President of Bienal: Edemar Cid Ferreira
General Curator: Nelson Aguilar
Associate Curator: Agnaldo Farias
Special Rooms Coordinator: Per Hovdenakk
Curators of Universalis Exhibition: Tadayasu Sakai (Japan), Jean-Hubert Martin (France), Mari Carmen Ramírez (Puerto Rico), Paul Schimmel (USA), Katalin Néray (Hungary), Achille Bonito Oliva (Italy), Nelson Aguilar, Agnaldo Farias (Brazil)
fotostodas as fotos
Abertura da 23ª Bienal com as presenças do presidente da Bienal Edemar Cid Ferreira, o presidente da república Fernando Henrique Cardoso e o curador Nelson Aguilar / © Autor não identificado
Montagem da obra de Anish Kapoor, 'Turning the World Inside Out' [Virando o mundo do avesso], para sala especial dedicada ao artista / © Guimar Morelo
Montagem da obra de Tomie Ohtake, 'Sem título', para sala especial dedicada à artista / © Guimar Morelo
Montagem da 23ª Bienal com a presença da artista Tomie Ohtake para sala especial dedicada à artista / © Guimar Morelo
Montagem da obra de Rubem Valentim, 'Painel Emblemático', em sala especial dedicada ao artista / © Autor não identificado
Público visita a obra de Rubem Valentim, 'Painel Emblemático', em sala especial dedicada ao artista / © Cristiano Mascaro
Visitantes observam obra de Pablo Picasso, 'La Muse' [A Musa], em sala especial dedicada ao artista / © Cristiano Mascaro
Visitantes na sala especial dedicada a Andy Warhol, com as obras 'Nicky Lane (Weymouth)' e 'Helene Rochas' / © Cristiano Mascaro
Público visita a seção Universalis da 23ª Bienal, com vista para obra de Flávia Ribeiro, série 'Floribus Explere' / © Cristiano Mascaro
Vão central da 23ª Bienal com vista para as obras de Tomie Ohtake, 'Sem título', Anish Kapoor, 'Turning the World Inside Out' [Virando o mundo do avesso]. À esquerda, obra de Jesus Soto, 'Esfera'. Ao fundo, pintura de Sol Lewitt, 'Wall Drawing #808, Stars with Three, Four, Five, Six, Seven, Eight, and Nine Points within Bands of Color Ink Washes Superimposed' [Desenho de parede # 808 Estrelas com Três, Quatro, Cinco, Seis, Sete, Oito, e Nove Pontas Dentro de Faixas de Camadas Superpostas de Tinta Colorida] / © Fernando Chaves
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"The experience obtained with the 1994 show was an essential resource that went into making this edition successful in several aspects. These successes began with the museographical design elaborated by Paulo Mendes da Rocha, and which was delivered to the artists one month before the opening of the exhibition, simultaneously to the release of the three enormous exhibition catalogs - something practically unheard of in the history of the Bienal, which has always been marked by a tardy setup process invariably extending into the exhibition period."
FARIAS, Agnaldo (org.). Bienal 50 Anos, 1951-2001. São Paulo: Fundação Bienal de São Paulo, 2001, p.248
"Biennial art shows have been springing up in various countries. ln Africa and South Korea, mega-exhibitions feature a synthesis of both their regional art as well as the art of other parts of the world. Nowadays, the creation of biennial art shows somewhat resembles the foundation of cities - it is a mythical enterprise with a symbolic meaning that rules the destiny of those that plant its seeds. For instance, whereas Johannesburg nourishes the dream of an African integration, Kwangju seeks to promote the coexistence of art and technology. Each of these dreams attests to the fact that human existence is an endless task. Given its precedence over the more-recent biennials (Havana, Istanbul, Sidney, Cairo, Cuenca and Ljubljana, in addition to those mentioned above), the Bienal Internacional de São Paulo is in a position to draw a few conclusions. Time has consolidated its character, which is at the same time particular and universal. [...] A seasoned, long-standing biennial such as ours is a forever shining star that guides voyagers along their current and future paths."
FERREIRA, Edemar Cid. "The particular and the universal in the 23ª Bienal Internacional de São Paulo". In 23ª Bienal Internacional de São Paulo. São Paulo: Fundação Bienal de São Paulo, 1996, p.19 (exhibition catalogue)
"The theme of the 23th Bienal Internacional de São Paulo - the dematerialization of art at the end of the millennium - is more comprehensive than that of the previous exhibition, which addressed the rupture of the traditional art support. It is intended to transform the circle into aspiral. At the 22th Bienal, world art was reviewed from the basis of Brazilian experience. On that occasion, the triad formed by Lygia Clark, Hélio Oiticica and Mira Schendel demonstrated the insufficiency of the attributes of canvas or sculpture to meet the desire to conquer new means of expression. [...] However, the departure from the support is only an aspect of the broader movement of dematerialization that involves not only the definition of artwork itself, but also the manner in which humankind inhabits the world at this century end."
AGUILAR, Nelson. "A era da desmaterialização" [The Age of Dematerialization]. In 23ª Bienal Internacional de São Paulo. São Paulo: Fundação Bienal de São Paulo, 1996, p.20 (exhibition catalogue)