6ª Edição | Bienal de Curitiba 2011 | Parte 2

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6ª VENTOSUL

bienal DECURITIBA

Paraná | Brasil | 2011

Al ĂŠm da Crise Bey ond th e C ri si s

Curadoria geral

Chief curators

Alfons Hug, Ticio Escobar

Co-curadores

Co-curators

Paz Guevara, Adriana Almada

Curadoria Brasil

Curator for Brazil

Alberto Saraiva

Curadores Convidados

Guest curators

Artur Freitas, Eliane Prolik, Simone Landal

Curadoria do projeto educativo Denise Bandeira, SĂ´nia Tramujas

Curators of the education project

Ministério da Cultura apresenta

6ª VENTOSUL

bienal DECURITIBA Paraná | Brasil | 2011

www.bienaldecuritiba.com.br

museu da fotografia cidade de curitiba

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auguste françois en paraguay ADRIANA ALMADA1

Un poète doit laisser des traces de son passage,non des preuves. Seules les traces font rêver. René Char Auguste François fue cónsul de Francia en Paraguay entre 1894 y 1895. Compartió su tiempo entre la función diplomática y la pasión por la fotografía. Las imágenes que captó durante su breve estadía en este país constituyen un valioso testimonio gráfico del Paraguay de fines del siglo XIX. A partir de cartas y testimonios es posible reconstruir su perfil de viajero decimonónico, investigador curioso y amante de la aventura: fuerte y refinado,aficionado a disfraces y rituales, conocedor de la vulnerabilidad de la condición humana y la precariedad del poder. Su figura, muchas veces controvertida, ha dado origen a numerosas publicaciones2. Como antídoto a las asperezas de la vida política Auguste Françoisse refugiaba en la feracidad de la naturaleza.Fotografiar formaba parte de su filosofía de vida, tanto como la diplomacia o la cacería.Tenía pasión por coleccionar objetos3, rostros, situaciones. Reivindicaba la fotografía como documento de la realidad. En una de sus cartas decía: “Mi sucesión de escenas cocodrilescas no le debe nada a la imaginación. La cámara instantánea es lo más sinceramente realista que existe.Hay árboles íntegramente amarillos, puras flores sin hojas, de un aspecto desconocido; otros totalmente violetas, carpinchos, especie de jabalíes anfibios con cabeza de rata”4. Hoy podemos decir que las imágenes no muestran tanto la realidad como al sujeto que fotografía. Lo manifiestan más que el propio retrato. No vemos su exterior sino que compartimos su mirada: estamos dentro suyo por un instante. Por eso la fotografía no puede ser neutra y la imagen no es una historia en sí misma. Es,como bien dice Didi-Hubermann, “una mariposa: una imagen es algo que vive y que sólo nos muestra su capacidad de verdad en un destello”5. En el siglo XIX la fotografía estaba ligada al espíritu catalogador de una Europa en continua expansión colonial y la visión de Auguste François no escapaba a él. La cantidad de información que podemos extraer de cada una de sus imágenes es mucha, no solo por lo que éstas dicen sino también por lo que permanece en silencio. Recorriéndolas como si fueran una escritura, trazo por trazo -aquellos más nítidos y esos otros, los que se pierden en la niebla- podemos imaginar una sociedad entera a través de sus “indicios”. Hay indicios de Colonia González -foco del episodio que derivó en el fin abrupto de su misión en Paraguay- que permiten entrever la vida de centenares de franceses atrapados en plena selva: grandes extensiones desmontadas, un primer plano de pastizales y la pequeña figura de un hombre recortada sobre el fondo del cuadro. Más indicios ofrece la secuencia sobre los indios Toba, fruto de un encuentro fortuito durante una jornada de cacería en el Gran Chaco. Los Toba no aparecen

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como individualidades –quizás por la dificultad misma de acceder a un momento de intimidad con ellos- sino como parte de un paisaje natural y social.Ante esta secuencia hoy inesperada la mirada vuelve una y otra vez al mismo sitio, no queriendo abandonar la escena, buscando ligeros matices, tentando siempre un poco más: . Auguste François era parte de la naciente tradición fotográfica que había asimilado las experiencias de la pintura; por eso sorprende que ya temprano desarrollara imágenes que respondenal género del reportaje. Otras parecen parte de una secuencia fílmica; no hay pose, solo el acto detenido: una niña que corre, un joven que se zambulle. “En el autorretrato -dice Bauret- la persona intenta reconocerse”6. Auguste François se representaba a sí mismo con diferentes atributos y desarrollaba, como era costumbre, el arte del . Tenía conciencia de la propia imagen y hasta podríamos verlo, hoy, como un Jamás sabremos si tuvo “voluntad de obra” o simplemente “colectaba indicios”.Sí podríamos decir que sus fotografías del Paraguay hacen parte de sus cartas, en las que da prueba de un extraordinario talento literario. O también podríamos pensar en estas imágenes como una sola y larga carta, relato visual de su . Ellas evidencian una mirada prolongada sobre los seres y las cosas, como si se tratara de un gran paisaje: ríos y plantas, hombres y bestias. Poco sabemos sobre la técnica y el material que empleó en Paraguay7. Quizás, al igual que Guido Boggiani8, trabajaba en talleres improvisados,a la intemperie. La presente exposición en el Museu da Fotografía incluye un álbum de Aguste Francois con 36 fotos originales de 1894, una veintena de placas de vidrio, su “carte routière”, copias contemporáneas, un diaporama documental e imágenes inéditas de Río de Janeiro, tomadas por el cónsul en su viaje hacia el Río de la Plata9. 1 Escritora, crítica de arte, curadora independiente. 2 Entre ellas: , Le Chêne, 1989 y , l‘Harmattan, 2006. De reciente aparición son , Fondec-Alianza Francesa-Fausto, Asunción, 2011, y , Désirée Lenoir, Nouveau Monde éditions, 2011, 3 Durante su misión en Paraguay AF recolectó diversos objetos y documentos; algunos se conservan en el museo Quai Branly y otros en el museo Guimet. 4 Auguste François, carta a Raymond Lecomte, 1894. 5 Pedro G. Romero. , Madrid, Círculo de Bellas Artes, 2007. 6 Gabriel Bauret. , Buenos Aires, La Marca, p. 71. 7 Existe mayor información sobre del equipo que Auguste François utilizó en China a partir 1896. Allá disponía de siete aparatos de formatos diferentes: cámaras sobre trípode de 18 x 24, 9 x 12 y 6 x 9, más una cámara de mano de 4,5 x 6 y prismáticos para fotografía estereoscópica. El cónsul revelaba y hacía sus propias copias en laboratorios improvisados a bordo de un junco o incluso en el palanquín que hacía las veces de cuarto oscuro. Conocía a León Gaumont, con quien mantenía correspondencia y cuyas invenciones experimentaba. A partir de 1901 realizó secuencias cinematográficas. [Información proporcionada por Pierre Seydoux]. 8 Guido Boggiani (1861-1902), pintor, fotógrafo y etnólogo italiano que se adentró en el Chaco paraguayo, donde realizó una incomparable serie fotográfica sobre los indios caduveos. Fue muerto por indígenas que interpretaron su labor como práctica de hechicería. 9 Esta exposición es realizada gracias al apoyo de la Embajada de Francia en Paraguay. Las fotos originales, las placas de vidrio, el mapa y el diaporama se exhiben en esta ocasión gracias a la gentileza de los herederos de Auguste François y a los buenos oficios de Annick Bienvenu, quien ha colaborado en la curaduría y la organización de esta muestra.

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1857 Lunéville, França | Falecido em 1935 em Beligné, França

auguste françois < Inundações, Assunção, 1865

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> Quatro índios da Colônia González, Caazapá, Paraguai, 1894

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< “Brasil : Encouraçado norteamericano na baía do Rio de Janeiro. Revolução de 1894, último dia das hostilidades” Legenda de Auguste François | Cortesia: Association Auguste François

> “Brasil : O forte de Santa Cruz na entrada da baía do Rio de Janeiro ”, 1894 Legenda de Auguste François | Cortesia: Association Auguste François

< “Brasil : Encouraçado norteamericano na baía do Rio de Janeiro. Revolução de 1894, último dia das hostilidades” Legenda de Auguste François | Cortesia: Association Auguste François

> “No mar, frente ao Rio de Janeiro” Legenda de Auguste François | Cortesia: Association Auguste François

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> Auguste François, vestido com elementos da cultura indígena no Paraguai: armadura de karaguata (fibra vegetal), cocar de penas e pele de ocelote. Assunção, 1894 Cortesia: Association Auguste François

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< Leito do Pilcomayo, Paraguai, 1894

< Locomotiva inglesa, Paraguai, 1894 Cortesia Embaixada da Franรงa no Paraguai

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> Indios Tobas, Paraguai, 1894

> Uma rua com mulher carregando balde, Assunção, 1894

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casa andrade muricy

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1982 Xanxerê-SC, Brasil | Vive em Curitiba, Brasil

andré Rigatti < Sem título, 2011 Óleo sobre papel, 50 x 70 cm > Sem título, 2011 Óleo sobre papel, 50 x 70 cm

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< Sem título, 2011 Óleo sobre papel, 50 x 70 cm > Sem título, 2011 Óleo sobre papel, 50 x 70 cm

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< Sem título, 2011 Óleo sobre papel, 30 x 40 cm < Sem título, 2011 Óleo sobre papel, 30 x 40 cm > Sem título, 2011 Óleo sobre papel, 30 x 40 cm

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1973 Iquitos, Peru | Vive em Miraflores, Peru

christian bendayán < El león, 2007 Óleo sobre tela, 140 x 220 cm | Cortesia do artista > En un lugar del oriente llamado Edén, 2008 Óleo sobre tela, 200 x 150 cm | Cortesia do artista

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> Las Chicas de Apolo, 2011 Ă“leo sobre tela, 200 x 400 cm | Cortesia do artista

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< Gracias, 2007 Óleo sobre tela, 230 x 180 cm | Coleção particular | Cortesia do artista

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> Orilla, 2007 Ă“leo sobre tela, 170 x 220 cm | Cortesia do artista

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1968 GĂśttingen, Alemanha | Vive em Berlin, Alemanha

christian jankowski < When I was a Cuisillo, 2009 VĂ­deo, cor, som, 2:57 min Cortesia Klosterfelde, Berlim e Lisson Gallery, Londres

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1961 Rio de Janeiro, Brasil | Vive em Berlim, Alemanha e Rio de Janeiro, Brasil

Cristina Canale < Poodle, 2008 Ă“leo sobre tela, 120 x 150 cm > Esfinge, 2010 Ă“leo sobre tela, 175 x 200 cm | Cortesia Galeria Silvia Cintra, Rio de Janeiro - Box 4

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< La chair est triste, 2009 Óleo sobre tela, 200 x 200 cm | Cortesia Coleção BGA > Amigos, 2008 Óleo sobre tela, 200 x 200 cm | Cortesia Galeria Silvia Cintra, Rio de Janeiro - Box 4

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> Vizinhas, 2011 Ă“leo sobre tela, 180 x 200 cm Galeria Nara Roesler, SĂŁo Paulo

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1975 Harare, Zimbabwe | Vive em Saint-Ouen, França

duncan wylie < Little House on the Prairie, 2011 Óleo sobre tela, 114 x 162 cm | Coleção particular, Paris e JGM. Galerie, Paris > Untitled (Mobile Home), 2009/2011 Óleo sobre tela, 150 x 150 cm | Coleção P. Piguet, França

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> Stairway, 2010 Óleo sobre tela, 135,5 x 181 cm | Coleção particular, França e Dukan Hourdequin Gallery, Paris

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> Sem Titulo, 2010 Ă“leo sobre tela, 114 x 162 cm | Cortesia do artista e Virgil Gallery, Nova Iorque >p. 148 | Gulliver, 2010 Ă“leo sobre tela, 157 x 232 cm | Cortesia do artista

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1978 Rio de Janeiro, Brasil | Vive no Rio de Janeiro, Brasil

eduardo berliner < Barranco, 2010 Óleo sobre tela, 310 × 300 cm > Troféu, 2011 Óleo sobre tela, 245 × 190 cm

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< Exaustor, 2011 Óleo sobre tela, 40 × 40 cm

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< Outdoor, 2011 Óleo sobre tela, 65 × 52 cm

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> Garagem, 2011 Óleo sobre tela, 52 × 58 cm

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> Persiana, 2011 Óleo sobre tela, 200 × 180 cm

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1981 Bruxelas, Bélgica | Vive em Paris, França

farah atassi < Abandonned office, 2010 Óleo sobre tela, 160 x 190 cm I Coleção privada. Cortesia Galerie Xippas > The Zone, 2010 Óleo sobre tela, 200 x 160 cm I Coleção privada. Cortesia Galerie Xippas

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< Worker Room, 2010 Óleo sobre tela, 195 x 185 cm I Coleção privada. Cortesia Galerie Xippas

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> Dutch Kitchen, 2011 Óleo sobre tela, 190 x 180 cm I Coleção privada. Cortesia Galerie Xippas

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1981 Curitiba, Brasil | Vive em Curitiba, Brasil

felipe scandelari < Eu, Desenhando a Mim Mesmo, Desenhando, 2006 Nanquim sobre papel, 94,5 x 66 cm

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< Sem tĂ­tulo, 2005 Ă“leo sobre madeira, 39,5 x 89,5 cm

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< Sem título, 2006 Óleo sobre tela, 80 x 80 cm > Sem título, 2007 Óleo sobre tela, 50 x 70 cm

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1972 Ponta Grossa, Brasil | Vive em São Paulo, Brasil

fernando burjato < Sem título, 2010 Óleo, esmalte e acrílica sobre tela, 85 x 85 cm Cortesia Galeria Virgílio, São Paulo

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< Sem título, 2011 Óleo sobre tela 150 x 150 cm Cortesia Galeria Virgílio, São Paulo

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> Sem tĂ­tulo, 2010 Ă“leo sobre tela, 135 x 135 cm Cortesia Galeria Casa da Imagem, Curitiba

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< Sem título, 2009 Óleo e esmalte sobre MDF, 67 x 91 cm Cortesia Galeria Virgílio, São Paulo

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< Sem título, 2009 Acrílica, óleo e esmalte sobre MDF, 64 x 90 cm Cortesia Galeria Virgílio, São Paulo

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1982 em Toulouse, França | Vive em Paris, França

guillaume bresson < Untitled, 2010 Óleo sobre tela, 90 x 160 cm | Cortesia Galeria Nathalie Obadia, Paris/ Bruxelas > Untitled, 2008 Óleo sobre tela, 158 x 130 cm | Cortesia Galeria Nathalie Obadia, Paris/ Bruxelas

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< Untitled, 2010 Ă“leo sobre tela, 90 x 160 cm | Cortesia da Galeria Nathalie Obadia, Paris, Bruxelas

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1979 Curitiba, Brasil | Vive em Curitiba, Brasil

livia piantavini < Sem título, 2008 Óleo e acrílica sobre tela, 130 x 140 cm | Cortesia Galeria Casa da Imagem > A leitura, sem data Óleo sobre papel (livro capa dura encadernado), 40 x 55 cm Fotografias de Marcelo Almeida realizadas na Galeria Casa da Imagem

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1969 Rio de Janeiro, Brasil | Vive no Rio de Janeiro, Brasil

manoel novello < Brise, 2010 AcrĂ­lica sobre tela, 34 x 60 cm | Cortesia H.A.P. Galeria , Rio de Janeiro > Dentro, fora, 2011 AcrĂ­lica sobre tela, 55 x 62 cm

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< Janela, 2011 AcrĂ­lica sobre tela, 138 x 138 cm FotĂłgrafo: Thales Leite Cortesia H.A.P. Galeria, Rio de Janeiro

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< Janela 2, 2011 AcrĂ­lica sobre tela, 138 x 138 cm FotĂłgrafo: Thales Leite Cortesia H.A.P. Galeria , Rio de Janeiro

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< Sobre a terra dos Coqueiros 2, 2011 AcrĂ­lica sobre tela, 62 x 55 cm FotĂłgrafo: Thales Leite Cortesia H.A.P. Galeria , Rio de Janeiro

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> O mundo é portátil, 2011 Acrílica sobre tela, 62 x 55 cm Fotógrafo: Thales Leite Cortesia H.A.P. Galeria , Rio de Janeiro

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1981 Rio de Janeiro | Vive no Rio de Janeiro, Brasil

maria lynch < Green session, 2011 TrĂ­ptico, Ăłleo sobre tela, 97 x 103 cm

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> O que era doce, 2011 Ă“leo sobre tela, 200 x 200 cm

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< Turner point, 2011 Acrílica sobre tela, 40 x 30 cm > Sendo, 2011 Óleo sobre tela, 210 x 190 cm

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1983 Araraquara, Brasil | Vive em São Paulo, Brasil

marina rheingantz < Caminhão, 2011 Óleo sobre tela, 40 x 50 cm | Cortesia Galeria Fortes Vilaça, São Paulo

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< Friedhof (quintal da paz), 2011 Óleo sobre linho, 33 x 42 cm | Cortesia Galeria Rita Leite e Nilson Teixeira, São Paulo >p. 344 Pantano, 2011 Óleo sobre tela, 210 x 330 cm | Cortesia Galeria Fortes Vilaça, São Paulo Cortesia Pinacoteca do Estado de São Paulo, São Paulo

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< Planta baixa, 2011 Óleo sobre tela, 50 x 60 cm Cortesia Galeria Fortes Vilaça, São Paulo

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1957 Curitiba | Falecido em 1993, Curitiba, Brasil

raul cruz < Autorretrato,1990 Acrílica sobre tela 70 x 60 cm | Coleção Família do artista > S.T.,1987 Acrílica sobre eucatex 33 x 24 cm | Coleção Família do artista

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< S.T (série Salmos e provérbios),1990 Acrílica sobre tela 80 x 80 cm | Coleção família do artista < O princípio da ciência (série Salmos e Provérbios – 1),1990 Acrílica sobre tela 80 x 80 cm | Coleção Fundação Cultural de Curitiba > S.T.,1990 Acrílica sobre tela 80 x 80 cm | Coleção família do artista

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< S.T. (série Moto Contínuo)1983 Acrílica e látex sobre papel 50 x 50 cm | Coleção família do artista > S.T. (série Moto Contínuo)1983 Acrílica e látex sobre papel 50 x 50 cm | Coleção família do artista

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1968 Bucareste, Romênia | Vive em Estocolmo, Suecia e Bucareste, Romênia

stefan constantinescu > Serie An Infinite Blue, 2009-2010 < An infinte blue 21 Óleo sobre tela, 67 x 54 cm | Cortesia Galerie8, Londres

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> An infinte blue 19 Ă“leo sobre tela, 73 x 72 cm | Cortesia Galerie8, Londres

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> An infinte blue 18 Ă“leo sobre tela, 73 x 78 cm | Cortesia Galerie8, Londres

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< An infinte blue 22 Ă“leo sobre tela, 111 x 45 cm | Cortesia Galerie8, Londres

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1980 Hunan, China I Vive em Pequim, China

yang xinguang < Sem título, 2010 Instalação. Ferro, resina, acrílico, 150 x 150 x 60 cm I Cortesia Boers Li Gallery, Pequim

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> Treetop, 2009 Instalação. Galhos de árvores I Cortesia Boers Li Gallery, Pequim

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museu alfredo andersen

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1860 Christianssand, Noruega I Falecido em Curitiba, Brasil, 9 de agosto de 1935

alfredo andersen < Entrada Barra do Sul (Por do sol), 1930 Óleo sobre tela, 70,5 x 98,5 cm > Guigui (Alzira Odília Andersen) Óleo sobre tela, 82,5 x 57,5 cm | Cortesia Museu Alfredo Andersen

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< Paisagem com lírios, 1918 Óleo sobre tela, 30,5 x 43 cm | Cortesia Sociedade Amigos de Alfredo Andersen < Rocio, 1924 Óleo sobre tela, 32 x 41,5 cm | Cortesia Fundação Honorina Valente

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> Cemitério norueguês Óleo sobre tela, 26,5 x 33,5 cm | Cortesia Sociedade Amigos de Alfredo Andersen > Paisagem norueguesa Óleo sobre tela, 26 x 36 cm | Cortesia Fundação Honorina Valente

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1965 Jilin, China I Vive em Xangai, China

zhang enli < Circulez! Il n’y a rien à voir, 2010 Pintura instalação | © Zhang Enli | Cortesia Galeria ShanghART e Galeria Hauser and Wirth

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museu de arte da universidade federal do paranรก

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1975 Barrero, Paraguai I Vive em La Paz, Bolívia

joaquín sánchez < Línea de Agua, 2009 Video HD em 4 canais, cor, som, 6:56 min

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1978 Assunção, Paraguai I Vive em Assunção, Paraguai

marcelo medina < Acaso bajo esta luz se inicie un nuevo tormento, 2010 Acrílico sobre tela, 20 x 25 cm | Cortesia Galeria de Arte FABRICA > Se preguntaba cómo es el brillo del sol, 2011 Acrílico sobre tela, 20 x 25 cm | Cortesia Galeria de Arte FABRICA > Tantas veces tan cerca, 2010 Acrílico sobre tela, 20 x 25 cm | Cortesia Galeria de Arte FABRICA

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> Con gestos orientales y sin mediar palabras, 2011 Acrílico sobre tela, 20 x 25 cm | Cortesia Galeria de Arte FABRICA < Mirando adentro, 2010 Acrílico sobre tela, 20 x 25 cm | Cortesia Galeria de Arte FABRICA < Muerte de un joven pintor, de unos 23 años, 2010 Acrílico sobre tela, 20 x 25 cm | Cortesia Galeria de Arte FABRICA

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Casa Hoffmann

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1988 Curitiba, Brasil | Vive em Curitiba, Brasil

rimon guimarães < Ângulo, 2001 Intervenção pública em Buenos Aires

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< gowardhana, 2010 Intervenção urbana Curitiba > cor certa, 2007 Intervenção pública Curitiba

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> poa 2001 aberta, 2010 Intervenção urbana Porto Alegre

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espaรงo de arte urbana

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1963 Montevidéo, Uruguai I Vive em Montevidéo, Uruguai

ricardo lanzarini < ¿… cómo llegar a las masas?, 2010 Instalação, desenho sobre parede. Espacio de Arte Contemporáneo (antiga Prisão de Miguelete), Montevideu. Foto: Adriana Gallo. Cortesia do artista.

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Cineplex Batel

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1970 Curitiba, Brasil | Vive em Curitiba, Porto Alegre e Piraquara, Brasil

fabio noronha < Désir: ou o buraco é feito com faca, 2009/2010 Vídeo digital, cor, som estéreo, 47:30 min

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biblioteca pública do paraná

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1978 São Paulo, Brasil I Vive em Curitiba, Brasil

fernando rosenbaum < Baiúca, 2011 Instalação. Dimensões variáveis. Foto: Janete Aderman

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intervençþes urbanas e performances

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1971 Sancti Spiritus, Cuba | Vive em Havana, Cuba

adonis flores < La Ronda, Montreal, 2009 C-Print, 80 x 120 cm > Coronaciรณn, 2009 C-Print, 80 x 120 cm

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< Mascarada, 2006 C-Print, 80 x 120 cm

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> Lenguaje, 2005 C-Print, 80 x 120 cm

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1980 Curitiba, Brasil | Vive em Belo Horizonte - MG, Brasil

C. l. Salvaro < Pelotão, 2011 Intervenção, performance e vídeo

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1976 Tandil, Buenos Aires, Argentina | Vive em Tandil, Argentina

Cristian Segura < Sununu, Soro, Itavera, 2011 Jardim Botânico, Curitiba 2011 | 730 m2 de vinil adesivo aplicado na fachada Foto: Cortesia do Instituto Paranaense de Arte e do Artista

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< Sununu, Opera de Arame, Curitiba, 2011 Instalação sonora e visual 5:00 min e adesivo vinil aplicado sobre palco Foto: Cortesia Ricardo Almeida

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< Vidrios Rotos, 2011 Intervencão, Praça Tiradentes, Curitiba | Foto: Cortesia do artista

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< Entre Bienais, 2011 Exposicão itinerante entre a 6ª VentoSul Bienal de Curitiba e a 8ª Bienal do Mercosul em Porto Alegre. 14 obras audiovisuais em circuitos fechados de TV em ônibus. Artistas: Eduardo Basualdo, Melina Berkenwald, Toia Bonino, Eugenia Calvo, Andrés Denegri, Estanislao Florido, Gabriela Golder, Andrea Nacach, Karina Peisajovich, Silvia Rivas, Cintia Clara Romero, Inés Szigety, Graciela Taquini e Alejandra Urresti Foto: Cortesia do artista

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1978 São Paulo, Brasil I Vive em Curitiba, Brasil

fernando rosenbaum < Baiúca, 2011 Instalação. Dimensões variáveis. Foto: Janete Aderman > Baiúca, 2011 Instalação. Dimensões variáveis.

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1966 Casablanca, Marrocos | Vive em Hong Kong / 1969 Saint-Etienne, França | Vive em Hong Kong

map office (gutierrez + portefaix) <> Light in Pinheiro – The Overlooking Tree , 2011 Proposta de instalação e intervenção.

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1962 Halle/Saale, Alemanha | Vive em Berlim, Alemanha

olaf nicolai < La Lotta, 2006 TĂŠcnica Mista, 153 x 215 cm | Foto: Uwe Walter | Cortesia Galerie EIGEN + ART Leipzig/Berlim

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> Faites le travail qu’accomplit le soleil, 2010 Instalação, folha, papelão e materiais diversos, 270 x 450 x 450 cm | Foto: Arthur Zalewski Cortesia Galerie EIGEN + ART Leipzig/Berlim

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1972 Santiago, Chile | Vive em Santiago, Chile

sebastián preece < Refugio Precordillera de Santiago, 2010 Instalação

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< Refugio Precordillera de Santiago, 2010 Instalação, Museo Nacional de Bellas Artes, Santiago

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1960 Nagoya, Japão I Vive em Berlim, Alemanha

tatzu rors < Gallery Room, 2011 Instalação. Esboço do projeto. > Héroe, 2010 Instalação, Guatemala

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espaços de intervenções urbanas e performances spaces for urban interventions and performances 1 2 3 4 5 6 7 8 9 10

Praça Garibaldi Espaço Cultural David Carneiro Ópera de Arame Avenida Cândido de Abreu Praça da Espanha Paço da Liberdade Parque Barigui Jardim Botânico Galeria APAP Osmar Chromiec Centro Cultural Sistema Fiep

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Cargo Shop Praça Tiradentes Parque São Lourenço Rodoferroviária de Curitiba Estação Tubo-Centro Cívico Praça Santos Andrade Passeio Público Gazeta do Povo Mercado Municipal de Curitiba Terminal Campina do Siqueira Rua XV de Novembro Cinemateca de Curitiba

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Adonis Flores | Cuba http://www.mytogallery.com/eng/artistas/adonis/adonis.html Adrian Lohmüller | Alemanha http://www.adrianlohmueller.com/content/vita Alejandro Almanza Pereda | México http://magnanmetz.com/artists/bio.php?artist=Almanza%20Pereda Alejandro Paz | Guatemala www.bienaldecuritiba.com.br Alfredo Andersen | Brasil http://pt.wikipedia.org/wiki/Alfredo_Andersen Ali Kazma | Turquia http://www.francescaminini.it/upload/pdf/art52.pdf Alterazioni Video | Itália http://www.alterazionivideo.com/new_sito_av/bio.php André Rigatti | Brasil http://finnacena.com/index.php?option=com_content&view=article&id=85&Itemid=92 Antti Laitinen | Finlândia http://www.anttilaitinen.com/cv.html Auguste François | França/Paraguai http://augfrancois.chez.com/Page%20vierge%208.htm#_Who_was_Auguste Boris Mikhailov | Ucrânia http://xlgallery.artinfo.ru/authors?id=8 Camilo Restrepo | Colômbia www.bienaldecuritiba.com.br Christian Bendayán | Peru http://christianbendayan.com/2010/ Cleverson Salvaro | Brasil http://oespacoaberto.com.br/?page_id=19 Cristian Segura | Argentina http://www.seguracristian.blogspot.com/ Christian Jankowski | Alemanha http://www.lissongallery.com/#/artists/christian-jankowski/cv/ Cristina Canale | Brasil http://www.nararoesler.com.br/curriculo/cristina-canale Danica Dakić | Bósnia http://www.danicadakic.com/ Darren Almond | Inglaterra http://www.whitecube.com/artists/almond/texts/5/ Desire Machine Collective | Índia http://www.desiremachinecollective.net/about_us/profile.htm Dinh Q. Lê | Vietnam http://www.ppowgallery.com/biography.php?artist=16 Duncan Wylie | França/Zimbabue http://www.dynasty-expo.com/d/en/artists/artists.php?art=87 Eduardo Berliner | Brasil http://www.saatchi-gallery.co.uk/artists/eduardo_berliner.htm?section_name=paint_artist Emmanuel Fretes Roy | Paraguai www.bienaldecuritiba.com.br

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Fábio Noronha | Brasil http://www.itaucultural.org.br/aplicExternas/enciclopedia_ic/index.cfm?fuseaction=artistas_ biografia&cd_verbete=1713&cd_item=1&cd_idioma=28555 Farah Atassi | França http://www.anneplus.com/IMAGES/INSIDES_INSIGHTS/CV_FAtassi.pdf Felipe Scandelari | Brasil h t t p : / / w w w. i t a u c u l t u r a l . o rg . b r / i n d e x . c f m ? c d _ p a g i n a = 2 8 0 4 & c d _ v e r b e t e = 9 2 6 4 & i d _ carteira=34517&cd_produto=70&area=Artes%20Visuais&ano=2008-2009&carteira=Selecionado Fernando Burjato | Brasil http://www.galeriavirgilio.com.br/artistas/fburjato/curriculum.html Fernando Rosenbaum | Brasil https://profiles.google.com/fernando.rosenbaum/posts Fikret Atay | Turquia http://www.crousel.com/gcc/artists/Fikret%20Atay/bio George Osodi | Nigéria http://www.georgeosodi.co.uk/portfolio/permalink/75889/16dfab77b9dcf9 Graciela Guerrero | Equador www.bienaldecuritiba.com.br Guillaume Bresson | França http://www.bourouina.com/artists/guillaume-bresson/ Gutierrez + Portefaix | França/Hong Kong http://www.map-office.com/ Jacqueline Lacasa | Uruguai www.bienaldecuritiba.com.br Javier López - Erika Meza | Paraguai www.bienaldecuritiba.com.br Inci Eviner | Turquia http://www.incieviner.net/cv.htm Joanna Rajkowska | Polônia http://www.rajkowska.com/pl/bio Joaquín Sánchez | Bolívia www.bienaldecuritiba.com.br John Bock | Alemanha http://www.antonkerngallery.com/bios/6.pdf Josep-Maria Martín | Espanha http://www.josep-mariamartin.org/es/bio.php Kate Gilmore | Estados Unidos http://www.kategilmore.com/biography/index.html Liliana Porter | Argentina http://lucianabritogaleria.com.br/pt/node/51 Lin Yilin | China http://linyilin.com/index.php/resume/?lang=e Lívia Piantavini | Brasil www.bienaldecuritiba.com.br Luis Molina-Pantin | Venezuela http://www.luismolinapantin.com/v_bio.php Manoel Novello | Brasil http://manoelnovello.blogspot.com/p/curriculo.html

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Marcelo Medina | Paraguai www.bienaldecuritiba.com.br Maria Lynch | Brasil http://www.marialynch.com.br/#/port/bio/ Marina Rheingantz | Brasil http://www.fortesvilaca.com.br/artista/marina-rheingantz/curriculum/ Mark Lewis | Canadá http://www.marklewisstudio.com/cv.htm Michael Stevenson | Nova Zelândia http://www.michaelstevenson.info/biography.html Michel De Broin | Canadá http://www.micheldebroin.org/bio.html Mikhael Subotzky | África Do Sul http://www.goodman-gallery.com/artists/mikhaelsubotzky Mónica Millán | Argentina http://www.spaniermanmodern.com/07_Argentine%20Arcadia/millan-BIO.htm Nelson Félix | Brasil http://www.hapgaleria.com.br/ Neville D’almeida | Brasil http://pt.wikipedia.org/wiki/Neville_d’Almeida Olaf Nicolai | Alemanha http://www.eigen-art.com/ Patrick Hamilton | Chile http://www.artfacts.net/en/artist/patrick-hamilton-26490/profile.html Paulo Climachauska | Brasil http://pauloclimachauska.com/curriculum.php Raul Cruz | Brasil www.bienaldecuritiba.com.br Ricarda Roggan | Alemanha http://cgi.eigen-art.com/user-cgi-bin/index.php?article_id=144&clang=1 Ricardo Lanzarini | Uruguai http://www.joseebienvenugallery.com/bio_lanzarini.html Rimon | Brasil www.bienaldecuritiba.com.br Sebastián Preece | Chile http://www.artfacts.net/en/artist/sebastian-preece-41668/profile.html Mark Formanek | Alemanha http://www.standard-time.com/index2_en.php Stefan Constantinescu | Romênia/Suécia http://www.stefan-constantinescu.com/statement/ Tatzu Rors | Japão http://www.tatzunishi.net/top.htm Tirzo Martha | Curaçao http://tirzomartha.com/cv/ Yang Xinguang | China http://www.whiterabbitcollection.org/artists/yang-xinguang Zhang Enli | China http://www.hauserwirth.com/artists/31/zhang-enli/biography/ Zhou Tao | China http://www.location1.org/zhou-tao/

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Alfons Hug | Curador Geral www.bienaldecuritiba.com.br Ticio Escobar | Curador Geral www.bienaldecuritiba.com.br Paz Guevara | Co-Curadora www.bienaldecuritiba.com.br Adriana Almada | Co-Curadora www.bienaldecuritiba.com.br Artur Freitas | Curador Convidado www.bienaldecuritiba.com.br Eliane Prolik | Curadora Convidada www.bienaldecuritiba.com.br Simone Landal | Curadora Convidada www.bienaldecuritiba.com.br Alberto Saraiva | Curador Convidado www.bienaldecuritiba.com.br Denise Bandeira | Curadora Projeto Educativo www.bienaldecuritiba.com.br Sonia Tramujas | Curadora Projeto Educativo www.bienaldecuritiba.com.br

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textos em inglĂŞs english texts

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In its sixth year, the 6th Curitiba Biennial is consolidated in Latin American Art’s circuit with a program representative of the contemporary production. By bringing artists from five continents, it also serves as an important forum for dialogue, exchange and dissemination of current proposals in the various fields of visual expression. The focus of this new edition in audiovisual media reinforces the innovating call of this young biennial with emerging artistic works and relevant authorial clippings in constant dialogue with contemporary experimentation. It also innovates by definitely assuming the artistic diversity, bringing together different languages, performances and urban interference, attracting new audiences. Its educational project, coupled with its performance by opening the market to new artists, also makes this a biennial an important event as a training and disseminating pole of the national art. For all these reasons, the Ministry of Culture has the immense satisfaction of supporting the 6th Curitiba Biennial that gives new life and brings fresh air to Brazil with its generous vocation of giving and receiving, in a true collaborative network for culture.

Ana de Hollanda State Minister for Culture of Brazil

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Under the curators’ watchful and discerning eyes, art reflected beyond the crisis makes up the body of works that the 6th Curitiba Biennial brings once again to Curitiba. These are works produced by artists who were not intimidated before the economic crisis that shook the world but rather challenged it in its arrogance and incompleteness, exposing it to the ridicule of its abject existence, revealing the weaknesses that fed it and conceived it, with this clash, at the same time bold and sarcastic, a new level for the contemporary creativity. This is where they are - and will always be - the foes of fear and the lovers of virtue. With this alert in mind, the Biennial invades halls of museums and spreads throughout the city, somehow forcing us to look reflexively to this rich world of visual arts, sometimes so strange, but that seems enviably free from bondages, conventions or crises. The initial strangeness is slowly replaced by surprise, by the discovery of the unusual landscape it occupies, in harmony, in the city’s spaces. Full tuning that only art can provide, as a result of the skirmishes that engendered it. Curitiba has proven that it is ready for any manifestation, no matter the area. The city opens to receive artists from different countries and shows the world its versatility and multiples facets, demolishing the old counter wave that said nothing happened here. Quite the contrary, there is a permanent crisis in our souls. The city is the perfect setting so that our small differences may be lost before the richness that is revealed, without coercion or censorship, not only for the people of Paranå, but for all Brazilians as well.

Paulino Viapiana State Secretary of Culture

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The weather forecast for Curitiba is one of plenty of wind. And it blows for art and culture, and announces a new edition of the Curitiba Biennial. The capital of Paraná, known - and renowned - for its cultural diversity becomes, once again, the scene for the national and international contemporary art. Five continents are gathered and represented in the city’s major cultural spaces with their art manifestations. It is the VentoSul, in its 6th edition, reaffirming before society the intention to promote plural access to the arts and encourage intercultural dialogue between different countries – an essential contribution to development in all areas of human action. In this sense, to support this that is one of the largest events of Contemporary Art in Latin America is, to the Cultural Foundation of Curitiba, a taken upon and reiterated commitment. To open the doors of the Museum of Prints, Museum of Photography, the Hoffman House, Julio Moreira Gallery and the Wire Opera House for a meeting as significant and bold as VentoSul is more than a social responsibility, it is a great satisfaction. Responsible for the city’s public cultural policy, the Foundation has been playing for nearly four decades the lead role in promoting the city’s socio-cultural and artistic development. It could not be different in relation to VentoSul, which is already part of the city’s calendar. The relevance of the event in this scenario is strengthened by the contribution to education and the training of arts lovers, with a large project that brings the community closer to the cultural assets and encourages the maximum use of the biennial.

Roberta Storelli President of the Cultural Foundation of Curitiba

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6th VentoSul: a Curitiba Biennial for everyone We welcome you to the 6th VentoSul - Curitiba Biennial, which occupies the city’s most important exhibition spaces. But that is also on the promenade, at the underpass, in the classrooms, in the auditoriums, occupying a total of 40 spaces across the city of Curitiba. We invite everyone to a Biennial that is both in the park and in the Museum, that is represented in the official schedule to the same extent it is part of the side events. Many people worked so this Biennial could be accomplished. We take this moment to thank everyone. We thank our competent general curators Alfons Hug and Ticio Escobar, co-curators Adriana Almada and Paz Guevara, guest curators Alberto Saraiva, Artur Freitas, Eliane Prolik and Simone Landal for selecting and bringing together works that allow us to meet a new and unique vision of the moment we live. We thank the artists from 37 countries, on five continents, here recorded through works that fascinate, delight, shock, make one smile and interact with unexpected city spaces. To teachers Denise Bandeira and Sônia Tramujas, curators of the educational project, partners in the challenge of expanding the Biennial’s educational potential, coordinating efforts for the human and cultural development of students, teachers and visitors. Special thanks to all partners and sponsors listed here, to the collaborators of the Instituto Paranaense de Arte and of the Curitiba Biennial, without whom none of this would be possible. Our thanks to the managers and the teams at the exhibition spaces, key components in the realization of the Biennial. We highlight the strategic partnership of the Ministry of Culture through the Federal Law for the Encouragement of Culture and the National Culture Fund, the cooperation with the Cultural Foundation of Curitiba through its museums and cultural spaces, the support of its staff and the Municipal Law for Cultural Incentive / Patronage, and with the State Secretariat of Culture through its museums, radio and TV, and the program Conta Cultural. We finally thank the Biennial’s audience that is here for the final result, to try and understand, to seek something beyond. And the key contribution of the press, not only for recording, but for the wide dissemination of the Biennial’s activities. We do hope this will be an experience of awe, questioning and, above all, learning. May the Biennial bring a new vision of the spaces and reality we know so well. May it be instigating and inspiring. Welcome to our Biennial, from Curitiba, to everyone. Luciana Casagrande Pereira Chairman of the Organizing Committee

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As the cultural institute of the Federal Republic of Germany, the Goethe-Institut presents Germany’s multifaceted image to the world. It provides access to the German language, culture and society and promotes international cultural cooperation. We stand for an open Germany. We build bridges across cultural and political frontiers. Our work creates things that are new and unusual because people talk openly with each other and work together creatively. We develop the ability to challenge our images of ourselves and of others, and to deal with cultural diversity in a constructive way. We open borders between culture, education, science and development and rely on the power of art that asks questions and is sometimes unsettling. We look for answers to questions on the future of the globalized world. We look forward to participating in the 6th Biennale of Curitiba as part of our excellence initiative, and to seeing works illuminating the theme “Beyond the Crisis” from the artists of 35 nations, including not a few from Germany. It fills us with particular satisfaction that Goethe Institutes are making it possible to show a smaller version of the exhibition in several countries of Latin America. The current phase of upheaval in the global economy calls for a cultural perspective, and with it a new relationship between ethics and politics, the law and the economy, the state and civil society. The close connection between moral responsibility, cultural identity and institutional rules has many facets that differ widely across the world. Art has a seismographic role to play in these shaky times. It highlights differences and listens to nuances. Artists – who, as we know, are themselves economic players who take on enormous financial risks – are credited with a special sensitivity vis-à-vis the overall economic climate. Creative artists assume individual responsibility and seek collective liability; they do not think in a conformist way and are willing to take risks; at the same time they are permanently calling themselves into question and, when necessary, always reinventing themselves. Art acts both on this side and on the other side of the crisis. On this side, because it relates to – and is itself affected by – the crisis in terms of content and form; and on the other side because it points beyond the crisis and offers society alternatives.

Dr. Hans-Georg Knopp Secretary General of the Goethe-Institut

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Culture, diversity and integration Leader in the generation and transmission of electricity in Brazil and Latin America, Eletrobras has a tradition of promoting culture. The company, over its 49-year history, has supported hundreds of projects for music, theater, cinema, dance, visual arts and education. One example of this connection is the support Eletrobras gives to the 6th Curitiba Biennial. Bringing together works by artists from five continents, the Curitiba Biennial synthesizes two of Eletrobras’ values: respect for diversity and the importance of integration for development. The Biennial’s program, with exhibitions, lectures, discussion panels, film exhibitions and a scope that reaches the country’s five regions, passes over those values to thousands of people throughout Brazil. To spread out these values so dear to Eletrobras will remain a company target in its cultural policy, as we believe that they are fundamental to build a more socially just country, formed by citizens who know the deep meaning of the word sustainability.

Eletrobras

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The art we live Volvo of Brazil proudly celebrates over 30 years of existence in one of the major cities in the south of the country: Curitiba. City that the company chose in 1977 to house the headquarters of its business in Latin America. At the plant in Paraná’s capital are produced vehicles that transport people, cargo, wealth and progress along the immensity of roads and cities in Brazil and Latin America. Here commercial vehicles are produced with cutting edge technology combined with quality, safety and respect to the environment, the brand’s core corporate values, which are daily experienced in our way of being and of doing business. To live in Curitiba is to live its diversity, its ability to innovate, its distinguished public transportation system, its articulated and double articulation buses, its special way of exploring the contemporaneity, while expressing pride for the traditions. In culture, through many manifestations, we see and experience a little bit of all this. It’s the feeling that comes to the surface when a work impacts us, rips us off of conformity, shocks us or, in a sensitive manner, charms us. Volvo do Brasil, who sponsors dozens of cultural projects throughout the country, could not avoid supporting the 6th Curitiba Biennial that has, in essence, the ability to lead us to reflection and to feel the modern, the contemporary. The works of artists express the cultural diversity of our continent. Lead us to different impressions expressed in the feeling of those who make art for the beholder. A true picture of our contemporaneity. Diverse and therefore, instigating. One must see and get involved by the Biennial. There’s no other way to appreciate such expression of art and beauty.

Volvo of Brazil

V OLVO T RUCKS | V OLVO B USES | V OLVO C ONSTRUCTION E QUIPMENT | V OLVO P ENTA | V OLVO A ERO | V OLVO F INANCIAL S ERVICES V OLVO 3P | V OLVO P OWERTRAIN | V OLVO P ARTS | V OLVO T ECHNOLOGY

| V OLVO L OGISTICS | V OLVO IT

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To integrate Latin America is a dream to be urgently achieved and turned into reality. For us, South Americans, part of the path has already been covered - and rightfully so, we know that there is still much to go. One fact, however, has marked this path: much more than for commercial interests or in response to geopolitical strategies, it is through the arts, culture, that this distance has been shortened noticeably. And in this particular field, the allied effort between Brazil and its neighbors occupy a prominent place. Cultural events are renewed and multiply in our country. Most of them have gained consolidated ground, a space for meeting and freedom of expression, exchange of voices and experiences. This is the case the 6th Curitiba Biennial that this year reaches its sixth edition. To begin with, and adopting a line that spreads throughout other events, the 6th Curitiba Biennial’s schedule is broad: there are scheduled lectures, roundtables, workshops, courses, film exhibitions – in one word, it drives the dialogue, debate, opens to the formation of new audiences, with an intense educational program. Few companies devote so much effort to the task of integrating our countries as Petrobras. The company is a key element in the energy integration of South America, contributing with its experience and technology, not only for this integration, but for the very development of neighboring countries. And it does so with the same dedication and rigor that it has provided in fulfilling its primary mission, which is to contribute to Brazil’s development. Nothing more natural then, that Petrobras, in addition to being the largest company, is also the major supporter of arts and culture in our country, present once again at the Curitiba Biennial. Our commitment is the same, our goals are converging: we are combining technology and art, energy and creativity, we are uniting culture and entrepreneurial endeavor. We are on the right path.

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The National Bank of Economic and Social Development (BNDES), one of the leading financial agents of the Brazilian economy, believes that the various forms of cultural expression are one of Brazil’s main assets. This is because, besides being fundamental for the formation of our identity, our cultural manifestations also have an economic dimension that makes them important to the development of the country. BNDES’s mission is, therefore, to stimulate and contribute to the development of creative businesses and the creating agents, and to expand and provide more efficiency to the market of cultural goods and services, with economic sustainability and social gains. Thus, BNDES offers the cultural sector a diverse range of financial support instruments, with non-reimbursable funds, financing and venture capital, having as its main instrument the BNDES Program for the Development of the Economy of Culture (BNDES Procult), which enables projects in the segments of cultural assets, audiovisual works, editorial and bookstore, phonographic and live shows. At its headquarters in Rio de Janeiro, the Bank still has a schedule of musical performances through the project Thursdays at BNDES and exhibitions dedicated to the visual arts. Also, it also sponsors film, music, dance and literature festivals, books, exhibitions and other projects aimed at the dissemination of culture and the decentralization of cultural property. In this context, BNDES is also pleased to be one of the sponsors of the 6th Curitiba Biennial, one of the largest contemporary art events in Latin America. After all, besides gathering works of artists from around the world, the Biennial promotes activities to foster education and social inclusion through art and culture, thus contributing to the sociocultural development of the country.

BNDES

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The Post Offices, acknowledged in providing postal services with quality and excellence to the Brazilians, by granting sponsorships also invests in actions that have culture as a tool for social inclusion. The company’s operations, increasingly prominent, not only aims to strengthen its corporate image, but above all, contribute to the appreciation of the Brazilian cultural memory, democratic access to culture and the strengthening of citizenship. That is why the Post Offices, present throughout the country, with great satisfaction supports projects of this nature and confirm its commitment to bring the Brazilians closer to the variety of artistic languages and cultural experiences that are born in different regions of the country. The company is also proud of making its Cultural Centers and Spaces available to the society, in which different art manifestations occur, when they are consolidated as environments conducive to fostering and preserving the country’s cultural identity.

Correios

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Companhia Paranaense de Gás – Compagas - is the company responsible for distributing natural gas in Paraná. The company was founded in July 1994 and started its operations in October 1998, when it began to distribute piped refinery gas to its first customer, the industry Peróxidos do Brasil, located in the Industrial City of Curitiba (CIC). In 2000, Compagas was the first distributor in the southern region to provide its customers with natural gas from the Bolivia-Brazil pipeline. Today, it distributes an average of one million m³/day of natural gas to more than 10,200 customers in the residential, commercial, vehicle, industrial, cogeneration, raw materials and power generation segments. It has 557 km of distribution network. It is present in 12 cities (Curitiba, Ponta Grossa, Palmeira, Campo Largo, Balsa Nova, Araucária, Pinhais, Colombo, Paranaguá, Pinhais, Quatro Barras and São Mateus do Sul) and intends to increasingly expand its operations so that the clean energy of natural gas reaches more and more people. The company operates focused on its mission: “Satisfy the customers’ expectations with service excellence in gas distribution, ensuring cost-effective supply, safe, environmentally sound and better quality of life.” And Compagas’ priority is to always follow its values: Ethics and Responsibility, Commitment and Career Development, Continuous Improvement, Customer Focus, Quality of Life and Durability of the Business.

Companhia Paranaense de Gás – Compagas

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Mobility that integrates Brazil TIISA – Triunfo Iesa Infraestrutura S. A. was born in 2008 from a partnership between Construtora Triunfo S.A. and Iesa Projetos, Equipamentos e Montagens S. A., who decided to create a third company to focus on some of their specialties in the infrastructure area. From there on, came into operation a modern, dynamic and bold company, consisting of qualified and experienced professionals, specializing in the metro-rail, sanitation and airport segments. With such a short time of operation, TIISA already occupies a prominent place in this market, leading many major infrastructure projects underway in the country. By participating effectively in Brazil’s social and economic development TIISA shows that it was born big and ready to face the huge challenges experienced in the dozens of works scattered throughout the country. Guided by an efficient, transparent and responsible performance, the company works systematically to build a relationship of respect and trust with employees, customers, shareholders and the society at large, combining strength with social and environmental balance. TIISA believes that to experience full development a nation must cultivate, encourage and value the different artistic and cultural expressions of its people. This is the most legitimate form of expression of its identity, the confirmation of its beliefs and customs, the perception and interpretation of reality around it. That is why TIISA proudly participates for the first time in the VentoSul Biennial of Curitiba – the reference city of its origins. As if driven by the mobility of the winds the VentoSul Biennial fetched, worldwide, a range of artists - the most authentic representatives of the traditions, art and culture originating from different people - in order to integrate them in a single moment and movement. TIISA greets all entities responsible, directly and indirectly, for this memorable initiative and congratulates especially the State Government of Paraná, the Municipal Administration of Curitiba and the Instituto Paranaense de Arte for another edition of this event. Through the implementation of infrastructure projects, specifically in the operation of rail transport systems, TIISA is proud to make possible the mobility that integrates Brazil. Through an extensive program that includes exhibitions, lectures, roundtables, workshops, film exhibitions, performances, urban interferences and artist residency, the 6th Curitiba Biennial will allow the mobility that integrates the world – a world that goes far beyond the crisis.

TIISA – Triunfo Iesa Infraestrutura S. A.

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Contact with art transforms human beings. Therefore, Votorantim invests in and supports cultural projects committed to making this experience accessible to the greatest number of people. And that requires not only expand opportunities for people’s contact with works of art, but a whole strategy of mediation that allows a better enjoyment. The 6th Curitiba Biennial was selected in 2010 by the 4th Votorantim Cultural Call, which sought projects with a focus on enjoyment, experimentation and experience of cultural contents by the population, especially young people between 15 and 29 years old. We expect an increasing number of people to discover in contact with art new meanings and directions for their lives. We wish you all a good experience!

Instituto Votorantim

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Critical texts

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EXPRESSION AND CRISIS BEYOND ART Ticio Escobar

Art and crisis I (The Melancholy Critic) Art inserts a locus of crisis within culture, the latter being understood as a general symbolic system, an ordainment which ensures the social integration of the individual through norms and language. Viewed in this manner, culture facilitates collective meaning: it fixes meanings and provides a framework of security and equilibrium, an instructions handbook for communal living and understanding (attempting to understand) the world. Art is situated at the cultural fringes: it operates according to meaning and form; it incorporates the symbolic, but only from extreme positions which disturb the vision of the whole and by means of gestures that by ruffling the social fabric, scrambles its codes. Art belongs to an order of language, yet while settled within it, conspires against the regime of logic and its everyday discourse: it throws established meanings into confusion, while casting doubt on the clarity of forms; it cannot escape symbolic representation, yet discusses it (“mortifying language� in the words of Benjamin). Such a calling into question of its own system, this ongoing self critique, is, at least according to Kant, what is known as negativity of art: self discovery as a mechanism of shadows and appearances; art assailing the plenitude of its content, contradicting the permanence of its truth while representing itself as scarcity; as a threat of instability. On the one hand, the jolt experienced by the established symbolic order, creates frustration and annoyance. On the other, it enriches social meanings and keeps them fluid while causing a surge in signs. The lightening flashes that disfigure the outline of the real landscape, as well as the crimping of the cultural fabric allow things to appear, for an instant, liberated from the everyday, while briefly revealing its hidden sides. Poetry’s shadows intensify the experience of a reality which, only labelled with malleable signs, would lose its density, its shades of darkness and its folds, to become an utterly flat, disciplined language. This tilting of the symbolic order has a definite name: crisis. Crisis disrupts and even shatters the security of a cultural paradigm; it upsets what is established, leaving on hold arguments underlying a particular situation, and therefore, requires readjustments in order to deal with new influencing factors. Crisis situations call for adaptation, new points of view, changes, cuts. These generate states of disruption and turbulence, while opening up other perspectives and opportunities: they break new ground and baptize new eras. Art is therefore, essentially an instrument of crisis. It scrambles mono-directional cultural signals yet compensates by contriving other directions. Arising out of this ambivalence, the work of art may be construed as a case of pharmakon. Since Plato, this name has referred to a mysterious element that could act as either a medicine or a poison. The paradox of art introduces a toxic moment (madness, desire, darkness) into language: a negative inflection, capable of rescuing culture from its unalloyed rationalism, opening it up to the perplexity of what is different, the uncertainty of occurrence. Against this background of original crisis, culture and in particular, contemporary art, brings about its own crises. The awkward position of present culture is rooted in the collapse of its underlying transcendence, its framed certainties, and a chaos incurring a state of anxiety, leading to a climate of melancholy. In order to avoid melancholy, other platforms of belief, thought and sensitivity must be raised. This requirement marks the positive moment of the crisis, now perceived as a disturbance calling for reflection and re-imagining the world: the search for a new framework with which to support the construction of meaning: non-foundational foundations, in Heideggerian terms. Faced with the breakdown of basic principles, floating supports must be found, built during the course of history: contingent fundamentals, subject to quirks of specific situations.

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In this task, mechanisms of contemporary art intervene in a timely fashion in that they co-involve moments of contingency with those of specificity. With the rejection of the normative and absolute character of auratic art, each work of art must earn for itself a distinct artistic character, which will now cease to bear a guarantee or a stamp of quality: for this reason, each work pre-supposes a place in a “specific site”, one that is valid for that time, that space, that circumstance. Marchart writes “..that the experience of crisis, that of the absence of foundation”, is invariably linked to the image of contingency; meaning that, “it is always historically and contextually located and locatable”1. For this reason it is inappropriate to pre-suppose the existence of a work prior to its installation, since, a priori, there would be no-one capable of making an appraisal of it. Contemporary art, however, is apparently undergoing its own crisis, superimposed on contemporary culture as an adjunct of its own critical character. The crisis of art is that of representation. In its attempt to transcend the limits of language, to name the non-representational (the Real, in the Lacanian sense), art has to deal with that most radical of absences, the absence of the sign. It is equipped for this task, given that imagination can survive in a void and provide it, temporarily with a body or the appearance of a body. Images reach where forms cannot: they invent a masque as a substitute for a face, a support for the void to reveal itself before the act of viewing. By means of invention and fiction, the imaginary can illuminate aspects of that which cannot be represented, “like an explosion” in the words of Benjamin2. For this reason art can imagine fathomless foundations; non-foundational foundations that are not fundamental yet remain substantive. Given this potential, art is able to deal with the melancholy of crisis: the imaginary may conjure forth in fleeting and blurred fashion what is beyond the realm of representation and which cannot be summoned as a whole, by language. Art and Crisis II (the crisis of representation) As has just been demonstrated, any contemporary art project aspires towards the creation of images which, albeit instantaneously, envelop the obscurity of the un-representational (suturing the negative incision of the crisis – the crack in the foundations). One possible definition of the term crisis may originate in the Shakespearean figure, Hamlet: the dislocation of time (Time is out of joint). Dislocated, disjointed, a disquieting breach of forms within a given moment, which frustrates any attempt at reconciling the subject with its moment, undermining any assurance of absolute knowledge, of a substantive foundation. Such disjointedness of linear time roils the course of history, but also renders it receptive to alternative interpretations as well as other histories. Once again, it is a risk factor, but also a wager on the renewal of language. As stated above, art may be – and in fact is, defined in the same terms which have just been used to describe the crisis: as time which is out of sync, as an anachronism of an action which challenges the secureness of its historical frame, demanding the reconstitution of meaning. And of what use would this negative and critical gesture be in promoting other visions of the world which, beyond representation, language and crisis, might reveal the coded name of history’s tempestuous episodes, and which may cede the “robustness of the present” in the words of Santa Teresa de Avila to the harsh moments heaped upon each era and those who live in it. Brecht asserts that the dislocation of the world is what drives art. Didi-Huberman comments on this sentence: It was not by chance that Brecht too postulated an extended cultural duration – from Homer or Aeschylus as far as Voltaire or Goethe, in order to prompt a terrifying formula for disaster, according to which war, and in general, “The world off its hinges”, would constitute an authentic subject of art.” 3 It should be noted that the image of “a world off its hinges” coincides with that of Shakespeare’s in that it attempts to give a name to the disjointedness of time. A painful dislocation, essentially expressed by the “tragedy of culture” or the “catastrophe of the world” which followed in the wake of the First World War and which finds its echo in the “crisis of the spirit” evoked by Valéry 4.

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However, even the most implacable disasters of war are nothing more than manifestations of the crisis, therefore representing only one of the subjects of art, fed both by apocalyptic catastrophes as by personal distress. Even a light dislocation is capable of calling into existence a form, which will not depend for its momentum on the importance of the disruption of which it is part, but rather the intensity of the response brought about by the former. What this means is that the briefest disintegration of time opens a breach, creates a need: the principle – absent – which sets in motion the mechanisms of art. Such a void that uncovers the breach and reveals the need corresponds, in the ambiguous loci of art, to the inexistence of a ground disrupting and feeding the perverse game of representation. What occurs is that for art, representation is also pharmakon: it is the destiny of frustration and a sign of loss, but also an obstinate principle that seeks to broaden its spheres of meaning, beyond the frontiers of the signifier. On the one hand, representation deals with its terms in a register of irresolvable binary contrasts (appearance/substance; for/content etc.), failing time and time again in its quest for the real, to reveal a transcendental truth and bring about a perfect fusion between subject and object. On the other hand, this expedient, while flawed, has inevitable implications for the artistic process, which has no other means of referring to the world, other than though images: appearances which reveal/hide the object, which keep it at a minimal distance. By means of these movements of half truths, concealments and reflections, illusions and shadows – it may be possible to see beyond the illuminated circle of language, making way for a happening. This dual character splits the theatre of representation into two simultaneous scenes, in one of which the central character is the content of the work. The form folds back on itself to reveal the object or its concept. Although the work in question is abstract or purely conceptual, invariably, there remains a referential residue or a transcendental impulse which indicates a realm beyond that of form, an obstinate quest for the truth, an insatiable thirst for the real). In the other scene it is form itself that takes centre-stage, as formalised appearance. This means that the object being presented does not merely need to assume a particular form in order for it to be revealed, but a contrivance with which to seduce the viewer (a decoy, in the words of Lacan). This means that what is needed is an aesthetic tool set: artifices which appeal to the sensitivity and that summon beauty. (In order to fascinate, the object must remain auratised, magnetised). Although modernity has favoured scene two – that of the formal aesthetic moment – and current artistic manifestations emphasise the impossible encounter with the real thing, both positions are maintained through interaction and conflict from the first moments of illustration. The crisis of art – that is to say, that of representation, of the aura, originates around this central need which cannot be satisfied: in the end it becomes as impossible to dispense with form as it does with the thing; the concept and the image. “The minimum distance” as formulated by Benjamin bridges the gap, however infinitesimal, of a mismatch, which on the one hand inspires melancholy, and on the other, provides the space needed by the form in order to assert itself when confronted with the viewer. It is its fluctuating location at the borders of representation that highlights the crisis of contemporary art, weaving itself in and out of symbolic domains. Confronted with this furthermost limit, it cannot remain indefinitely on any side, but must move between them in a constant zigzagging motion. Nor is it possible to opt for the full presence of the object (a choice which would indicate a return to the metaphysical), nor to distance itself, ignoring the problem of the truth (an alternative which would signal a relapse into the autonomy of form). From this starting position, with the sense of a space that is both sovereign and secure art, lost, vacillates between its defence of the symbol and its obscure commitment to the non-representational. The best challenge would be for it to take up a frontier position and acknowledge its erratic sign, and from protean positions imposed upon it by it own fate, dodge the crisis of representation or strike out randomly, maintaining a margin of separation that viewing demands. Such a margin will thus consist of a fluctuating fringe with each new location occupied by art altering the viewing angle and shortening or lengthening its distance. This can be reduced but not eliminated, since it prevents things and their names from sliding into place and consequently, clears a space for desire: it prepares a space (continually displaced) for what is to take place.

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World and crisis (times of crisis) When we speak of crisis, we are clearly referring to a cultural situation wrought by a collapse of values, by dimming the “markers of certainty” and the wavering of directions and signals. But such a situation is part and parcel of a broader model of crisis that shakes economic and financial certainties as well as those of science, politics and the environment, of social institutions and identities, and even those of the State itself and history. We even speak of crisis on a global scale: Are we witnessing the twilight of the western gods, the decadence of the neo-liberal model of the market? Is our own paradigm of civilisation being put in jeopardy? It is possible that, by adhering to the ambivalent character of the term ‘crisis’, the universal shock of our time, of a negative sign, may be incubating positive moments: creative outlets, movements of readjustment and adaptation, decisions involving change, innovative behaviour and concepts, capable of taking on new epochal challenges and capitalising on its chances of renewal, while avoiding its risks. Other factors, nevertheless, exist which prevent the global crisis from unfolding evenly as it affects unlike regions of the world in different ways. These continue to exist despite the obstruction by the new cartography of global power of a scheme based on purely territorial references. The planetary expansion of information technology, the financial enclaves and transnational markets have changed the world map. In this new landscape it becomes difficult to maintain a way of thinking based on clear-cut dichotomies: First-World; North-South; Centre-Periphery. Nevertheless, it is obvious that the World continues to be divided and that inequalities persist in the shape of brutal social and socio-economic asymmetry, to a large degree influenced by geography. This contrast brings about unpredictable results: paradoxically, the last great economic crisis, the aftershocks of which have lasted until today, seem to have a greater effect on wealthy societies than those in need, since they are already in a state of chronic want. In the First World, in the so-called central countries, the spectre of crisis has assumed apocalyptic proportions, while in many countries of the periphery, it represents just another dynamic in an already complex situation, marked not only by socio-economic exclusion but due to clear-cut cultural differences which make people deal with the crisis by adopting different solutions. For example: certain Guarani cultures, especially the pá tavyterã (known as the kaiová in Brazil) distinguish between favourable or adverse socio-environmental stages, but the understanding of crisis as a stage of upheaval requiring readjustments, is reserved for what are referred to as teko aku (a hot state of being, in the sense of “a burning situation”). This stage, symbolically distinguishable, marks a phase of confused threats which precede the great communal ceremony. During this time of uncertainty, besieged by impending doom, ritual intervenes through a gesture of social cohesion, reaffirming the social bonds and re-establishing collective certainties. This ritualistic action, as already mentioned, and of which more will be said later, is related to the everyday business of art, through being able to imagine alternatives beyond crisis. Crisis and critique Art analyzes and questions its own systems of representation, constantly discussing its very definition and holding suspect its institutional outlets (museums, market, Biennials, theory etc.). By this very fact, artistic creation is essentially critical: it reverts back on itself, casting doubt on its own ability to represent, reflecting on its own fictional mechanisms, thus exposing its character of appearance and reflection. Art critique, in turn, implies an analytic twist of judgement concerning an object, which is in itself, a critical object. The production of art is linked to criticism inasmuch as it views reality as problematic, but also by distrusting its own methods, and finally, in that it is exposed to judgement and review of critical thought which is directed at it. For this reason, Nelly Richard states that “art has always been thought of as being under the double sign of crisis and critique”. “Both terms, etymologically connected, comprise the meanings of cutting and mutation (crisis) with those including the act of parsing, deciding and judging5”. It is not by chance that Brecht and Benjamin, two names that are fundamental to art critique and thought, came together in order to found a journal on politics and aesthetics called Krise und Kritik 6. Crisis is, therefore, a component of art, the latter depending on moments of conflict and tension to

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produce. For art does indeed constitute one of the main devices which contemporary culture depends on to examine its own utterances, renew its values and its codes and prevent the collective perception from falling asleep, lulled by a secure and fixed idea of society. On the other hand, as already stated, art is also involved in the image of crisis, inasmuch as it comprises within itself a crisis mechanism: By playing with images it destabilises established certainties and activates the interplay of the senses. What all this means is that the art critic, the very person who betrays the crisis of representation, the person who exposes the crisis of what is established- is experiencing a difficult moment. The contemporary scene witnesses the cohabitation of different institutions and sensibilities which generate calibrations and notions of critique. On the one hand, there is a confluence of massive aesthetics, cultural industries, information technologies and telecommunications, design and publicity; on the other, autonomous forms of artistic expression, whether of refined origin (“Fine Arts”, contemporary art), or of popular, traditional origin (indigenous and rural). The hegemony of globalised culture means that not only do models depend directly on the market, but that even those self-declared independents and those in opposition, are co-opted into mercantile logic, in that they generate income. This is why even the critical art, which, despite being regarded as a challenger of the system, must frequently circulate among institutions that form part of the market and adopt the formats and rules of the game where cultural industries are concerned. The question is to what degree can the critical sensibility survive on these practices, whose subversive manoeuvres have to a large extent been co-opted, and therefore neutralised, by the workings of the market. Accordingly, the transgressive objective of art, which rests on the premise of distinguishing between conservatives and dissidents, remains adumbrated upon a landscape levelled by the globalization of consumption and information, while confounded by changes in hegemonic strategies. Seeking to seduce, shock, titillate or amaze (in order to renew the aura of the commodity), the image industry subtly exploits avant-guard resources, with the aim not of intensifying experience, but rather by creating an impact on perception, rousing facile emotions, stimulating the imagination and making the object become more appetizing and mysterious in order to enhance its circulation. Obscenity, extreme violence and the denunciation of injustice, as well as creativity, formal and technical innovations are therefore used as input for publicity or novelty by the communications media. Even intercultural diversity and the differential emanating from the periphery, duly homogenized, have appeared in shop windows and on the screens of the world market. “Marginality has never been such a productive space as it is now”7, says Stuart Hall. This situation places the critical art in a state of crisis: accustomed to the aestheticism of the market, the public seeks reconciliation in beauty, leisure in insolence, exoticism in difference, and in tragedy, spectacle. For this reason protest art no longer makes any pretence of denouncing injustice, challenging censorship or exposing manoeuvres in hegemonic discourse, but rather ruffles the feathers of sensibility, domesticated by mercantile rationale, disrupting the course of bland aesthetics through the darkness of desire and the extremism of want. Through oblique advances and excruciating silences, art is able to divert the course of the single meaning. Through its oblique approaches, its suspension of meaning and resonating silences, art today is able to instigate actions that are more subversive than those encountered through denunciation, technological innovation or scandal. It is possible, beyond crisis, to anticipate different perspectives of the future: presenting, albeit by way of the imagination, a means of dealing with the melancholy of absence, that arises at the limits of language. Biennial and crisis Clearly the title of this Biennial, Beyond Crisis, as with any title referring to the production of art, proposes a theme which will have to be freely interpreted by artists: a means of triggering poetic production and reflection on the key issue concerning contemporary art: the place of the art work in a culture defined for the most part, in terms of crisis. As a set of themes for the Biennial, the word “crisis” has taken on a more urgent and suggestive meaning, as a crucial moment which, when faced with a brusque paradigm change, demands new decisions, attitudes and images. Moreover, this name leaves open the possibility of perceiving art critique according to its negative connotation as conflicting negativity, a factor of violence and

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inequality which must be acknowledged by art, not as an attempt to resolve the drama, but rather as an attempt to render more complex its understanding and to imagine other standpoints from which to view it. The word “beyond” may allude to the fact that strictly speaking, the most critical point has already passed (the culmination marks a situation that has materialised, thus enabling it to be named). However, it may also refer to the necessity of considering other places as vantage points from which to acknowledge and deal with the crisis in a different and more creative manner. It might even be possible to place the compulsion to build (from the sense of to invent) a time/ space continuum outside the ambit of the crisis, while at the same time being propelled forward by it. Émile Benveniste uses the word superstes referring to it as that which is beyond something, as if it had “survived an accident”. This survival presupposes the action of “having undergone some sort of experience and endured to a state beyond the event in question”; this therefore implies a testifying experience, opening up a prophetic dimension: the surviving witness of the crisis becomes “a fortune-teller of a bygone history,” according to Didi-Huberman. This situation refers to the case of Aby Warburg, who, confronted with the Great War, the explosion of history, remained “beyond the true and the false,” approaching “contemplated images as if they were actual ghosts”. In other words, as artistic forms8. Since it is unable to renounce its negative task, art is incapable of desisting from its utopian vocation. For this reason, juxtaposed with its symbolic cut, the imagination consists of an anticipatory, even propitiatory faculty; a means of skirting the void or enveloping it in fleeting appearances that are charged with distinct (distant) truths. This then is what art can do when faced with a crisis; acknowledge it, survive it, undergo it and testify to it from a vantage point beyond the logic of true or false, by means of erecting fanciful structures which, on an imaginary level, could make amends for what history has demolished, or to announce the birth of another history, a surviving era capable of divining a new past. Artists vis à vis crisis From what has been described, it is not to be expected that artists who participate in this Biennial will offer prescribed cures in dealing with the crisis, nor will they attempt to express its adverse effects. Instead they will propose different ways of viewing it: positions which they may adopt towards the crisis are premised on creative efforts to open up vistas and prize ajar horizons that transcend their point of departure. Crisis culminates in war but its treatment – the search for what lies beyond crisis – relies on different vantage points. Adonis Flores, a Cuban who acted as a soldier in Angola, uses the cover of military service to describe the everyday violence, akin to that which is latent in all human experience, including humour, love and glory. Emmanuel Fretes depicts scenes from the Paraguayan War (1864-1870) mediated by photographs and documents: a memory among memories which demand obsessive and fully mature meticulousness - and herein lies the strength of his work, which owes more to autodidactic candour than to academic excellence9. The war transformed itself into a testimony of an event too brutal to be true (too realistic to be faithful). Jacqueline Lacasa refers to the same war but from another angle, also departing, from a previous image of the struggle yet by inverting the aforementioned: La paraguaya, painted by Juan M. Blanes towards 1880, has now been transformed into a photograph entitled La uruguaya, in a gesture that equates the anguish of defeat to that experienced from above and beyond borders and trenches, beyond historical dates. The anonymous woman who endures the war does so outside of any national or ideological context: hers is pure burden without a reference date, a timeless gesture, eschewing inscription, while unrelenting in terms of memory. The video which is shown by Joaquín Sánchez presents an action that took place at Bahía de la Rada where, on May 21st 1879, the naval battle of Iquique was waged in the theatre of the Pacific War. A Bolivian diver attempts to cross the borderline from the sea bed, while new immigrants of the same nationality articulate the sentence “I can’t swim” (with reference to Bolivia’s landlocked status) in frozen letters formed from the sea water. The gesture contains a ritual and compensatory meaning,

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as if by means of the image the adverse sign that raises tensions at borders, setting nations against one another may reverse itself. Patrick Hamilton touches on the subject of war obliquely in order to advance a mythologicalsounding narrative which links stereotypes of a universal chronicle with local anecdotes and personal fictions. The horizon of the Second World War and Nazism, of the desolation of Europe’s post-war landscape, fades into the distance, obscured by drawings and archive photographs which contradict the legitimacy of their own registers, upstaged by the unusual presence of a gold-plated combat submarine. Christian Bendayán’s work involves the hegemonic canon of beauty, the collapse of the refinements of academic painting. Not only are the scenes it represents sordid, but also its ignoble treatment in oils, as well as its rugged realism. The artist mixes registers of popular, mediatic and high culture and takes the vulgarity of the Latin American street aesthetic to the extreme, especially in the case of Peru, in order to recover the poetic potential of other tastes and sensibilities and to stake a claim to the values of painting unconstrained by the straightjacket of the academic norm. Bendayán’s work is partially in keeping with the debate surrounding ideal beauty in contemporary art; on the other hand, where the question of alternative aesthetic models is concerned, Mónica Millán takes on the first issue. If beauty reflects the equilibrium between the object and its image, then the destabilization of its terms generates its defect. The excess of beauty transcends the contention of form and breaks the order and unity demanded by the classical canon. Out of control, beauty (in its extravagance or its remains) turns into a tempestuous zone, beyond the means of all representation. The proposal of Mónica Millán –her series of Gardens and Rivers – center on these open spaces: her luxuriant, overflowing gardens merge into the pure line of a drawing, with the texture of seamless composition of almost excessive subtlety or the pure silence that helps the river along. The second issue, that of differing aesthetics, informs the work of Alejandro Paz and Javier López and Erika Meza. All concern themselves with the crisis of hegemonic aesthetics, as well as with ethnic purity. The first uses video to represent an indigenous woman of his country (Guatemala) walking with difficulty on a “running machine.” The work contains a certain perverse irony; on the one hand, it questions the ideal of western beauty, the aesthetic of fitness, in this case, raised to a universal paradigm, whereas on the other, alludes to devices reserved for the upper middle class, highlighting the implacability of a system through which urban indigenous people can only wander aimlessly, trying to save calories. López and Meza also resort to irony in order to draw attention to intercultural conflicts (or transcultural encounters). Their video presents an indigenous person offering in Guarani10 wares, echoing the rhetoric typical of the discourse of Philip Kotler (an emblematic marketing figure). The situation disrupts the logic of the message and emphasizes the friction that exists between distinct worlds whose difference is negated by commodities. The works of Camilo Restrepo and Graciela Guerrero move between realms bordering on those already mentioned: spaces of marginal subcultures that make their images criss-cross (and collide) with those of official cultures. The first collects and photographs pipes used for smoking “bazuco” (a mixture of hard drugs) conferring on the treatment of the works an archaeological or artistic value: documenting and classifying them according to a normative taxonomy and the editorial style of a luxury catalogue dedicated to registering works of art or promoting commodities, destinies which do not appear to differ significantly, as the work suggests. It is clear, however, that no image of a pipe can omit a reference to Magritte, nor can it, therefore, avoid the inevitable paradox of representation. The title of the installation by Graciela Guerrero, High Point and Decadence of Latin America gives clues as to its purpose. Moreover, it does so from the deceptive vantage point of irony. As opposed to those who support theories relating to Latin American identity, many of the most frequently shared figures in Latin America are taken from mass media imagery. The programme entitled El Chavo del 8, which Roberto Gómez Bolaños, a Mexican television comedian and producer directed and in which he plays the leading part, has generated an iconographic stock and a body of codes, humour and language. This set contains a symbolic regional patrimony, signalling new forms of sensibility and identification; looking at this collection from a different angle, Guerrero’s work opens itself to the

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discussion of ideological stereotypes, and to the insertion of coded warnings, while revealing points of conflict, ignored by television discourse. However, crisis not only originates from obvious zones of conflict. It also acts silently as an imminence. The proximity to what is beyond the everyday turns into threat, in the Unheimliche Freudian sense: the familiar blurred in shades of difference, the unknown risk hidden in the folds of the everyday. The disturbing strangeness which Freud refers too also expresses, albeit on a more subtle level, a situation of crisis, which may be the memory or the portent of a crisis: the crisis which comes up or is to come, a crisis concealed, ignored. The suggestion of the imminent is a fundamental part of Theatrum Mundi, the series of paintingscripts by Marcelo Medina, which displays fragments of stories, whose fatal outcome is brusquely deflected. Against a background of disconcerting impudence, black humour and cynical optique merge with the rhetoric of children’s tales, the visual economy of television and the acidity of accursed literature. These forced connections produce short-circuits that are barely noticeable: Medina puts together short scenes that are immediately dismantled by their own written scripts, punctuating in a sharp, staccato manner the development of a libretto whose code points to what has been left out of the work. Sebastián Preece interposes institutions and public places operating in an archaeological, almost surgical fashion: the material feel of the construction, the resistance of the terrain itself, its topography and excavated interior unite reason with imagery which prolong the appearance of the object and deflect the meaning of the search: the fragments gathered and displayed result in the allusion to a contrived presence. Cristian Segura makes an installation at the Plaza Tiradentes, based on positioning scratched crystals on a base consisting of thick pieces of glass which cover the original ground of Curitiba: an archaeological heritage which, while not being particularly old (dating back to the mid-nineteenth century), has foundational significance, a cipher of collective origin. Manipulation of the scene, Segura’s almost magical feat, represents the split of the imaginary settlement of the city, the damage done to the foundation. For one moment, the spectator senses the absence of the familiar support, the vacillation of the principle. Perhaps once the simulacrum has been dismantled, it is only the fleeting perception of its contingency that faintly adumbrates the space. The montages put up by Alejandro Almanza Pereda are programmed “to create in the spectator a disturbing tension.” This point of departure leads him to work with situations of ambiguous insecurity through the display of objects and furniture, the formal incongruence and vacillation of which create climates of uncertainty, suggesting risks and fostering attitudes of alert. Our culture is increasingly threatened by the violence of history and natural disasters. It is also becoming progressively alarmed at mediatised catastrophe, still being presented essentially as spectacle. At the same time, our cultural experience finds itself intimidated by new defence policies introduced worldwide through the promotion of a security crisis advanced as part of a hegemonic model. Amanza Pereda reflects on the overall situation of apprehension and suspicion, while not explicating the nature of what it is about the object that frightens, but rather emphasising what lies concealed within it. Anguish is generated by the imminence of what is not found. Liliana Porter uses the moniker dislocaciones11 for the unpredictable clashes that occur between systems of meaning. Such meanderings of language (this disordering of time) mark, as previously stated, critical points, capable of altering/enriching the economy of meaning. Liliana Porter leaves the most innocent gesture tainted with suspicion: her tales of small, delightful figures suggest the deflected shine of their own threads: The nearness to the parallel, dark, side, which sends out signals that disturb the calm of the illuminated scene. All of a sudden, delicate or extremely commonplace forms reveal their status of pure likeness, heralding the sinister moment that lies in wait nearby. Faced with a world stuffed with images two solutions remain: clear the space up to the edges of the void or contest the space among the surfaces, brimful with inscription by saturating them with other figures. The first strategy opts for the path of absence; the second, that used by Ricardo Lanzarini, chooses the path of excess, which seeks to write over a truth that is buried by too many representations, suffocated by unrelenting memory. Lanzarini draws on walls, reconstructing the strategies of

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advertising and media imagery, yet he does so by forcing them into a radical position which they are unable to attain without compromising the purpose of the commodity. Pushing the action of images into overdrive exceeds the boundaries of representation, which is why the artist says “nothing was seen as it really was because everything was behind it”. However, behind the wall there is nothing: it may be that the artist is referring to the back of the drawings or that he is allocating a reserve of meaning which, outside of the walls, preserves this nothingness. Luis Molina-Pantin also exaggerates, to the point of confusion, images of consumer society. However, in his case, the sinister aspect of the gesture is relevant in that these disproportionate images correspond to photographs of real objects; specifically related to architecture, or more particularly, cases of so-called narco-architecture: mansions of the new drug barons or Colombian gangsters during the eighties and the nineties. The disproportionate features have more in common with the boastful exhibitionism of the Nouveau riche magnates than the size of the buildings, with the pretentiousness of the latter blowing out of all proportion conventional standards of taste, while appealing to a delirious sensibility. Once again, conventional beauty is driven into a state of crisis by the new aesthetics, the excesses of which exceed all proportion, while violating the cannon. Yet the crisis of aesthetics also results in an ethical crisis: the need to represent the new social status not only violates the forms of representation, but also disrupts the values represented by their content. All the aforementioned works deal with different aspects of crisis which the text sets forth in its broadest meaning, i.e., as a critical moment in a situation that demands that extreme positions be taken or as an occurrence or an imminent event which reveals other angles to reality, or to use once again a Shakespearean metaphor, one which affords a glimpse of the “dark back of time.” Accordingly, different artists deal with the crisis, not by deflecting its challenges nor allowing themselves to become confused with its themes, but instead by confronting it, moving around it through a series of movements catching glimpses of it from unusual perspectives, creating anamorphosis – the disclosed apparition revealed through distorted angles, while always allowing for distance. 12 War, the non-sense of the everyday, the economic crisis, the environment or public morality is elaborated in art through the use of its own crisis, that of representation, which highlights the impossibility of fully demonstrating the foretold. It is within this very breach that the best opportunity is provided to view what lies beyond any given phenomenon, of whatever historical occurrence. Notes 1 Oliver Marchart, El pensamiento político posfundacional, Fondo de Cultura Económica, Buenos Aires, 2009, p. 49. 2 Cf. Georges Didi-Huberman, Imágenes pese a todo, Memoria visual del Holocausto, Paidós, Barcelona, 2004. 3 Georges Didi-Huberman, “Atlas. Inquieta gaya ciencia”, taken from the catalogue of the exhibition entitled Atlas ¿Cómo llevar el mundo a cuestas?, Museo Nacional Reina Sofía, 26 November 2010-28 March 2011, p. 120. 4 Íbid, pp. 123-126. 5 Nelly Richard, “Arte, crisis y crítica” cf Publication Revista Trienal de Chile, Santiago de Chile, 15 November 2009. 6 Cf. George Didi-Huberman, Cuando las imágenes toman posición. El ojo de la historia, 1. Edic. A. Machado Libros, Madrid, 2008, p. 19. 7 Cit. por Connor, Steven, Cultura posmoderna. Introducción a las teorías de la contemporaneidad, Akal, Madrid, 1996, p. 142. 8 Georges Didi-Huberman, “Atlas. Inquieta gaya ciencia”, op. cit., pp. 149-150. 9 Here it is possible to compare the work of Fretes Roy to the engravings appearing in the weekly magazine Cabichuí, published at the front of aforementioned war and illustrated by self-taught soldier-warriors. Fretes’ work, which is included in the Biennial deals with this imagery. 10 Guaraní, spoken by more than 80% of Paraguay’s population, is an indigenous language which has official status in this country, together with Spanish. However, the bilingualism produced by the socio-cultural and economic inequalities means that the status of Guaraní is, in reality, that of a minority language. 11 Cf Alicia de Arteaga, “Matiné sin restricciones”, Diario La Nación, Buenos Aires, 30 May 2009. 12 Didi-Huberman thus refers to movements which suggest a position of mobility before the object: “This movement is as much about approaching as it is about separation: approaching with caution, distancing with desire”. Cuando las imágenes toman posición, op. cit., p. 12.

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BEYOND THE CRISIS Alfons Hug

When it comes to key words of the present, we do well to examine their precise linguistic background. The philosophers showed us how to do it, above all Martin Heidegger with his unequalled definition of the Greek words aísthesis (meaning perception, later esthetics) or alitheia (truth). The word ‘crisis’ deserves special attention in this context. After all it is omnipresent these days, almost a background noise, and dominates discourse in ever new combinations: economic and financial crisis, political crisis, eco-crisis, education and health crisis, crisis teams and crisis meeting, crisis flashpoint, marriage crisis, crisis of art, mid-life crisis, crisis of confidence. In Greek, (krísis) originally meant ‘the opinion’, ‘assessment’, later a problematic decision-making situation. The term has been documented since the 16th century in medicine, where it denotes a critical point in the progress of a disease and a marking between life and death. Whereas crisis used to be a worsening of a situation and a turning point, today it has become a ‘permanent crisis’, i.e. a never-ending protraction of intolerable conditions. However, the verb (= to distinguish, separate) is the root not only of ‘crisis’, but also of ‘criticism’, a fortunate circumstance that opens up great opportunities for art to exert influence. Art operates both inside and outside the crisis. Inside because it refers to it formally and conceptually, and outside, because it transcends the crisis and offers alternatives to society. “We burned your capital. It was very small. It didn’t burn for long. Nevertheless it gave us great pleasure, the capital, the poor little capital that you once owned.” Elfriede Jelinek, The Merchant’s Contracts, 2008 Cyclical crises have always been part of the essence of capitalism. Yet the crash on the financial markets in September 2008, which ironically coincided with historic record auction prices for the works of the British artist Damien Hirst, was of unprecedented dimension. It shook the system to its foundations and amounted to the biggest destruction of wealth since World War II. Figures vary according to their source and type of estimate, but total global losses seem to total up to $50 trillion: roughly the annual gross national product of all the nations of the Earth. 59 million people have lost their jobs worldwide. Restructuring the banks all over the world is likely to cost taxpayers an astronomical $3 trillion. That’s double Brazil’s GDP. In the USA, formerly the richest country on Earth, a large proportion of the population was literally banished from the economic cycle and left to their own devices. “In New York the reason why you see no poverty is not because it doesn’t exist, but because it grows so big so quickly immediately after its emergence that it doesn’t even have a chance to show itself.” (1) Even in Germany, Ludwig Erhard’s good old ‘Rhineland capitalism’ with its humane principle of ‘live and let live’ has been replaced step by step by an Anglo-American brand of finance capitalism, with the result that the gap between rich and poor has deepened dramatically. As the army of welfare recipients grows, so does the class of the nouveau riche. One in four Germans are poor or only kept from poverty by government handouts. In the meantime, the three richest people in the world, taken together, are now worth as much as the poorest 600 million inhabitants of the earth, a number almost equal to the population of Latin America. Even language itself is pushed to its limits when faced with such dimensions. Whereas a number with nine zeros is called a ‘milliard’ in most European languages, it is a ‘billion’ in English and

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Portuguese and ‘mil millones’ in Spanish. A thousand milliards, in turn, are a billion in Europe, but a trillion in Brazil and the USA. So in view of this Babylonian confusion of numbers, can anyone really be surprised if the figures don’t add up? The world has become poorer, if not necessarily wiser, because old bad habits and a ‘business as usual’ mindset immediately take over once the first signs of recovery are seen on the stock markets and commodity futures markets. In a vulgar variation on Nikolai Gogol’s novel Dead Souls, in New York new, exotic financial products are already being thrown onto the market which speculate on the life expectancy of insurance-policy holders. So the disturbing question remains as to the sustainability of an economic system that is threatening to destroy itself. “Crises are the warnings of being,” Martin Heidegger reportedly said once. “What has long since been threatening man with death, and indeed with the death of his own nature, is the unconditional character of mere willing in the sense of purposeful self-assertion in everything. What threatens man in his very nature is the willed view that man, by the peaceful release, transformation, storage and channeling of the energies of physical nature, could render the human condition, man’s being, tolerable for everybody and happy in all respects. But the peace of all this peacefulness is merely the undisturbed, continuing relentlessness of the fury of self-assertion which is resolutely self-reliant.” (2) When analyzing the causes of the breakdown, we increasingly come across the classic deadly sin of greed, or avaricia in the Latin languages. However, wherever existential biblical terms have to be brought in, we do well to ask not only priests, but also artists and thinkers. The Psychoanalysts have recently been bending more and more frequently over a new patient called ‘Homo economicus’, a person living a grandiose lie and exposed to compulsive, selfdestructive, Freudian repetitions whose world view demands the subordination of all life to economic data. This perverse attitude not only has grave political and social consequences, but also cultural effects, having mutilated the language and esthetics of an entire generation through various fetishes of the zeitgeist. Money has become a miracle cure that has transformed the world as a whole into a ‘good’, be it a pearl necklace, a bottle of brandy, a funeral oration or sexual intercourse, and the intellect has long-since been outstripped by the circulatory power of money. “Man is becoming like money. Similarity to money as an ideal of the modern soul has replaced God-likeness.” (3) But how is something turned into money, and how do you calculate its exchange value? Is it work, the market, its scarcity or perhaps desire? Crisis and art The crisis of values, including the economicistic decay of language, inevitably mobilizes the arts. An esthetic paradigm shift is emerging in the visual arts: bulky, unsellable works made of precarious materials are gaining ground which do not bow to the logic of the market. Although crisis has always been an implicit subject of art, it has rarely before been formulated as explicitly as this. Furthermore, the international art scene has been repositioning itself. Artists in New York, London and Berlin, who had transformed themselves into successful, young entrepreneurs running medium-sized high-tech companies in the boom years, will now perhaps develop new forms of production, and more than one ‘start-up’ gallery will have to rethink its business model. At the same time, the search for alternative legal forms in the economy and society is occupying a lot of space in the public debate. For example, the American writer and recluse Henry David Thoreau is now regarded as a role model: in the mid-19th century he built a log cabin for $28 on the lonely Walden Pond in Massachusetts and laid out a garden in order to lead a frugal, but fulfilled life: “Most of the luxuries, and many of the so-called comforts of life, are not only not indispensable, but positive hindrances to the elevation of mankind.”

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It fits this new modesty that a growing appreciation of rural lifestyles – including self-sufficiency with fruit and vegetable gardens and a renunciation of extravagant luxuries such as long-distance travel – can currently be observed even in developed countries like Germany. The smallest bank in Germany, owned by Fritz Vogt in Gammesfeld, Swabia – whose 600 clients receive three percent interest on their giro account and pay 4 percent for a loan – has become a cult institution. The bank charges nothing for running an account; computers and ATMs are unknown. The cooperative bank’s manager and only employee Vogt says: “I understand that you need a computer in space travel. But what happens in a bank is just so simple: one person has money and takes it to the bank; the other needs money and picks it up.” And if Berlin has become the world’s capital of art and the Bohemian life style since the 1990s, then this also has to do with the fact that the city is far removed from economic constraints. This status differs agreeably from speculation centers like New York, London and Paris, where the prohibitively high cost of living has made it impossible for many artists to make a livelihood. Symbolic values are worth more than material ones in Berlin. Indigenous ways of life are being seriously discussed for the first time ever in South America. In Bolivia, the ‘rights of nature’ have been incorporated in the country’s constitution as an expression of ‘sumak kawsay’, which means ‘buen vivir’, good life, or ‘pure and harmonious life’ in the Quechua language. It is all about a way of life that enables a harmonious coexistence both among human beings and between man and nature. “These postulates enshrined in the Constitution represent a radical break with Western culture and with the ideas of progress and development. But they are also a rejection of modernity. We are experiencing a civilizational, environmental, social and cultural crisis caused to a large extent by the model of overexploitation. The domination and exploitation of nature has brought prosperity and wealth to part of humanity. The notions of continuous growth and boundless consumption, which are supported by liberals and socialists alike, are now showing their absolute incompatibility with the preservation of life on the planet.” (4) The Gift “I have never met a man who was so generous and hospitable that he would refuse a gift” (from Edda, old Germanic legend) In times when the gross national product has become a crassly overestimated fetish, and common sense has been displaced by the beauty and elegance of financial mathematical formulae, we do well to take a look at archaic cultural and economic techniques, which are perhaps more modern than the models we use today. Potlatch, a peace-building, ritual act of giving still practiced by indigenous peoples on the west coast of Canada and Alaska, also deserves closer examination. The influence of potlatch on social equilibrium in Indian society was such that, in former times, wealth was rarely amassed by individual people or family branches on a permanent basis. In this archetype economy, a sacrifice is always rewarded, since it obliges the others to make a counter-sacrifice. In contrast to modern society, people and things still form a unity here. During the First World War, the Polish anthropologist Bronisław Malinowski studied the Kula Ring, a finely balanced system of giving and giving-in-return in the Trobriand Islands, New Guinea. In this case, owning also means giving, and the higher a person’s social rank in society, the greater the obligation. Of course, this exchange affects not only goods but also intangible values such as good neighborliness, honor, promises and trust, as well as spiritual and esthetic factors. As the cultural theorist Marcel Mauss proved in his legendary essay Die Gabe (The Gift), old Germanic societies in particular were based on the principle of giving, as evidenced by an abundance of derivations in today’s German: Ausgabe (distribution), Abgabe (delivery), Hingabe (dedication), Liebesgabe (alms), Morgengabe (wedding gift), vergeben (to forgive), widergeben (to

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reflect), wiedergeben (to depict), Mitgift (dowry), and finally also Gift (poison), which still means ‘present’ in English. As hitherto dominant iconographies from the Louvre to Hollywood lose credibility in the wake of the crisis and lose their interpretative dominance, hitherto marginalized forms of imagery and narrative from the ‘periphery’ are moving to the foreground. In this context it is typical that in some regions of the world the revolt against the crisis has triggered a veritable surge of creativity, for example in Argentina’s theatrical scene. Poets in time of need Years before the disastrous collapse in September 2008 – at a time when the frivolous world of speculation and seemingly never-ending bonanza was still intact and sections of the painting and photography scene had been reduced to a plaything (if not a ‘toxic derivative’) of investors – young sculptors were already creating portentous outlooks of the future with sculptures made of cheap, precarious materials, and expressing a somber premonition of impending economic decline. They made technical devices and apparatuses that were completely incapable of functioning and would finally break down in a frenzy of movement: i.e. products no longer as a mark of quality, but as the differential between Zeug (object) and Ding (‘thing), the former as a mere utensil, the latter (to use Heidegger’s words) as a poetic phenomenon soaked in culture. It is therefore not so much the economic analysts or hedge-fund managers who have prophetic gifts, but the artists, those ‘poets in time of need’, as Hölderlin called them. (5) The ‘ready mades’ of contemporary Latin American artists who observe a dramatic disintegration of urban structures also master the skills of sparseness and austerity. Their installations and performances conjure up the bits and pieces left over after a bankruptcy selloff. The maxim that applies in modern art is this: the greater the distance between a lowly object and its auratic projection, the more sophisticated the metaphor the artist bases his esthetic operation on. A kilo of gold is worthless in this equation. In contemporary art a gold helmet only obtains a gloss if it is made from a barber’s basin, as in Don Quixote. The banal object is a substitute for higher, unattainable things which we may have to do without for ever, but which we can repeatedly bring within our reach by imagination and symbolic action. It is a systematic attempt to strike a spark of poetry from everyday life and to give the character back to selected objects that have become devalued by everyday life, advertising and commerce. The fact that bankers’ alchemistic, vulgarly quixotic dream of making money out of nothing ultimately failed shows once again that the logic of art – conjuring an esthetic value from any object, no matter how inconspicuous – is not readily transferable to the real world. Skeptical and doubting, albeit perfectly formed, are the new drawings whose expressive yet simultaneously so unintentional lines are torn between holding on and letting go. If drawing occasionally used to be a merry stroll through the sparse wood of signs, now a single line can lead straight into the maze of the labyrinth, as in the case of Borges. Or let’s take Chinese video art with its keen sense of the approaching earthquake heralded in the ‘world’s workbench’. Yesterday’s boastful, big-city promises are now making way for disillusionment. No wonder the artists are looking for a new zeitgeist in the remote monasteries of southern China or the pastoral villages of Tibet. For its part, African – especially South African – photography shows the destruction that will be caused by the crisis once it has arrived south of the Sahara. In all these cases, contemporary visual art distances itself from the rules that have applied up to now and places its faith in discontinuity. The crisis may shake entire societies, but this rupture is fertile ground for art. Dramatic as the subjects may be, the form is no less important. The more dramatic the events, the more significant the formal implementation. A decartelization of the global art scenes goes hand in hand with these new esthetic approaches. Whereas a few ‘big powers’ dominated the art world up until a few years ago, artists from what used to be ‘peripheral’ regions are now coming on the scene – from Bolivia, Paraguay, Cuba, Vietnam, Uzbekistan, Angola and the United Arab Emirates. China, Brazil and South Africa have been established for a long time.

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The Biennale sees itself as a global platform. Artists from all corners of the world will be dealing in a highly subjective way with the crisis and the rigors of the present. Venues Quale nell’arzana de’ Viniziani bolle l’inverno la tenace pece a rimpalmare i legni lor non sani chè navigar non ponno; – in quella vece chi fa suo legno novo e chi ristoppa le coste a quel che più viaggi fece. In the Venetians’ arsenal as boils Through wintry months tenacious pitch, to smear Their unsound vessels; for the inclement time Seafaring men restrains, and in that while His bark one builds anew, another stops The ribs of his that hath made many a voyage. This is how Dante Alighieri (1265-1321) describes the industrious hustle and bustle at the Arsenal of Venice, then the largest industrial enterprise in Europe, in his Divine Comedy (Inferno, Canto XXI., verses 7-12). If the international biennials, of which there are over 100 in the meantime, are still attractive for artists, critics and the general public, this is not least due to their venues and the narratives that emerge there. No two premises are identical, and no narrative is repeated. The mother of all biennials in Venice develops its specific esthetics on the one hand in the Arsenale, where the Venetian fleet was built in the Middle Ages, and on the other in the pavilions of the Giardini, where each country presents its own building style – ranging from 1930s monumental architecture to modernistic interventions. Istanbul’s Biennale uses the 6th century Yerebatan Saray (Basilica Cistern), Havana’s Biennale is accommodated in 17th century Spanish casemates, while Berlin looks for new premises each time: sometimes it’s the former Jewish girls’ school, sometimes the stately Martin-Gropius-Bau. The Bienal do Mercosul has adroitly annexed the port warehouses on the river, Lyon’s Biennale a former sugar mill, and Cuenca colonial courtyards. Of the new Asian biennials, some prefer exhibition halls, others factory buildings. The Bienal del Fin del Mundo fills a former prison, and the one in São Paulo a classic modernistic building by Oscar Niemeyer, whose white cube mercilessly exposes any weakness in a work. All these places contribute their own local color and place the contemporary art in a specific historical and cultural context. One of the curator’s principal tasks, therefore, is to identify venues and get them to ‘speak’. The Curitiba Biennial also has its own aura. Its heart is in the so-called Solares, villas dating from when the city was founded which today are used by museums and cultural centers. Their eclectic architectural style, with influences from Portugal, France and Germany, embodies the kind of pluralistic world view that is appropriate for an art biennale. One instinctively thinks of Heidegger’s magisterial essay, Bauen Wohnen Denken (Building Dwelling Thinking). For him, building means not only fi care, but simultaneously the idea of lavishing care and attention, in Latin colere, cultura. These premises are forever exploring the proximity and distance between people and things. In a young, dynamic city that has dedicated itself completely to the present and is developing internationally recognized contemporary urban models, the Solares radiate a pleasantly antiquated ambiance. The spacious salons with their noble wooden floors and high ceilings exude the breath of an everlasting silence. In this distinguished atmosphere the contemporary art generates subtle disturbances, creates cracks, brings back to mind distant, long-forgotten crises, and draws attention to the hardships of the present. Oscar Niemeyer’s Museum is a huge, concrete temple standing in solitary splendor above the city, the culmination thus far of a dizzying urban development that has transformed Curitiba, which was

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still a village in the early 19th century, into one of the biggest cities in Brazil, and Paraná, formerly the ‘5th county of São Paulo’, into one of the richest states in the country. It sees itself as a modern antithesis to the nostalgia of the old villas. Finally, the Biennial is also settling in the ‘Ópera de Arame’, a unique sanctuary of culture and nature. A hovering, light structure made of steel and glass is harmoniously embedded in an unspoilt natural landscape boasting a lake and the Atlantic primeval forest; it impressively underscores the city’s ecological sense of mission. This theatre allows a rare, reverent moment of dialog between contemporary art and nature and offers a prospect of utopian conditions beyond all crises. Pictures and installations An exhibition dealing with the crisis will involve all the visual media, i.e. photography, video art, painting and sculpture/installation. The latter, however, deserves special attention, because the installation’s visual medium is the space itself. Installation shows the condition of the society in which we live, because it installs all the things that otherwise merely circulate in our civilization. “The installation thus demonstrates the hardware of civilization that otherwise goes unnoticed beneath the surface of medial circulation. It also shows artistic sovereignty at work – as this sovereignty fi and practices its selection strategies. Therefore, the installation is not a depiction of relations between things, how they are regulated – for example by economic and other orders. Precisely the opposite is the case. The installation offers an opportunity to at least question, by explicitly introducing subjective orders and relations among the things, those orders whose existence is suspected in reality >>out there<<.” (6) By exhibiting a banal object, the artist dispenses with traditional values and even seems to take his leave of the cultural sphere. Yet it is only this symbolic disregard for what is valuable that can create new value. For, whereas the circulating products of the market and technology always reproduce the same power relationship, which ultimately also repeatedly provokes economic crises, art can open up an area in which a new relationship with oneself and with the world can develop. Notes 1. Stephan Wackwitz, in Die Tageszeitung, September 5, 2009 2. Martin Heidegger, Wozu Dichter? in Holzwege, 1946 3. Boris Groys, Topologie der Kunst, 2003 4. Raúl Zibechi: La mirada del otro/La otra mirada, essay in the exhibition catalog Menos Tiempo que lugar, 2009 5. Friedrich Hölderlin, Brod und Wein, 1800/1801 6. Boris Groys, Topologie der Kunst, 2003 7. Martin Heidegger, Das Ding, 1951

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ON PAINTING Alberto Saraiva

This text reflects on certain signs that evince a creative crisis in painting today. We will thus leave aside all specific discussion about the rupture of the support and territories that have arisen in painting as unfoldings of modernism. Instead, we will focus on elements of the painter’s practice, especially in the context of processual painting, that is, the sort of painting that gives the subject an opportunity to confront problems that are partly his own, individual concerns, while also being absolute, overriding necessities of his time. His observation of nature allowed Leonardo da Vinci to perceive that the line we see in the things of the world does not lie on their surface, or in the air, but between the one thing and the other.1 This insight laid the foundation for a new way of representing the world, insofar as a new space was perceived. A space that is characterized as intangible, since it is like an abyss and was presented to the sight for the first time in the history of perception. This gives rise to a problem of representation: how to represent what is perceptible yet intangible? The solution was the surpassing of the graphic line by the technique of sfumato, where lines vanish due to the effect of their being seen through the intervening atmosphere. Sfumato allowed everything in nature to be together, harmoniously immersed in strict interconnection. This notion of complexity and the extension of things from one to the next would be taken up again by impressionism, but only Cézanne in fact reassumed Leonardo’s lesson. While in Leonardo’s work the construction of the world is essentially linear, in Cézanne’s it is thoroughly pictorial, though it would have been impossible to arrive at color without the discovery of the line. In terms of this discussion, it is relevant to remember that the construction of the image is an abstraction and not the world itself, and yet this does not signify a schism from life, but rather a real link between the observer and reality. It is in this field of perception that Merleau-Ponty constructed his phenomenological philosophy. To elucidate his thinking, Ponty turned to Cézanne as an example in his text “Cézanne’s Doubt,” in which he significantly cites Leonardo and thus establishes a link between the two artists, even though he does not go deeply into Leonardo’s visual approach.2 This segment of thought takes shape around a consideration of painting – which should be perceived as a “visuality.” Here, the relevant aspect is that there be an unleashing of meanings arising through and by means of vision in a basic movement situated beyond mere visibility and what we call perception. Here lies the question: How is the world perceived and how does this occurrence take place? The opposing viewpoint is established in relation to the thought of Descartes. The Cartesian thinking instates a segmented world, based on clear and distinct ideas. The subject is related to the object by way of this idea of clearness and distinction, while the objects exist in an open space and are related representatively by human reason. This space operates according to the logic of construction. In the Cartesian sense, perception is strictly the thought of perceiving, that is, the world is transparent, idealized, mathematicized and geometricizing. For Merleau-Ponty the ordering of the world takes place in light of the subject/object relation based on perception, a perceptive principle that simultaneously generates subject and object, an activity that is at the same time active and passive, that sees and is seen. This world operates according to the logic of perception. In the space conceived by Ponty, each thing is in its place, that is, in itself, and the things are destined for us. When he speaks of the world’s , he uses this term to convey the idea that real things have at ss. This system of interrelation, where one thing is connected to another and so on, gives rise to a whole that is thereby formed. In this system there is thickness in everything, and in our very act of being we are immersed and united in everything, placing us inside the situation, inside the phenomenon, comprehending the things as not being separate. This world is not merely physical and idealized, rather, it is what is sensed, and is also capable of sensing; it is an inexhaustible world.

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Merleau-Ponty reflects at length on Cézanne’s painting. By way of Cézanne’s work we can see the unfolding of the sequence of notions created by the philosopher. The reason for this is perhaps that Cézanne’s work corresponds to a stance taken in relation to all pictorial visuality since the Renaissance. The impressionists turned their gaze once again on nature, as the Renaissance artists did. Leonardo da Vinci, for example, recorded his perceptions arising from his precise and scrutinizing gaze in a notebook, and represented them in his paintings and drawings. His penned observations include one that exemplifies his extremely perspicacious observation of nature: “The air that is interposed between the eye and the object colors the object. Thus, the bluish air makes the mountains appear bluish when we see them from afar.”3 It was due to these observations of nature that Da Vinci resorted to the technique of sfumato, since the things needed to be immersed in an atmosphere and not segmented in space. Many of the conclusions reached by Cézanne were similar to Leonardo’s. But why was it necessary to reaffirm them, unless Cézanne was agreeing – at least in part – with Leonardo and opening new doors to the world? No longer the world of the Renaissance, which sought to rationalize everything in its own measure, but rather one arising in accordance with a view of per eption that was foreshadowed in the Renaissance and now developed by Cézanne to reveal the truth of the world through an examination of perception itself. Cézanne’s painting does not deny tradition, it is the result of it, and in a certain way it rethinks the entire history of perception. The aspect of his painting that does not stem from tradition is that which we do not learn and which no one can teach us: the poetics. Something that moves ungraspably through us. Cézanne’s doubt concerning his practice points to a conception of the world in painting that had not yet been instated, and Merleau-Ponty is spot-on in his observation that “the truth is that this work to be done called for this life.”4 When Cézanne dedicated himself to rethinking the perception of nature, he was correcting a gap, and realigning a deviation that had set in since the painting of Leonardo da Vinci. Cézanne reinvigorated painting in order to reinvigorate the gaze, the individual, and humanity itself, reinstalling man in his surroundings, in the environment in which he had always been immersed. Nothing in his painting is extraneous to this aim. The air has the same density as the mountain and the sky. All of the things lie within the subject, vibrating, and man vibrates in unison, being the same thing, and this is the locus of the body, and, as Ponty declares, the things are “an annex or prolongation of [the body] itself; they are incrusted into its flesh.”5 The blue brushstroke emanating from the player’s face harmonizes with another one that sweeps the air and with yet another withdrawn onto the playing card. Here and there are the same, simultaneously. It is a perception that imparts a uniform meaning to the world. I only consider it necessary to recur to questions about the work of Cézanne and Leonardo da Vinci in Ponty’s text to reaffirm painting as something beyond “visuality,” which is configured as a human complexity in the individual’s insertion in the world, that is, the result of impression, sensation and perception, touched on by the language developed by each artist, and which results in painting. In the same way, considering today’s painting as essentially visual, and recognizing time and thickness as simultaneous elements of its structural constitution, I propose that it be approached from the standpoint of Merleau Ponty’s ideas – taking into account that it is clear that the painter of today looks more at himself than at the world, establishing a significant difference between what Ponty thought and what is taking place in today’s production. Nevertheless, I hold that everything in current painting falls within the compass of his notion of thickness and flesh. As the present discussion concerns unfoldings of a continuum, developed based on the artist’s work in and of itself, it is necessary to provide some examples of painters whose work evinces this practice, by way of this so-called conventional mode of painting that can nonetheless express an entire lifetime as the driver of the work. Such examples most notably include Francis Bacon, Lucian Freud, Edward Hopper and Guignard. Each with his singular path that stretched across large-scale worldwide art movements which took place during his time, such as abstractionism for example. A priori, each of these artists would constitute an ideal for the analysis of every artwork based on painting as an individual experience. Precisely because they remained faithful to their own problems,

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regardless of what the historical movements were doing. They are artists who positioned themselves near the fringe of the great discussions, preferring a personal experience dedicated exclusively to painting as a means of reflection. The ideas implicit in the overall body of work produced by these artists are nearly sufficient for approaching such experiences as can only be obtained through painting in its most basic characteristics, as matter on matter, or paint on/together with the canvas. These artists unequivocally gave rise to an experience that has reverberated throughout the entire history of painting. There is no doubt that the creation of a language became the most consistent argument around what we can refer to as the perpetuation of a modality. The work of art exists as a poetics, and as mentioned above, a poetics is something that moves ungraspably through the artist and from the artist to the artwork; but even so, we will need to consider other artists whose work will help us to reflect on painting as a modality and vehicle for visual renewal. This medium that operates with visual and spatial elements, basically with color and form, requires an approach that is not limited to their socioeconomic, political and ideological aspects. In this sense, I consider painting as a phenomenological experience. It is painting that originates in the subject and seeks to interpret his presence in the world, whose structure of space and time entails a “thickness.” The same thickness that Merleau Ponty treats on in “Eye and mind.” The same thickness that Ponty finds in Cézanne’s paintings. Painting that presents a world integrated by layers of line and color, where surface and depth are distended to the point where we do not know where one begins and the other ends. This notion of flesh is the viewpoint from which Ponty opposes the Platonic world divided into a “sensible realm” and an “intelligible realm,” that is, a world in which everything is immediately seen. For Merleau Ponty, the world has “thickness.” He states: When through the water’s thickness I see the tiled bottom of the pool, I do not see it despite the water and the reflections; I see it through them and because of them. If there were no distortions, no ripples of sunlight, if it were without that flesh that I saw the geometry of the tiles, then I would cease to see it as it is and where it is – which is to say, beyond any identical, specific place… This inner animation, this radiation of the visible, is what the painter seeks beneath the words depth, space, and color.6 For him, painting is an art in strict relation with space, which “has made itself a movement without displacement, a movement by vibration or radiation,”7 that is, the image is able to suggest movements that are in the real world, as Ponty states, “the immobile canvas could suggest a change of place in the same way that a shooting star’s track on my retina suggests a transition, a motion not contained in it.”8 Along this path we can recognize a permanent value that is projected in the art produced currently, involving the same notion of “thickness” and “flesh” described by Ponty. However, this flesh encompasses no more than a material support, and we see this in current painting production, precisely because today’s painter looks less at the world and more at himself. Painting is a means by which the subject can arrive at the place where he can be that which is reserved for him; that which comes to him due to his own presence, by way of his individual pathos. Being in the world is becoming that which one is. Which is simultaneously apparent and unknown. For this reason, painting – among other elements in its process – deals with randomness, doubt, mystery and the irrational. To paint is to play without preestablished rules. And to possibly translate movements that are articulated within the work as the motor that powers it. The thing is not in the world, but in the subject. It is perhaps essential to observe that current painting production, without intentions to manifest the new, manifests its form of accessing contemporaneity, or the spirit of its time, the zeitgeist. The question we can ask is why continue painting in the conventional way, and the immediate response will be given by Francis Bacon, who, based on his process and reflection as a painter, stated: Why after the great artists, do people ever try to do anything again? Only because, from generation to generation, through what the great artists have done, the instincts change. And, as the instincts change, so there comes a renewal of the feeling of how can I remake this thing once again more clearly, more exactly, more violently. You see, I believe that art is recording. I think it’s reporting.9

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It is possible that art can be a report of its era, and this report can only be made by that era’s own artists. But what calls our attention in Bacon’s statement is that the “instinct” in its periodic renovation is what makes the report possible, or in other words, reclaims it. Painting would therefore be the vehicle that discerns the instinct. And this discernment is only possible because painting has been offering tools for a number of centuries. In this sense painting is something able to translate the renewed instincts, or that which gives the world its heartbeat, and which is also irrational. Perhaps the most important thing is for us to know that today we have a way to gain access to tools given specifically by painting, reflexive tools perceived and verified throughout the centuries of pictorial experience. Our attention is called to the fact that painting works with its own tools, independent and divergent from those of philosophy and science. For this reason I believe that painting today, done in the most conventional way, is above all a challenge in terms of working with a knowledge that relativizes the limitations of historiographic approaches as well as any attempt to pigeonhole painting only in technical terms. Notes 1 DA VINCI, Leonardo. Tratado de la pintura. Madrid: Espasa Calpe, 1956, p. 77. 2 MERLEAU-PONTY, Maurice. “Cézanne’s Doubt.” In: Sense and Non-sense. Northwestern University Press, 1992, p. 22 ff. 3 DA VINCI, Leonardo. Tratado de Pintura. Madrid. Espasa Calpe, p. 181. [Our translation into English.] 4 MERLEAU-PONTY, Maurice. “Cézanne’s Doubt,” op.cit., p. 20. 5 MERLEAU-PONTY, Maurice. “Eye and Mind.” In: Merleau-Ponty: Basic Writings, Thomas Baldwin ed., Taylor & Francis, Inc., 2004, p. 295. 6 MERLEAU-PONTY, Maurice. “Eye and Mind,” op. cit., p. 313. [Bold highlight ours.] 7 Ibid., p. 315. 8 Ibid., p. 315. 9 Francis Bacon, in interview with David Sylvester, in: STILES, Kristine and SELZ, Peter (eds.). Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, University of California Press, 1996, p. 201.

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SPACES OF IMMANENCE AND OPENING AT THE BIENAL DE CURITIBA Artur Freitas, Eliane Prolik and Simone Landal The experience of contemporary art depends to a large extent on an understanding of its contexts of appreciation. These contexts, understood as places of enunciation, range from the subtleties of immanent languages, such as abstract painting, to the public boldness of more expansive proposals, such as dialogic performances or urban interventions. In all these cases, the contexts for the enunciation of the language are not mere receptacles of the artworks, but an active part of the poetic set. Thus, by making the environment an effective component of the experience, the current artworks likewise incorporate all of their surrounding cultural dynamics, including the main symptoms of the contemporary crisis. For the Bienal de Curitiba, the following artists active in the state of Paraná were selected: André Rigatti, Cleverson Salvaro, Fábio Noronha, Felipe Scandelari, Fernando Burjato, Fernando Rosenbaum, Lívia Piantavini and Rimon, as well as the late Raul Cruz, as an honored artist. Despite their differences, this heterogeneous set of artists presents a refined and attentive thinking in regard to the general problems involved in recent artistic production. Overall, we can say that they are all interested in the various ways that artworks are related with their material, perceptive and political contexts, and that these operate, above all, in two manners: at times by affirming the circumscriptions of their perception – the “immanent spaces” – at others, incorporating the specificities of their surroundings – the “open spaces.” In the first case, we perceive the important role that contemporary painting has been playing in the universe of the immanent spaces. In this trend, we have, first of all, the work of Raul Cruz, an important pictorial reference for the most recent generations. The artist’s work was developed in the 1980s and early 1990s. Before dying very young of AIDS, Raul Cruz worked with painting, drawing and printmaking as well as in the field of theatrical production as a costume and set designer, author and director. He was interested in the sort of dramatic impasse that can shed light on an extreme, fragile and fleeting lucidity such as death. According to the artist: “Death is the beginning, not because it is the beginning of another life, but because it is the moment that you begin to see life, and for me this is like the moment of conceiving a work of art.”1 Raul’s figuration is of a synthetic, concise and perturbing nature, constituted by a personal and symbolic poetics. The painting, taken as an object, portrays the uneasiness of the canvas; it compacts the image in a simplified, shallow and flattened space. In his last series of paintings from 1990, the color appears almost as though it were cut out from the plane of the canvas, accentuating the interweaving of the background and the lighting, which is reinforced by the use of sgraffito or drawings made by the removal of paint. In his graphic work of Indian ink drawings and linotypes, the white of the paper attacks the gaze as intensely as the line inserts personas and specters. Raul Cruz has garnered significant recognition in Curitiba’s art circuit. Nevertheless, the influence of his work in the production of later artists has been very subtle, especially in experiments of drawing, printmaking and street art. The other pictorial poetics present in this exhibition seem to take the discussion of painting itself as a primordial element. For more than a decade, Fernando Burjato has been developing an approach to painting as a reflective practice in which the elements of the language itself form the basis of a silent dialogue with tradition. The rigid, regular support is tenuously highlighted in contact with the plasticity of the paint, which is extended beyond the limits of the canvas to gain precarious contours, reminding us that the apparently flat skin of the painting is the outer lining of a three-dimensional body. The paint does not run, nor is it the result of expressive impulses; rather, it is arranged in somewhat regular layers, in a composition that is structured in the pictorial procedure itself, configuring a space that seems to advance in the direction of the gaze. In other works the forms resulting from this process bear some similarity to images from other media, as an obscure allusion to the idea of the absence of content, reiterating the notion of concrete art in the contemporary context.

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André Rigatti considers painting in its various transitions, which include its continuity in relation to the surrounding space. With the aim of going beyond the plane, the pictorial material follows the inner flow of its making, which involves subtleties in the differentiation and registers of layers, in the guiding of light with brushstrokes, and in the choice of colors perceived with a certain ambiguity. His works in oil paint on paper present tenuously demarcated lines and thinned areas near the edges. In its horizontal format, in a distant reference to the landscape, his painting is a spreading frontal field that objectifies the surface and its thicknesses. A horizontal tension can also be identified in the work by Lívia Piantavini, in light of a filling of the space with repetitive brushstrokes, in the same direction, delimiting areas that are interrupted in a nearly mechanical way by others, produced with masks. While in André Rigatti’s works certain focal points accompany the edges, in Lívia Piantavini’s painting we see forms that are vaguely recognizable at first, originating in the silhouetted drawings of bodies that occupy the central region of the image. The synthesis achieved in each work results from exhaustive experimental processes, which generate a singular dialectic situation between what is normally considered as a finished work as opposed to its first drafts. If in the production of Fernando Burjato, André Rigatti and Lívia Piantavini there is a pictorial suggestion of continuity to the space outside the canvas, Felipe Scandelari’s painting tends to concentrate the viewer’s gaze within the canvas’s four borders. Resorting to referents from the universe of painting, the artist works on the composition as an act of organizing these elements in space, one after another, in an image that recalls photography but which is offered quickly to the gaze as a pictorial act. The practice of painting per se seems to be the driving element in the artist’s work, as suggested in the series of drawings, where we follow the line that delimits the representation of the author, the canvas, and the painting’s context. The work by Felipe Scandelari reminds us of the pleasure that can be associated with art, of the sometimes disinterested enjoyment of its making and appreciation. On the other hand, some proposals of artists from the state of Paraná present at the Bienal de Curitiba work in the register of an “open space,” understood here as a space of transcendence, a sort of exploration of the modes by which the artworks are related with their physical, symbolic and institutional surroundings. In this register, we find the works of Cleverson Salvaro, Fábio Noronha, Rimon and Fernando Rosenbaum, artists for whom the borders of an artistic proposal are not restricted to the immanence of its material counterpart. The existence of these creators’ poetic action does not depend on its own activation, but rather on that of the places and conditions where it will eventually be enounced and shown. With the work Désir: ou o buraco é feito com faca [Desire: Or the Hole Is Made with a Knife], Fábio Noronha investigates the overlaying of languages, exploring the relations of analysis and synthesis, of systole and diastole, which for a long time have anchored our interpretations concerning collage, montage and appropriation. Crossing images and sounds from different sources, the artist acts on the interval that we conventionally believe to exist between art and technical images. He does this by way of references from these two worlds, alluding to the relations these references bear with the spaces where they are normally shown. Shown in a movie auditorium, Fábio’s work openly deals with what Philippe Dubois called the “cinema effect” of contemporary art, stirring the expectations of museum visitors and film lovers alike, while nonetheless questioning the certainties that conventionally separate the rituals of film from those of video art. For other creators, however, the immanence of the images is only significant when it overflows, expanding the limits of the art circuit toward the wider and turbulent world of the city. Thus, if in Cleverson the borders of the poetic gesture are constructed in the criticism of the museological structure, and in Fábio the privileged place of the museum as a space of visibility is made to clash with the cinematographic device, in Rimon it is the aesthetic vitality of the metropolis itself that is imposed. In the spaces of the city, scale is a form of ideology, and the artist is not immune to this truth. Amidst the noisy bustle of downtown Curitiba, a huge black king looms on the side wall of a building. From primitive to pop, from the Afro identity to the throbbing universe of graffiti, Rimon’s image is open to the surroundings in ceaseless movement, like a god of the city, observing the curious and awestruck reactions of the passersby.

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Baiuca, by Fernando Rosenbaum, provides a sensorial experience of dwelling or the home, installed together with various urban situations. The work invites people to enter, creating their own uses, thus favoring an aspect of intimacy, of relations and exchanges in a circumstance that is public and problematized. His inflatable Baiuca, made of translucent plastic, is a nearly geodesic construction of joined equilateral triangles, coupled to a blower unit. Mobile and light, it has its own, pleasant atmosphere. Externally, the work is striking when placed near buildings, on sidewalks, in parks, squares, or grassy areas, and tends to shelter the subject for the exercise of possibilities of a collective body. Note 1. Statement by the artist in an interview with Denise Bandeira and Eliane Prolik, in 1988.

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auguste françois in paraguay (1894-1895) Adriana Almada Un poète doit laisser des traces de son passage, non des preuves. Seules les traces font rêver. René Char Auguste François was consul of France in Paraguay from 1894 to 1895. When not focused on his diplomatic role, he devoted his time to his passion for photography. The images he captured during his brief time in this country constitute an invaluable graphical testimony of Paraguay at the end of the 19th century. From his letters and testimonies it is possible to reconstruct his profile as a 19th century traveler, curious enquirer and lover of adventure: strong and refined, fond of costumes and rituals, very aware of the vulnerability of human condition and the precariousness of power. His frequently controversial figure has given rise to numerous publications.1 To counteract the abrasiveness of political life, Auguste François took refuge in the sumptuousness of nature. Photographing was part of his life philosophy… as much as diplomacy or hunting. He avidly collected objects,2 faces, situations; he considered photography as a document of reality. In one of his letters he says: “My succession of crocodilesque scenes owes nothing to the imagination. Nothing is more realistically sincere than the instant camera. There are completely yellow trees just with flowers -of unknown aspect- and no leaves, other trees are totally violet, and there are capybaras and amphibian boars with heads like rats.”3 Today we observe that his images do not reveal reality as much as they do the subject photographing. They say more about the photographer than his portrait. We do not see his exterior, instead we share his vision: for an instant we are inside him. That is why photography cannot be neutral and the image is not a story in itself. As Didi-Hubermann explains so clearly “a butterfly: an image is something alive and that only discloses its capacity to tell the truth during a fleeting moment.”4 19th century photography was associated with the cataloguing spirit of Europe in those times, i.e. it was a continent venturing into continuous colonial expansion, of which Auguste François’ vision was a part. We can extract a great deal of information from each of his images, not only because of what they display, but also because of what is left unsaid. Looking through his images as if a handwritten document, stroke upon stroke -some well-defined and others lost in the mist- thanks to his “clues” an entire society springs to life. There are hints of the González Colony –focus of the episode which led to the abrupt end of his mission in Paraguay- allowing to peek into the life of hundreds of French men trapped in the middle of the jungle: vast extensions of cleared land, pastures in the foreground and the small figure of a man delineated against the background of the picture. More clues are offered in the sequence on the Toba indigenous people, result of a casual encounter during a hunting trip in the Gran Chaco. The Toba do not seem individualities –maybe because of the difficulty of attaining moment of closeness with thembut part of the natural and social landscape. Looking at this unexpected sequence, the eyes return over and over to the same place, reluctant to abandon the scene, searching for subtleties, always attempting to delve farther and farther: encore, encore. Auguste François was part of the incipient photographic tradition that had assimilated the experiences of painting; so it is surprising that very early on his images pertain to the reportage genre. Other images appear as part of a recording: there is no pose, only a split second frozen in time: a girl running, a boy diving into the water. Says Bauret: “In a self-portrait the person attempts to recognize him/herself.”5 Auguste François took photos of himself with different attributes and developing, as was customary, the art of the décor. He was aware of his own image and today we could consider him as a photo-performer. We will

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never know whether he was committed to creating a work of art or if he was simply collecting clues. Indeed, his photos of Paraguay are part of his letters, which show his extraordinary literary talent. We might also could consider these images as a single long visual narration of his time in Paraguay. His letters are proof of prolonged observation of beings and things as though a magnificent landscape: rivers and plants, man and beast. Little do we know of the technique and materials he used in Paraguay.6 Perhaps he worked in the same way as Guido Boggiani,7 exposed to the elements and in makeshift workshops. This exhibition at the Museu da Fotografia shows an album of Auguste François dated 1894. It includes 36 original photos, about twenty glass plaques, his “carte routière”, contemporary copies, a documentary slideshow and unprecedented images of Río de Janeiro captured by the consul during his trip to the River Plate.8 Notes 1 Among them: L’oeil du consul, Le Chêne, 1989 and Le Mandarin blanc, Souvenirs d’un consul en Extrême-Orient 1886-1904, l’Harmattan, 2006. The following have been recently published: Auguste François en Paraguay, Fondec-Alianza Francesa-Fausto, Asunción, 2011, and Le Consul qui en savait trop, Les ambitions secrètes de la France en Chine, Désirée Lenoir, Nouveau Monde Éditions, 2011. 2 During his mission in Paraguay Auguste François collected diverse objects and documents, some of which are preserved in the Quai Branly Museum and others in the Guimet Museum. 3 Auguste François, letter to Raymond Lecomte, 1894. 4 Pedro G. Romero. Entrevista con Georges Didi-Huberman, Madrid, Círculo de Bellas Artes, 2007. 5 Gabriel Bauret. De la fotografía, Buenos Aires, La Marca, p. 71. 6 There is more information on the equipment that Auguste François used in China as of 1896. He had seven different devices: 18 x 24, 9 x 12 and 6 x 9 tripod cameras, plus a 4.5 x 6 handheld camera and binoculars for stereoscopic photography. The consul developed and made his own copies in makeshift laboratories using reeds and a wooden box as a dark room. He had met León Gaumont with whom he maintained correspondence and whose inventions he experimented with. As of 1901 he made cinematographic sequences. [Information provided by Pierre Seydoux]. 7 Guido Boggiani (1861-1902), painter, photographer and Italian ethnologist, traveled deep into the Paraguayan Chaco where he took an incomparable series of photographs of the Caduveo indigenous peoples. They interpreted his work as witchcraft and killed him. 8 This exhibition has been organized thanks to the support of the French Embassy in Paraguay. The original photographs, glass plaques, map and slideshow are exhibited on this occasion thanks to the heirs of Auguste François and the good offices of Annick Bienvenu who has collaborated in the curatorship and organization of this exhibition.

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crĂŠditos credits

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6ª VENTOSUL – BIENAL DE CURITIBA ALÉM DA CRISE

Comunicação Internacional

Conselho de Honra

Curadoria Geral

Web Design

Alfredo Meyer Antônio Pereira da Silva e Oliveira Ernesto Meyer Filho Guilmar Maria Vieira Silva Idelfonso Pereira Correia Jorge Hermano Meyer Lívio Abramo Raquel Liberato Meyer Túlio Vargas

Alfons Hug e Ticio Escobar

We3 Online

Co-Curadoria

Equipamentos e Instalação

INSTITUTO PARANAENSE DE ARTE

Adriana Almada e Paz Guevara

Connect Net

Curadoria Brasil

Produção em Vídeo

Alberto Saraiva Curadores Convidados

Presidente

Artur Freitas Eliane Prolik Simone Landal

Ana Luisa Pernetta Caron

Curadoria do Projeto Educativo

Diretora Secretária

Denise Bandeira Sonia Tramujas Vasconcellos

Luciana Casagrande Pereira

Luiz Ernesto Meyer Pereira Diretor de Planejamento e Ação Cultural

Luciana Casagrande Pereira Presidente da Comissão Organizadora

Luis Gustavo Tortatto Diretor Administrativo-Financeiro

Karen Monteiro

Luiz Ernesto Meyer Pereira

Destilaria do Audiovisual Guilherme Artigas Lagoa Marketing Cultural Seguro de obras e equipamentos

Affinitè Consultoria de Seguros Aon Artscope Transporte e embalagem de obras de arte

André Chenue MTAB Transport & Spedition AB ATI Kunsttransporte GmbH Transporte e logística

G – Inter Transporte

Diretor Geral

Solange Lingnau Gerente Geral

Solange Lingnau Gerente Geral

Equipe

Eron Moreno Chagas Rocha

Ângela Ceccatto

Design Gráfico

Consultora em Planejamento

Gestão da Informação

Vanessa Cunha

João Marcos de Almeida

Assessora de Comunicação

Contabilidade

Karen Pereira Gomes Santiago

Mônica Telma Neves

Comunicação

Coordenadora do Projeto Educativo

Editor

Alfons Hug Luiz Ernesto Meyer Pereira Paz Guevara Ticio Escobar Colaboração

Lilian Granato

“Auguste François en Paraguay”

Adriana Almada Alberto Saraiva Guilherme Henrique Martini Melina Valente Sandra Lyra Solange Lingnau

Produção

Tradução

Ana Rocha Igor Dantas Mateus Farinon Ferrari de Souza Melina Valente Raul Fuganti

Chris Ainsbury John Norman Maria Eugênia Gómez Holtz Galvão Ralph Miller Jr. Robert Culverhouse Victoria Brown

Renata Albuquerque Assistente do Projeto Educativo

Assistência

Deocélia Costa Martins Thierry Piovezan Soares

Instituto Paranaense de Arte

Coordenação

Guilherme Henrique Martini

Secretaria

CATÁLOGO

Annick Bienvenu Pesquisadora e colaboradora curatorial

Conselho Consultivo

Miguel Briante Presidente de Honra em Memória

Denise Pereira Guimarães Presidente Membros

Claude Bélanger Denize Corrêa Araujo Eduardo Fausti Emmy Julia Gofferjé Pereira Oliveira Mario Pereira Michele Moura Sandra Meyer Nunes

Projeto Museográfico

Arquiteto Daniel Gustavo Trento Arquiteta Ticiana Papel Weiss

Revisão

Rosalina Gouveia Vanessa Carneiro Rodrigues

Soft & Stylo Produção Museográfica

Projeto Gráfico

Heloisa Faria | 19 Design e Editora Montagem

Design

Fernando Braga | 19 Design e Editora

Membros

Cynthia Mari Castilho Vinicius Viana Correa Franciele Coning Emerson Rogoski

Geni Aparecida Motin José Otávio Panek

Jaime Silveira

Conselho Fiscal

André Carnascialli Presidente

Direção de Fotografia

Luiz Carlos Brugnera Fotografia

Comunicação Visual Assistentes

Camila Ribeiro Marcell Boareto

Claiton Biaggi Gill Konell Ricardo Almeida Vanderson José Phillippus Juliana Ceccatto Editora do Guia da Bienal

Assessoria Jurídica

Alceu Carlos Preisner Jr. Gustavo Bonini Guedes Luiz Fernando Casagrande Pereira

Maira Pedroso Projeto Gráfico do Guia da Bienal Impressão

Assessoria de Imprensa

Lide Multimidia

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Gráfica Tuicial

AGRADECIMENTOS – AUTORIDADES Dilma Rousseff Presidente da República Federativa do Brasil

Gleisi Hoffmann Ministra Chefe da Casa Civil

Myriam Lewin

Beto Richa

Diretora Executiva da Funarte/MinC

Governador do Estado do Paraná

Francisco de Assis Chaves Bastos (Xico Chaves)

Flávio Arns

Diretor do Centro das Artes Visuais da Funarte/MinC

Vice-Governador do Estado do Paraná e Secretário de Estado da Educação

Carlos Carboni Chefe de Gabinete do Ministerio da Chefia da Casa Civil

Ana de Hollanda Ministra da Cultura

Secretário de Estado da Comunicação Social – SECS

Andressa Fabrini Assessora Especial do Ministerio da Chefia da Casa Civil

Antonio de Aguiar Patriota Ministro das Relações Exteriores

Ministro das Comunicações

Secretário de Estado da Cultura – SEEC

Chefe de Gabinete – MC

Diretora-Geral – SEEC

Secretário Executivo – MinC

Assessora da Diretoria-Geral – SEEC

Maria José Gonsalves Ferreira Chefe de Gabinete – SEEC

George Torquato Firmeza Diretor do Departamento Cultural – MRE

Américo José Córdula Teixeira

Regina Iório

Ministra Eliana Zugaib Secretaria-Geral das Relações Exteriores

Victor Ortiz

Valéria Marques Teixeira

Embaixador Hadil Fontes da Rocha Vianna Subsecretário-Geral de Cooperação, Cultura e Promoção Comercial

Leones Dall’agnol

Paulino Viapiana

Embaixador Ruy Nunes Pinto Nogueira Secretário-Geral das Relações Exteriores

Paulo Bernardo Silva

Marcelo Simas do Amaral Cattani

Joana Corsi Secretária do Gabinete – SEEC

Secretário da Identidade

Joaquim Pedro

e da Diversidade Cultural-SID/MinC

Chefe da Divisão de Operações

Maurício Stunitz Cruz

de Difusão Cultural do DC – MRE

Coordenador de Incentivo Cultural – SEEC

Lucas Nardy de Vasconcelos Leitão

Rosina Parchen

Divisão de Operações de Difusão Cultural do DC – MRE

Coordenadora de Patrimônio Cultural – SEEC

Mário Antonio de Araújo

Thaísa M. Teixeira Sade

Coordenador da DIVULG – MRE

Coordenação de Comunicação – SEEC

Ana Beatriz Nogueira de Barros Nunes

Christine Vianna Baptista

DIVULG

Coordenadora do Sistema Estadual de Museus

Embaixador Sérgio Luiz P. Bezerra Cavalcanti

Renata Mele

Chefe do Escritório de Representação

Chefe da Coordenadoria de Ação Cultural – CAC/SEEC

Henilton Parente de Menezes Secretário de Incentivo e Fomento á Cultura – SEFIC/MinC

Kleber da Silva Rocha Diretor de Incentivo à Cultura – SEFIC/MinC

Maristela Rangel Pinto Chefe de Gabinete da Ministra da Cultura – MinC

Carla Cristina Marques Coordenadora do Fundo Nacional de Cultura – MinC

Vicente Finageiv Filho

do MRE no Paraná (EREPAR)

Rita Solieri Brandt

Coordenação-Geral de Análise de Projetos de Incentivos Fiscais – SEFIC/ MinC

José La Pastina

Coordenadora de Desenho Gráfico – SEEC

Superintendente regional da 10ª SR/IPHAN/PR

Antonio Grassi

Faisal Saleh

Presidente da Funarte/MinC

Secretário de Estado do Turismo – SETU

Luiz Alberto de Paula Lenz César Diretor Geral – SETU

Gilmar Carlos da Silva Chefe de Gabinete do Secretário – SETU

Thaísa M. Teixeira Sade Coordenação de Comunicação – SEEC

Deise Maria Fernandes Bezerra Coordenadora de Planejamento Turístico – SETU

Sônia Rosana Pereira Da Silva Zanetti Chefe de Gabinete – SECS

Fabrício Ferreira Diretor-Geral – SECS

Elvira Maria Cydega Russi Coordenadora do Cerimonial e de Relações Internacionais - CCRI

503

Luciano Ducci

Comunicação Social

Prefeito de Curitiba

Mariana Leodoro Coordenadora

José Antônio Andreguetto Chefe de Gabinete do Prefeito

Claudio Pacheco Assessor do Prefeito

Atos Meyer Costa Assessor do Gabinete

David Campos Secretário de Comunicação Social

Heloisa T. Guernieri Departamento de Marketing e Propaganda

Eduardo Lopes Pereira Guimarães Secretário de Relações Internacionais

Lara de Lacerda Santos Rodrigues Departamento de Relações Internacionais

Maria do Carmo C. Távora Departamento de Cerimonial

Equipe

Alice Cristina Rodrigues Ana Luzia Gori Palka Miranda Carla Anete Berwig Eloina do Rocio de Lima Padilha Luciene Regina Siqueira Sandra Born Sandra Ester dos Santos Sandra Mara Bezerra de Oliveira Karen Monteiro Layra Olsen Leila Moreti Luiz Antonio Cequinel Marceline Achcar Mariana Priscila de Lima e Silva Liliane Casagrande Sabbag Secretária Municipal da Educação

Adriane Aparecida Mayer Seixas Pombeiro Chefe de Gabinete

Maria Cristina Brandalize Departamento de Logística

Maria Jose Ripol Diniz Serenato Departamento de Ensino Fundamental

Marilza do Carmo Oliveira Dias

FUNDAÇÃO CULTURAL DE CURITIBA

Secretária Municipal do Meio Ambiente – SMMA

Maria Lúcia Rodrigues Chefe de Gabinete

Roberta Storelli

Renato Antonio Nicolau dos Santos

Presidente

Departamento de Parques e Praças

Sônia Rosana Zanetti

Mário Yoshio Tookuni

Chefe de Gabinete

Secretário Municipal de Obras Publicas – SMOP

Feres Merhy Neto José Roberto Lança

Chefe de Gabinete – SMOP

Superintendente

Carlos Roberto Costacurta Superintendência de Implantação de Obras Urbanas – SMOP

Ana Maria Hladczuk

Hirotoshi Taminato

Diretora de Incentivo à Cultura

Departamento de Edificações – SMOP

Janine Malanski

Cléver Ubiratan Teixeira de Almeida

Diretora de Ação Cultural

Presidente do IPPUC

Maria Angélica da Rocha Carvalho

Assessoria de Projetos – IPPUC

Diretora Administrativa e Financeira

Celia Regina Bim Ana Lucia P. S. Ciffoni Patrimônio Cultural – IPPUC

Marili Azim Diretora de Patrimônio Cultural

Héliomar Jérry Dutra de Freitas Assessoria Jurídica

Loismary Pache Assessoria Especial Assessoria às Diretorias

Alexandre Henrique Sferelli Ana Vaz Diani Eiri Camilo Mossato Maria Aparecida Dedini Maricléia Kamaroski Rosana Maria Melo Silvia Regina do Prado Guinsk Zilá Maria Walenga Santos Roberto Alves Coordenador de Artes Visuais

Flávio Miyake Coordenador Administrativo

Carlos Sergio Serena Chefe do Setor de Transporte

504

Reginaldo Reinert – IPPUC Juliana Vellozo Almeida Vosnika Presidente do Instituto Municipal de Turismo de Curitiba

Valéria Marcondes Rolim Chefe de Gabinete

Colmar Chinasso Filho Superintendência

Adriane Vortolin Gerente de Turismo

Marcos Valente Isfer Presidente da URBS

Sérgio Souza Senador

Henrique Eduardo Alves Deputado Federal

Hermes Parcianello Deputado Federal

AGRADECIMENTOS ESPECIAIS Abonico Smith Adinei Lopes Adriana Cardoso C. Roehring Adriana de Cunto Adriane Perin AdrianeWerner Adriano Eduardo Hellwig Adrylles Jacomelli Adylles Daiane Gomes Alaor de Carvalho Alberto Irochi Alberto Puppi Alcindo Cordeiro da Silva Aldo Carvalho Aldo Ribeiro Alejandro Siqueiros Alexandre Mandarino Alexsandra Bentemuller Algacir Miguel de Souza Alice Varajão Alicia Lago Alicia Piquer Sancho Aline Nunes Ana Amélia Cunha Pereira Filizola Ana Carolina Oleski Ana Célia Madeira Ana Correa Ana Lemos Ana Luisa Pernetta Caron Ana Paula Delchiaro Ana Paula Pires Anael García Andrea Bell Andrea Giunta Andréa Rosa Villar Andrea Silva Andréia Sousa Angela Barbour Angélica de Moraes Angélica Salazar Pessoa Mesquita Anna Paula Franco Annalice Del Vecchio Annick Bienvenu Anselma Juliana Rojas António Carlos Pereira Alves Junior Antônio César Ferreira Antônio Felipak Aracilba Alves da Rocha ArioTaborda Dergint Arnaldo Valenhes Junior Aroldo Glomb Ary Cândido Martins Filho Avtar Singh Augusta Barbosa Augusto Mylla de Carli Beatrice Asamy Esmanhoto Bebel Ritzmann Bernard Seydoux Blenda Carla Vissoci Biblioteca do DEAP, Curitiba Brennan Wadlington Elston Bruno Marcelino de Oliveira Camila Fernandes Brito Cannelle Pdehetazque Carlos Alberto Damião Carlos Aurélio Miranda Carlos Cervantes Portugal Carlos Henrique Custódio Carolina Gomes Carolina Rodrigues de Araújo Carolina Trancucci Mulaski Carolina Wadi Caroline Marzani Cecília Brosig Cecília Pavan

Cecília Ribeiro Cecília Suzuki Célia Penteado Celina Alvetti Celso Fioravante Celso Taverna Cesar Pedro Faturi Charles Passos Charo Otegui Pascual Christina Pannos Cidinha Marcon Cíntia Alves Claiton Biaggi Clarice Roman Clarissa Freitas Cezar Claude Bélanger Claudia Márcia Vilaça de Paiva Claudia Matias Claudia Pereira Claudia Pimentel Cláudio Feldens Cláudio José Dalla Benetta Cláudio Manoel da Costa Claudio Rodrigues Constantino Oliveira Júnior Cristiano Castilho Cristiano Freitas Cristina dos Santos Cristina Herrera – Teatro Cleon Jacques Dagoberto de Moura Daniel Klemm Danielle Brito Danila Hadas Dante Alberti Davi Pereira Ferreira David Renó Dayane Hadas Debora Pill Deborah Alves Deise Lucide André de Nora Souto Délio Cezar Cunha Canabrava Denise Bellani Denise Bulgarelli Denise Nardi Denise Pereira Araújo Didonet Thomaz Dimitri do Valle Diogo Santos Doriane Hadas Abage Dorival João Hadas Dorota Barys Douglas Dalmina DudsonSeraine Dulphe Pinheiro Machado Edgar Bueno Edgar Ospina Edmilson Campos Edson Tadayoshi Nachi Eduardo Cançado de Oliveira Eduardo Correa Eduardo Fico de Castro Eduardo Slaviero Campos Edvania S. Leite Edymara Barbosa Elaine Corbo Elayne Soares B. Lima Elba Benítez Elder Luzia Bedendo Eleana Paula de Oliveira Eliana Pereira Eliane Costa Elisabeth Moreira Elivino Jubainski Eloisa Ferrari Lozano Emerson Augusto Afonso Emerson da Silva Emerson Destro

Emerson Ferrari Emílio Fernando Martini Emily Letourneau Eoclides Brugnera Ermínio Gatti Evandro Fadel Ewerton Antunes Fabiana Guedes Fabiana Macagnan Fabiana Rodrigues Fabiane Tombely Fabiano Losso Fábio Campana Fábio Massalli Fátima Bernardeli Fátima Lopes Fátima Pontes Coutinho Felipe Mylla de Carli Felipe Tippa Félix Suazo Fernanda Alievi Fernanda Cecco Fernando Amarante Fernando Bini Fernando Galán Fernando Teodoro Flávio Cerqueira Flavio César Antunes Francielle Cassou Francisco Ruiz de Infante FranciscoAlves dos Santos Franco Pereira Ferreira Franziska Cordes Gabriela Brandalise Gabriela Silva Gabriela Vargas Genara Vera Escobar Gerardo Cejas Gilberto Barros Gilmar Dammski Gilberto Eder de Lima Gilson Schievenin Giselle Goedert Gonzalo Mazzafero Gilmet Guaianases Knoll Malinowski Guilherme Cunha Pereira Guilherme Guimarães Araújo Guilherme Ossani Marks Guillermo Machuca Hebe Negrão de Jimenez Hector Zamora Helder Bollmann Helena Rosa Brugnera Henrique de Araújo Herbert Speridião Ribeiro Heriberto Cano Arias Herivelto Oliveira Hudson José Humberto Mezzadri Iaell Meyer Iara Maggioni Ieda Martins Ilson Almeida Ilya Pereira Raffo Inés López-Quesada Ingrid Meier Ingrid Meira Ingrid Sato Meira Bardella Irinêo Netto Isabella Quartarolli Ithyara Tainá Ivanilde Maria Tíbola Iza Zilli Izabel Ribeiro da Silva Izabela Maciel Jader da Rocha Jaime Lerner

Janine de Campos Jarito Marinho Javier Aparicio Jayelle Hudson Jean Tossin Jeferson Fracaro Jeferson Gama da Silva Jerson Rodarte Joabe de Moraes João Adolfo Oderich João Carlos Destro João Carlos Rosas Neto João Destro João Evangelista de Andrade Filho João Guilherme Leprevost João Somma Neto Joel Malucelli Johan Tamer-Morael Johann Nowak Jônatas de Paula Jorge Luiz Zelada Jorge Miguel Samek José Antônio da Bárbara José Antônio Gaeta Mendes José Antônio Muniz Lopes José Aparecido Barbosa José Emidio Guimarães José dos Santos Malta José Jacinto do Amaral José Marcos Formighieri José Roberto Bueno José Sérgio Gabrielli de Azevedo Joseane Eliza Martins Josélia Salome Josiane Alves Josianne Ritz Josilena Zanello Gonçalves Joslei Barrozo Joyce Bisca Judet Bilibio Haschich Juliana Girardi Juliana Landgraf Juliana Monachesi Juliana Perrella Longo Juliana Silvério Juliano Breda Julio Cesar Fernandes Julio Ricardo B. Linhares Juril de Plácido e Silva Carnascialli Karina Couto Moraes Ramalho Karina Mendonça Karina Muniz Viana Kátia Michelle Kátia Sfisch Kátia Velo Kátia Zucolotto Kely Bolinelli Kiyti Hatori Kristhyan Natal Lana Sganfredo Larissa Fernandes Larissa Moutinho Laura Fagundes Lauro Cavalcanti Lavinia Spinelli Lázaro de Mello Brandão Lena Seganfredo Leonardo Petrelli Letícia Florence Letícia Leite Lícia Olivieri Ligia Otavio do Amaral Dergint Lílian Cristina Lineu Araújo Lima Lorena Furuzawa Lorena Pelanda Lotte Møller

505

Louise Zeni Lucas Fernandes Luciana Brito Luciana Guimarães Luciane de Fátima Scheller dos Santos Luciano M. Pietro Biaggi Lucinéia Machado Lucy Amélia Salles Ludmila Potrich Luis Carlos do Nascimento Luis Carlos Placha Luís Felipe S. Silva Luis Müssnich Luiz Aguiar Luiz Carlos Brandão Cavalcanti Jr. Luiz Carlos do Nascimento Luiz Fernando Casagrande Pereira Luiz Gustavo Vidal Luiz José Bacha Rizzo Luz Amarily A. Espinoza Magali Bernal Magali Madalosso Magdalena Moreno Mara Lucia Gasparini Martini Mara Rejane VicenteTeixeira Marcelo César Teixeira Marcelo Fonseca Ferreira Marcelo Henry Fabri Marcelo Moradore Marcelo Silva Rocha Marcelo Teixeira Marcia de Moraes Márcia Toccafondo Márcio Artur Laurelli Cypriano Márcio Renato dos Santos Marco Aurélio Guimarães Marco Mello Marcos Antônio Batista Marcos Augusto Verri Marcos Aurélio Ramos Marcos Gallon Margarita Sansone Maria Carla Guarinello de Araújo Moreira Maria Cristina Garcez Souza Maria Cristina Valentim Maria de Lourdes B. Behrensdorf Maria Eliza Sganserla Maria Flávia Gadone Costa Maria Guida María Montero Sierra Maria Regina Mariana Gotardo Mariana Pabst Martins Mariana Pereira Rodrigues Mariana Zimmerman Borhausen Marici de Mello Silva Mariko Sakamoto Marilia Bobato Marina de Lucca Nucci Mario Pereira Mario Sergio da Costa Ramos Marize Duarte Marlene Casagrande Pereira Marleth Silva Marta Rincón Areitio Mary Schaffer Marzia Lorenzetti Masimo Dela Justina Massimo Lorenzetti Maura Torres Mauricio José Beira da Silva Mauro dos Santos Mauro Geraldi Maximo Carrara Maximo Lorenzetti Mayra Almeida Merielem Moura Mota

506

Miguel Colasuonno Milena Faria Emilião Mônica Fort Mônica Rischbieter Nadja de Carvalho Lamas Nadyesda Almeida Bonet Nájia Zerbetto Furlan Natália Janaína de Sampaio Nayshara Juszczah Neide C. C. Pereira Guimarães Neide Conceição Calixto Nelci Roque Stefanel Nelson Kava Josef Nelton Friedrich Nemécio Müller Nivaldo Barbosa Nury Montserrat González Andreu Osmar Dias Osvaldo Salerno Otaviano Guedes Paola de Orte Pascale Bureau Patrícia Cipriano Patrícia Elias Pisani Patrícia Garcia Martins Patrícia Moskwyn Patricia Silva Patrícia Vieira Paulo Cesar Teles Paulo Eduardo D’Ávila Isola Paulo Hubner Paulo José Assunção Baia Paulo Petrini Paulo Pimentel Paulo Reis Paulo Roberto F.Camargo Paulo Vilberto Vilela de Araujo Paz Pérez Catalá Pedro Alípio Nunes Pedro Antonio Martini Pedro França Pedro Ribeiro Penha Cristina Gomes Costa Pierpaolo Nota Pierre Seydoux Pilar Gómez Gutiérrez Priscila Hubner Prof. Nadja de Carvalho Lamas – Univille Profa. Dra. Patricia Dalzoto Rachel Belle Rafael Bombonatti Rafaela Salomon Rayne Wilder Reginaldo Armstrong Reinaldo Bessa Reinaldo Virmond Lima Neto Rejane Martins Pires Renata Fiori Renata Larcher de Araújo e Souza Renato Campos Renato Sbardelotto Felix dos Santos Rennos Xippas Ricardo Caresia Ricardo Sardenberg Ricardo Torquato Ricardo Trevisan Ricardo Woitovicz Rita Maria Amparo Ivoti Ortega Robert Amorin Roberto Ricardo Roberto Valdir Rodrigo Araújo Ferreira Rodrigo Barrozo Rodrigo Juste Duarte Rodrigo Rodrigues Rodrigo Soeiro Ubaldo Rogério Mazini Pereira de Souza

Rogério Romano Bonato Ronaldo Dalmolin Ronaldo Santos Paz Rosemeire Odahara Rosilene Magalhães de Souza Ruth Lingnau Ruy Barrozo Sabrina Souza Santiago Montiel Sérgio Schurça Shana Adayme Sidnei Silveira Silvana Aparecida Magno Silvia Ortiz Silvia Prado Silvia Renata Canabrava Silvia Tereza Paz de Goes Silvia Zanella Silvino Iagher Simone de Souza Simone Portela Brugnera Sirlei Salvadori Coelho Sonia Beatriz Sonia Regina Pereira Sonia Rosa Stella Winikes Susane Teixeira de Deus Bueno Suzete Venturelli Syonara Patrícia Thomé Beira da Silva Tânia Bloomfield Tânia Cristina de Assis Tatiana Cardoso Lima Tatiana Farhat Tatiane Gayas Teresa Cristina Lorenzetti Terezinha de Campos Tucca by Night Ulisses Biselli Vadi dos Santos Valeria Schwarz Valia Garzón Vanelirte Moretto Vanessa Tomich Vera Liberato Meyer Pereira Vera Regina Gelio Vicente Martinez Virgínia Conceição Pontes de Menezes Vivian Cohn Viviane Busato Viviane Oliveira Wagner Silva William Batista Willian Dias dos Reis Jr. Wilson de Araújo Bueno Wilson Santarosa Wilson Serra Zenaide Costa Andrade

APOIO INSTITUCIONAL DE PAÍSES ESTRANGEIROS

APOIO DAS REPRESENTAÇÕES DIPLOMÁTICAS DO BRASIL NO EXTERIOR

Sr. Hector Gustavo Vivacqua

Embaixada do Brasil em Assunção, Paraguai Embaixada do Brasil em Atenas, Grécia Embaixada do Brasil em Berlim, Alemanha Embaixada do Brasil em Bogotá, Colômbia Embaixada do Brasil em Bucareste, Romênia Embaixada do Brasil em Camberra, Austrália Embaixada do Brasil em Caracas, Venezuela Embaixada do Brasil em Estocolmo, Suécia Embaixada do Brasil em Havana, Cuba Embaixada do Brasil em Helsinque, Finlândia Embaixada do Brasil em Istambul, Turquia Embaixada do Brasil em Kiev, Ucrânia Embaixada do Brasil em La Paz, Bolívia Embaixada do Brasil em Lima, Peru Embaixada do Brasil em Lisboa, Portugal Embaixada do Brasil em Londres, Inglaterra Embaixada do Brasil em Luana, Angola Embaixada do Brasil em Montevidéu, Uruguai Embaixada do Brasil em Nova Delhi, Índia Embaixada do Brasil em Oslo, Noruega Embaixada do Brasil em Ottawa, Canadá Embaixada do Brasil em Paris, França Embaixada do Brasil em Pequim, China Embaixada do Brasil em Praga, República Tcheca Embaixada do Brasil em Pretória, África do Sul Embaixada do Brasil em Quito, Equador Embaixada do Brasil em Roma, Itália Embaixada do Brasil em Santiago, Chile Embaixada do Brasil em Seoul, Coréia do Sul Embaixada do Brasil em Sófia, Bulgária Embaixada do Brasil em Tel Aviv, Israel Embaixada do Brasil em Tóquio, Japão Embaixada do Brasil em Varsóvia, Polônia Embaixada do Brasil em Washington, Estados Unidos Embaixada do Brasil em Wellington, Nova Zelândia Embaixada do Brasil na Cidade do México, México Embaixada do Brasil na Guatemala, Guatemala Consulado do Brasil em Barcelona, Espanha Consulado do Brasil em Chicago, Estados Unidos Consulado do Brasil em Córdoba, Argentina Consulado do Brasil em Guangzhou (Catão), China Consulado do Brasil em Hong Kong, China Consulado do Brasil em Los Angeles, Estados Unidos Consulado do Brasil em Milão, Itália Consulado do Brasil em Montral, Canadá Consulado do Brasil em Mumbai, Índia Consulado do Brasil em New York, Estados Unidos Consulado do Brasil em Santa Cruz de La Sierra, Bolívia Consulado do Brasil em Sydney, Austrália Consulado do Brasil em Toronto, Canadá Consulado do Brasil em Xangai, China Consulado-Geral do Brasil em Lagos, Nigéria

Consul Geral da Argentina em Curitiba

Sr. D. Carlos Alonso Zaldívar Embaixador da Espanha em Brasília

Sr. Yves Edouard SAINT-GEOURS Embaixador da França em Brasília

Sr. Sylvain Itté Cônsul Geral da França em São Paulo

Sr. Jean-Pierre Garino Adido de Cooperação e de Ação Cultural do Consulado Geral da França em São Paulo

Sr. Joël Girard Adido Cultural do Consulado Geral da França em São Paulo

Sr. S.E. Turid B. Rodrigues Eusébio Embaixador da Noruega em Brasília

Sr. Victor Manuel Gonçalves Barbosa Cônsul Honorário da Noruega em Curitiba

Sr. Jens Olesen Cônsul Honorário da Noruega em São Paulo

Sra. María Elvira Pombo Holguín Embaixadora da Colômbia em Brasília

Sr. Noboru Yamaguchi Cônsul do Japão em Curitiba

Sra. Dorota Barys Cônsul Geral da Polônia em Curitiba

Sr. Louis Hamann Diretor do Escritório do Québec em São Paulo

Sra. Roberta Lara Assessora para Assuntos de Diplomacia Pública e Institucionais do Escritório do Quebéc em São Paulo Dirección de Asuntos Culturales – DIRAC / Ministerio de Relaciones Exteriores de Chile

Sr. Gilles Bienveu Embaixador da França no Paraguai

INSTITUIÇÕES CULTURAIS Aliança Francesa, Curitiba Associação Profissional dos Artistas Plásticos do Paraná, Curitiba Association Auguste François, Paris Cultura Inglesa, Curitiba Escola de Musica e Belas Artes do Paraná – EMBAP, Curitiba Faculdade de Artes do Paraná – FAP, Curitiba Fundação Japão, Tóquio Goethe-Institut, Curitiba Instituto Cervantes, Curitiba Instituto Meyer Filho, Florianópolis Museu de Arte de Cascavel, Prefeitura Municipal de Cascavel, Secretaria Municipal de Cultura Pinacoteca do Estado de São Paulo Universidade de Joinville – Univille Universidade Estadual de Londrina – UEL, Centro de Comunicação, Educação e Arte – CECA, Londrina Universidade Federal do Paraná / PROEC, Departamento de Artes – DeArtes, Curitiba Universidade Tecnológica Federal do Parana – UTFPR, Curitiba Universidade Tuiuti do Paraná – UTP, Curitiba Comissão de Assuntos Culturais da OAB Paraná

GALERIAS Anton Kern, Nova Iorque Boers Li Gallery, Pequim Chert, Berlim Espaço Tardanza, Curitiba Galeri Nev, Istambul Galeria Adalice Araújo, Curitiba Galeria Baró, São Paulo Galeria Casa da Imagem, Curitiba Galeria Federico Luger, Milão Galeria Fortes Vilaça, São Paulo Galeria La Fabrica, Assunção Galeria Lúdica, Curitiba Galeria Millan, São Paulo Galeria Nara Roesler, São Paulo Galeria Ruth Benzacar, Buenos Aires Galeria Silvia Cintra+Box8, Rio de Janeiro Galeria Sommer & Kohl, Berlim Galeria Triângulo, São Paulo Galeria Virgílio, São Paulo Galerie Chantal Crousel, Paris Galerie EIGEN + ART, Leipzig/Berlin Galerie Nathalie Obadia, Paris/Bruxelas Galerie Xippas, Paris Galerie8, Londres Goodman Gallery, Cidade do Cabo H.A.P Galeria, Rio de Janeiro Jay Jopling, White Cube, Londres JGM. Galerie, Paris Klosterfelde, Berlim & Lisson Gallery, Londres Magnan Metz, Nova Iorque Maisterravalbuena, Madri & Galleria Franco Soffiantino, Turim MAP OFFICE, Hong Kong Monte Clark Gallery, Vancouver/Toronto Museo de la Solidaridad, Santiago NETTIE HORN, Londres Propeller Gallery, Toronto, & P.P.O.W Gallery, Nova Iorque Sandmann, Berlim Shanghai Gallery of Art, Xangai ShangART, Xangai SIM Galeria, Curitiba VG Bild-Kunst, Bonn/Berlim Vilma Gold, Londres Z Photographic Ltd, Longcross

507

IMPRENSA

MUSEU OSCAR NIEMEYER

MUSEU DE ARTE DA UFPR – MUSA

Jornais

Estela Sandrini

Prof. Zaki Akel Sobrinho

Diretora

Reitor da Universidade Federal do Paraná

Fabiana Wendler

Prof. Rogério Mulinari

Administração

Vice-Reitor

Cristiano A. Solis de Figueiredo Morrissy

Profª Elenice Mara Matos Novak

Diretor Administrativo e Financeiro

Pró-Reitora de Extensão e Cultura

Assessoria Jurídica

Lúcia Maria Bueno Mion

Thanyelle Galmacci

Coordenador de Cultura

Marketing e Comunicação

Ronaldo Santos Carlos

Gabriela Werner Santangelo Marcio Renato dos Santos Patrícia Fonseca Fanaya Elvira Wos

Administrador do MusA

ABC Color El País Estado de São Paulo Folha de São Paulo Folha de Londrina Gazeta do Paraná Gazeta do Povo Hora H La Nacion Jornal do Estado Jornal do Farol Jornal Indústria e Comércio Mecurio Metrópole São José Mix Curitiba No Sofá O Diário do Norte do Paraná O Estado do Paraná O Paraná Tribuna do Paraná Revistas

Art.es Arte Al Limite Arte El país Art Review Arte! Brasileiros ArtNexus Bamboo Bravo! Dasartes Descubra Curitiba Gencsanat Art Magazine Idéias Interview Inventa InVerso Monopol – Magazin für Kunst und Leben Select TopView TRIP Voi Where

Coordenação Administrativa e Financeira

Band TV Band News E-Paraná Rede Bandeirantes de Televisão – TV Tarobá Rede Massa/TV Iguaçu (Sistema Brasileiro de Comunicação) RPC TV (Rede Globo) Rede Record – RIC TV Cultura TV Paranaense TV Cataratas TV Oeste TV Coroados TV UFPR

Ronaldo de Oliveira Corrêa

Rebeca Gavião Pinheiro Sandra Mara Fogagnoli

Departamento de Design

Museologia, Acervo e Conservação

Departamento de Arquitetura e Urbanismo

Humberto Imbrunisio Suely Deschermayer Taffarel Rômulo Vieira

Rosemeire Odahara Graça

Ação Educativa

Representantes Suplentes do Departamento de Artes

Danielly Dias Sandy Rosemeri Bittencourt Franceschi Sirlei Espíndola Design Gráfico

Marcello Kawase Marciel Conrado Produção e Montagem

Jacson Luis Trierveiler Paula Moreira Vanderley de Almeida

Iolete Guibe Hansel Lêda Godoy Gomes Salles Rosa Maita Pantaleão Franco Ricardo Freire Weslei Mendonça de Lima Infraestrutura Manutenção

Alaete José Alve Giomar Guandahim João Maria Gaygnett José Edson Ribeiro Sebastião Malfato Rebutini Apoio Técnico

Radios

E-Paraná Rede CBN Sites

Afterhour Artfacts.net ArtForum Artports.com Artishock Hagah Hora H News Jornale Mapa das Artes Paraná Online Portal UOL Revista Art.es Universes in Universe

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Geraldo Leão Veiga de Camargo Paulo Roberto de Oliveira Reis

Planejamento Cultural

Documentação e Pesquisa TV

Departamento de Artes

Caroline Enke Lucas Murilo dos Santos Sabrina Ellen de Souza Tatiane Canalle Vanessa Maes Artur Barbosa Informática

José Antonio Rodrigues Segurança Associação dos Amigos do MON

Cristiano A. Solis de Figueirredo Morrissy Presidente da Associação dos amigos do MON

Elvira Wos Diretoria Administrativa e Financeira

Denise Caroline de Almeida Infra-estrutura

Josilena Maria Zanello Gonçalves

Representante da Comunidade Externa

Consuelo Alcioni Borba Duarte Schlichta Fernando Antonio Fontoura Bini José Humberto Boguszevski Representante suplente do Departamento de Design

Silvana Weihermann Ferraro Representante suplente do Departamento de Arquitetura e Urbanismo

Sônia Tramujas Vasconcellos Representante suplente da Comunidade Externa Bolsistas Cultura

Vilma de Fátima Nogueira Valéria Metroski Montagem e Recepção

Zuleica Ribeiro dos Santos Raquel de Castro Segurança

Clodoaldo Pereira de Souza Lucinéia Soares de Almeida

CASA ANDRADE MURICY Lenora Gomes de Mattos Pedroso Diretora

Lia Amaral Assessoria da Direção

Helen Monica R. Costa Administrativo

Rosângela Diniz Chubak Ação Educativa Estagiários

Guilherme Brandalise Jaccon Jéssica de Souza Luz Marcos Frankowicz Paloma Talita de Lazari Renan Guedes Gumiel Sandra de Abreu

SOLAR DO BARÃO MUSEU DA GRAVURA CIDADE DE CURITIBA MUSEU DA FOTOGRAFIA CIDADE DE CURITIBA

MUSEU ALFREDO ANDERSEN Diretor

Ana González Coordenadora do Museu da Gravura Cidade de Curitiba

Coordenador Assessoria da Direção

Coordenador Museu da Fotografia Cidade de Curitiba

Administrativo

Assessoria às Coordenações do Solar do Barão

Ana Maria Rodrigues (Tita) Gilberto Batista da Luz Rosângela Aparecida Silva

Ateliês Museu da Gravura

Roberto Alves

Amélia Siegel Corrêa

Rodrigo Ferreira Marques

Deisi Barcik Juarez Lazaroto Jussara Charello

ESPAÇO DA ARTE URBANA GALERIA JULIO MOREIRA

Ronald Simon

CINEMATECA DE CURITIBA Solange Straube Stecz Coordenação de Cinema e Vídeo

Míriam Taísa Lopes Lau Educativo

Assessoria da Coordenação

Janine Schönfelder Ilza Castro

Priscila Fernandes

Andréia Las Denise Roman Nelson Hohmann

Cleuzeli Cardoso Winters

Jorli Felipe

Marta Souza Leite

Manutenção

Biblioteca

Equipe Administrativa

Odene Gonçalves Chagas

Atelier de Arte

Heléia Regina Persike Miguel Gubert

Loja da Gravura

Professoras

Vera Lúcia Bassi Ferdinando

Denise Wendet Soraia Savaris

Centro de Pesquisa

Estagiários

Assessoria de Apoio Pesquisa

Priscila Pacheco Estagiária

Segurança

Carlos Roberto Silva José Albano José Barros Santos Luiz Antonio de Sousa Pinto Marcelo Felix Mancino Vilmar Mota da Silva

Drelenay Prado Mafra Cartageno Eduardo Vidal Raut Fábio Willians de Oliveira Maximone da Silva

SOCIEDADE AMIGOS DE ALFREDO ANDERSEN

Equpe Técnica

Cid Linhares Elio de Oliveira Borges Francisco Amâncio da Silva Luiza Rodrigues da Silva Maria Auxiliadora da Silva Paulina Zadereski Valdenicio P. da Silveira Wilson Linhares

Presidente

CASA HOFFMANN CENTRO DE ESTUDOS DO MOVIMENTO

Coordenador

Jens Olesen

Eleonora Greca

Equipe

Presidente de honra

Coordenadora

Luis Pilloto

Equipe

Presidente Honorário

Gilberto Leandrine Joel Cardoso Araújo Maria Daici Lara Mariana de Paula Ferreira Marly Pacheco Milzi Helena Digiovanni

Wilson José Andersen Ballão Montagem de Exposições

Jenecir Góis

Antonio Carlos de Luna Antonio José de Sousa Carlos Libânio Clovis Soares da Silva Rui Sutil

Max Conradt Jr. Vice Presidente

Ação Educativa

Angela Medeiros Rodarte

Ario D’Argint

Coordenadora

1º Secretário

Equipe

Camila Tedesco Claudine Maria Bartmeyer Débora Santos Gonçalves Giovani Medine de Jesus Hamilca Cassiana Silva Juliana Kudlinski Juliana Soares Rosa de Oliveira Júlio Manso Leonardo Lotowski Miriam Tereza Rahuam Zuleika Afife Marge

Victor Manuel Gonçalves Barbosa

Ana Regina B. P. Diana Angela Nair Bortot Pirotelli

Acir Alves Guerra

Coordenadora

1ª Tesoureira Equipe Multimeios

Denise Cristina Wendt 2ª Tesoureiro

Luciano José Antunes Priscila Camargo Jacewicz Roberson Maurício Caldeira Nunes

Conselho Fiscal

Roseli Fischer Bassler Presidente

MANUTENÇÃO

CASA DA MEMÓRIA

2° Secretário

FACULDADE DE ARTES DO PARANÁ – FAP

Pedro Américo de Almeida Secretário

Coordenador

José Carlos Tavares Carvalho Reitor

Equipe

Conselheiros

Antonio Adilson Camargo dos Santos Alceu Gasparin Antonio Luiz da Cruz Celso de Oliveira Dirceu Vieira Ribeiro José Roberto Santos Luiz Carlos Kekis Martins da Silva Natálio Garcia de Morais Renato Alves da Cruz Rubens Sérgio Pinto Santino da Luz Valdecir Carlos dos Santos

Donata Barros Duarte João Gutierrez Neto Juril Carnasciali Regina Pessuti Sonia Hamamoto Shigueoka

Rosane Schlögel Diretora

Eulide Jazar Weibel Vice-Diretora

Conselheiros Suplente

Marta Cristina Albieiro de Souza Leite Cleuzeli Cardoso Winters Morten Kalleberg Breiby

Gisele Camargo Thá Chefe de Gabinete

João Batista Gomes de Oliveira Assessor Especial da Reitoria

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Jorge Marcos dos Santos

Carmenlucia Carini

Jovita Vitória Nascimento Malanchini

Divisão da Secretaria Geral

Professora

Coordenadora do Curso de licenciatura em Desenho

Claudeth Nascimento Machado

Renata Cossio

Pedro Paulo Lacombe Feijó

Coordenadora do Curso de Artes Visuais

Comunicação

Chefe do Departamento de Ciências Aplicadas

Marcos Henrique Camargo Rodrigues

Aluisio de Almeida Andriolli

Roberto Antonio Pitella Junior

Coordenador de Cinema e Vídeo

Professor Artes Visuais

Chefe do Departamento da Gravura

Samuel Gionedis

Carmen Ivanete D’Agostini Spanhol

André Faria

Responsável pela Comunicação

Professor Artes Visuais

Coordenador CineTV PR

Cristóvão de Oliveira

Dulcinéia Galliano Pizza Savarro

Professor de Arte Cênicas

Professor Artes Visuais

Diego Elias Baffi

Flavio Marinho

Professor de Arte Cênicas

Professor Artes Visuais

Fábio Allon dos Santos

Lorena Barolo Fernandes

Professor de Cinema e Vídeo

Professor Artes Visuais

Salete Paulina Sirino

Luciano Parreira Buchmann

Professora de Cinema e Vídeo

Professor Artes Visuais

Sidinalva Maria dos Santos Wawzyniak

Luiz Antonio Zahdi Salgado

Coordenadora de Ensino

Professor Artes Visuais

Zeloi Aparecida Martins dos Santos

Marcelo Zequinão de Almeida

Coordenador de Pesquisa

Professor Artes Visuais e fotógrafo

Solange Straube Stecz

Maria Laila Tarran

Coordenador de Pós-Graduação

Professor Artes Visuais

Hélio Ricardo Sauthier

Patrícia de Mello

Coordenador de Extensão

Vice-coordenadora de Artes Visuais

Mariza Pinto Fleury da Silveira

Ronald Yves Simon

BibliotecAria

Professor Artes Visuais

Marcelo Bourscheid

Rosanny M. de MoraesTeixeira

Secretário do Curso de Cinema e Vídeo

Professor Artes Visuais

Francisco de Assis Gaspar Neto

Ana Flavia M. Lesnovski

Coordenador de Artes Cênicas

Professor Artes Visuais

Marcia Cristiane Dall’Oglio Moraes

Cintia R. Veloso Silva

Vice-coordenadora de Artes Cênicas

Professor Artes Visuais

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO PARANÁ Ir. Clemente Ivo Juliatto Reitor

Paulo Otávio Mussi Augusto Vice-Reitor

Másimo Della Justina Chefe de Gabinete

Kátia Maria Biesek Secretária Geral

Ricardo Tescarolo Pró-Reitor Comunitário

João Oleynik Diretor de Cultura e Relações Internas

Maria Comninos Coordenadora de Assuntos Culturais

Mônica Cristine Fort Coordenadora do Curso de Jornalismo

Maria Regina Costa Taborda Rauen Ribas Coordenadora do Curso de Publicidade e Propaganda

Celina Alvetti Coordenadora do Curso de Pós-Graduação de Audiovisual

André Egg Coordenador de Música Popular

ESCOLA DE MÚSICA E BELAS ARTES DO PARANÁ – EMBAP

Giancarlo Martins Coordenador de Licenciatura em Dança

e de Cultural e Arte

UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ – UTFPR Carlos Eduardo Cantarelli

Anna Maria Lacombe Feijó

Reitor

Diretora

Rosemeri Rocha da Silva Vice-Coordenadora de Licenciatura em Dança

Paulo Osmar Dias Barbosa Solange Garcia Pitangueira

Vice-Reitor

Vice-Diretora

Solange Maranho Gomes Coordenadora de Licenciatura em Música

Cleonice Mendonça Pirolla Ligia Beatriz Nocera

Chefe de Gabinete

Coordenadora do Curso de Pintura

Draúsio Ney Pacheco Fonseca Vice-Coordenador de Licenciatura em Música

Prof. Marcos Flávio de Oliveira Schiefler Filho Pedro Luiz Goria

Diretor-Geral do Campus de Curitiba

Coordenador do Curso de Gravura

Elvira Fazzini Coordenadora de Teatro

Profª Marcia dos Santos Lopes Rossana Glovatska Cordeiro Guimarães

Chefe de Gabinete do Campus de Curitiba

Coordenadora do Curso de Escultura

Guaraci Martins Vice-Coordenadora de Teatro

Secretárias

Jovita Vitória Nascimento Malachini Coordenadora do Curso de Licenciatura em Desenho

Sandra de Andrade Netto Tonett Simone Achcar Doubek

Allan Sostenis Hanke

Profª. Rejane Cioli

Chefe do Departamento de pintura

Chefe do Departamento de Apoio e Projetos Tecnológicos

Bernadette Maria Panek

Saturnino Machado O. Neto

Coordenadora do Curso de Especialização em História

Fotógrafo

Pierângela Nota Simões Coordenadora de Musicoterapia

Guiliano Bilek Setor de Comunicação e Marketing

Thiago Batista Setor de Comunicação e Marketing

da Arte Moderna e Comtemporânea-Lato Sensu

Prof. Silvino Iagher Assessor de Comunicação e Marketing

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UNIVERSIDADE TUIUTI DO PARANÁ – UTP

PAÇO DA LIBERDADE – SESC PARANÁ

GOETHE INSTITUT DE CURITIBA

Luiz Guilherme Rangel Santos

Darci Piana

Claudia Römmelt Jahnel

Reitor

Presidente do Sistema Fecomércio Sesc SENAC

Diretora

Bruno Carneiro da Cunha Diniz

Paulo Cruz

Dorothee Rumker-Yazbek

Secretário Geral

Diretor Regional do Sesc PR

Diretora de Cursos

Carmen Luiza Da Silva

Celise Helena Niero

Jacinta Arnhold

Pro-Reitora Academica

Gerente Executiva do Paço da Liberdade

Assistente da Programação Cultural

Roberval Eloy Pereira

Vera Lúcia Huebner

Pro-Reitora Pesquisa e Extensao

ALIANÇA FRANCESA – CURITIBA

Assessora Cultural

Edmilson Campos

Karlos Heinz Rischbieter

Angela Karine Krelling

Prefeito do Campus (Administrador)

Presidente de Honra

Administração

Josélia Schwanka Salomé

José Monir Meirelles Nasser

Ana Teresa Vianna de Figueiredo Sannazzaro

Tecnologia em Fotografia; Artes Visuais Bacharelado

Presidente

ASSOCIAÇÃO PROFISSIONAL DOS ARTISTAS PLÁSTICOS DO PARANÁ – APAP/PR

Sérgio Bruel Vice-Presidente

Monique Cognet Osmar Carboni

Secretário

Presidente

Nancy Westphalen Corrêa Luiz Gustavo Vidal Pinto

Tesoureiro

Vice-Presidente

Laure Gyselinck Antonio Carlos Nascimento Pivatto

Direção

Diretor Executivo

Zaida Borba Marcus Mueller

Administração e finanças

Vice-Diretor Executivo Vogais

Ana Maria Knapik Diretora Cultural

Clotilde de Lourdes Branco Germiniani Eduardo Rocha Virmond

André Ricardo Ferreira Serafin

Conselho Fiscal

Vice-Diretora Cultural

Diretora Financeira

Alain Tissier Carlos Sérgio Asineli Joseph Galiano Marilene Zicarelli Millarch

Anna Rocha

Wilmar José Arnold

Vice-Diretora Financeira

Auxiliar serviços gerais

Sabine Feres

Ana Cláudia Oliveira

Diretora de Comunicação

Auxiliar financeiro

Cesar Paes Leme

Michelle Portella

Vice-Diretora de Comunicação

Marketing e Relacionamento

Waltraud Sekula

Recepção AF. Fábrika

1° Secretário

Hérico Antunes Delmont Jocimara Aparecida Rodrigues

Lucilia Schneider

Josemar Araujo Bonatto

Juliane Müller Informação e Biblioteca

INSTITUTO CERVANTES DE CURITIBA Salvador López Becerra Diretor

Profª. Ana María Rego Vilar Coordenadora Acadêmica

Aguinaldo Marcelino Bibliotecário

Sheila da Silva Santos Auxiliar Administrativo

ABCA ASSOCIAÇÃO BRASILEIRA DE CRÍTICOS DE ARTE Lisbeth Ruth Rebollo Gonçalves Presidente

Ana Cristina Barreto de Carvalho 1ª Vice Presidente

Angela Azevedo Silva Balloussier Ancora da Luz 2ª Vice Presidente

Claudia Fazzolari 1ª Secretária

Neide Antonia Marcondes de Faria 2ª Secretária

Carlos Soulié Franco do Amaral 1º Tesoureiro

2° Secretário

Recepção AF. Prudente

Diretoria Jurídica

Etienne Gomes Jean Alves Cavalcante Patrícia Isabel de Arruda Barros

Marcelo Miguel Conrado Maria Miriam de Martins Curi

Bibliotecária

Daisy Valle Machado Peccinini 2º Tesoureiro

Maria Amélia Bulhões Garcia Mediateca

Vice-Presidente da Região Sul

Diretor de Marketing e Projetos

Juliana Cobstanski Santos Patrícia Maria Meirelles Nasser

Comissão de Credenciais

Belmiro Santos

Jorge Luiz Alves dos Santos

Vice-Diretor de Marketing e Projetos

Manutenção e Segurança

Carlos Perktold Nilza Procopiak Olivio Tavares de Araujo

Alice Varajão

Serviços gerais

Conselho Fiscal

Aparecida Nascimento Aurelina Gome e Vanessa de Oliveira Maria Aparecida Oliveira

Titulares

Oswaldo Fontoura Dias

Diretora de Informática Conselho Fiscal

Carla Scwab Bertineti Ney Machado Tania Leal Walton Wysocki

Enock Fernandes Sacramento José Armando Pereira da Silva Verônica Stigger Suplentes

Antonio Santoro Roseli Hoffmann Schmitt Vicente de Pércia

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Consulat Général de France à São Paulo

Ministério das Relações Exteriores

Museu Oscar Niemeyer

Parceria

Parceria Internacional

Cooperação

Parceria Local

Secretaria Municipal de Meio Ambiente

LogĂ­stica e Transporte

Apoio de mĂ­dia

International_contemporary_art

VentoSul - Bienal de Curitiba (6. : 2011 : Curitiba, PR) 6ª VentoSul – Bienal de Curitiba- Curitiba, PR : Instituto Paranaense de Arte, 2011. 516 p. : il. col. ; 28 x 21 cm. Texto também em espanhol e inglês. Inclui bibliografia. ISBN 1. Arte contemporânea – Séc. XXI – Exposições. 2. Arte contemporânea – Exposições. I. Título. CDD ( 22ª ed.) 709.04 Bibliotecária responsável: Vilma Aparecida Gural Nascimento

Ministério da Cultura apresenta

Patrocínio

Parceria internacional

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