35th Bienal de São Paulo – List of works by Bienal São Paulo

35th bienal de são paulo

choreografies of the impossible

list of works

ahlam shibli → 5 aida harika yanomami, edmar tokorino yanomami, roseane yariana yanomami → 6 aline motta → 7 amador e jr. segurança patrimonial ltda. → 8 amos gitaï → 9 ana pi, taata kwa nkisi mutá imê → 10 anna boghiguian → 11 anne-marie schneider → 12 archivo de la memoria trans → 13 arthur bispo do rosário → 14 aurora cursino dos santos → 15 ayrson heráclito, tiganá santana → 16 benvenuto chavajay → 17 bouchra ouizguen → 18 cabello / carceller → 19 carlos bunga → 20 carmézia emiliano → 21 castiel vitorino brasileiro → 22 ceija stojka → 23 charles white → 24 citra sasmita → 25 collectivo ayllu → 26 cozinha ocupação 9 de julho – mstc → 27 daniel lie → 28 daniel lind-ramos → 29 davi pontes and wallace ferreira → 30 dayanita singh → 31 deborah anzinger → 32 denilson baniwa → 33 denise ferreira da silva → 34 diego araúja, laís machado → 35 duane linklater → 36 edgar calel → 37 elda cerrato → 38 elena asins → 40 elizabeth catlett → 41 ellen gallagher, edgar cleijne → 43 emanoel araujo → 44 eustáquio neves → 45 flo6x8 → 46 francisco toledo → 47 frente 3 de fevereiro → 48 gabriel gentil tukano → 50 george herriman → 51 geraldine javier → 52 gloria anzaldúa → 53 grupo de investigación en arte y política (giap) → 54 guadalupe maravilla → 55 ibrahim mahama → 56 igshaan adams → 57 ilze wolff → 58 inaicyra falcão → 59 januário jano → 60 jesús ruiz durand → 61 john woodrow wilson → 62 jorge ribalta → 63 josé guadalupe posada → 64 juan van der hamen y león → 65 judith scott → 66 julien creuzet → 67 kamal aljafari → 68 kapwani kiwanga → 69 katherine dunham → 70 kidlat tahimik → 71

leilah weinraub → 72 leopoldo méndez → 73 luana vitra → 75 luiz de abreu → 76 m’barek bouhchichi → 77 mahku → 78 malinche → 79 manuel chavajay → 80 margaret taylor goss burroughs → 81 marilyn boror bor → 82 marlon riggs → 83 maya deren → 84 melchor maría mercado → 85 min tanaka, françois pain → 86 morzaniel ɨramari → 87 mounira al solh → 88 nadal walcot → 89 nadir bouhmouch, soumeya ait ahmed → 90 nikau hindin → 91 niño de elche → 92 nontsikelelo mutiti → 93 patricia gómez, maría jesús gonzález → 94 pauline boudry / renate lorenz → 98 philip rizk → 99 quilombo cafundó → 100 raquel lima → 101 ricardo aleixo → 102 rolando castellón → 103 rommulo vieira conceição → 104 rosa gauditano → 105 rosana paulino → 106 rubem valentim → 107 rubiane maia → 108 sammy baloji → 109 santu mofokeng → 110 sarah maldoror → 111 sauna lésbica by malu avelar com ana paula mathias, anna turra, bárbara esmenia and marta supernova → 113 senga nengudi → 114 sidney amaral → 115 simone leigh, madeleine hunt-ehrlich → 116 sonia gomes → 117 stanley brouwn → 119 stella do patrocínio → 123 tadáskía → 124 taller 4 rojo → 125 taller de gráfica popular → 126 taller nn → 127 tejal shah → 128 the living and the dead ensemble → 129 torkwase dyson → 130 trinh t. minh-ha → 131 ubirajara ferreira braga → 132 ventura profana → 133 wifredo lam → 134 will rawls → 135 xica manicongo → 136 yto barrada → 137 zumví arquivo afro fotográfico → 138

ahlam shibli series Death, 2011-2012 Chromogenic print 100 × 150 cm (2 pieces); 100 × 70 cm (17 pieces); 70 × 100 cm (3 pieces); 38 × 57,7 cm (32 pieces); 57,7 cm × 38 cm (14 pieces)

aida harika yanomami, edmar tokorino yanomami, roseane yariana yanomami Thuë pihi kuuwi, 2023 A Woman Thinking Video, color, sound 9’ Courtesy: Aruac Filmes directors: aida harika yanomami, edmar tokorino yanomami, roseane yariana yanomami 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 executive producer: heloisa jinzenji production coordinator: margarida serrano financial coordinator: tárik puggina project manager: lisa gunn impact producers: marília garcia senlle, carolina ribas production: Aruac Filmes co-production: Hutukara Associação Yanomami production associate: Gata Maior Filmes support: ISA – Instituto Socioambiental

Yuri u xëatima thë, 2023 Fishing with Timbó Video, color, sound 10’ Courtesy: Aruac Filmes directors: aida harika yanomami, edmar tokorino yanomami, roseane yariana yanomami 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 original drawings: edmar tokorino yanomami, aida harika yanomami 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 executive producer: heloisa jinzenji production coordinator: margarida serrano financial coordinator: tárik puggina project manager: lisa gunn impact producers: marília garcia senlle, carolina ribas production: Aruac Filmes co-production: Hutukara Associação Yanomami production associate: Gata Maior Filmes support: ISA – Instituto Socioambiental

aline motta A água é uma máquina do tempo, 2023 Water is a Time Machine Video, color, sound 31’46’’ 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

amador e jr. segurança patrimonial ltda. 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

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, 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

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

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’ Em direção a Xib’alb’á, 2023 Heading Towards Xib’alb’a Performance

bouchra ouizguen Corbeaux, 2017 Crows 16:9 video 7’37’’ with: kabboura aït ben hmad, khadija amrhar, zahra bensllam, fatima el hanna, fatna ibn el khatyb, hasnae el ouarga, halima sahmoud, malika soukri © Compagnie O production: Association Rokya, Paris / Association Originale, Marrakech co-production: MuCEM / Festival de Marseille Fatna, 2017 16:9 video 16’33’’ with: fatna ibn el khatyb © Compagnie O 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 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

flo6x8 This participation is supported by: Acción Cultural Española (AC/E) and Embajada de España en Brasil

flo6x8 en el Parlamento, acortando distancias, 2014 flo6x8 at the Parliament, Shortening Distances 3’10’’

Banco Chungo, por flo6x8 & Atraco a las tres, 2014 Crude Bank, by flo6x8 & Robbery at 3pm 1’14’’; 4’22’’

La chunami, 2010 The Tsunami 2’13’’

Bankia, pulmones y branquias (bulerías), 2012 Bankia, Lungs and Gills 4’47’’

Las primas por las nubes – fandango road movie vs banks, 2012 The Cousins at the Clouds – Fandango Road Movie vs Banks 11’55’’

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’’

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

frente 3 de fevereiro Inteligência ancestral, 2023 Ancestral Intelligence 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

ibrahim mahama 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 Faute d’argent (Eight Short Pieces), 2016-2020 Lack of Money Gelatin silver print, wallpaper, newspaper print, methacrylate 25 × 25 cm (64 pieces); 40 × 50 cm (12 pieces) Collection: Fundación MAPFRE, Madrid

josé guadalupe posada Calavera con guitarra, undated Skeleton with Guitar Zincography 24,4 × 10,4 cm Calavera con pollos, undated Skeleton with Chicken Zincography 13,8 × 15,1 cm Calavera de muchachos papeleros, undated Newspaper Boys Skeletons Zincography 15,1 × 23,1 cm Calaveras del montón n. 1, 1910 Skeletons from the Heap n. 1 Zincography 40,3 × 30,4 cm Calavera huertista, undated Huertist Skeleton Zincography 21,7 × 21,7 cm Calavera oaxaqueña, calaveras rotas y garbanceras, undated Oaxacan Skeleton, broken Skeletons and Garbanceras Zincography 14,6 × 25,5 cm Calaveras periodistas, calaveras ciclistas, undated Journalist Skeletons, Cyclist Skeletons Engraving 28 × 43,5 cm Calavera revolucionaria, undated Revolutionary Skeleton Zincography 15 × 6,5 cm Calavera tamalera, undated Skeleton Making Tamal Zincography 9 × 8 cm Coloquio de buenas calaveras, undated Good Skeletons Talk Zincography 24,5 × 10,2 cm

El jarabe de ultratumba, undated Jarabe Dance after the Grave Zincography 12 × 20,5 cm El jarabe de ultratumba, undated Jarabe Dance after the Grave Zincography 28 × 43 cm Gran calavera eléctrica, undated Big Electric Skeleton Zincography 28 × 43,5 cm La Catrina, undated The Catrina Zincography 21,2 × 27,7 cm all works: Collection: Museo Nacional de la Estampa / INBAL / Secretaría de Cultura, Mexico City

juan van der hamen y león Retrato de Doña Catalina de Erauso. La Monja Alferez, 1626 Portrait of Catalina de Erauso. The Military Nun Oil on canvas 57 × 46 cm Collection: Fundación Kutxa, San Sebastián

judith scott Untitled, 1989 61 × 7,6 × 48,3 cm Untitled, 1991 12 × 31,5 × 15,5 cm Untitled, 1991 124,5 × 53,3 × 30,5 cm Untitled, 1992 109,2 × 35,6 × 30,5 cm Untitled, 1992 119,4 × 35,6 × 35,6 cm Untitled, 1992 231,1 × 17,8 × 12,7 cm Untitled, 1993 61 × 40,6 × 10,2 cm Untitled, 1993 91,4 × 50,8 × 25,4 cm Untitled, 1993 12,7 × 132,1 × 215,9 cm Untitled, 1993 17,8 × 114,3 × 45,7 cm all works: Found objects assembled and wrapped in textile fibers Collection: Creative Growth Art Center

julien creuzet This participation is supported by: Institut français ZUMBI ZUMBI ETERNO, 2023 ETERNAL ZUMBI ZUMBI Site-specific installation composed of sewn plastic sails, galvanized tubes, plastic gallons and acrylic on wood pieces choreographed by: ana pi, bad gyal cassie love ana pi iris fabre antoine camus louise somveille chadine amghar & zumbi dos palmares Commissioned by Fundação Bienal de São Paulo for the 35th Bienal

kamal aljafari The Camera of the Dispossessed, 2023 6-channel video installation, projection Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 35th Bienal conceived and produced by: kamal aljafari edited by: kamal aljafari, yannig willmann, flavia mazzarino sound: attila faravelli original music: simon fisher turner line producer: flavia mazzarino vfx: yannig willmann sound mixing: jochen jezussek voice: darin dibsy, kamal aljafari 2023 © kamal aljafari productions music “Akka”, lyrics by: samih al qasim; composition by: naeem rajwan, 1963 “Swan Lake”, composition by: piotr ilych tchaikovsky; live recording: New Philharmonia Orchestra, leopold stokowski, 1989 “Palestinian Bedouin Tape Archive”, Majazz Project, 2021 texts from: “Austerlitz”, w.g. sebald, 2001 “Anis Sayegh on Anis Sayegh”, anis sayegh, 2006 “Only Ten Meters”, ghassan kanafani, 1959 “Returning to Haifa”, ghassan kanafani, 1969 end credits: a phone call between kamal and yousef, 2019

kapwani kiwanga pink-blue, 2017 Baker-Miller pink paint, white paint, white fluorescent lights and blue fluorescent lights Dimensions variable Courtesy of the artist, Goodman Gallery, Cape Town, Johannesburg, London / Galerie Poggi, Paris / Galerie Tanja Wagner, Berlin

katherine dunham Ag’Ya Fight from “L’Ag’Ya”, 1947 Charm Dance from “L’Ag’Ya”, 1947 Shango, 1947 7’24” Choros, 1960 Cumbia, 1960 31’36” Washerwoman, 1956 12’29” all works: 16mm film transferred to video Collection: Library of Congress, Washington, D.C. Courtesy: Marie-Christine Dunham Pratt

kidlat tahimik Killing Us Softly... With Their Spams... (Songs, Prayers, Alphabets, Movies, Superheroes...), 2023 Site-specific installation composed of wooden trunks, roots, sawdust, bamboo, plant fibers, jute, fabrics, resin, metal and plants Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 35th Bienal amazon tree fortress, galleon: michael palomar, mateo palomar spirit boat protectors: randy gawwi muerte de magallanes [death of magellan]: santos bayucca wind goddess, marilyn monroe and inhabian: chris atiwon water buffalo helicopter: rogelio ginanoy rattan invaders: jason domling hollywood trojan horse: jun ritumalta junkart tribal g-string: rommel pidazzo woven council of elders: narda capuyan galleon sails: carlo villafuerte friar cloaks: china valdes his master’s voice loudspeaker: kawayan de guia ikea dog: kabunyan de guia kapwa worldview: katrin de guia hollywood missiles: domeng gano roots wind deity: jahon taguyungon super hero conquistadors: apilis mahiwo

leilah weinraub SHAKEDOWN, 2018 Video, color, sound 60’22’’ starring: aiisha ferguson, jamie thomas, sha’ron harris, mahogany wilson as the shakedown angels: egypt, jazmyne, harmony, blaze, i-dallas, mocha, ms. oohzee, slim-goodie, poizun, jamaika, jo-jo, sinnamon, sunshine, cappichino, slow-wine, jazzybelle, trinitee, 360, foxy performers: junior, x, suave, tresure, nita, tight-eyez, t ceo: sha’ron harris aka “ronnie ron”, vp teresa aka ms. teresa

leopoldo méndez Calaveras Estranguladoras – Gregorio Cárdenas Hernández, 1949 Strangler Skeletons Linocut print on paper 23,7 × 35,2 cm Collection: The Museum of Fine Arts Houston Gift: Frank Ribelin

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

Concierto para locos, 1932 Concert for Crazy People Woodcut print on paper 35 × 35 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

Construyendo escuelas, 1931 Building Schools Woodcut print on paper 28 × 12,4 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

Deportación a la muerte, 1943 Deportation towards Death Linocut print on paper 66 × 81 cm Collection: Carlos Monsiváis, Museo del Estanquillo, Mexico City

Piñata politica, 1936 Political Piñata Woodcut print on paper 34,9 × 31,8 cm Collection: The Museum of Fine Arts Houston Gift: Frank Ribelin

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

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

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

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 the Ones That 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

mahku Rewe Rashūiti, 2023 Healing Song Acrylic on canvas Dimensions variable Commissioned by Fundação Bienal de São Paulo for the 35th Bienal mahku artists: ibã hunikuin, kassia borges karaja, acelino hunikuin, bane hunikuin, mana hunikuin, itamar rios yaka hunikuin, cleudo hunikuin collaborators: vanessa giroldo, vinicius figueiredo, gabriel alves

malinche Lienzo de Tlaxcala, 1560 Tlaxcala Fabric 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 general supervision: davi kopenawa yanomami, dário vitório kopenawa yanomami responsible yanomami audiovisual training: marília garcia senlle executive production: heloisa jinzenji production coordinator: margarida serrano financial coordinator: tárik puggina project manager: lisa gunn impact producers: marília garcia senlle, carolina ribas production: Aruac filmes co-production: Hutukara Associação Yanomami production associada: Gata Maior Filmes support: ISA – Instituto Socioambiental Urihi Haromatimapë, 2014 Healers of the Forest-Land Video, color, sound 60’01’’ Collection: MUGEO – Museu Valdemar Lefèvre, São Paulo Courtesy: Hutukara Associação Yanomami direction: morzaniel ɨramari photographer: 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’’ ), 2014 Sama’/Ma’as ( Berry/Horn Gouache, ink, natural pigments and embroidery on textile 273 × 278 cm ), 2017 Sama’/Ma’as ( Cook/Hit Gouache, ink, natural pigments and embroidery on textile 280 × 245 cm ), 2017 Sama’/Ma’as ( Lust/Dust Gouache, ink, natural pigments and embroidery on textile 251 × 277 cm ), 2017 Sama’/Ma’as ( 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

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

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

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 Manshour – Cordel, Iteration #1, 2023 Offset print on paper 21 × 15 cm graphic design (Against Monoculture): nassim azarzar 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. 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 New Moon. The Twelfth of Matar 107 × 35,7 cm Whiro. Ngahuru mā toru o Ruhanui 18.06.2923, 2023 New Moon. The Thirteenth of Sheratan 98,5 × 47 cm Rākau Iti, 2023 Small Tree Beaten Aute (Māori bark cloth Broussonetia papyrifera) 98,5 × 47 cm Rākau Nui, 2023 Full Moon (Big Tree) Beaten Aute (Māori bark cloth, Broussonetia papyrifera), Natural Aho Muka (handmade twine, Phormium tenax) and Aho Muka dyed with Tanekaha (Phyllocladus trichomanoides) 127,5 × 540 cm all works: Commissioned by Fundação Bienal de São Paulo for the 35th Bienal

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

niño de elche This participation is supported by: Acción Cultural Española (AC/E) Auto Sacramental Invisible. Una representación sonora a partir de Val del Omar, 2020 Invisible Auto Sacramental: A Sonic Representation from Val del Omar Sound installation Dimensions variable Collection: Museo Nacional Centro de Arte Reina Sofía, Madrid script, sound design and musical production: miguel álvarez-fernández direction and architecture: lluís alexandre casanovas blanco light design: carlos marquerie, david benito sound engineering: juan andrés beato, emilio pascual archive josé val del omar: gonzalo sáenz de buruaga, piluca baquero Flamenco Concert, 2023 Performance guitar: yerai cortés percussion: iván mellén ballet dancer: poliana lima

nontsikelelo mutiti 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 Pabellón CHARLIE. Celda 3-III, undated Pavilion CHARLIE. Cell 3-III Wall removal (stacco) on black canvas 91 × 192 cm Collection: Museo de Teruel Please, Don’t Paint the Wall, 2023 HD video, color, sound 11’02’ 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, 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-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-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-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-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-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-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-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-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 – 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 – 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 – 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 – 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

¿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 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 – 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

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 sound: johanna wienert costumes: heloise mantel wig: dushan petrovic stage production: wibke tiarks dramaturgical assistance: renen itzhaki sound design: rashad becker color grading: waveline music: tragic selector (a.k.a. daisuke tadokoro & terre thaemlitz), “a dialogue with gravity”, desire marea “tavern kween” 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

philip rizk Mapping Lessons, 2020 Film, color, sound 61’ Terrible Sounds, 2023 2-channel installation, stereo & surround sound (8’51’’, 7’10’’), inkjet prints, cinema chairs on carpeted tiered floor 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

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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

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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

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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

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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

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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

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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

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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

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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 Performance documentation invited performer: jamile cazumbá Commissioned by Fundação Bienal de São Paulo for the 35th Bienal and co-produced with Sesc – Serviço Social do Comércio

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sammy baloji Copper Negative of Luxury Cloth Kongo People; Democratic Republic of the Congo, Republic of the Congo or Angola, 17th-18th Century, 2020 Bronze (3 pieces) 64,5 × 63 × 0,9 cm; 52,3 × 51,3 × 0,9 cm; 62 × 50,3 × 0,9 cm Hobé’s Art Nouveau Forest and Its Lines of Color, 2021 Installation of four wood panels and acrylic on canvas 210 × 300 cm Tales of the Copper Cross Garden, Episode 1, 2017 16:9 video, color, sound 42’ all works: Courtesy of the artist and Galerie Imane Farès, Paris

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santu mofokeng The Black Photo Album / Look at me, 1890-1950 80 slides, 35mm projection Collection: Santu Mofokeng Foundation © Santu Mofokeng Foundation Courtesy: Lunetta Bartz, MAKER, Johannesburg

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sarah maldoror Announcement for a screening of Sambizanga in Leuven, Belgium (unknown author), 1972-1973 Offset print on paper 90 × 70 cm Dialogue page in Portuguese and Kimbundu, annotated by Mario Pinto de Andrade (in black). Unknown author, undated Facsimile 18 × 8,5 cm French poster for the film Sambizanga (unknown author), 1972-1973 Offset print on paper 90 × 70 cm Guns for Banta film notes by Mario Pinto de Andrade, undated Facsimile 15 × 10 cm Guns for Banta filming photographs by Suzanne Lipinska, 1970 Digital transfer film photography 38 × 50 cm (4 pieces); 75 × 100 cm (1 pieces); 230 × 150 (1 piece) © Suzanne Lipinska Inscription card to the theater class, Les Griots company, 1956-1957 Facsimile 21 × 13 cm Collection: © ENSATT École nationale supérieure des arts et techniques du théâtre – Bibliothèque (Archives Période Rue Blanche, students records 1941-1993), Lyon Inscription card to the theater class, Les Griots company, undated Facsimile 21 × 13 cm Collection: © ENSATT École nationale supérieure des arts et techniques du théâtre – Bibliothèque (Archives Période Rue Blanche, students records 1941-1993), Lyon Letter from ICOM (International Council of Museums), 1970 27 × 21 cm Collection: © ENSATT École nationale supérieure des arts et techniques du théâtre – Bibliothèque (Archives Période Rue Blanche, students records 1941-1993), Lyon

Letter from Suzanne Lipinska, 1970 27 × 21 cm Collection: © ENSATT École nationale supérieure des arts et techniques du théâtre – Bibliothèque (Archives Période Rue Blanche, students records 1941-1993), Lyon Les Griots, 1959 The Griots Facsimile 27 × 21 cm Collection: © ENSATT École nationale supérieure des arts et techniques du théâtre – Bibliothèque (Archives Période Rue Blanche, students records 1941-1993), Lyon Mrs Christiane Yandé Diop, director of Présence Africaine at the 1st Congress of Black Writers and Artists, 1956 Facsimile 30 × 40 cm Notes for Guns for Banta film sound, undated Facsimile 27 × 21 cm Portrait of Sarah Maldoror by Bidtjanst H. Nicolaisen, undated Digital transfer film photography 150 × 200 cm © Bidtjanst H. Nicolaisen Portrait of Sarah Maldoror por George Hallett, undated Digital transfer film photography 75 × 100 cm © George Hallett Regards de mémoire, 2003 Gazes of the Memory Video, color, sound 24’ 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

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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

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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

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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

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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

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simone leigh, madeleine hunt-ehrlich 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

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sonia gomes Ato, 2012 Act from series Torção Twist Cotton fabric fragments, synthetic fibers, cotton thread, metallic zipper, beads, crochet, laces, sequin and galvanized wire 228 × 78 × 38 cm Collection: Museu Afro Brasil, São Paulo Chica Bacana, 2008 from series Torção Twist Stitching, bindings, various fabrics and laces on wire 97 × 82 × 33 cm Collection: Marchetti e Petrarca Chuva de ouro, 2023 Shower of Gold from series Tela-corpo Canvas-Body Vinyl and acrylic on jute, different fabrics, wire and freshwater pearl 145 × 100 × 24 cm Private collection Dança, 2008 Dance from series Pano Fabric Cotton fabric, beads, embroidery and stitches 140 × 270 cm Collection: MAR – Museu de Arte do Rio / Secretaria Municipal de Cultura da cidade do Rio de Janeiro / Fundo Z Ponto de fuga, 2023 Vanishing Point Acrylics, wool, embroidery and stitches on cotton fabric 102 × 105 cm Private collection Quando o sol nascer azul, 2021 When the Sun Rises Blue from series Pano Fabric Different fabrics, Renascença lace, Richelieu lace, acrylic, nylon threads, metal and different fragments 322 × 283 × 30 cm Collection: Javier and Monica Mora, Miami

Sonho do cadinho, 2015 Dream of the Melting Pot Stitching, bindings, knitting fabric, stainless steel wire and instrument (tambourine) 300 × 100 cm Collection: Mara and Marcio Fainziliber Untitled, 2005 from series Patuá Hose, metal, fabrics, wool, linen, various materials 75 × 56 × 27 cm Private collection Courtesy: Alexandra Mollof Fine Art Untitled, 2008 from series Pano Fabric Stitching, bindings and different fabrics 250 × 200 cm Private collection Untitled, 2014 from series Lugar para um corpo Place for a Body Stitching, bindings, different fabrics on wire and steel grille 50 × 35 × 38 cm Collection: Cleusa Garfinkel Untitled, 2015 from series Torção Twist Stitching, bindings, different fabrics on wire 102 × 55 × 43 cm Untitled, 2015 from series Trouxa Bundle Various fabrics on wire support 50 × 80 × 50 cm Private collection Untitled, 2021 from series Pendente Pendant Fabric 342 × 40 × 35 cm Courtesy of the artist, Mendes Wood DM, São Paulo, and Pace Gallery, New York

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Untitled, 2022 from series Entre pérola e vergalhão Between Pearl and Rebar Acrylic on fabric, different fabrics, crochet, freshwater pearl on iron rebar 112 × 46 × 52 cm Courtesy of the artist, Mendes Wood DM, São Paulo, and Pace Gallery, New York Untitled, 2022 from series Entre pérola e vergalhão Between Pearl and Rebar Different fabric, nylon rope, glass fiber and freshwater pearl on iron rebar 97 × 45 × 51 cm Courtesy of the artist, Mendes Wood DM, São Paulo, and Pace Gallery, New York Untitled, 2022 from series Tela-corpo Canvas-Body Mixed media on jute Canvas-Body 145 × 100 cm Collection of the artist Untitled, 2022 from series Torção Twist Various fabrics and galvanized wire 71 × 84 × 38 cm Collection of the artist Untitled, 2022 from series Torção Twist Various fabrics, galvanized wire on industrial iron rebar 208 × 126 × 97 cm Collection: The Joyner/Giuffrida Untitled, 2023 from series Pendente Pendant Various fabrics, metal, stone, buttons, plastic beads, wood, gold leaf, beads, sequins, shells and nylon rope 315 × 32 × 39 cm Collection of the artist

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Velatura, 2022 from series Torção Twist Galvanized iron, different fabrics, laces and crochet 123 × 101 × 45 cm Collection: Jardis Volpe Véu de Maia, 2022 Maia’s Veil from series Pano Fabric Different fabrics 203 × 265 cm Courtesy of the artist and Mendes Wood DM, São Paulo

stanley brouwn This participation is supported by: Consulate General of the Kingdom of the Netherlands in São Paulo 1 foot 260 mm 1 ell 470 mm 1 step 744 mm 1m 1000m, 1989 Graphite on paper 47,85 × 20 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 1 foot horizontal 1 foot vertical on a sheet of paper (1 × 1 ell), 2003 Graphite on paper 47 × 47 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 1 foot, 1/2 foot, 1/4 foot 1 ell, 1/2 ell, 1/4 ell on a sheet of paper 1 × 1 step, 2002 Graphite on paper 77 × 77 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 m 1 step Stedelijk Van Abbemuseum Eindhoven, 1976 Book 100 × 10 cm Courtesy: the estate of stanley brouwn, Konrad Fischer Galerie, Düsseldorf, Jan Mot, Brussels and Micheline Szwajcer, Antwerp 1 step on 1 m, 1974 Filing box 15 × 40 × 20 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 1 step on a sheet of paper (1m × 1/2 foot), 2002 Graphite on paper 100 × 13 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 1 × 1 ell on a sheet of paper 1 × 1 m, 2006 Graphite on paper 100 × 100 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 foot, 2005 Aluminum strip on wooden table 26 × 1 × 0,2 cm (strip) Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 × 1 foot athens amsterdam göteborg on a sheet of paper 5 feet × 1 step, 2004 Graphite on paper 130 × 74 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 m 1 : 1/3, 1976 Graphite on paper 31 × 314 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 × 1 foot – 1 × 1 ell, 1989 Aluminum on wooden table 78 × 103 × 60 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 m 1 guz (bombay) 1 guz (calcutta) on a sheet of paper (5 × 1 foot), 2003 Graphite on paper 130 × 26 cm

1 × 1 m, 1989 Aluminum 100 × 100 × 0,1 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 m 1 step 1 ell 1 foot, 1978 Aluminum on wooden table 78 × 120 × 43,5 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

1 × 1 step divided according to the golden section, 2001 Graphite on paper 76 × 76 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

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1 × 1 × 1 pied 1/2 × 1/2 × 1/2 pied 1/4 × 1/4 × 1/4 pied 1/8 × 1/8 × 1/8 pied, 1996 Wooden blocks on table 104 × 114 × 47 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

[1 foot 260 mm 1 ell 470 mm 1 step 750 mm 1 m 1000 mm], 1989 Ink on paper 48 × 20 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels

1/3 × 1/3 ell (9 × ), 1999 Graphite on paper 47 × 47 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

[1 foot, 1 ell, 1 step on 1 m × 1/2 m], 2003 Graphite on paper 100,4 × 50,1 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels

100 m, 1975 Graphite on paper 124,7 × 87,8 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf

[1 m, 748 mm, length of the first step during the measurement], 1987 Graphite on paper 119,5 × 29,9 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels

1000 steps, 1973 Filing box 11,5 × 40 × 20 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 16 – 10 – 74 7403 steps, 1974 8 filing boxes; 2 towers of 4 boxes next to each other 15 × 40 × 20 cm (each) Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 3 steps 5 ells 9 feet, 2000 Graphite on paper 249 × 26 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 3 × 3 tsché (china) divided in 36 triangles 1 tsché = 32 cm, 2000 Graphite on paper 96 × 96 cm Courtesy: the estate of stanley brouwn and Konrad Fischer Galerie, Düsseldorf 6 stappen 10x (MTL Gallery Brussels), 1971 Video documentation of an action Courtesy: the estate of stanley brouwn and Jan Mot, Brussels

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[1 step 1:2 1:4 1:8 1:16 on 1 m], 1976 Ink and graphite on paper 115 × 19 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels [1 step on 1 m], 1979 Metal cabinet inside cardboard box on paper table top, trestle legs 11,5 × 40 × 20 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels [1 × 1 ell divided in 8 triangles], 2003 Graphite on paper 47 × 47 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels [1 × 1 ell, 1/2 × 1/2 ell, 1/4 ell × 1/4 ell / on 2 × 1 ell], 1990 Graphite on paper 47 × 94 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels [1 × 1 foot lisbon, 1 × 1 foot cologne, 1 × 1 foot boston, on a sheet of paper (1 step × 2 1/2 foot)], 2003 Graphite on paper 130,2 × 64,5 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels

[1 yard, 1 vara (toledo), on a sheet paper (5 feet and 1 foot)], 2002 Graphite on paper 130,2 × 26,1 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

[1/4 × 1/4 ell (16 × )], 1999 Graphite on paper 47 × 47,1 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels

[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

[1000 mm], 1974 Ink and graphite on paper 66 × 21 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels [1000 mm], 1975 Ink and graphite on paper 126 × 45,5 cm Courtesy: the estate of stanley brouwn and Jan Mot, Brussels [2 feet × 1 foot, 2 feet × 1/2 foot, 2 feet × 1/4 foot, 2 feet × 1/8 foot, on 2 feet × 2 feet], 1999 Graphite on paper 52 × 52 cm 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 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

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In diesem moment gehen x personen auf dem alexanderplatz in berlin in richtung norden / süden / osten / westen, 2012 At this momentxpeople 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

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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

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tadáskía 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

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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

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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

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taller nn 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

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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 final mix: hari dwarak warrier sound studio: Aural Mayhem, Bombay camera: anuj vaidya, tejal shah (dreamtime), shubhangi singh (catastrophe), kush badhwar (regeneration), shubhangi singh, tejal shah (hedonism), natasha mendonça, tejal shah (ache), anuj vaidya, sunaina singh (landfill dance), afrah shafiq (moon burning) unicorns: gitanjali dang, ma faiza, minal hajratwala, tejal shah; guest appearance: kien alvarez; baby alicorns: ashish uthekar, shashank parab, yogita malekar 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

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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)

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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 Photo: Geremias Mendes all works: Digital transfer film photography

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