Researcher Bruno Pinheiro revisits the emblematic installation presented by Rubem Valentim at the 14th Bienal de São Paulo, in 1977, and analyzes how the work articulates Afro-Brazilian spirituality, sacred geometry and modernist architecture, projecting a space of resistance and reflection that gains new strength with its reassembly at the 35th Bienal.

Mariana Leão, researcher and curator of art collections, highlights the role of artists such as Maria Leontina, Tarsila do Amaral, Prunella Clough, and Germaine Richier in their awards at the 1st Bienal de São Paulo, especially in the acquisition categories, with their works incorporated into the MAM collection and later, the MAC USP.

Rosane Muniz Rocha, a researcher in theater theory and practice, discusses the creation of the Bienal das Artes Plásticas do Teatro in 1957, which integrated theater, set design and costume design in the Bienal de São Paulo. The show, conceived by Aldo Calvo, lasted until 1973 and was a milestone for the performing arts.

Architect and urban planner Raíssa Armelin Lopes describes the creation of the Bienal Internacional de Arquitetura in 1973 – in the midst of the dictatorship –, the path to its birth, which includes the Exposição Internacional de Arquitetura within the Bienal de São Paulo, its objectives and contradictions.

Researcher Brunno Almeida Maia explores the relationship between art and fashion over the centuries.

Kleber Antonio de Oliveira Amancio, associate professor at UFRB, analyzes Sidney Amaral’s work, Gargalheira ou quem falará por nós? (2014), which reflects on power, communication and the oppression of black identities. Contemporary Afro-Brazilian art questions the historical invisibility of black people and reframes visibility as a form of resistance, challenging the centrality of the white vision in art.

Have you ever noticed how many toys are included in the works of artists? In her text for +bienal, researcher Mariane Klettenhofer highlights the invitation to play in the creation of great names in modern and contemporary art such as Picasso, Klee, Calder and Oiticica.

“Can one legitimately think of ‘archives of nows’ and ‘catalogs of happenstances’ outside of a poem? Can happenstances and nows be stored in a systematic way?” are a few questions that Bianca Mantovani, cultural administrator, curator and researcher, asks in this new text for +bienal.

Naine Terena, artist educator and curator, talks about the realization and conception of the exhibition Ka’a Pûera: we are walking birds, Brazil’s official participation in the 60th International Art Exhibition – La Biennale di Venezia, and about the permanence of indigenous artists in this space.

Naymare Azevedo, director and coordinator of the Afrotonizar platform, which promotes the connection and multiplication of experiences of racialized people, explains how her initiatives connect artists, curators and researchers, offering training and an exchange of experiences.

The psychoanalyst and researcher Flavia Corpas relates different editions of the Bienal to what is understood as madness at that time. Read more.

Artist Fabio Morais reflects on the use of texts – sometimes small, sometimes gigantic – in works of art and how the word merges with the image, using works by artists such as Leonilson, Carmela Gross, Rubens Gerchman and Regina José Galindo to exemplify the use of words and poetry in art.

Livia Benedetti and Marcela Vieira, creators of the art projects website aarea, comment on the challenges of conservating and creating a platform for digital art.

Journalist, literature curator and writer Joselia Aguiar recounts her experience of coming across and studying the life of Djanira (1914-1979), an artist whose career has been revalued in recent years, in order to prepare a biography of the painter.

In an interview to Bienal, Bruno Moreschi tells us about their participation on the 33rd Bienal, and reflects on technology as a system and machine learning