"A dialogue in displacement and between generations”: this is how Ana Pi defines the work she developed in partnership with Taata Kwa Nkisi Mutá Imê, a Candomblé priest whose daughter she has been for 18 years, and who can be seen at the entrance to the Biennale. It is a metallic structure made up of four moving antennas, more than seven meters high, which connects with a series of references of great symbolic strength such as cowrie shells, coastal straws, baobab seeds, monitors that require images and photographs collected throughout the research and Taata's voice talking about the inquices, sovereign entities in Candomblé. To develop this project, the duo traveled thousands of kilometers, capturing traces and poetic elements in a series of countries and institutions (such as the Fundamental Institute of Black Africa, in Dakar, the Museum of Quai Branly, or Museum of Arts and Civilizations of Africa , Asia, Oceania and the Americas, in Paris, or the Door of No Return, in Ouidá-Benin), now amalgamated into a very complex set of references, as a living commentary on crossroads and potentialities.
“When we talk about time, we are competing for something about the future, about the continuity of life and not just human life”, she says, emphasizing the importance of valuing new paths. Ana Pi – who also collaborated, as a choreographer, with the work that Julien Creuzet exhibits in the exhibition – celebrates that the Biennale is fraternizing “with some ideas of a world that is not this hegemonic one, that pollutes, that leaves people starving”. She recalls that this is the first edition of the post-pandemic event. And she adds: “We cannot forget that more than 700 thousand people have died and have not yet been prayed for. Our worldviews come to address this.” ✱