paulo to the 35th Bienal
conception, design, script, spatial choreography, choreographic programming and general artistic direction: laís machado, diego araúja technical scenery coordination and automatization: maurizio zelada
assistants: gustavo saulle, gregorio zelada, jorge guerrero, leonardo guerrero (hardware programming), lee dawkin, luciana boggio curtains manufacture and pigmentation: andreas guimarães (espaço quina)
assistants: teka moran (criopia – casa de ideias), jessica eberbach, silvana braga, ana laura velloso, juliana cassinha, juliana sae, igor monttero
soundtrack: andrea martins
voice: laís machado
Work dedicated to the memory of Mãe Bernadete Pacífico,leader of the Quilombo Pitanga dos Palmares, Simões Filho, Bahia, national coordinator of CONAQ. Murdered
duane linklater
they have piled the stone / as they promised / without syrup, 2023
Digital prints on linen, cochineal, sumac, maple syrup, tea, tobacco, ochre and charcoal
91,4 × 76,2 cm (3 pieces); 182,9 × 152,4 cm (6 pieces)
Courtesy of the artist and Catriona Jeffries, Vancouver
edgar calel
Nimajay Guarani (The Big Guarani House), 2023
Wool, cotton and soil
600 × 242 cm (1 piece);
50 × 50 cm (48 pieces)
Courtesy of the artist and Proyectos Ultravioleta
edgar calel in collaboration with fernando pereira dos santos
Xar – Sueño de Obsidiana, 2020-2022
Obsidian Dream
Single channel HD video loop 13’
Courtesy of the artist and Fernando Pereira dos Santos
elda cerrato
This participation is supported by: Consulado
General y Centro de Promoción de la República
Argentina en San Pablo
Algunas experiencias relativas al Okidanokh, 1965
Some experiences related to the Okidanokh from series Producción de Energía
Energy Production Oil on canvas
115 × 145 cm
Collection: Archive Elda Cerrato (ECET)
El encuentro, 1967
The Encounter from series Sobre poesia de A. Pellegrini
About A. Pellegrini’s poetry
Enamel on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Epopeya del Ser Beta. La posibilidad omnipresente de vitalización, 1965
Epic of Being Beta. The omnipresent possibility of vitalization from series Entes extraños
Strange entities
Acrylic on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Epopeya del Ser Beta. Transformación de energía que ingresa en energía libre, 1965 -1966
Epic of the Beta Being. Energy transformation that turns into free energy from series Entes extraños
Strange entities
Acrylic on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Epopeya del Ser Beta. Despolarización mutua de dos entes. (ó Comunicaciones del Ser Beta).
Etapa preparatoria, 1970
Epic of the Beta Being. Mutual depolarization of two entities. (oh Beta Being Communications).
Preparatory phase from series Entes extraños
Strange entities
Acrylic on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Epopeya del Ser Beta. Despolarización mutua de dos entes. (ó Comunicaciones del Ser Beta).
Etapa activa, 1971
Epic of the Beta Being. Mutual depolarization of two entities. (oh Beta Being Communications).
Active phase from series Entes extraños
Strange entities
Acrylic on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Excitación del núcleo de energía de una formación, 1965
Excitation of the energy core of a formation from series Proyección de imágenes visuomentales
Visual-mental Images Projection
Oil on canvas
46 × 36 × 2,5 cm
Collection: Patricio Supervielle
La santa fuente de la energía, 1965
The holy energy fountain
Oil on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Materialización de imágenes proyectadas en el aprendizaje de la organización de los cambios y los traslados, 1965
Materialization of projected images in learning the organization of changes and transfers
Oil on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Nódulos genéticos de la línea Beta, 1966
Beta line genetic nodes
Acrylic on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Penetración de la energía producida y ya normalizada y emisión de la misma en una versión simple de imágenes mentales, 1965
Penetration of the energy produced and already normalized and issuing it in a simple version of mental images
Acrylic on canvas
45,5 × 35,5 cm
Collection: Archive Elda Cerrato (ECET)
Redundancia en las experiencias relativas al Okidanokh, 1967
Redundancy within the experiences related to the Okidanokh
from series Proyección de imágenes visuomentales
Visual-mental Images Projection
Oil on canvas
145 × 230 cm (diptych)
RF: Segmentos_CPV: Okidanokh, 1964-2022
HD video
8’22’’
Collection: Archivo Elda Cerrato (ECET)
realization: elda cerrato, ramiro larrain, luis zubillaga, luciano zubillaga
Ser Beta no aislado (Iniciación del viaje), 1967
Non-isolated Beta Being (Initiation of the Journey)
Oil on canvas
45,5 × 71 cm (diptych)
Collection: Patricio Supervielle
Un resultado de la elaboración del Okidanokh, 1966
A Result of the Elaboration of the Okidanokh Oil on canvas
115 × 145 cm
Collection: Archivo Elda Cerrato (ECET)
Vista parcial del laboratorio de la Santa Fuente, 1967
Partial view of Santa Fuente’s laboratory Oil and enamel on hardboard
45,5 × 35,5 × 3,5 cm
Collection: Archivo Elda Cerrato (ECET)
elena asins
This participation is supported by: Acción Cultural Española (AC/E) and Embajada de España en Brasil
12 59/21 KV 575, 1979
Indian ink and ballpen on cardboard
47,5 × 217 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Canto modular. Canons 22, 1989-1990
Modular Song. Canons 22 Ink on paper (24 pieces)
17,5 × 71 × 2 cm
Collection: Banco de España
Cuarteto prusiano KW 589, 1978
Prussian Quartet KW 589
Graphite and Indian ink on paper
21,8 × 113,8 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Cuarteto prusiano KW 589, 1978
Prussian Quartet KW 589
Graphite and Indian ink on paper
24,5 × 131 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Dolmenes 8, 1995
Dolmens 8
Labels on cardboard
50 × 430 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
E B2 A1 A9. Serie 16 variaciones con improvisación sobre b1, 1978
Series of 16 variations with improvisation on b1
Indian ink on paper
39,7 × 118 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Untitled (Structures), 1977
Indian ink on paper
26 × 65 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Untitled (Linear Structures), 1973-1974
Indian ink on paper
62,5 × 152,5 cm
Collection: Museo Nacional Centro de Arte Reina
Sofía, Madrid
Untitled (Linear Structures), 1973-1974
Indian ink on paper
62,5 × 162,5 cm
Collection: Museo Nacional Centro de Arte Reina
Sofía, Madrid
Untitled (Offset Variations), 1975
Offset print on paper
75 × 836 cm
Collection: Museo Nacional Centro de Arte Reina
Sofía, Madrid
elizabeth catlett
Black is Beautiful, 1970
Linocut print on paper
78 × 57 cm
Collection: Prignitz, Berlin
Civil Rights Congress, 1949
Linocut print on paper
44,4 × 28,6 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
El Derecho al Pan, 1952/1999
The Right to Eat
Linocut print on paper
61,1 × 46,3 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
I Am the Black Woman, 1947
Linocut print on paper
24 × 22,2 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
I Have Given the World My Songs, 1947
Linocut print on paper
34,3 × 24 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
In Harriet Tubman I Helped Hundreds to Freedom, 1946
Linocut print on paper
47,4 × 38,3 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Malcolm X habla por nosotros, 1969
Malcolm X Speaks for Us
Silkscreen print on paper
89 × 69 cm
Collection: Museo Nacional de la Estampa, Mexico City
Mis hijos, 1955
My Sons
Linocut print on paper
36,5 × 57,5 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Mujer indigena, 1958/2003
Indigenous Woman
Lithograph print on paper
57 × 38 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
My reward has been bars between me and the rest of the land, 1946
Linocut print on paper
21 × 25,7 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Negro es bello II, 1969
Black is Beautiful II
Lithograph print on paper
79,4 × 70 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Niñas indígenas, 1955
Indigenous Girls
Lithograph print on paper
23 × 28,5 cm
Collection: Museo Nacional de la Estampa, Mexico City
Niño del Mezquital, 1961
Boy from Mezquital
Lithograph print on paper
35 × 47,6 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Rafaela, 1959
Screenprint on paper, hand colored
32,5 × 24,4 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Sharecropper, 1952
Linocut print on paper, hand colored
79,4 × 70 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Survivor, 1983
Linocut print on paper
48,5 × 28,4 cm
Collection: The Elizabeth Catlett Mora Family Living Trust
Taller de Gráfica Popular desea a sus amigos
Feliz Navidad y Año Nuevo, c. 1960
Taller de Gráfica Popular Wishes a Merry Christmas and Happy New Year to Their Friends
Offset print
22,3 × 16 cm
Collection: Prignitz, Berlin
Tu hogar es lo primero, 1947
Your Home Comes First
Offset print
35 × 23,4 cm
Collection: Prignitz, Berlin
ellen gallagher, edgar cleijne
This participation is supported by: Mondriaan Fund
Highway Gothic, 2017-2019
16mm film installation with 70mm film cyanotype banners, lightboxes and textile banners
Dimensions variable
Collection: ellen gallagher and edgar cleijne
ellen gallagher
Morphia, 2008
Ink, graphite, oil, varnish and cut paper on paper
185,8 × 64,9 × 39,5 cm
Private collection, Belgium
Morphia, 2008
Ink, pencil, watercolour, polymer medium and cut magazine pages on cut paper
185,8 × 64,9 × 39,5 cm
Private collection, Belgium
Morphia, 2012
Ink, graphite, oil, varnish and cut paper on paper
220 × 202 × 58 cm
Collection: Gabriel Calparsoro
Watery Ecstatic, 2003
Watercolor, graphite, cut paper and varnish on paper
80,6 × 111,3 × 3,8 cm
Private collection
Watery Ecstatic (RA 18h35m 37.73s D37° 22’
31.12’), 2017
Cut paper
48 × 155,9 × 3,2 cm
Collection: Samdani Art Foundation, Dhaka
emanoel araujo
Untitled, 2017
Automotive paint on wood
960 × 102 × 1320 cm
Collection: Emanoel Araujo Estate
Courtesy: Simões de Assis
eustáquio neves
Untitled, 1993-1994 from series Arturos
72 × 100 cm
Untitled, 1993-1994 from series Arturos 72 × 56 cm
Untitled, 1993-1994 from series Arturos 72 × 56 cm
Untitled, 2006-2007 from the series Encomendador de almas Commissioner of Souls 72 × 56 cm
Untitled, 2006-2007 from the series Encomendador de almas Commissioner of Souls 72 × 56 cm
Untitled, 2006-2007 from the series Encomendador de almas Commissioner of Souls 72 × 56 cm
Untitled, 2006-2007 from the series Encomendador de almas Commissioner of Souls 72 × 56 cm
all works: Photography on paper, Fine Art print
This participation is supported by: Acción Cultural Española (AC/E) and Embajada de España en Brasil
Banco Chungo, por flo6x8 & Atraco a las tres, 2014
Crude Bank, by flo6x8 & Robbery at 3pm
1’14’’; 4’22’’
Bankia, pulmones y branquias (bulerías), 2012
Bankia, Lungs and Gills
4’47’’
Cuatro Trileros – Bankia, 2013
Four Shell Tricksters – Bankia
5’41’’
“Esto no es crisis, se llama capitalismo” rumba catalana, 2012
“This is not a Crisis, it’s Called Capitalism” Catalan rumba
3’23’’
Fin de Fiesta 8M, 2018
End of the Party 8M
4’25’’
Flashmob rumba rave “banquero”, 2010
“Banker”
4’26’’
flo6x8 en el Parlamento, acortando distancias, 2014
flo6x8 at the Parliament, Shortening Distances
3’10’’
La chunami, 2010
The Tsunami
2’13’’
Las primas por las nubes – fandango road movie vs banks, 2012
The Cousins at the Clouds – Fandango Road Movie vs Banks
11’55’’
LA SOLITARIA aka LA TENIA, 2010
THE SOLITARY aka THE TAPEWORM
1’14’’
Paca la monea, 2010
27’’
Patea el capital 1: la niña NINJA rompe el monedero, 2010
Kick the Capital 1: the NINJA Girl Breaks the Safe
1’14’’
all works:
Video documentation, color, sound
francisco toledo
Papalotes de los desaparecidos, 2014 Kites of the Missing Chinese paper and reed frame with photographs printed on laser engraved wood (43 pieces)
58,2 × 51 cm (each)
Collection: Museo Universitario Arte Contemporáneo, MUAC (DiGAV-UNAM), Mexico City
Gift: Amigos del Instituto de Artes Gráficas Oaxaca, IAGO
Video installation freely inspired by the life, work and memory of Maurinete Lima, founder of Frente 3 de Fevereiro
Collection: Coletivo Frente 3 de Fevereiro Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Frente 3 de Fevereiro: achiles luciano, andré montenegro, cássio martins, cibele lucena, daniel lima, daniel oliva, eugênio lima, felipe brait, felipe teixeira, fernando alabê, fernando coster, iramaia gongora, joão nascimento, julio dojcsar, majoi gongora, marina novaes, maurinete lima, pedro guimarães, roberta estrela d’alva, sato do brasil, will robson invited artists: performance: loiá fernandes digital mask: guilherme bretas image finalization and motion graphics: bijari general coordination: daniel lima production: Invisíveis Produções, Protolab Cultural text: Frente 3 de Fevereiro excerpts from the book: sinhá rosa, by maurinete lima
produced by: andré montenegro, daniel lima, felipe brait, fernando coster, iramaia gongora, julio dojcsar, sato do brasil screenplay: cibele lucena, daniel lima, eugênio lima, felipe brait, felipe teixeira, fernando coster, iramaia gongora, julio dojcsar, majoí gongora, pedro guimarães, roberta estrela d’alva, sato do brasil, will robson edited by: daniel lima e fernando coster synthetic voice artist: serhii dvornyk voice conversion services by: respeecher transcriptions and subtitles: caio polesi sound design and mixing: pedro noizyman in the family pictures, the grandsons and granddaughters: valentina gonçalves lima, miguel salvador ferreira lima, leon lima, azul gongora lima, jorge gongora lima name, image and sound rights of maurinete lima kindly provided by the family thanks to: sergio silva, amir admoni e galactonautas support: CTR USP
recording photography direction: zeca caldeira, fernando coster set production: daniela souto
direct sound: laís vallina costume design: claudia schapira make up: mel palma consulting: almir almas partnership: Labartemídia film studio: CTR USP supervision: almir almas light technician: marcos pinto scenic technician: gabriel barreto supervisor of equipment and sound: guido agovino studio technician: francisco coca audiovisual media and digital systems: marcelo leite kinect consulting: paulo costa sound and image: sandro dalla costa secretary: ivone vantini production coordinators: paulo ferreira, marcos kurtinaitis
managing technicians: daniel alves da silva, vivi müller
scene 1 – photos: anonymous, edgar rocha, daniel lima scene 2 – poem: “Aldeia” by maurinete lima in “Sinhá Rosa”, 2016 scene 3 – articles from the newspapers Folha de S.Paulo, O Estado de S. Paulo, Agora, Jornal da Tarde, Diário de São Paulo action “Monumento Horizontal” with jonas sant’ana and family, 2004 scene 4 – interview with julita lemgruber, sociologist and former police internal affairs action “Quem Policia a Polícia?”, 2004 scene 6 – action: “Morto pela Polícia”, 2005 scene 8 – action: “Carrefour Racista”, 2009 scene 9 – “Brasil Negro Salve”, 2005 painting of the flag and final action of Libertadores da América
scene 11 – action “Onde Estão os Negros?”, 2005 scene 12 – action “Zumbi Somos Nós”, 20.11.2005 scene 13 – excerpt from the film “Quilombo Brasil – Territórios Simbólicos”, 2009 camera: eduardo consoni. direction, production and edition: PI – Política do Impossível action “Zumbi Somos Nós no Prestes Maia”, 2007 scene 14 – excerpts from the poem “De que terra sou” by maurinete lima in Sinhá Rosa, 2016 excerpts from the film “Arquitetura da Exclusão”, 2010
documents panel: documents and publications of the process of Frente 3 de Fevereiro creation and development, 2004-2021
zumbi somos nós, 2004-2008 Film
Doctv programa de fomento à produção e teledifusão do documentário brasileiro –TV Cultura
produced by: gullane filmes interview: julita lemgruber presentation recording: CEU casablanca photography direction: ching c. wang camera operators: camila mouri, carlos firmino, fernanda riscalli, robson guimarães, rodolfo figueiredo vídeo-assists: marcella paschoal, rafael vieira light design: ching c. wang, miló martins electrician: alexandre henrique sound recording technician: beto mendonça sound recording assistant: jeannine AP technician: ernani napolitano driver: nelson dos santos thanks to: team CEU Casablanca, zuleide antônia risso, julio césar l. machado, carlos alberto piqueira, ricardo matos, Secretaria Municipal de Educação, SP, dudu barioni, danilo solferini, rodolfo figueiredo, tuca paoli, matheus rocha, bruna paoli, giba araújo, keli anjos, maria do rosário, gil marçal, team Vai, casadalapa, PI –política do impossível, jonas sant’ana and family, sônia montenegro, eduardo verderame, floriana breyer, pedro sergio noizyman, luaa gabanini, GAC, MSTC
cultural support: Núcleo Bartolomeu de Depoimentos, Free Light locações, Espaço Locall, Extrema produção artística, Condomínio edifício Copan, louis robin, pizzaria Degas Pompeia, Audigy sistemas de áudio partner groups in Germany: Kanak Attack, Sagaz, La Plataforma, wagner carvalho images from: TV Globo, TV Record, TV Bandeirantes
zumbi somos nós: diáspora afronética, 2008
direction, production, conception, arrangements and execution: Frente 3 de Fevereiro
made with co-funding prize: Primeiras Obras e PAC recorded by: beto mendonça, lindenberg oliveira, paulo bira
mixed by: beto mendonça, Frente 3 de Fevereiro mastered by: carlos freitas na Classic Master,
São Paulo
Quem Policia a Policia?
Frente 3 de Fevereiro, cleverson lee
Reza pra Caboclo
Public domain
voice: dofona
percussion: fernanda camilo, hélio nogueira jr. e joão nascimento
Linha de Frente
Frente 3 de Fevereiro, daniel reverendo, ramiro
murilo, daniela aquino
flute: toninho carrasqueira
Estado de Sítio
Frente 3 de Fevereiro
Periafricania Gaspar Z’África Brasil
voice: Gaspar Z’África Brasil
Já é Hora de Lutar
Public domain
voice, gunga berimbau, guitar and drums: dinho nascimento
GROOVE BERLIM
Frente 3 de Fevereiro
gabriel gentil tukano
Notebook 36, 1979
Colored pencil, crayon, marker and ballpoint pen on paper
17 pieces
21 × 29,7 cm (each)
Notebook 37, 1979
Colored pencil, crayon, marker and ballpoint pen on paper
10 pieces
21 × 29,7 cm (each)
Notebook 38, 1979
Colored pencil, crayon, marker and ballpoint pen on paper
18 pieces
21 × 29,7 cm (each)
Untitled, c. 1970
Graphite and ballpoint pen on paper
9 pieces, 21 × 29,7 cm (each)
all works:
Collection: Museu Amazônico – UFAM, Manaus
george herriman
Krazy Kat Sunday Page, 8.10.1916
Ink on cardboard
74,9 × 68,6 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 26.11.1916
Ink on cardboard
74,9 × 68,6 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 12.2.1917
Ink on cardboard
73,7 × 68,6 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 8.5.1917
Ink on cardboard
74,9 × 69,5 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 25.4.1920
Ink on cardboard
76,2 × 68,6 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 26.3.1922
Ink on cardboard
70,5 × 69,9 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 2.5.1922
Ink on cardboard
74,9 × 68,6 cm
Collection: Garry B. Trudeau, New York
Krazy Kat, undated
Ink, graphite and watercolor on board
53,3 × 50,8 cm
Collection: Garry B. Trudeau, New York
Krazy Kat Sunday Page, 23.11.1919
Ink on cardboard
52,1 × 63,5 cm
Collection: Henry Jackman
Krazy Kat Sunday Page, 31.7.1932
Ink on cardboard
55,9 × 63,5 cm
Collection: Henry Jackman
geraldine javier
9 Creatures in Search of their Species (Manussomniumcrustacea), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
73 × 104,5 cm
Collection of the artist
9 Creatures in Search of their Species (Metacarpussomnium myrmeleontidae A), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
71 × 59 cm
Collection of the artist
9 Creatures in Search of their Species (Metacarpussomnium myrmeleontidae B), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
71 × 59 cm
Collection of the artist
9 Creatures in Search of their Species (Pelvissomniumreduviidae A), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
71 × 59 cm
Collection of the artist
9 Creatures in Search of their Species (Pelvissomniumreduviidae B), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
71 × 59 cm
Collection of the artist
9 Creatures in Search of their Species (Pelvissomniumreduviidae C), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
71 × 59 cm
Collection of the artist
9 Creatures in Search of their Species (Pelvissomniumpapilio), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
73 × 104,5 cm
Collection of the artist
9 Creatures in Search of their Species (Vertebraesomniumanisoptera), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
71 × 59 cm
Collection of the artist
Creatures in Search of their Species (Costaesomniumblattaria), 2012
Lithography, sreenprint and preserved leaves on Kozo paper
73 × 104,5 cm
Collection of the artist
New Cloud Forming, 2017
Acrylic on canvas
183 × 183 cm
Collection: Tumurun Museum, Surakarta
Desist from Hope, Insist on Despair, 2023
Applique on mono printed fabric
280 × 270 cm
Collection of the artist
Insist on Hope, Desist from Despair, 2023
Applique on mono printed fabric
280 × 270 cm
Collection of the artist
Oblivious to Oblivion, 2017
Thread, silk organza, mirror and wood
352 × 354 × 404 cm (189 embroidery panels and 54 mirror panels)
Collection of the artist
gloria anzaldúa
Transparencies for Gigs, undated Facsimile
16 pieces, 27,9 × 21,6 cm (each)
The Nettie Lee Benson Latin American Collection
Courtesy: The Gloria E. Anzaldúa Literary Trust & Benson Latin American Collection, LLILAS
Benson Latin American Studies and Collections, The University of Texas at Austin
grupo de investigación en arte y política (giap)
josé luis (caracol morelia, ezln)
Autonomía, 2018
Autonomy
Oil and acrylic on canvas 65 × 46 cm
grupo de investigación en arte y política (giap)
Derechos de las mujeres. Bases de Apoyo del Ejército Zapatista de Liberación Nacional, 2016 Women’s Rights. Support Bases of the Zapatista Army of National Liberation Video, color, sound
8’34’’
edited by: Tercios Compas, Agencia de Medios de EZLN
Ejercicio del Caracol Encadenado. Milicianos del Ejército Zapatista de Liberación Nacional, 2017
Exercise of the Chained Snail. Militiamen of the Zapatista Army of National Liberation Video, color, sound
5’4’’
recordings and editing: alessandro zagato
Ejército Zapatista de Liberación Nacional, 1992-2017
Zapatista Army of National Liberation Photography on paper, Fine Art print
20 pieces, 21 × 29,7 cm (each)
photos: antonio turok, natalia arcos, miguel cruz, francisco de parres, alessandro zagato
La danza del trabajo colectivo del maíz. Bases de apoyo del Ejército Zapatista de Liberación Nacional, 2016
The Dance of the Corn Collective Work. Support Bases of the Zapatista Army of National Liberation Video, color, sound
6’39’’
edited by: tercios compas, Agencia de Medios de EZLN
La Marcha del Silencio. Acción masiva de Bases de Apoyo del Ejército Zapatista de Liberación Nacional, 2012
The March of Silence. Massive action of the Support Bases of the Zapatista Army of National Liberation Video, color, sound
6’44’’
edited by: Rompeviento TV
Resistencia. Bases de Apoyo del Ejército Zapatista de Liberación Nacional, 2016
Resistance. Support Bases of the Zapatista Army of National Liberation Video, color, sound
7’24’’
edited by: tercios compas, Agencia de Medios de EZLN
bases de apoio ezln
Untitled, 2013-2023
Embroidery on cotton fabric 13 pieces, 30 × 30 cm (each)
all works:
Collection: Grupo de Investigación en Arte y Política (GIAP)
guadalupe maravilla
This participation is supported by: Y.ES Contemporary
Disease Thrower #4, 2019
Gong, steel, wood, cotton, glue mixture, plastic, loofah, and objects collected from a ritual of retracing the artist’s original migration route
243,8 × 144,8 × 160 cm
Courtesy of the artist and The Mario Cader-Frech Collection
Disease Thrower #17, 2021
Gong, steel, wood, cotton, glue mixture, plastic, loofah, and objects collected from a ritual of retracing the artist’s original migration route
251,5 × 243,8 × 139,7 cm
Tripa Chuca, 2023
Site-specific installation, acrylic and metallic ink on column
Dimensions variable
Parliament of Ghosts, 2023
Site-specific installation composed of brick parliament, train track, 146 ceramic and cement vases
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
igshaan adams
Samesyn, 2023
Site-specific installation composed of tapestry and “clouds” made of textile fibers, beads and metallic threads
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
ilze wolff
hophuis: a site of dance and solidarity, 2023 4k video, color, sound 22’08’’ Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
featuring: floors andreas, letitia pandora, ǂhoab soreb (a.k.a. culture), fernando damon, stephanus daniels, siyabonga mthembu, chalwyn thomas, brownwyn katz directed by: ilze wolff produced by: Wolff Architects researcher & associate producer: mmakhotso lamola edited by: malik ntone edjabe cinematography: heinrich wolff & malik ntone edjabe music supervision & sound mix: malik ntone edjabe translation (Afrikaans – English): danielle bruintjies translation (English – Portuguese): Fundação Bienal de São Paulo music: “walking shadows”, assif tsahar, peter kowald, rashid ali; “war is jy nou”, brian toue, zebulon ricardo; “ras zebulon”, fernando damon; “sad”, fernando damon; “wat die here kan doen”, fernando damon; “trot riler (hophuis version)”, malik ntone edjabe; “footmovements”, fernando damon; “ok’salayo ons bly”, siya mthembu emalik ntone edjabe; “motion from the gut (hophuis version)”, malik ntone edjabe
special thanks to: paul weinberg, paul grendon, tina smith, jasper wolff, oscar wolff, samuel wolff, carmen cloete, nina young, eugene pandohe, zebulon ricardo, brian toue, willemina andreas; Kleinzee Museum, University of Cape Town Manuscripts and Archives, The Chief Directorate: National Geospatial Information, Hollywood Lodge and Green Jewel Adventure, Pang Speciality Coffee, Keleketla! Library, Kapstadtkuier Shuttles and Tours, Nama FM Radio, The Steinkopf residents and their children, the builders of the] Steinkopf Community Centre additional support for the Hophuis project by: Anthony Lange Trust, Columbia GSAPP, University of Johannesburg GSA, A Wolff Architects Production
Oom Fanie se Klip, 2023
Oom Fanie’s Stone
Jasper stone gifted by Stephanus Daniels, also known as Oom Fanie
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
inaicyra falcão
Tokunbó: sons entre mares, 2023
Sounds between Seas 12’’ Record
Recorded, mixed and edited by Luciano Salvador Bahia at the Estúdio 40.000
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Tokunbó: sons entre mares, 2023
Sounds between Seas Book
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
januário jano
Baptism, 2019
Inkjet on 100% cotton fine art paper rag
220 × 250 cm (20 pieces)
44 × 50 cm (each)
jesús ruiz durand
190 años después Túpac Amaru está ganando la guerra, 1970
190 Years Later Túpac Amaru is Winning the War
100 × 70 cm
190 años después Túpac Amaru está ganando la guerra, 1970
190 Years Later Túpac Amaru is Winning the War
100 × 70 cm
El azúcar, primera industria sin patrones en el continente americano, 1969
Sugar, the First Industry Without Bosses in the American Continent
100 × 70 cm
Grandes cosas están pasando, 1970
Big Things are Happening
100 × 70 cm
Las mujeres norteñas estamos con la Revolución, 1969
We, Northern Women, Are With the Revolution
100 × 70 cm
Reforma agraria, base de una nueva sociedad, 1969
Agrarian Reform, the Basis of a New Society
100 × 70 cm
Revolución es participación, participación es Revolución, 1970
Revolution is Participation, Participation is Revolution
70 × 100 cm
¡Sácale el jugo a tu tierra!, 1969
Get the Juice Out of Your Land!
100 × 70 cm
all works:
from the series Reforma agrária peruana
Peruvian Agrarian Reform
Offset print on paper
Collection: Museo Nacional Centro de Arte Reina
Sofía, Madrid
Long-term loan from: Fundación Museo Reina Sofía, 2017
john woodrow wilson
The Trial, 1951
Lithograph on cream-colored wove paper
57,8 × 42,5 cm
Collection: Brooklyn Museum, Emily Winthrop Miles Fund 1996.47.3
jorge ribalta
This participation is supported by: Acción Cultural Española (AC/E) and Embajada de España en Brasil, and held in partnership with Institut Ramon Llull
Collection: The Museum of Fine Arts Houston Gift: Frank Ribelin
Concierto para locos, 1932
Concert for Crazy People
Woodcut print on paper
35 × 35 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
Construyendo escuelas, 1931
Building Schools
Woodcut print on paper
28 × 12,4 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
Deportación a la muerte, 1943
Deportation towards Death
Linocut print on paper
66 × 81 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
En Nombre de Cristo, 1939
In the Name of Christ
Album with 7 lithograph prints
50,8 × 38,1 × 3,8 cm
Collection: Brooklyn Museum, New York, Bequest of Richard J. Kempe 2003.41.7a-g
Fusilado (para la película Un Día de Vida), 1950
Executed (for the film A day in the life)
Linocut print on paper
32,6 × 43,8 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
Guardias blancas (para la película La rosa blanca), 1961
White Guards (for the film The White Rose)
Linocut print on paper
34 × 60 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
La revolución y el petróleo (para la película
La rosa blanca), 1961
The Revolution and the Oil (for the film The White Rose)
Linocut print on paper
32,5 × 59,7 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
Niñas Tejedoras, 1943
The Weavers
Woodcut print on wove paper
24,8 × 19,1 cm
Collection: The Museum of Fine Arts Houston
Gift: Alice C. Simkins
Piñata politica, 1936
Political Piñata
Woodcut print on paper
34,9 × 31,8 cm
Collection: The Museum of Fine Arts Houston
Gift: Frank Ribelin
Rumbo al mercado, 1953
Going to the Market
Linocut print on paper
47,7 × 29,5 cm
Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City
Untitled, c. 1939-1940
Woodcut print on paper
25,1 × 19,8 cm
Collection: The Museum of Fine Arts Houston
Gift: Frank Ribelin
Untitled, c. 1942
Woodcut print on paper
26,7 × 48,6 cm
Collection: The Museum of Fine Arts Houston
Gift: Frank Ribelin
Untitled, c. 1949
Woodcut print on paper
24,4 × 20,2 cm
Collection: The Museum of Fine Arts Houston Gift: Frank Ribelin
Untitled, c. 1949
Woodcut print on paper
24,6 × 20,2 cm
Collection: The Museum of Fine Arts Houston Gift: Frank Ribelin
Untitled, c. 1949
Woodcut print on paper
24,4 × 20,2 cm
Collection: The Museum of Fine Arts Houston Gift: Frank Ribelin
luana vitra
Pulmão da mina, 2023
Lung of the Mine
Iron, silver, copper, indigo, rope and herbs
Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
luiz de abreu
Autópsia, 1997 Autopsy
Video, color, sound
29’29’’
Bahia, 2009
Video, color, sound
21’20’’
Black Fashion, 2006
Video, color, sound
25’15’’
História infantil, 1995 Childhood Story
Video, color, sound 22’07’’
Samba do Crioulo Doido, 2004
Video, color, sound 21’40’’
O Samba do Crioulo Doido, 2023 performance: calixto neto
luiz de abreu, calixto neto
O Samba do Crioulo Doido, Ruler and Compass, 2020
Video, color, sound 15’22’’
m’barek bouhchichi
Nous sommes ce que vous ne voulez pas voir, 2023
We Are What You Don’t Want to See Ceramic vases on wooden bases with inscriptions based on the literary work of adderrahman el mejdoub, alzira rufino, conceição evaristo, dave the potter, lourdes teodero, luiz gama, m’barek ben zida, roseli nascimento and terezinha malaquias
44 × 46 cm;
41 × 44 cm;
42 × 46 cm;
36 × 47 cm;
40 × 46,5 cm;
37 × 43 cm;
41 × 50 cm;
40 × 50 cm;
48 × 49 cm;
43 × 48 cm;
40 × 46 cm;
42 × 47 cm;
35 × 46 cm;
44 × 41 cm (vases); dimensions variable (tree trunks)
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Rewe Rashūiti, 2023
Healing Song
Acrylic on canvas
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Polychrome drawing on bark paper, facsimile 2 pieces, 65,9 × 86,4 cm (each)
Benson Latin American Collection, LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin
manuel chavajay
Oq Ximtali, 2017-2023
Videoperformance
6’02’’ Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
margaret taylor goss burroughs
Bessie Smith, Queen of the Blues, 1953
Lithograph print on paper
46,5 × 40 cm
Collection: Prignitz, Berlin
marilyn boror bor
El futuro que nunca fue, 2023
The Future that Never Was from series Nos quitaran la montaña, nos dieron cemento
They Have Taken the Mountain from Us, They Have Given Back Cement
Oil and concrete on canvas (triptych)
49 × 98 cm (each)
Collection of the artist
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Monumento vivo, 2023
Living Monument from series Nos quitaran la montaña, nos dieron cemento
They Have Taken the Mountain from Us, They Have Given Back Cement
Cement, wood and metal
80 × 60 × 73 cm
Collection of the artist
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Monumento vivo, 2023
Living Monument
Performance
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Nos quitaran la montaña, nos dieron cemento, 2022
They Have Taken the Mountain from Us, They Have Given Back Cement from series Nos quitaran la montaña, nos dieron cemento
They Have Taken the Mountain from Us, They Have Given Back Cement
Ceramic e cement (44 pieces)
Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
marlon riggs
Tongues Untied, 1989 Film, color, sound 55’
Courtesy: Frameline Distribution
direction and production: marlon t. riggs performance: essex hemphill photography: marlon t. riggs associate production: brian freeman production: colin robinson, ron simmons screenplay: joseph beam, craig harris, reginald jackson, steve langley, alan miller, donald woods actors: kerrigan black, blackberri, bernard branner, gerald davis, kenneth r. dixson, larry duckette, gideon ferebee, brian freeman, gene garth, paul horrey, david hunter, wayson jones, david barron kirkland, christopher prince, britt tennell, arvid williams
assistant editors: christiane badgley, bob paris, michele zaccheo
original music: alex langford, steve landley, marlon t. riggs still: ron simmons
maya deren
Meditation on Violence, 1948
HD digital black and white film, sound (from original 16mm) 12’25”
Courtesy: Light Cone, Paris
melchor maría mercado
Álbum de paisajes, tipos humanos y costumbres de Bolivia, 1841-1869
Album of Landscapes, Human Types and Mores of Bolivia
Watercolor on paper
141 pieces, 24 × 32 cm (each)
Collection: Archivo y Biblioteca Nacionales de Bolivia
min tanaka, françois pain
This participation is supported by: National Center for Art Research, Japan
Min Tanaka à La Borde, 1986
Min Tanaka at La Borde
Video, color, sound 24’
direction, screenplay and production: françois pain
morzaniel ɨramari
Mãri Hi, 2023
The Dream Tree Video, color, sound 17’
Courtesy: Aruac Filmes
direction: morzaniel ɨramari
with: davi kopenawa yanomami
director of photography and camera: morzaniel ɨramari
producers: eryk rocha e gabriela carneiro da cunha editors: morzaniel ɨramari, rodrigo ribeiro-andrade, julia faraco, carlos eduardo ceccon
sound editor: waldir xavier
sound mixing: guilherme lima de assis
direct sound: marcos lopes da silva, morzaniel ɨramari
color grading and completion: caio lazaneo original drawings: ehuana yaira yanomami translators: ana maria machado, richard duque, corrado dalmonego, marcelo silva, morzaniel ɨramari
editors: julia bernstein, morzaniel ɨramari, pedro portella
research: ana maria machado completion and distribution: pedro portella translation: morzaniel ɨramari, ana maria machado production: hutukara/ISA/OEEI-UFMG
mounira al solh
Bouche Bée, 2021-2022
Surprised
Gouache, ink, natural pigments and embroidery on textile
El Awela Fel Gharam, 2023 Sound
11’07’’
Enta Omri, 2014-2020 Sound
31’56’’
Sama’/Ma’as ( ), 2014
Berry/Horn
Gouache, ink, natural pigments and embroidery on textile
273 × 278 cm
Sama’/Ma’as ( ), 2017
Cook/Hit
Gouache, ink, natural pigments and embroidery on textile
280 × 245 cm
Sama’/Ma’as ( ), 2017
Lust/Dust
Gouache, ink, natural pigments and embroidery on textile
251 × 277 cm
Sama’/Ma’as ( ), 2017
Yes/Forbid
Gouache, ink, natural pigments and embroidery on textile
251 × 277 cm
all works:
Courtesy of the artist and Sfeir-Semler Gallery, Beirut / Hamburg
nadal walcot
This participation is supported by: Consulado Geral da República Dominicana in São Paulo
Central Azucarero, 1986
Sugar Central Ink on paper
101,6 × 71,1 cm
Cuba, 1986
Silkscreen print on paper
54,6 × 36,2 cm
David & Goliath, 2010
Ink on paper
53,3 × 44,5 cm
Digame usted, 2008
You Tell Me
Ink on paper
31,1 × 20,3 cm
El Almendro del Conguero, 1986
The Conguero’s Almond Tree Ink on paper
48,3 × 33,7 cm
El Cairo año 4.527, c. 1987
Cairo, Year 4.527 Ink on paper
71,1 × 50,8 cm
El coño de la mai del Cindico, 2009
Silkscreen print on paper
48,3 × 33 cm
Exorcismo en casa de Maria Fabian, 1993
Exorcism at Maria Fabian’s House Ink on paper
30,5 × 20,3 cm
Guerrero Zulú, preparando matrimonio, 2010
Zulu Warrior, Preparing the Wedding
Silkscreen print on paper
54,6 × 36,8 cm
Jamaica, 1986
Silkscreen print on paper
54,6 × 36,2 cm
Locomotora n. 2, 1986
Train n. 2
Gouache and ink on paper
71,1 × 50,8 cm
Locomotora n. 3, 1986
Train n. 3 Ink on paper
54,6 × 71,1 cm
La señora de Santoni, 2015
The Lady from Santoni Ink on paper
35,6 × 27,9 cm
Los Tigueres del Licey, 1994
The Tigers of the Licey Ink on paper
20,3 × 29,2 cm
Luis Rosichi, 2010 Ink on paper
33,7 × 26,7 cm
Niños peleando en el tren, 1986
Boys Fighting on the Train Ink on paper
71,1 × 50,8 cm
This Is, 1993 Ink on paper
45,7 × 31,8 cm
all works: Private collection
nadir bouhmouch, soumeya ait ahmed
Assays: On Art & Food from Below, 2023
Site-specific installation composed of video, diagram, photographic prints, carpets, pillows and cordel publications
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
A Seasonal Work Song, 2020-2023 16:9 video, color, sound 42’
film by: soumeya ait ahmed, nadir bouhmouch poetry and music by: fadma boutalaa, cheikh hammou khella
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Assays in Ypy-ra-ouêra, 2023
Carpets and pillows
Dimensions variable common knowledge of Amazigh peoples adaptation in São Paulo by: soumeya ait ahmed, nadir bouhmouch
carpets: Escola de Artesanato do Muquém / Instituto Renato Imbroisi inês ferreira mendes, mara rita da cunha, rosa helena miguel, roseli barreto rezende, rosiana oliveira diniz
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
graphic design (Remedies for Monotony): montasser drissi
illustrations: nabil himich
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
On Food and Art from Below, Non-Oral
Iteration #1, 2023
Cut-out vinyl wall diagram
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Untitled, 2023
Fine Art print
105 × 70 cm
photo: soumeya ait ahmed
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
Untitled, 2023
Fine Art print
70 × 105 cm
photo: nadir bouhmouch
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
nikau
hindin
Ngā Whetū Maiangi o te Maramataka, 2023
The Dawn Stars of the Māori Lunar Stellar Calendar
Site-specific installation composed of 13 pieces made of red ochre, soot ink and blue ochre pigment (Vivianite) on Aute (Māori bark cloth Broussonetia papyrifera)
Whiro. Te Tahi o Pipiri 29.06.2022, 2023
New Moon. The First of Hamal 126 × 39,5 cm
Whiro. Te Rua o Takurua 29.07.2022, 2023
New Moon. The Second of Sirius 102,5 × 35 cm
Whiro. Te Toru Here o Pipiri 27.08.2022, 2023
New Moon. The Third of Atik 116,5 × 43,2 cm
Whiro. Te Whā o Mahuru 26.09.2022, 2023
New Moon. The Fourth of Alphard 159,2 × 38,5 cm
Whiro. Te Rima o Kōpū 25.10.2022, 2023
New Moon. The Fifth of Venus 117,5 × 45,5 cm
Whiro. Te Ono o Whitiānaunau 24.11.2022, 2023
New Moon. The Sixth of Y Leo 112,5 × 48,6 cm
Whiro. Te Whitu o Hakihea 23.12.2022, 2023
New Moon. The Seventh of Menkent 135,5 × 42,5 cm
Whiro. Te Waru o Rehua 22.01.2023, 2023
New Moon. The Eighth of Antares 124 × 35,5 cm
Whiro. Te Iwa o Rūhiterangi 20.02.2023, 2023
New Moon. The Ninth of Alniyat 127,5 × 35,5 cm
Whiro. Te Ngahuru o Poutūterangi 22.03.2023, 2023
New Moon. The Tenth of Altair 101 × 48 cm
Whiro. Ngahuru mā tahi Paengawhāwhā
20.04.2023, 2023
New Moon. The Eleventh of Enif 120 × 52 cm
Whiro. Ngahuru mā rua o Haki Haratua 20.05.2023, 2023
Poster and Visual Identity to the 35th Bienal de São Paulo, 2023
Graphic design work
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
patricia gómez, maría jesús gonzález
This participation is supported by: Acción Cultural Española (AC/E) and Embajada de España en Brasil
À tous les clandestins, 2019
To All the Clandestines
UV-LED digital print on paper (16 pieces)
165 × 110 cm (each)
Bonne chance, 2015-2023
Good Luck
Video, color, sound
108’
Bienvenues, 2023
Welcome HD video, color, sound
2’30’’
concept: jesús de la vega image: fran condor
edition and post production: jesús de la vega production manager: lucía chacón produced by: Palermo Films
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 1 – 1, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 1 – 1
Wall removal (stacco) on black canvas
150 × 620 cm
Collection: Mariano Yera
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 1 – 2, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 1 – 2
Wall removal (stacco) on black canvas
150 × 620 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 1 – 3, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 1 – 3
Wall removal (stacco) on black canvas
150 × 476 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 1 – 4, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 1 – 4
Wall removal (stacco) on black canvas
150 × 260 cm
Collection: Museo de Teruel
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 1 – 5, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 1 – 5
Wall removal (stacco) on black canvas
150 × 293 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 2, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 2
Wall removal (stacco) on black canvas
150 × 540 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 3 – 1, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 3 – 1
Wall removal (stacco) on black canvas
150 × 460 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 3 – 2, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 3 – 2
Wall removal (stacco) on black canvas
150 × 460 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 3 – 3, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 3 – 3
Wall removal (stacco) on black canvas
150 × 570 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 5 – 1, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 5 – 1
Wall removal (stacco) on black canvas
150 × 620 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 5 – 2, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 5 – 2
Wall removal (stacco) on black canvas
150 × 620 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 5 – 3, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 5 – 3
Wall removal (stacco) on black canvas
150 × 470 cm
Courtesy of the artists
Centro de Retención de Migrantes de Nouadhibou, Mauritania – Celda 5 – 4, 2015-2016
Migrant Retention Center in Nouadhibou, Mauritania – Cell 5 – 4
Wall removal (stacco) on black canvas
150 × 340 cm
Courtesy of the artists
CIE El Matorral, Fuerteventura. Patios y celdas, 2023
Courtyards and Cells
HD video, color, sound
3’19’’
concept: patricia gómez & maría jesús gonzález image: emilio martí lópez edition and post production: keila cepeda produced by: patricia gómez & maría jesús gonzález with the support of Laboratorio de Recursos Media de la Universidad Politécnica de Valencia
Le Centre, 2023
The Center
HD video, color, sound 4’24’’
concept: jesús de la vega image: fran condor edition and post production: jesús de la vega production manager: lucía chacón produced by: Palermo Films
Le Origin, 2023
The Origin
HD video, color, sound 3’50’’
concept: jesús de la vega image: fran condor edition and post production: jesús de la vega production manager: lucía chacón produced by: Palermo Films
Le Processus, 2023
The Process
HD video, color, sound 7’25’’
concept: jesús de la vega image: fran condor edition and post production: jesús de la vega production manager: lucía chacón produced by: Palermo Films
Le Voyage, 2023
The Trip HD video, color, sound 4’50’’
concept: jesús de la vega image: fran condor edition and post production: jesús de la vega production manager: lucía chacón produced by: Palermo Films
concept: patricia gómez & maría jesús gonzález image: emilio martí lópez edit & post: keila cepeda produced by: patricia gómez & maría jesús gonzález with the support of Laboratorio de Recursos Media de la Universidad Politécnica de Valencia
PLEASE DON’T PAINT THE WALL – Archivo CIE
El Matorral, Fuerteventura, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
91 × 192 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE El Matorral, Fuerteventura – CHA-D-1d-8558, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE El Matorral, Fuerteventura – CHA-D-1i-8646, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE El Matorral, Fuerteventura – CHA-D-2d-9303, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE El Matorral, Fuerteventura – CHA-D-4i-8906, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Collection: Mariano Yera
PLEASE DON’T PAINT THE WALL – Archivo CIE El Matorral, Fuerteventura – CHA-D-5d-9255, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE El Matorral, Fuerteventura – CHA-D-6d-8250, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE
El Matorral. Fuerteventura CHA-D, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE
El Matorral. Fuerteventura CHA-D-2d-9307, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE
El Matorral. Fuerteventura CHA-D-3d-8099, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE
El Matorral. Fuerteventura CHA-D-4i-8890, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – Archivo CIE
El Matorral. Fuerteventura CHA-D-6i-8222, 2014
Archive CIE El Matorral, Fuerteventura
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura – Celda 2-i. Pabellón
CHARLIE-D, 2014
Cell 2-i. Pavillion CHARLIE-D
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura – Celda 3-d (II). Pabellón
CHARLIE-D, 2014
Cell 3-d (II). Pavillion CHARLIE-D
Wall removal (stacco) on transparent and black canvas
43 × 72,5 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura – CHARLIE-I, 2014
Wall removal (stacco) on transparent and black canvas
116 × 211 × 6 cm
Collection: Art Situacions
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura / CHARLIE-D. Celda 1-i, 2014
Cell 1-i
Wall removal (stacco) on transparent and black canvas
91 × 192 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura / CHARLIE-D. Celda 3-i, 2014
Cell 3-i
Wall removal (stacco) on transparent and black canvas
91 × 192 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura / CHARLIE-D. Celda 4-i, 2014
Cell 4-i
Wall removal (stacco) on transparent and black canvas
91 × 192 cm
Courtesy of the artists
PLEASE DON’T PAINT THE WALL – CIE El Matorral, Fuerteventura / CHARLIE-D. Celda 4-i (I), 2014
Cell 4-i (I)
Wall removal (stacco) on transparent and black canvas
91 × 192 cm
Courtesy of the artists
¿Quién os volverá!, 2023 Who Will Take Them Back? HD video, color, sound 2’14’’
Courtesy of the artists with the support of Laboratorio de Recursos Media de la Universidad Politécnica de Valencia
edit & post: keila cepeda produced by: patricia gómez & maría jesús gonzález with the support of Laboratorio de Recursos Media de la Universidad Politécnica de Valencia
pauline boudry / renate lorenz
This participation is supported by: The Swiss Arts Council Pro Helvetia
Les Gayrillères, 2022
2 channel video installation (projection and LED) 18’
choreography/performance: harry alexander, julie cunningham, werner hirsch, nach, joy alpuerto ritter, aaliyah thanisha
Gayrillères choreography: julie cunningham, harry alexander
directors of photography: bernadette paassen, siri klug
supported by: Arsenic Lausanne, Desingel Antwerp, Kunstnernes Hus Oslo Courtesy: Ellen de Bruijne Projects, Amsterdam and Marcelle Alix, Paris
Moving Backwards, 2019
Installation with HD and animated LED lights 23’
choreography/performance: julie cunningham, werner hirsch, latifa laâbissi, marbles jumbo radio, nach
directors of photography: bernadette paassen, siri klug
sound: johanna wienert grip: camilo sottolichio assistants: lore rinsoz, neige sanchez, am ertl hair costumes: heloise mantel, dürtal leathers research collaborator: mirkan deniz sound design: rashad becker color grading: waveline music: hard ton, food of love (sprinkles’ dubberama remix)
supported by: Pro Helvetia, Van Abbemuseum, Ville de Genève, Head Genève, Arsenic, Fluxum Foundation
(No) Time, 2020
Installation with HD and blinds 20’
choreography/performance: julie cunningham, werner hirsch, joy alpuerto ritter, aaliyah thanisha directors of photography: bernadette paassen, siri klug sound: johanna wienert lights: bernadette paassen costumes: heloise mantel stage production: wibke tiarks dramaturgical assistance: renen itzhaki sound design: rashad becker color grading: waveline music: it´s lover, love by aérea negrot, remixada por philip bader, mambos fudiz by nidia minaj, forward flamingo by rroxymore supported by: Jindřich Chalupecký Society, Service des Affaires Culturelles du Canton de Vaud, IFFR Rotterdam, Seoul Mediacity Biennale, FRAC Bretagne, CA2m Madrid Collection: Audrey Hörmann
Co-commissioned by: Jazz Festival Berlin 2021 / Sharjah Art Foundation 2018 with the support of: AFAC Arab Fund for Arts and Culture / Mophradat Dimensions variable
channel 1 – music: “land of hope and glory”, edward elgar (1901); “symphonie egypte”, youssef greiss (1932)
image: “the valley of the kings” (1920’s), “digging into the past” (1920’s), harry burton, “the opening of tutankhamun’s tomb” (1924), mohamed al-bayoumi channel 2 – music: “muharram 1441”, (2022) featuring: nadah el shazly, hartmut geerken, maurice louca, ayman asfour, sharif sehnaoui musical direction and editing: nadah el shazly mixed by: adham zidan music editing and mixing: max schneider cinematography: arno merry, rami al-sabbagh & philip rizk drawings by: yaqoub sanu’ in “abou-naddara zarka” (1882)
prints: page 1 of “symphonie egypte”, by youssef greiss (left); reconstruction of a reconstruction from a detail from a papyrus of the 19. dynasty (c. 1307-1196 bce) by philip rizk (right)
quilombo cafundó
Architectural drawings of the houses of Quilombo Cafundó, c. 1978
Facsimile
6 pieces, 21 × 29,7 cm (each)
Cafundó, 1983
Film, color, sound
42’43’’
direction: joel yamaji
screenplay: carlos vogt, joel yamaji, uli bruhn direct sound: jorge guerreiro production manager: francisco magaldi production: luis algarra assistant: zezinho original music: newton carneiro
Documents relating to the use of Cupopia and Kimbundo, undated
Facsimile
2 pieces, 21 × 29,7 cm (each)
First records published in the press about the Quilombo Cafundó community, 1978
Facsimile
14 pieces, dimensions variable
Family tree of the Quilombo Cafundó Community, undated
Facsimile
4 pieces, 21 × 29,7 cm (each)
Photographs of the Quilombo Cafundó, undated (c. 1978 – 1980’s)
Facsimile
84 pieces, 9 × 12,5 cm (each); (unknown authorships; 1 photo by Bob Wolfenson)
Quilombo Cafundó’s Maps, c. 1978
Facsimile
2 pieces, 21 × 29,7 cm (each)
all works:
Collection: CEDAE – Centro de Documentação
Cultural Alexandre Eulálio, Universidade Estadual de Campinas
raquel lima
This participation is supported by: República Portuguesa – Cultura / Direção-Geral das Artes
Rasura, 2021
Erasure
Video, color, sound 14’03’’
creation: raquel lima
direction and video edition: lubanzadyo mpemba, raquel lima
photography direction: lubanzadyo mpemba
sound edition: sara morais
acknowledgements: daniel, delson, jorge, pedro, tchiloli mini riboquino
Excerpt of the poem “sucubu” in “Ingenuidade Inocência Ignorância” by raquellima (2019 – BOCA, Animal Sentimental)
proofreading: anne karhio
subtitles: Manufactura Independente
ricardo aleixo
series DENDORÍ
Afrodadafro, 2023
Desvios para a dispersão, 2023
Detours for Dispersal
Diário da encruza, 2023
Crossroads Diary
No meio do redemunho, 2023 In the Midst of the Whirlwind
No que pensam os pés quando longe da bola, 2023
What Feet Think When They’re Away from the Ball
O peixe não segura a mão de ninguém, 2023
Fish Don’t Hold Anyone’s Hand
O tempo todo tudo muda, 2023
Everything Changes All the Time
Se te excita ou enoja o suor de um homem negro, cuida de manter distância da minha pessoa ao final desta performance, 2023
If the sweat of a black man excites or disgusts you, make sure you keep your distance from me at the end of this performance
Um ano entre humanos, 2023
A Year Among Humans
all works: Performance
rolando castellón
Hojas Sueltas I – XXIV, c. 1980
Loose Sheets
Photocopy on paper
11 × 8 cm (24 pieces)
Dossier, 2005
Facsimile
21,6 × 27,9 cm
Inventário abreviado, 2005
Short Inventory
Facsimile
21,5 × 28 cm
Objetos desconocidos, c. 1980
Unknown Objects
Earth, fabric, acrylic, wire and paper
21 × 58 cm
Objetos encontrados I – III, 1980/2023
Found Objects
Earth and acrylic on Kraft paper
46 × 31,5 cm; 46 × 35 cm; 68 × 33 cm
Objeto encontrado, c. 1980
Found Object
Earth and acrylic on Kraft paper
22 × 103,5 cm
rommulo vieira conceição
O espaço físico pode ser zona de disputa, convenções e certezas falíveis, 2023
Physical Space Can Be a Zone of Contention, Conventions and Fallible Certainties
Metal, wood, resin, glass fiber, polypropylene, polyurethane and automotive paint
Dimensions variable
technical drawing: rafael muniz
execution: césar augusto de sousa / ME Casmetal painting: edson batista pereira
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal and co-produced with Sesc –Serviço Social do Comércio
Quando a posição define o espaço social, sendo objeto continente dessa posição, 2020
When the Position Defines the Social Space, Being a Continent Object of that Position
Printed glass
220 × 550 cm
Collection: Arte da Cidade/ Supervisão de Acervo/ CCSP/SMC/PMSP, São Paulo
rosa gauditano
Vidas proibidas, 1979
Forbidden Lives
Dinossauros Bar and Ferro’s Bar
Vidas proibidas, Dinossauros Bar, 1979
Forbidden Lives
60 × 90 cm (11 pieces),
90 × 60 cm (6 pieces)
Vidas proibidas, Ferro’s Bar, 1979 Forbidden Lives
60 × 90 (11 pieces);
150 × 100 cm (2 pieces);
100 × 150 cm (1 piece)
all works:
Mineral pigment print on cotton paper from digital file
rosana paulino
Caranguejo, 2023
Crab from series Mangue
Mangrove
Graphite, acrylic and natural pigment on canvas
220 × 400 × 4 cm
Courtesy of the artist and Mendes Wood DM, São Paulo
Garça branca, 2023
White Heron from series Mangue
Mangrove
Graphite, acrylic and natural pigment on canvas
220 × 400 × 4 cm
Courtesy of the artist and Mendes Wood DM, São Paulo
Guará vermelho, 2023
Scarlet Ibis from series Mangue
Mangrove
Graphite, acrylic and natural pigment on canvas
220 × 400 × 4 cm
Courtesy of the artist and Mendes Wood DM, São Paulo
Peixe, 2023
Fish from series Mangue
Mangrove
Graphite, acrylic and natural pigment on canvas
220 × 400 × 4 cm
Courtesy of the artist and Mendes Wood DM, São Paulo
Parede da memória, 1994-2015
Wall of Memory
Patuás in acrylic cloth and fabric stitched with cotton thread, photocopy on paper and watercolor (1.501 pieces)
8 × 8 × 3 cm (each)
Collection: Pinacoteca do Estado de São Paulo
rubem valentim
Templo de Oxalá, 1977
Oxalá Temple
Acrylic on wood
20 pieces:
250 × 100 × 75 cm;
278 × 78 × 78 cm;
235 × 78 × 78 cm;
225 × 70 × 77 cm;
233 × 78 × 65 cm;
247 × 70 × 70 cm;
232 × 65 × 79 cm;
234 × 70 × 70 cm;
232 × 70 × 70 cm;
220 × 70 × 70 cm;
225 × 70 × 70 cm;
244 × 70 × 70 cm;
240 × 70 × 70 cm;
197 × 76 × 76 cm;
197 × 76 × 76 cm;
212 × 70 × 70 cm;
154 × 70 × 70 cm;
127 × 76 × 76 cm;
127 × 76 × 76 cm;
127 × 76 × 76 cm
Collection: Museu de Arte Moderna da Bahia, Salvador
rubiane maia
A língua sempre se dobra diante do inquestinável ou maldito
Livro-Performance, capítulo VI, 2018-2023
The tongue bends whenever it faces what is unquestionable or what has been cursed book-performance, chapter VI
direção: sarah maldoror direção de fotografia: philippe clapot montagem: christophe baudin, julia maspero som: mathieu daude, jean-pierre lafarge assistência de direção: jean-charles germany participações: aimé césaire, édouard glissant, roland suvelor, madeleine de grandmaison, alunos do colégio julia nicolas narração: greg germain produção: fabia rosine
Sambizanga, 1972
Film, color, sound (exhibition copy)
1h42’
Collection: Cineteca di Bologna
directed by: sarah maldoror screenplay and dialogues: claude agostini, sarah maldoror, mário pinto de andrade, maurice pons, luandino vieira
cast: elisa andrade, jean m’vondo, dino abelino, benoît moutsila, talagongo, lopes rodrigues, henriette meya, manuel videira, ana wilson cinematography: claude agostini edited by: georges klotz production management: jean velter technical consultant: jacques poitrenaud restored by: The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Image Retrouvée in association with Éditions René Chateau and the family of Sarah Maldoror funding provided by: Hobson/Lucas Family Foundation
Songs from the film Guns for Banta, annotated and translated by Mario Pinto de Andrade, unknown author, undated Facsimile
27 × 21 cm
Wifredo Lam peintre et sculpteur, 1980 Wifredo Lam Painter and Sculptor 16mm film, transferred to video, sound 4’
all works: Courtesy: Annouchka de Andrade & Henda Ducados
sauna lésbica by malu avelar com ana paula mathias, anna turra, bárbara esmenia and marta supernova, 2023
Site-specific installation composed of videos, furniture, curtains, metallic structure and activations
Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
senga nengudi
Masked Taping, 1978-1979
Contact sheet, gelatin silver print (3 pieces)
104,1 × 86,4 cm; 104,1 × 78,7 cm; 104,1 × 78,7 cm
Warp Trance, 2007
Multi-channel audiovisual installation; sound composition by Butch Morris
Dimensions variable
all works:
Courtesy: Sprüth Magers and Thomas Erben Gallery, New York
sidney amaral
Acesso restrito, 2006
Restricted Access
Marble, bronze and ceramic
Dimensions variable
Collection: Museu Afro Brasil, São Paulo
O estrangeiro, 2011
The Foreigner
Acrylic on canvas
210 × 138 cm
Collection: Banco Itaú, São Paulo
Conspiracy, 2022
16mm and 8mm film, black and white, sound 24’
with: simone leigh, kimari hazward, lorraine o’grady, edward sales, jin sik, sarah wang, anastasia warren
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
[A cet instant, stanley brouwn se trouve à une distance de x aunes de ce lieu], 1987-1995
[At this moment, stanley brouwn is at a distance of x ells from this place]
Painted wood, aluminum and ink on paper
79,7 × 110 × 50 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
[A cet instant, stanley brouwn se trouve à une distance de x m de ce lieu], 1987-1995
[At this moment, stanley brouwn is at a distance of x meters from this place]
Painted wood, aluminum and ink on paper
79,7 × 110 × 50 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
[A cet instant, stanley brouwn se trouve à une distance de x pas de ce lieu], 1987-1995
[At this moment, stanley brouwn is at a distance of x steps from this place]
Painted wood, aluminum and ink on paper
79,7 × 110 × 50 cm
[A cet instant, stanley brouwn se trouve à une distance de x pieds de ce lieu], 1987-1995
[At this moment, stanley brouwn is at a distance of x feet from this place]
Painted wood, aluminum and ink on paper
79,7 × 110 × 50 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
[A sheet of paper, 200 × 200 bu (japan) divided according to the golden section, 1 bu = 0,30 cm], 2005
Graphite on paper
60,6 × 60,6 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
[one step (747 mm)], 1981
Ink and graphite on paper
48 × 20 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
A rectangle (1 step × 1 ell) on a sheet of paper (1m × 2 1/2 feet) divided according to the golden section – horizontal – vertical, 2004
Graphite on paper
100 × 65 cm
Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
A sheet of paper – 1 alen × 1 alen (Iceland) – 1 alen = 57,1 cm, undated
Graphite on paper
57,1 × 57,1 cm
Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
constructed walk 3000 steps: 840 mm – 890 mm distance: 2594535 mm, 1976
3 filling boxes
11,5 × 40 × 20 cm (each)
Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
In diesem moment gehen x personen auf dem alexanderplatz in berlin in richtung norden / süden / osten / westen, 2012
At this moment x people are walking on the alexanderplatz in berlin towards north / south / east / west
Aluminum, painted matt black (2 parts)
126 × 1 × 0,2 cm
Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
La Paz, 1980
Book
19,5 × 19,5 cm
Courtesy: the estate of stanley brouwn, Konrad Fischer Galerie, Düsseldorf, Jan Mot, Brussels and Micheline Szwajcer, Antwerp
Number of steps or meters in the direction of various cities, 1975-atual
Installation composed of vinyl and MDF
Dimensions variable
Courtesy: the estate of stanley brouwn, Konrad Fischer Galerie, Düsseldorf, Jan Mot, Brussels and Micheline Szwajcer, Antwerp
Portrait of mm body length 167,2 cm, 2000
Graphite on paper
182 × 26 cm
Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
stanley brouwn David Röell Prijs Amsterdam, 1980
Book
27 × 21,5 cm
Courtesy: the estate of stanley brouwn, Konrad Fischer Galerie, Düsseldorf, Jan Mot, Brussels and Micheline Szwajcer, Antwerp
this way brouwn, 1962
Graphite, stamp and marker on paper
24,5 × 32 cm
Courtesy : the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
this way brouwn, 1962
Graphite, stamp and marker on paper
24,5 × 32 cm
Courtesy : the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
this way brouwn, 1962
Graphite, stamp and marker on paper
24,5 × 32 cm
Courtesy : the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf
this way brouwn, 1963
Marker and ink on paper
24,5 × 32 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
this way brouwn, 1963
Marker and ink on paper
21 × 29,7 cm
Courtesy: the estate of stanley brouwn and Jan Mot, Brussels
stella do patrocínio
Falatório, 1986-1988
Talk
Sound recordings of Stella do Patrocínio talking, made by Carla Maria Guagliardi during the workshops of the Projeto de Livre Expressão Artística at Colônia Juliano Moreira 17’10”; 29’54”; 22’17”; 29’52”
Collection: Carla Maria Guagliardi
ave preta mística/mystical black bird, 2022
Graphite, colored pencil, spray and pastel on paper
Dimensions variable (61 pieces)
arranjo, 2019-2023 arrangement
Cattail, bamboo, fruit, colored powder, wire, plates, sewn eggshells, spray and semi-precious stones on wood
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
brincando animada, 2023 playing animated
Charcoal and dry pastel on wall
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
taller 4 rojo
Agresión del imperialismo: guerra popular, 1971-1972
Imperialism’s Aggression: Popular War
Silkscreen print on paper
100 × 216,6 cm
A la huelga 100 a la huelga 1000, 1978
100 to Strike, 1,000 to Strike
Silkscreen print on Schoeller Durex paper
100 × 68,5 cm
Colombia 70 – Una historia de Colombia..., 1973
Colombia ‘70 – A History of Colombia...
Silkscreen print on paper
70 × 100,2 cm
Testimonios, 1974
Witness
Photomechanical print on paper
39,5 × 98,5 cm
all works:
Gift: Fundación Proyecto Bachué (José Darío
Gutiérrez e María Victoria Turbay), 2021
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
taller de gráfica popular
Group Work, 1940 from left to right: unidentified, unidentified, Roberto Berdecio, Mariana Yampolsky, Adolfo Mexiac, Leopoldo Méndez, Fanny Rabel, Pablo O‘Higgins, Ignacio Aguirre
Group Work, 1940 from left to right: unidentified, Adolfo Mexiac, Mariana Yampolsky, Betty Cattlet, Leopoldo Méndez
Group Work, 1940 from left to right: unidentified, Roberto Berdecio, Mariana Yampolsky, Adolfo Mexiac, Leopoldo Méndez, Fanny Rabel, Pablo O‘Higgins, Ignacio Aguirre
TGP Assembly, 1940 from left to right: Leopoldo Méndez, Mariana Yampolsky, Adolfo Mexiac, Pablo O‘Higgins, Andrea Gómez, Elizabeth Cattlet, Isidoro Ocampo, Ignacio Aguirre
Photographic print
27 × 24 cm (each)
Collection: Carlos Monsiváis, Museo del Estanquillo
Photo: Author unknown
NN Perú (Carpeta Negra), 1988
NN Peru (The Black Folder)
Silkscreen print and xerography on paper mounted on cardboard
50 × 65 cm (9 pieces);
35 × 50 cm (7 pieces)
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Long-term loan: Fundación Museo Reina Sofía, 2017
Gift: Mirko Lauer Holoubek and Juan Carlos Verme
tejal shah
Between the Waves, 2012 5-channel video installation
Dimensions variable
conceptualized, directed and produced by: tejal shah
edited by: dhanya pilo
sound design & composition: floy krouchi, hari dwarak warrier, tejal shah
stereo compositions: floy krouchi, hari dwarak warrier, suman sridhar, tejal shah
dance choreography: linda borini, hrishikesh pawar dance performances: linda borini artists, Hrishikesh’s Centre of Contemporary Dance: nikita patel, priyasha deochake, aditi venkateshwaran, sayali shaligram, tanvi hegde, regina aaron, anuradha pillai, maithily bhupatkar
animation: drawings: alev ersan, maya ersan, tejal shah; technique: alev ersan, tejal shah; execution: payal kapadia, tejal shah
costumes: katell gelebart, tejal shah text: código morse: minal hajratwala collage: kunal anand, tejal shah still photography: devika shetty, payal kapadia, tejal shah
assistants: art management: amruta nemivant, phalguni desai; production: afrah shafiq, payal kapadia, phalguni desai, pooja madhavan; postproduction: afrah shafiq, payal kapadia; assisted by: anjana mehra, chetna agarwal, hitesh, sandeep, varsha harlalka; man friday: nitin jawale; woman friday: shobha utekar this project is what it is is is thanks to unwavering support from: anuj vaidya, chus martinez, ma faiza, minal hajratwala the project would be incomplete without: afrah, payal, phalguni, all your precious work; amaal, alev ersan, for throwing open your home residency in Istanbul; beena narohna, helping in Alibaug; barbara gross, unsolicited monetary support that came to rescue; chandrapal singh, S-Video: subsidized
camera rentals; fabian ostner: architectural advice; hari: sharing wise gems on artistic process and passion for sound; isha alluwalia: conceptual input on costumes and tailoring; jai maroo, shemaroo: subsidized post-production services; jignesh jhaveri, sanchayan, sharad navle: technical advice; julius macwan, The Last Ship Residency: hosting; floy krouchi kunal anand: patiently working with many failed animation experiments; mahindra bhai, Pankaj Travels; bhuj: local Kutch logistics; naina shah: Kutch contacts; neeraj gera: subsidized sound studio; nilima desai: crafty skills; razia sultan: tailoring; rajkumar: carpentry; salla, kazu: coral making, unicorn sharing; sheetal thankur, jasmine jagada: refuge in Ladakh, Goa & sharing love for animals; suman sridhar: critical feedback on sound; tariq ansari: swimming pool location courtesy; vasant, ranjana wagh: hospitality in Pune; mona gandhi, fabien charuau, gitanjali dang, rachna shah, jasmine jagada: for your friendship and support commissioned and produced by: dOCUMENTA (13) in cooperation with: Barbara Gross Gallery, Munich, Bildmuseet, UMEA University, UMEA India Foundation for the Arts, Bangalore Project 88, Bombay
INTERBEING – Exploring Self, Other & the World Through Art & Nonduality, 2023 Workshop
the living and the dead ensemble
The Wake, 2021 3-channel videoinstallation, full HD, color, sound 35’
the living and the dead ensemble is now composed of: rossi jacques casimir, dieuvela cherestal, sophonie maignan, cynthia maignan, james desiris, james peter etienne, mackenson bijou, leonard jean baptiste, olivier marboeuf, louis henderson co-produced by: Spectre Productions, Le théâtre de l’Usine (Genève), Les Ateliers Médicis (ClichyMontfermeil), Kunstenfestival des Arts (Bruxelas), Z33, (Aalst) e Savvy Contemporary (Berlin)
torkwase dyson
Blackbasebeingbeyond, 2023
Site-specific installation composed of 3 pieces in wood, steel and blackwash
430 × 290 × 150 cm (each)
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
trinh t. minh-ha
Bodies of the Desert, 2005
Digital video
20’
Reassemblage, 1982
16mm film transferred to digital video
40’
The Desert is Watching, 2003
Digital video
11’32’’
all works:
Courtesy: Trinh T. Minh-ha and Moongift Films
ubirajara ferreira braga
A dança no inferno, 2000
The Dance at Hell
Acrylic and oil on canvas
40 × 50 cm
A morte como companheira, 1993
Death as a Companion
Gouache on paper
50,8 × 66,5 cm
A prisão, 1997
The Prison
Gouache on paper
31,4 × 21,4 cm
Amigo fiel, 1991
Faithful Friend
Gouache and oil pastel on paper
50 × 66 cm
Artistas-pacientes, 1987
Artists-Patients
Gouache on paper
66,5 × 50 cm
Autorretrato, 1987
Self-portrait
Gouache on paper
66,5 × 50 cm
Autorretrato, 1990
Self-portrait
Gouache and crayon on paper
50 × 66,5 cm
Aurora Cursino, 1995
Gouache, fabric paint and oil pastel on paper
65,7 × 47,8 cm
Cena do Juquery. Guarda. Manicômio judiciário, 1990
Juquery scene. Guard. Justice Asylum
Gouache on paper
32 × 45 cm
Depois do ano 2000, 1995
After the Year 2000
Oil on canvas
50 × 70 cm
Escritos, 1998
Writings
Gouache on paper
70,2 × 50 cm
Galhos secos, 2000
Dry Branches
Gouache and crayon on paper
31,3 × 21,5 cm
Invasão do Kuwait, 1991
Invasion of Kwait
Gouache on paper
50 × 66,5 cm
O Gueto de Varsóvia, 1995
Warsaw Ghetto
Gouache and fabric paint on paper
47,8 × 65,7 cm
O mundo esquizofrênico, 1995
The Schizophrenic World
Acrylic on canvas
30 × 50 cm
Os peregrinos, 1999
The Pilgrims
Gouache and crayon on paper
20,5 × 28 cm
O vovô. Pai e filho, 1996
The Grandfather. Father and Son
Oil and graphite on paper
21,9 × 31,2 cm
Sem título (Mulher sentada), 2000
Untitled (Seated Woman)
Gouache and acrylic on paper
21 × 29,6 cm
Sem título (Olho mágico), 1987
Untitled (Magic Eye)
Gouache, marker and oil pastel on paper
50 × 66,5 cm
Untitled, 1988
Gouache on paper
119,5 × 314 cm
all works:
Collection: Museu de Arte Osório Cesar, Franco da Rocha
Courtesy: Complexo Hospitalar do Juquery and Prefeitura de Franco da Rocha
ventura profana
How Deep is the Ocean?, 2023 Performance
wifredo lam
This participation is supported by Institut français
Forêt tropicale, 1943
Tropical Forest Oil on canvas
153,5 × 125 cm
Private collection
La frutabomba, 1944
The Papaya Oil on canvas
178 × 148 × 7,5 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Le matin vert, 1943
The Green Morning Oil on paper mounted on canvas
186,7 × 123,8 cm
Collection: MALBA – Museo de Arte Latinoamericano de Buenos Aires
Le sombre Malembo, dieu du Carrefour, 1943
The Dark Malembo, God of the Crossroads Oil on canvas
153 × 126,4 cm
Private collection
Les mains croisées, 1951
Hands Crossed Oil on canvas
130 × 96 cm
Private collection
Omi Obini, 1943 Oil on canvas
178 × 126 cm
Collection: Eduardo F. Costantini
Nativité, 1947
Nativity
Oil on jute canvas
227,5 × 110,5 × 6 cm
Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid
Umbral, 1950
Threshold Oil on canvas
185 × 170 cm
Collection: Musée National d’Art Moderne –Centre Georges Pompidou, Paris
Fata Morgana by André Breton, illustrated by Wifredo Lam, 1942
Book
27,2 × 18,2 cm (closed)
Collection des Amis des Lettres Françaises n. 3. Buenos Aires: Éditions des Lettres Françaises, 1942
will rawls
A Phrase That Fits, 2023 Wooden platform, rail structure and PVC boards with vinyl adhesives performers: Flip Couto; Preto Téo; A TRANSÄLIEN; Sheyla Ayo Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
xica manicongo
Livro 1 de confissões da primeira visitação ao Brasil por Heitor Furtado de Mendonça, 1591-1595
First book of confessions of the first visit to Brazil by Heitor Furtado de Mendonça Facsimile
4 pieces: 33,5 × 23,5 cm (each)
Collection: Arquivo Nacional da Torre do Tombo, Lisbon
yto barrada
Untitled (Casablanca Unit Blocks – with Bettina), 2023
Installation with painted wood moduls
Dimensions variable
Commissioned by Fundação Bienal de São Paulo for the 35th Bienal
zumví arquivo afro fotográfico
Afoxé Filhos de Gandhy no Carnaval de Salvador, BA, 1993
Afoxé Filhos de Gandhy at the Carnival of Salvador, BA
50 × 75 cm
Photo: Lázaro Roberto
Arrumadores da Feira de São Joaquim, Salvador, BA, 1992
Keepers at the Feira de São Joaquim, Salvador, BA
60 × 90 cm
Photo: Lázaro Roberto
Ato da campanha “Reaja ou será morto, reaja ou será morta”, Salvador, BA, 2014
Act of the Campaign “React or You Will be Dead”, Salvador, BA
50 × 75 cm
Photo: Lázaro Roberto
Autorretrato do fotógrafo Lázaro Roberto, 1980
Photographer Lázaro Roberto Self-portrait
50 × 75 cm
Caminhada da Consciência Negra no bairro do Curuzu, Salvador, BA, 2012
Walk Celebrating the Black Awareness Day, at the Curuzu Neighborhood, Salvador, BA
75 × 50 cm
Photo: Lázaro Roberto
Desfile de Carnaval do bloco afro Olodum, com o tema “Os tesouros de Tutancâmon”, largo do Pelourinho, Salvador, BA, 1993
Olodum Carnival Parade with the Theme “The Treasures of Tutankhamun”, Pelourinho, Salvador, BA
70 × 105 cm
Photo: Lázaro Roberto
Exposição “O Negro e seu trabalho na Feira de São Joaquim”, Salvador, BA, 1992
Exposição “O Negro e seu trabalho na Feira de São Joaquim”, Salvador, BA, 1992
Exposição “O Negro e seu trabalho na Feira de São Joaquim”, Salvador, BA, 1992
Exposição “O Negro e seu trabalho na Feira de São Joaquim”, Salvador, BA, 1992
Exhibition “Black People and Their Work at Feira de São Joaquim”, Salvador, BA
30 × 45 cm
Photo: Lázaro Roberto
Exposição do Zumví na Sociedade Primeiro de Maio, no Dia do Trabalhador, Subúrbio
Ferroviário, Salvador, BA, 1991
Exposição do Zumví na Sociedade Primeiro de Maio, no Dia do Trabalhador, Subúrbio
Ferroviário, Salvador, BA, 1991
Zumví Exhibition at Sociedade Primeiro de Maio, During Labor Day, Subúrbio Ferroviário Neighborhood, Salvador, BA
30 × 45 cm
Photo: Lázaro Roberto
Exú, obra do ferreiro Samuel Rodrigues, Feira de São Joaquim, Salvador, BA, 2019
Eshu, Work by Forger Samuel Rodrigues, Feira de São Joaquim, Salvador, BA
50 × 75 cm
Photo: Lázaro Roberto
Festa do Bom Jesus dos Navegantes, praia da Boa Viagem, Salvador, BA, 1983
Bom Jesus dos Navegantes Celebration, Boa Viagem Beach, Salvador, BA
60 × 90 cm
Photo: Geremias Mendes
Inauguração da sede do Movimento Negro Unificado – MNU, bairro do Curuzu, Salvador, BA, 1991
Inauguração da sede do Movimento Negro Unificado – MNU, bairro do Curuzu, Salvador, BA, 1991
Opening of the Movimento Negro Unificado – MNU Headquarters, Curuzu Neighborhood, Salvador, BA
40 × 60 cm
Photo: Lázaro Roberto
Irmandade Nossa Senhora da Boa Morte, Cachoeira, BA, 1987
Sisterhood of Our Lady of the Good Death, Cachoeira, BA
60 × 90 cm
Photo: Jônatas Conceição
Manifestação para aprovação da política de cotas na Universidade Federal da Bahia, 2003 Protest Demanding the Approval of Affirmative Actions at the Universidade Federal da Bahia
80 × 120 cm
Photo: Lázaro Roberto
Marcha contra a farsa da Abolição, organizada pelo Movimento Negro, Salvador, BA, 1988
Marcha contra a farsa da Abolição, organizada pelo Movimento Negro, Salvador, BA, 1988
Marcha contra a farsa da Abolição, organizada pelo Movimento Negro, Salvador, BA, 1988
Protest Against the Abolition Farce, Organized by the Movimento Negro [Black Movement], Salvador, BA 70 × 105 cm
Photo: Jônatas Conceição
Marcha internacional contra o genocídio do povo Negro, centro de Salvador, BA, 2013 International March Against the Genocide of Black People, Salvador City Center, BA 50 × 75 cm
Photo: Lázaro Roberto
Mestre de capoeira ensinando as crianças na comunidade Novos Alagados, no mês da Consciência Negra. Subúrbio Ferroviário, Salvador, BA, 1993
Mestre de capoeira ensinando as crianças na comunidade Novos Alagados, no mês da Consciência Negra. Subúrbio Ferroviário, Salvador, BA, 1993
Capoeira Master Teaching Children at the Novos Alagados Community During the Month of Black Awareness. Subúrbio Ferroviário Neighborhood, Salvador, BA 60 × 90 cm
Photo: Lázaro Roberto
Outdoor do Movimento Negro em protesto contra o centenário da abolição, Salvador, BA, 1988 Black Movement Billboard in Protest Against the Centenary of the Abolition, Salvador, BA
60 × 90 cm
Photo: Lázaro Roberto
Peça teatral “Minha analista”, Espaço Cultural Alagados, bairro do Uruguai, Salvador, BA, 1983
75 × 50 cm
Peça teatral “Minha analista”, Espaço Cultural Alagados, bairro do Uruguai, Salvador, BA, 1983
Peça teatral “Minha analista”, Espaço Cultural Alagados, bairro do Uruguai, Salvador, BA, 1983
Peça teatral “Minha analista”, Espaço Cultural Alagados, bairro do Uruguai, Salvador, BA, 1983
Peça teatral “Minha analista”, Espaço Cultural Alagados, bairro do Uruguai, Salvador, BA, 1983
Presentation of the Play “Minha analista”, Espaço Cultural Alagados, Uruguai Neighborhood, Salvador, BA
50 × 75 cm
Photo: Geremias Mendes
Primeira apresentação do Bando de Teatro Olodum da peça “Essa é nossa praia”, teatro Gregório de Matos, Salvador, BA, 1990
Primeira apresentação do Bando de Teatro Olodum da peça “Essa é nossa praia”, teatro Gregório de Matos, Salvador, BA, 1990
Bando de Teatro Olodum’s First Presentation of the Play “Essa é a nossa praia”, Gregório de Matos Theater, Salvador, BA
60 × 90 cm
Photo: Lázaro Roberto
Primeira caminhada da Consciência Negra, bairro Curuzu, Salvador, BA, 2000
First March of the Black Awareness, Curuzu Neighborhood, Salvador, BA
60 × 90 cm
Photo: Lázaro Roberto
Primeira sede do Zumví – Arquivo Afro Fotográfico, bairro da Ribeira, Salvador, BA, 1990 Primeira sede do Zumví – Arquivo Afro Fotográfico, bairro da Ribeira, Salvador, BA, 1990 First Headquarters of Zumví – Arquivo Afro Fotográfico, Ribeira Neighborhood, Salvador, BA
30 × 45 cm
Photo: Lázaro Roberto
Protesto da Irmandade do Rosário dos Pretos no Largo do Pelourinho durante as comemorações da Independência da Bahia, dia 2 de julho, 2012 Rosário dos Pretos Sisterhood Demonstration at Pelourinho During the Celebrations of Bahia Independence, in the 2nd of July
80 × 120 cm
Photo: Lázaro Roberto
Protesto do Movimento Negro contra a farsa do Centenário da Abolição no Brasil, Salvador, BA, 1988
Protesto do Movimento Negro contra a farsa do Centenário da Abolição no Brasil, Salvador, BA, 1988
Protesto do Movimento Negro contra a farsa do Centenário da Abolição no Brasil, Salvador, BA, 1988
Protest Against the Abolition Centenary Farce Organized by the Movimento Negro [Black Movement], Salvador, BA
70 × 105 cm
Photo: Jônatas Conceição
Protesto da Sociedade Primeiro de Maio de Novos Alagados em frente à prefeitura de Salvador, BA, 1994
Demonstration of the Sociedade Primeiro de Maio de Novos Alagados in front of Salvador City Hall 30 × 45 cm
Photo: Lázaro Roberto
Rapaz no cabelereiro, Salvador, BA, 1994
Young Man at the Hairdresser, Salvador, BA
105 × 75 cm
Photo: Lázaro Roberto
Roda de capoeira no Dia da Consciência Negra, parque São Bartolomeu, Subúrbio Ferroviário, 2013 Capoeira Circle at the Black Awareness Day, São Bartolomeu Park, Subúrbio Ferroviário
Neighborhood 70 × 105 cm
Photo: Lázaro Roberto
Romaria da terra, Monte Santo, BA, 1993
Pilgrimage, Monte Santo, BA 60 × 90 cm
Photo: Geremias Mendes
Sindicato das empregadas domésticas, Salvador, BA, undated
Domestic Workers Union, Salvador, BA 20 × 30 cm
Photo: Jônatas Conceição
Trabalhadores da Feira de São Joaquim, Salvador, BA, 1992
Workers at the Feira de São Joaquim, Salvador, BA 60 × 90 cm
Photo: Lázaro Roberto
Trabalhadoras do Mercado Modelo, Salvador, BA, 1983
Workers at the Mercado Modelo, Salvador, BA 60 × 90 cm
