Posts
31st Bienal de São Paulo will have group of 5 curators
Charles Esche, Pablo Lafuente, Galit Eilat, Oren Sagiv and Nuria Enguita Mayo will curate the 2014 show
Bispo and the Arquivo Bienal
Arthur Bispo do Rosário was exhibited for the first time at the Bienal de São Paulo in its 30th edition. Six years after his death, his work was shown at the 46. Biennale di Venezia…
11 years of September 11
The promotional material for the design of the World Trade Center in New York, from 1964, four years before its construction.
Bienal inaugurated, for the 30th time
The Archive selected the main highlights of the press regarding the opening of Bienals exhibitions.
Allan Kaprow and the Birth of the Happening
In the form Kaprow completed for the Archive, one notes that in 1957 many of the works by the artist were drawings and paintings.
Flusser and Poetic Doubt in the 30th Bienal
In the 30th Bienal Reading Room, an encounter with philosopher Adriana Gurgel brings in some ideas from Vilém Flusser.
Claudio Rocha in the Bienal Timeline
Typographer Cláudio Rocha came to the Archive to research images for the Bienal Timeline.
From where poetics emerge
Last week, the team from the 30th Bienal Reading Room, visited Sarau Vila Fundão in the region of the Campo Limpo and Capão Redondo, neighbourhoods situated in the Southeast of São Paulo.
Ricardo Basbaum, an etc-artist
Ricardo Basbaum is an artist participating in the 30th Biennial and his definition of an “etc-artist” is an interesting point of departure for understanding his work and his role as an artist.
The Arquivo Bienal and the artists’s files
We have arrived at post #50 of the Arquive’s blog, in which, since September of 2011, we have told little stories about Bienal de São Paulo, all taken from this endless source of content that is the Arquivo Bienal.
Armando Reverón, Oramas and the Bienal
Luis Pérez-Oramas, general curator of the 30th Bienal, was among the guest curators for the 24th Bienal (1998). He was responsible for organising the special collection of his fellow countryman, Venezuelan artist, Armando Reverón.
The great span
The great central span holds a particularly privileged location in the Biennial Pavillion, outlined as it is by the ramp from the ground floor and the guard rails between the second and third levels
Installation Crew
If the set up of a Bienal today involves stupendous quantities and effort, just imagine how it was for the first edition in 1951.
The Audience
One hundred thousand people visited the 1st Bienal in 1951. This figure doubled for the second edition in 1953 and the Bienal of Guernica saw an avid audience who waited expectantly at the doors for the exhibition to open.