Andrea Giunta

from the moment in which the art curator reached the role of a film director, knowing who will lead an international exhibition has become paramount. By choosing Andrea Giunta as the general curator of the 12th Bienal do Mercosul, which will take place from April 9 to July 5, 2020, the exhibition returns to its origins. Strongly linked to Latin American production, the Argentine critic and researcher will explore the relationship between art, feminism and emancipation. I ask how she will do it. “The biennial has already started, last week, with a seminar where we put on the agenda the topics that we are interested in exploring. One of the senses in which I understand the term emancipation, in addition to emancipation in the political sense, is linked to knowledge”. For Giunta, knowledge contributes to the transformation of thought structures. “We will work from feminism, from the concept of an expanded subject that includes not only women, but also demarcated bodies and affections and everything that the monolithic discourse marginalizes”. As part of the Bienal project, a Seminar is being organized to discuss these themes. Working at a biennial is complex and this is Giunta's first experience with an exhibition of this nature, in this sense, she intends to use her experience and research methodologies. Research intensively, exploring the potential of a city like Porto Alegre, with resources that have not been present in any other biennial.

Giunta makes a classic comment from some international curators who have been through our three Bienals, the one in São Paulo, Curitiba and the one in Porto Alegre. “ I don't want the biennial to land like a UFO in the city, but to integrate itself into the creative and institutional scenario where it is located. We have already taken some steps in this direction.” The curator talks about the involvement of “dazzling” institutional collections, which have never been in a biennial or in universities. From experience, she will take into account the importance of the relationship between curatorship, exhibitions, research and also between schools. The curator believes that she can bring to the biennial experiences that add up, like the recent curatorship, of radical women “which had the dimension of a biennial in relation to the number of artists involved”. In addition, Giunta says he has an experienced team at the Mercosul Biennial, which has trained many young people.  Faced with the current political situation, I ask how Argentine criticism intends to approach themes and works impregnated with an ideological charge. “I cannot say that I am not concerned about the scenario in which this project will develop. But I also think it's an opportunity to keep culture and thinking active. We will certainly have to look for communities of dialogue that understand the meaning of what we have pointed out. It is a time to work on the culture of dialogue, not that of confrontation”. Giunta says that the theme undoubtedly invokes a pedagogical sense. And, for her, the challenge will be to find forms of dialogue that transform the state of belligerence in which we are submerged. “Not only in Brazil, but in many other countries, art is also a space for community reflection. I hope to achieve this poetic climate, which is also political”.

After the warehouses in the port were no longer ceded to the Bienal, the exhibition was reduced by almost 60%, in relation to the exhibition spaces, and became leaner and today it is practically reduced to the Rio Grande do Sul Art Museum, Rio Grande do Sul Memorial and  Cultural Santander.

Leave a comment

Please write a comment
Please write your name