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Catalogo 2019 INGLES Web2.Pdf BIENALSUR 2019 This project was conceived and developed by the Universidad Nacional de Tres de Febrero BIENALSUR 2019 — BIENALSUR General Direction International Curatorial Council Aníbal Jozami BIENALSUR 2019 Stephane Aquin (CAN) Artistic and Academic Direction Ferran Barenblit (ESP) Diana Wechsler Regina Teixeira de Barros (BRA) Manolo Borja (ESP) Institutional Direction Ramón Castillo (CHL) Martín Kauffmann Marcello Dantas (BRA) Estrella de Diego (ESP) General Advisor Simon Djami (CMR) Marlise Ilhesca Andrés Duprat (ARG) Ticio Escobar (PRY) Legal Advisor João Fernandes (PRT) Mauricio de Nuñez Clara Garavelli (GBR) Marta Gili (ESP/FRA) Coordination of Institutional Relations Fábio Magalhães (BRA) Carlos Peralta José Carlos Mariátegui (PER) Fabián Blanco Johannes Odenthal (DEU) Catherine Petigas (FRA/ GBR) Curatorial Council BIENALSUR 2019 Agustín Pérez Rubio (ESP) Liliana Piñeiro (ARG) Nada Shabout (USA) Marina Aguerre (ARG) Nayla Tamraz (LBN) Florencia Battiti (ARG) Marie-Cecile Zinsou (BEN) Benedetta Casini (ITA) Fernando Farina (ARG) Honorary International Council Afshan Almassi Sturdza Ana Gilligan Rubens Ricupero Jean-Paul Fitoussi Enrique Iglesias Carlos Ivan Simonsen Leal Elizabeth Dulanto de Miró Quesada Academic Committee Academia de Bellas Artes de París (FRA) Escuela Municipal de Bellas Artes de Valparaíso (CHL) Escuela Nacional Superior Autónoma de Bellas Artes (PER) Fundación Álvarez Penteado (BRA) Fundación Getulio Vargas (BRA) Instituto Universitario Sudamericano (URY) Universidad Abdelmalek Essaâdi de Tánger (MAR) Universidad Austral (CHL) Universidad Complutense de Madrid (ESP) Universidad de Chile (CHL) Universidad de la República (URY) Universidad de Las Américas de Puebla (MEX) Universidad de las Artes (ECU) Universidad de las Artes de Tokio (JPN) Universidad de las Regiones Autónomas de la Costa Caribe Nicaragüense (NIC) Universidad de Los Andes (COL) Universidad de Salamanca (ESP) Universidad de San Carlos (GTM) Universidad de São Paulo (BRA) Universidad idad Federal de Rio Grande do Sul (BRA) Universidad Federal de Santa Catarina (BRA) Universidad Federal de Santa Maria (BRA) Universidad Javeriana (COL) Universidad Mayor de San Marcos (PER) Universidad Metropolitana de Caracas (VEN) Universidad Nacional de Colombia (COL) Universidad Nacional de Córdoba (ARG) Universidad Nacional de Tucumán (ARG) p. 5 Index PROLOGUE p. 9 Aníbal Y. Jozami BIENALSUR: Listening and Gathering voices p. 11 Diana B. Wechsler CURATORIAL WORK p. 17 BIENALSUR ACTIONS. PASSAGES FROM THE PUBLIC PROGRAMME p. 337 OPEN AIR DIGITAL MUSEUM p. 345 LIST OF REPRODUCED IMAGES p. 354 LIST OF ARTISTS AND WORKS p. 368 ONOMASTIC INDEX p. 422 LIST OF VENUES p. 430 CREDITS p. 435 ACKNOWLEDGEMENTS p. 435 p. 7 When we began to conceive the idea of BIENALSUR, a pandemic neither existed nor could be envisaged. There indeed existed widespread inequality, which is being worsened by the current situation on a seemingly endless road. We then realized how history had defined centres and peripheries, and how this was reflected on the cultural system and had consequences in different countries. We also pondered how the frequently distortive–albeit necessary–art market prevailed over others and created frivolous spaces that might have always existed but are now more dis- cernible on account of the exposure afforded by social networks and the media. We believed that it was possible to promote the creation of artistic manifestations that reached out to various communities so that those creators would attain fulfilment through such a contact, that art is unimaginable without a commitment to life in our societies, and that creators only completed their work through its connection with the spectators. Therefore, a public event should be the place where the creations displayed embody all the ideas that over the last decades have enabled the world to move forward in the reformulation of paradigms on the basis of post-colonial theories, gender studies and the contributions of feminism. We thought of occupying the great museums, in addition to being present in different countries and in regions with both political and social borders. We wished art in style of BIENALSUR to become an instrument of unity as happens in the border between Colombia and Venezuela, and a tool for the acknowledgment of history and the need for empowerment, which was systematically denied to communities like the Quilmes Calchaquies, among others. We also envisioned the collaboration of Argentine and Japanese artists and curators working in a vulnerable town of Peru to help disabled children to pursue social integration and achieve visibility through the exhibition of their works in the centenary Escuela de Bellas Artes of Lima, where European collectors could have the chance to appreciate them. We also conjured up contemporary native Australian artists as part of the BIENALSUR network, specifically at the Fondation Opale in Switzerland, on a par with the most important and remarkable European and American “central” artists. It has fallen on me to write the preface to the catalogue of the second edition conducted in 2019, the publication of which has been delayed due to the current sanitary crisis. A myriad of philosophers and scientists are urging us to use this pandemic to propose a new ethics and a new kind of relationship with other values between human beings and within the production system. The elements I outlined before express such problems within the realm of culture and its connection with society. We are now working on the continuation of BIENALSUR’s third edition in 2021. This repre- sents the resumption and confirmation of our ideas about the society we dream of. This will confirm once again how far a project can go when those who create and implement it commit all their efforts and hopes to changing and improving societies, in this case from p. 9 BIENALSUR 2019 — the perspective of the culture born in the South to be present on a global scale. This would not have been possible without the creativity, academic professionalism and unlimited dedication of Diana Weschler, Artistic and Academic Director of BIENALSUR. I wish to thank all the members of the Universidad Nacional de Tres de Febrero for their collaboration and support, particularly my dear friend Martín Kaufmann, with whom we have shared responsibilities and wishes for a better university in a better country for over thirty years; my wife Marlise Ilhesca for her ideas and her wholehearted cooperation, and all the friends from the five continents who feel part of this incredible adventure. Aníbal Y. Jozami BIENALSUR, listening and gathering voices Arriving at each place humble as a migrant who knows neither the language nor the customs of the new destination, ready to observe, think about them, and join in: such is the way BIENALSUR addresses each of its projects. On the basis of an international open call, numerous dialogues with players of diverse cultural and artistic spaces, the biennial process is initiated just like we did in previous editions. We take stock of our experience, resume projects that we believe can be expanded, walk intertwined trails, lay down paths, and create unimagined intersections that give rise to unexpected relationships and drifts leading to new maps with a diversity of experiences. This publication gathers such experiences with the presence of the artists, curators, projects and spaces of BIENALSUR 2018-2019. Most projects are conducted in situ and therefore are shaped through exchange and trial in specific situations, in addition to the vast field of actions and multiple factors involved that enrich them. Thus, the logbook of this extensive itinerary is finally written at the end of a long cycle. Although various versions of our passport were published throughout 2019 as a sort of notepad of the cartography of each edition, the full itinerary, including not only the locations but also the protagonists and their productions, is gathered in this book, which sees the light in 2020. Yet, this year is not like the previous ones when we thought we knew how to move forward. The pandemic brought about uncertain horizons. This new reality impedes movements, actions on the sites, meetings, in person events, and the experience of sharing time and space. Therefore, the work on the events of the second edition inevitably leads not only to the task of sorting and editing, but also and more than ever to a revision and reconsideration of the conditions of possibility under these new and unforeseen circumstances. Then, this publication not only closes the cycle of the second edition of BIENALSUR, but also underscores its uniqueness and strength through plurality, collaboration and the ability to reinvent itself in the face of diverse situations. We know that this pandemic exposes the huge inequalities that have prevailed in this phase of neoliberal late capitalism for a long time. Such inequalities leave out increasingly larger segments of the society and restrict their access to basic goods. By placing us in the threshold between life and death, the current crisis makes us wonder what is “necessary”, and from the edge of this abyss, once again we uphold the right to culture as a human right, since we believe that such a right sheds light on others and enables critical insights into the reality we currently experience. p. 11 BIENALSUR 2019 — Let me say this again: BIENALSUR, the project that we have developed with Aníbal Jozami from UNTREF, together with many people and institutions, is a plural, polyphonic, multipolar, networking, collaborative endeavour conducted as a work in progress. Its dynamic, mobile and highly entropic nature is well suited for attentive listening and observation, and a critical perspective. This project is aware of the “rules of art”, though it has been decided to put them on hold and reconsider them. Therefore, it has no fixed structures or formats as it works on the basis of dialogue to define the actions in each case: hence our in-discipline. We place ourselves between the local and the global seeking to turn each venue into a centre that challenges the community and is also receptive to the introduction of problems from expanded contexts.
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