6TH CURITIBA BIENNIAL 2011
18 Sep - 20 Nov 2011
Beyond the Crisis
18 September – 20 November 2011
General curators: Ticio Escobar and Alfons Hug
Co-curators: Paz Guevara and Adriana Almada
Guest curators: Artur Freitas, Eliane Prolik, Simone Landal and Alberto Saraiva
Curators of The Educational Project: Sônia Tramujas and Denise Bandeira
Adonis Flores - Sancti Spiritus, Cuba
Adrian Lohmüller - Gengenbach, Germany
Alejandro Almanza Pereda - Mexico City, Mexico
Alejandro Paz - Guatemala City, Guatemala
Alfredo Andersen - Christianssand, Norway
Ali Kazma - Istambul, Turkey
Alterazioni Video - Milan, Italy
André Rigatti - Xanxerê, Brazil
Antti Laittinen - Helsinki, Finland
Auguste François - Luneville, France
Boris Mikhailov - Kharkov, Ukraine
C.L. Salvaro - Curitiba, Brazil
Camilo Restrepo - Medellín, Colombia
Christian Bendayán - Iquitos, Peru
Christian Jankowski - Göttingen, Germany
Cristian Segura - Tandil, Argentina
Cristina Canale - Rio de Janeiro, Brazil
Danica Dakić - Sarajevo, Bosnia
Darren Almond - Appley Bridge, England
Desire Machine Collective - Guwahati, India
Dinh Q. Lê - Ha-Tien, Vietnam
Duncan Wylie - Harare, Zimbabwe
Eduardo Berliner - Rio de Janeiro, Brazil
Emmanuel Fretes Roy - Assuncion, Paraguay
Fabio Noronha - Curitiba, Brazil
Farah Atassi - Brussels, Belgium
Felipe Scandelari - Curitiba, Brazil
Fernando Burjato - Ponta Grossa, Brazil
Fernando Rosenbaum - São Paulo, Brazil
Fikret Atay - Batman, Turkey
George Osodi - Lagos, Nigeria
Graciela Guerrero - Guayaquil, Ecuador
Guillaume Bresson - Toulouse, France
Gutierrez + Portefaix - Casablanca/Saint-Ettiene, France
Inci Eviner - Polatli, Turkey
Jacqueline Lacasa - Montevideu, Uruguay
Javier López/ Erika Mesa - Havana / San Pedro, Cuba / Paraguay
Joanna Rajkowska - Bydgoszcz, Polond
Joaquín Sánches - Barrero, Paraguay
John Bock - Gribbohm, Germany
Josep-Maria Martín - Ceuta, Spain
Kate Gilmore - Washington, DC, USA
Liliana Porter - Buenos Aires, Argentina
Lin Yilin - Guangzhou, China
Lívia Piantavini - Curitiba, Brazil
Luis Molina-Pantin - Geneva, Switzerland
Manoel Novello - Rio de Janeiro, Brazil
Marcelo Medina - Assuncion, Paraguay
Maria Lynch - Rio de Janeiro, Brazil
Marina Rheingantz - Araraquara, Brazil
Mark Lewis - Hamilton, Canada
Mark Formanek & Datenstrudel - Berlin, Germany
Michael Stevenson - Inglewood, New Zealand
Michel de Broin - Montreal, Canada
Mikhael Subotzky - Cape Town, South Africa
Mónica Millán - San Ignacio, Argentina
Nelson Félix - Rio de Janeiro, Brazil
Neville D'Almeida - Belo Horizonte, Brazil
Olaf Nicolai - Halle/Saale, Germany
Patrick Hamilton - Louvain, Belgium
Paulo Climachauska - São Paulo, Brazil
Raul Cruz - Curitiba, Brazil
Ricarda Roggan - Dresden, Germany
Ricardo Lanzarini - Montevideo, Uruguay
Rimon Guimarães - Curitiba, Brazil
Sebastián Preece - Santiago, Chile
Stefan Constantinescu - Bucharest, Romania
Tatzu Rors - Nagoya, Japan
Tirzo Martha - Willemstad, Curacao
Yang Xinguang - Hunan, China
Zhang Enli - Jilin, China
Zhou Tao - Changsha, China
The 6th International Biennial of Contemporary Art of Curitiba will be held from June to December 2011 in the city of Curitiba and will be developed under the curatorial concept "Beyond the Crisis."
The Biennial, which has been gaining ground as one of the biggest events of contemporary art in Latin America, will display works by artists from countries across five continents. With this scope, it becomes the most important cultural event to be held in Brazil in 2011.
The 6th edition of the Biennial will have as general curators the experienced art critics Alfons Hug (Biennial of São Paulo, Biennial of the End of the World, Argentina) and Tício Escobar (Triennial of Chile, Biennial of Valencia, in Spain). As co-curators, the general curators defined art critics Adriana Almada and Paz Guevara. The Biennial also features guest curators Alberto Saraiva, Artur Freitas, Eliane Prolik and Simone Landal. Specialists Denise Bandeira and Sonia Tramujas were chosen as curators for the educational project.
There will be a seven-month programming that includes lectures, round tables, exhibitions, courses, workshops, film presentations, performances and urban interferences, occupying the major cultural spaces in Curitiba.
The exhibitions of the 6th Curitiba Biennial will be held from September 18 to November 20, 2011.
In order to geographically expand the Biennial's scope to the five regions of the country, the programming of the 6th Biennial of Curitiba will also include activities in the cities of Brasília (DF), Fortaleza (CE), Macapá (AP), Belo Horizonte (MG), Londrina and Cascavel (PR), and Florianópolis (SC).
Aiming to allow maximum use by audiences of all ages and the exploration of the Biennial's educational potential, a comprehensive educational project will developed, ranging from inclusive action measures, training courses for teachers, monitors at the exhibition spaces, guided visits and targeted publications geared towards teachers and monitors, among others.
The 2011 Biennial of Curitiba will be developed under the title "Beyond the Crisis".
When it comes to key words of the present, we do well to examine their precise linguistic background.
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, from economy to culture.
Goethe already trembled before the "incessant vertigo of purchasing and consumption" and wondered how the rubble of his grandfather's house, destroyed in the war, could be worth twice what the house was worth before the war.
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?
In Greek, κρίσις (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.
However, the verb κρίνειν (= 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.
In as much as in art a title is just a hint of a theme to be viewed freely by the artists, it is intended that the name "Beyond the Crisis" will inspire poetic production and guide the reflection upon certain key issues of contemporary art.
The word "crisis" is used here in its most evocative sense, as the crucial moment in which a sudden change of paradigms requires new decisions, positions and new images. The term "beyond" does not exactly mean "after"; it points rather to an intermediate area, an unfolding or a third place from where one can see the crisis from the inside/outside.
The word "beyond..." may allude to that in a strict sense the critical moment has passed (always the algid point marks a situation that has already happened: therefore, it may be named). "Beyond” may also refer to the need to consider other places from where one must face the crisis, in a different and creative way. It could even mark the requirement of imagining a space-time outside the realm of critique. Art cannot renounce its utopian call: imagination is always an anticipatory device and also an enabler. Even the most negative and melancholic operations in contemporary art point secretly to a "beyond...", to a waiting area or to an imminent event.
We do not expect the invited artists to offer recipes for the crisis, nor to express their dramas, but rather to propagate points of view: the positions that they take when facing the crisis require imaginative efforts that can open perspectives and different ranges of perception.
Art faces crisis by constantly questioning its own representation systems, discussing once and again the definition of art and its institutional circuits (museums, markets, biennials, theories, etc.). From this standpoint crises are productive, because art necessarily depends on moments of conflict and tension. Precisely, art is one of the main devices with which contemporary culture can count on to put under questioning its own statements, to renew its values and codes and to prevent the collective perception from accepting a fixed concept of the social.