5TH MERCOSUL BIENNIAL 2005
30 Sep - 04 Dec 2005
5TH MERCOSUL BIENNIAL 2005
30 September - 4 December 2005
Curatorial Staff
Chief Curador: Paulo Sergio Duarte
Adjunct Curatorс: Gaudêncio Fidelis, Assistant Curator, José Francisco Alves
Assistant Curator for Historical Exhibitions: Neiva Bohns
Curator for Argentina: Eva Grinstein
Curator for Bolivia: Cecilia Bayá Botti
Curator for Chile: Justo Pastor Mellado
Curator for Mexico: Felipe Ehrenberg
Curator for Paraguay: Ticio Escobar
Curator for Uruguay: Gabriel Peluffo Linari
Assistantс to Curatorial Staff: Rafael Rachewsky
Research Assistant: Giovana Ferrer Vazatta
Support: Cristiana Helga Rieth
Intern: Júlia Berenstein
Artists:
Abraham Palatnik, Adriana Bustos, Adriana Varejão, Afonso Tostes, Alejandra Andrade, Alessandra Sanguinetti, Alessandra Vaghi, Alfredo Volpi, Alonso Yáñez, Aluísio Carvão, Américo Spósito, Amílcar De Castro, Angelo Venosa, Antonio Dias, Antônio Manuel, Arthur Luiz Piza, Artur Lescher, Benjazmín Ocampos, Bernardo Krasniansky, Bettina Brizuela, Bia Medeiros, Boris Viskin, Camilo Yáñez, Carlos Amorales (nuevos Ricos), Carlos Colombino, Carlos Fajardo, Carlos Pasquetti, Carlos Vergara, Carlos Zílio, Carmela Gross, Carmelo Arden Quin, Célia Euvaldo, Célia Freitas (e Daisy Xavier), César Martínez, Claudia Casarino, Claudia Missana, Daisy Xavier (e Célia Freitas), Daniel Feingold, Daniel Senise, Décio Vieira, Diana Domingues, Dominique Serrano, Dudi Maia Rosa, Eduardo Cardozo, Eduardo Sued, Einar De La Torre (e Jamex De La Torre), Elaine Tedesco, Elcio Rossini, Elizabeth Jobim, Elvira Santamaría, Emilia Kabakov (com Ilya Kabakov), Enio Iommi, Enrica Bernardelli, Enrique Aguerre, Enrique Zamudio, Ensamble Cumshort, Erick Beltran, Ernesto Neto, Fábio Miguez, Fernando Lindote, Fernando Llanos, Fernando Melo, Franco Aceves Humana, Franz Weissmann, Fredi Casco, Geraldo De Barros, Germana Monte-mór, Gisela Martins Waetge, Gonzalo Mezza, Guillermo Gómez-peña, Hélio Oiticica, Hércules Barsotti, Iberê Camargo, Ilya Kabakov (com Emilia Kabakov), Iole De Freitas, Ivan Serpa, Jac Leirner, Jacqueline Lacasa, Jailton Moreira, Jamex De La Torre (e Einar De La Torre), Javiera Torres, Joaquin Sánchez, Jorge Francisco Soto, José Bechara, José Resende, Juan Melé, Juan Tessi, Karin Lambrecht, Laura Erber, Laura Vinci, Lazo, Leandro Tartaglia, Lenora De Barros, Logo (mariana Ures E Felipe Ridao), Lúcia Koch, Luiz Sacilotto, Lygia Clark, M7red (Maurício Corbalan e Pio Torroja), Manuel Espínola Gómez, Manuel Rocha Iturbide, Manuela Vieragallo, Marcelo Callaú, Marcelo Grosman, Marcelo Silveira, Marcos Chaves, Maria Leontina, Maria Luisa Pacheco, Mariana Castillo Deball, Mariano Molina, Mariela Leal, Marina Abramovic, Mario Sagradini, Matilde Perez, Mauricio Guillen, Mauro Fuke, Max Bill, Michelle Letelier, Miguel Rio Branco, Milton Marques, Milton Rodrigues Dacosta, Mira Schendel, Narda Alvarado, Natascha De Cortillas, Nelbia Romero, Nélson Félix, Nelson Ramos, Néstor Olhagaray, Niura Machado Bellavinha, Nuno Ramos, Oscar Miguel Bonilla Lasalvia, Osvaldo Salerno, Pablo Leon De La Barra, Pablo Vargas Lugo, Paola Caroca, Patricia Israel, Patricio Crooker, Patrício Farias, Paulo Jares, Paulo Vivacqua, Paz Carvajal García, Paz Encina, Pierre Coulibeuf, Rainer Krause, Raquel Schwartz, Renato Heuser, Ricardo Migliorisi, Rivane Neuenschwander, Roman Ariel Vitali, Rosa Velasco, Rubem Ludolf, Rulfo (raúl Alvarez Lucas), Sandra Cinto, Sandro Pereira, Sérgio Camargo, Sergio Meirana, Silvia Rivas, Siron Franco, Sol Mateo, Stephen Vitiello, Thiago Rocha Pitta, Tunga - Antônio José De Barros Carvalho E Mello Mourão, Ulises Carrión, Vera Chaves Barcellos, Waldemar Cordeiro, Waltercio Caldas, Washington Barcala, Willys De Castro, Yael Rosenblut,
The 5th edition of the Mercosul Biennial was fundamentally defined by rethinking the current model in view of the international parameters of the curatorial projects. It therefore sought to encourage deep reflection on not just the curatorial sphere, but also on all the organizational stages and guiding principles of putting on the Biennial. It took account of the Biennial's actions in local, national and domestic arenas to assess its impact in these different areas, without losing sight of its basic founding parameters.
The 5th Biennial showed many new works, giving the exhibition a significantly original and unprecedented character. The central theme of this edition of the Mercosul Biennial was the multiplicity of contemporary experiences of space: from subjective space - consisting of the body and in the body, through the dominant, urban space, to new notions of space imposed by digital culture.
Under the title, Histories of Art and Space, the curatorial concept of the 5th Biennial chose to divide the exhibition into four main vectors - From Sculpture to Installation, Transformations of the Public Space, Directions in the New Space, and The Persistence of Painting. These were complemented by the exhibition of the artist of honour, Amilcar de Castro, and the Frontiers of Language exhibition, with artists from outside Mercosul.
The works from the participating countries were grouped according to their linguistic and formal characteristics. Divided into segments, the exhibition project brought works together under such categories as: sculpture and installation, painting, new technologies or new media and works in the public space. The two historical exhibitions - The Persistence of Painting and From Sculpture to Installation - were also divided along the same lines. The historical exhibitions were intended to provide ways of understanding contemporary work in the principal vectors.
The 5th Mercosul Biennial included 169 artists, of which 163 were from Latin America and six from Europe and the United States, with Max Bill in one of the historical exhibitions. 83 artists came from Latin American countries outside Brazil; 22 from Chile, 15 from Mexico, 15 from Argentina, 14 from Uruguay, 9 from Paraguay and 8 from Bolivia. There was no guest country for the 5th Biennial; Mexico, which had been the guest at the previous edition, was now incorporated as a permanent member. The 5th Biennial occupied a record 24,588.91m2 of exhibition space.
In addition to the Frontiers of Language exhibition, which brought five internationally recognised artists to the Mercosul Biennial, one of the main highlights of this edition was the exhibition of the Minas Gerais artist, Amilcar de Castro, one of the most important figures in Brazilian sculpture of the second half of the 20th century. Works by the artist were included in all segments of the exhibition. Six monumental sculptures were installed in the Largo Glênio Peres in front of the Central Public Market, in an exhibition entitled "Amilcar de Castro Monumental Sculptures" in the Transformations of the Public Spacevector. Sculptures produced from 1953 to 2001 were shown in the retrospective exhibition called "The Adventure of Coherence" in the A7 Warehouse on the Quayside, which also included two large works installed between the warehouse and the river, in the From Sculpture to Installation vector. An exhibition of 23 medium- to large-format paintings in the Historical Experiences of the Plane vector occupied the 2nd floor of the Museu de Arte do Rio Grande do Sul, which also included a biographical room on the artist. A group of his sculptures was also included in the vector entitled The (Re)invention of Space at Santander Cultural. Amilcar de Castro was also shown in a new exhibition bringing together the artist's graphic design and illustration work in an exhibition called Amilcar de Castro Graphic Designer at the Museu Hipólito José da Costa, as part of the Directions in the New Space vector.
The 5th Mercosul Biennial education programme met the needs of its various audiences, ranging from training monitors to organising seminars, talks and parallel activities with the aim of expanding on the issues of the theoretical and practical aspects of contemporary artistic production.
Permanent works for the public space were designed by Carmela Gross, José Resende, Mauro Fuke and Waltércio Caldas.
Source: "A Concise History of the Mercosul Biennial"
30 September - 4 December 2005
Curatorial Staff
Chief Curador: Paulo Sergio Duarte
Adjunct Curatorс: Gaudêncio Fidelis, Assistant Curator, José Francisco Alves
Assistant Curator for Historical Exhibitions: Neiva Bohns
Curator for Argentina: Eva Grinstein
Curator for Bolivia: Cecilia Bayá Botti
Curator for Chile: Justo Pastor Mellado
Curator for Mexico: Felipe Ehrenberg
Curator for Paraguay: Ticio Escobar
Curator for Uruguay: Gabriel Peluffo Linari
Assistantс to Curatorial Staff: Rafael Rachewsky
Research Assistant: Giovana Ferrer Vazatta
Support: Cristiana Helga Rieth
Intern: Júlia Berenstein
Artists:
Abraham Palatnik, Adriana Bustos, Adriana Varejão, Afonso Tostes, Alejandra Andrade, Alessandra Sanguinetti, Alessandra Vaghi, Alfredo Volpi, Alonso Yáñez, Aluísio Carvão, Américo Spósito, Amílcar De Castro, Angelo Venosa, Antonio Dias, Antônio Manuel, Arthur Luiz Piza, Artur Lescher, Benjazmín Ocampos, Bernardo Krasniansky, Bettina Brizuela, Bia Medeiros, Boris Viskin, Camilo Yáñez, Carlos Amorales (nuevos Ricos), Carlos Colombino, Carlos Fajardo, Carlos Pasquetti, Carlos Vergara, Carlos Zílio, Carmela Gross, Carmelo Arden Quin, Célia Euvaldo, Célia Freitas (e Daisy Xavier), César Martínez, Claudia Casarino, Claudia Missana, Daisy Xavier (e Célia Freitas), Daniel Feingold, Daniel Senise, Décio Vieira, Diana Domingues, Dominique Serrano, Dudi Maia Rosa, Eduardo Cardozo, Eduardo Sued, Einar De La Torre (e Jamex De La Torre), Elaine Tedesco, Elcio Rossini, Elizabeth Jobim, Elvira Santamaría, Emilia Kabakov (com Ilya Kabakov), Enio Iommi, Enrica Bernardelli, Enrique Aguerre, Enrique Zamudio, Ensamble Cumshort, Erick Beltran, Ernesto Neto, Fábio Miguez, Fernando Lindote, Fernando Llanos, Fernando Melo, Franco Aceves Humana, Franz Weissmann, Fredi Casco, Geraldo De Barros, Germana Monte-mór, Gisela Martins Waetge, Gonzalo Mezza, Guillermo Gómez-peña, Hélio Oiticica, Hércules Barsotti, Iberê Camargo, Ilya Kabakov (com Emilia Kabakov), Iole De Freitas, Ivan Serpa, Jac Leirner, Jacqueline Lacasa, Jailton Moreira, Jamex De La Torre (e Einar De La Torre), Javiera Torres, Joaquin Sánchez, Jorge Francisco Soto, José Bechara, José Resende, Juan Melé, Juan Tessi, Karin Lambrecht, Laura Erber, Laura Vinci, Lazo, Leandro Tartaglia, Lenora De Barros, Logo (mariana Ures E Felipe Ridao), Lúcia Koch, Luiz Sacilotto, Lygia Clark, M7red (Maurício Corbalan e Pio Torroja), Manuel Espínola Gómez, Manuel Rocha Iturbide, Manuela Vieragallo, Marcelo Callaú, Marcelo Grosman, Marcelo Silveira, Marcos Chaves, Maria Leontina, Maria Luisa Pacheco, Mariana Castillo Deball, Mariano Molina, Mariela Leal, Marina Abramovic, Mario Sagradini, Matilde Perez, Mauricio Guillen, Mauro Fuke, Max Bill, Michelle Letelier, Miguel Rio Branco, Milton Marques, Milton Rodrigues Dacosta, Mira Schendel, Narda Alvarado, Natascha De Cortillas, Nelbia Romero, Nélson Félix, Nelson Ramos, Néstor Olhagaray, Niura Machado Bellavinha, Nuno Ramos, Oscar Miguel Bonilla Lasalvia, Osvaldo Salerno, Pablo Leon De La Barra, Pablo Vargas Lugo, Paola Caroca, Patricia Israel, Patricio Crooker, Patrício Farias, Paulo Jares, Paulo Vivacqua, Paz Carvajal García, Paz Encina, Pierre Coulibeuf, Rainer Krause, Raquel Schwartz, Renato Heuser, Ricardo Migliorisi, Rivane Neuenschwander, Roman Ariel Vitali, Rosa Velasco, Rubem Ludolf, Rulfo (raúl Alvarez Lucas), Sandra Cinto, Sandro Pereira, Sérgio Camargo, Sergio Meirana, Silvia Rivas, Siron Franco, Sol Mateo, Stephen Vitiello, Thiago Rocha Pitta, Tunga - Antônio José De Barros Carvalho E Mello Mourão, Ulises Carrión, Vera Chaves Barcellos, Waldemar Cordeiro, Waltercio Caldas, Washington Barcala, Willys De Castro, Yael Rosenblut,
The 5th edition of the Mercosul Biennial was fundamentally defined by rethinking the current model in view of the international parameters of the curatorial projects. It therefore sought to encourage deep reflection on not just the curatorial sphere, but also on all the organizational stages and guiding principles of putting on the Biennial. It took account of the Biennial's actions in local, national and domestic arenas to assess its impact in these different areas, without losing sight of its basic founding parameters.
The 5th Biennial showed many new works, giving the exhibition a significantly original and unprecedented character. The central theme of this edition of the Mercosul Biennial was the multiplicity of contemporary experiences of space: from subjective space - consisting of the body and in the body, through the dominant, urban space, to new notions of space imposed by digital culture.
Under the title, Histories of Art and Space, the curatorial concept of the 5th Biennial chose to divide the exhibition into four main vectors - From Sculpture to Installation, Transformations of the Public Space, Directions in the New Space, and The Persistence of Painting. These were complemented by the exhibition of the artist of honour, Amilcar de Castro, and the Frontiers of Language exhibition, with artists from outside Mercosul.
The works from the participating countries were grouped according to their linguistic and formal characteristics. Divided into segments, the exhibition project brought works together under such categories as: sculpture and installation, painting, new technologies or new media and works in the public space. The two historical exhibitions - The Persistence of Painting and From Sculpture to Installation - were also divided along the same lines. The historical exhibitions were intended to provide ways of understanding contemporary work in the principal vectors.
The 5th Mercosul Biennial included 169 artists, of which 163 were from Latin America and six from Europe and the United States, with Max Bill in one of the historical exhibitions. 83 artists came from Latin American countries outside Brazil; 22 from Chile, 15 from Mexico, 15 from Argentina, 14 from Uruguay, 9 from Paraguay and 8 from Bolivia. There was no guest country for the 5th Biennial; Mexico, which had been the guest at the previous edition, was now incorporated as a permanent member. The 5th Biennial occupied a record 24,588.91m2 of exhibition space.
In addition to the Frontiers of Language exhibition, which brought five internationally recognised artists to the Mercosul Biennial, one of the main highlights of this edition was the exhibition of the Minas Gerais artist, Amilcar de Castro, one of the most important figures in Brazilian sculpture of the second half of the 20th century. Works by the artist were included in all segments of the exhibition. Six monumental sculptures were installed in the Largo Glênio Peres in front of the Central Public Market, in an exhibition entitled "Amilcar de Castro Monumental Sculptures" in the Transformations of the Public Spacevector. Sculptures produced from 1953 to 2001 were shown in the retrospective exhibition called "The Adventure of Coherence" in the A7 Warehouse on the Quayside, which also included two large works installed between the warehouse and the river, in the From Sculpture to Installation vector. An exhibition of 23 medium- to large-format paintings in the Historical Experiences of the Plane vector occupied the 2nd floor of the Museu de Arte do Rio Grande do Sul, which also included a biographical room on the artist. A group of his sculptures was also included in the vector entitled The (Re)invention of Space at Santander Cultural. Amilcar de Castro was also shown in a new exhibition bringing together the artist's graphic design and illustration work in an exhibition called Amilcar de Castro Graphic Designer at the Museu Hipólito José da Costa, as part of the Directions in the New Space vector.
The 5th Mercosul Biennial education programme met the needs of its various audiences, ranging from training monitors to organising seminars, talks and parallel activities with the aim of expanding on the issues of the theoretical and practical aspects of contemporary artistic production.
Permanent works for the public space were designed by Carmela Gross, José Resende, Mauro Fuke and Waltércio Caldas.
Source: "A Concise History of the Mercosul Biennial"