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<nettime> ATTAC newsletter interviews Sao Paolo Biennal curator Alfons Hug |
from: "Sand in the Wheels" <newsletter@attac.org> sent: Wednesday, April 24, 2002 9:21 PM SAND IN THE WHEELS (n°125) ATTAC Weekly newsletter - Wednesday 24/04/02 Even Art wants its part : the Biennal exhibition of San Paolo out of Nato By Marina Corbello Translation. coorditrad@attac.org volunteer translators. The 24th Biennal exhibition of contemporary art of San Paolo in Brazil is currently taking place, till next June 2nd. It is one of the historical ones, and therefore, with nothing to do with the present world epidemic of Biennals. Its structures reminds of the Biennal in Venice. Different nationalities are represented (around 70 this year), organized by several art organizers and financed by their countries. There are also exhibitions set up and financed by the Biennal itself. This year director is the German Alfons Hug, an outsider to the usual olygarchy of the international biennals. " I am no part of the eurocentric cartel " claims Hug, born in 1950 and with a degree in Linguistics and Compared Litterature. From 1984 till 2000, Hug was the director of the Goethe Institute of Lagos, Medellin, Brasilia, Caracas and Moscow, and he organized, among other exhibitions, "" The other modern " for the Haus der Kulturen der Welt in Berlin in 1997. We've interviewed him a few days before the inauguration. You may get the entire list of the guests of the Biennal and of the country-members on www.bienalsaopaulo.org.br . Alfons Hug, you are the first non-Brasilian director of the Biennal of San Paolo. Does this mean that the current edition is different from the previous ones ? It's not much different, but we do highlight contemporary art. Previously, there always was a " historical core ", which we've cut out this time. With 70 country membres, the Biennal is even more international than the one in Venice. Brazil takes part with 34 artists coming from 10 State-regions and this allows us to present a good overall of the Brasilian artistic scene. You have asked Agnaldo Farias to be in charge of the Brasilian part of the exhibition. What is the local situation of the young art? To me, the Brasilian art is one oft the most dynamic in the world, and, most likely, the most interesting in the Latin American continent. It's more and more appreciated worldwide and Brasilian artists are more and more active on the international scene, as you may notice from their participation to the various exhibitions and biennals. Brazil is more a continent than a country. With over 160 million inhabitants, it's the biggest country in South America. But its economic situation is not positive : after the bankrupcy in Argentina, the IMF claims that Brazil is also economically fragile. A new president will be elected in October. In which ways do the Brasilian art and culture reflect the current social and economical situation ? Art can only indirectly comment on politics. In a way, it is above politics. No one expects art to hand out recipes to the day-to-day politics.Yet there is one thing art can do : in a world with ever growing social, economic and political inequalities, the artists have the capacity to reconcile the hemispheres and the indivisibility of humankind within their work. Even during the years of the Brasilian military dictature, from 1969 til 1982, the government supported the Biennal, as it was important to show a good image of the country. What kind of Brazil comes out of the current exhibition ? It is the image of an open country that comes out, a productive and creative country. The theme you have chosen for the 2002 Biennal is " Urban iconographies ". How do big cities influence the artistic production ? Big cities have always generated art and culture. But the artistic strategies remain much different from one another. There are the " direct " photographs, like, say, those by Frank Thiel, who observes and portrays the new Berlin, but you also have the abstract painting, like Katharina Grosse's work, which gathers the hidden urban energies in themes. The " Urban iconographies " section presents 11 cities, each one by 5 artists : San Paolo, Caracas, New York, Johannesburg, Istanbul, Beijing, Tokyo, Sydney, London, Berlin and Moscow. Are these cities the most important centers of the contemporary art ? Even if the choice of those 11 cities is necessarily subjective, it could prove true within this concept. Besides criteria such as the geographic repartition and the global geoculture, I have sought, along with other art organizers, one by country, to take the Southern Hemisphere into account, as well as the extraeuropean centers of artistic production, the cities potential and their " critical mass ". To sum up the thematical unicity of the exhibition, the contributions from the various countries are mixed up in its space. What does the 12th city, to which one part of the exhibition is dedicated, represent ? A bunch of visionary artists build the " 12th city ", which completes the famous Tatlin tower and realize El Lissitzkij's utopic project. The 12th city breaks free from the grayish dust of the old settlements, which Majakovskij uselessly wanted to shape as rainbows, and takes away the arguments from the sociologists. The 12th city overcomes Caracas violence, Berlin bad luck and prevents Moscow from committing suicide. It is the real Florence, the ultimate New York, Shanghai at its latest fashion. Its buildors project a new Brazilia, but without ciment nor the rigid rules of the 60 's. If the ancient cities were political, economic or simply military projects, then the 12th city is an esthetic proposal. The artists that have worked on it are : Sarah Sze, Vanessa Beecroft, Carsten Höller, Huang Yong Ping, Mauricio Dias & Walter Riedweg, Bodys Isek Kingelez, Yukata Sone, Isay Weinfeld/Marcio Kogan, Armin Linke, Arthur Omar, and Roberto Cabot. As an event, every Biennal is " global ". Brazil is an important center of the anti-globalization movements : I'm thinking, for example, of the MST, Movimento Sem Terra, or of the Forum Mondiale Sociale of Puerto Alegre. How does art react to the global/non-global debate ? The dialog that has recently begun at San Paolo between Europe and the two Americas has evolved as an undertaking of global proportions. That 's the reason why the Biennal has invited those countries until now kept on the outskirts of the mainstream. Only once in a while have so many Africans and Asiatics taken part to a Biennal. The current edition of the Biennal holds itself as a counterpart to the " Platea dell'Umanità " conceived by Harald Szeeman for the previous Biennal of Venice. Only this time, with a Southern Hemisphere perspective. So, in a certain sense, the Biennal of San Paolo is the opposite of the visual arts at lenght dominated by an axis New York-Koln, producing a system that can be defined as " Nato-Art ". In parallel to the development of the political alliances, even in art you could make out the " allied art " from the " non-allied one ". It' s no hazard if, until recently, about 80 to 90% of the artists taking part to Documenta, came from Nato-member countries. I think about the role of the asiatic cinema, for example, the Brazilian, African or Carabbean musics, or the success of the Latin American litterature. Five of the latest Nobel Prizes in Litterature came from those so-called peripheral countries. As for the visual arts, until recently, only the Biennal of San Paolo, would show " the rest of the World ". What do you think about the new Biennals around the world ? The new Biennals from the Southern Hemisphere countries, born during the past 10 years on the model of San Paolo, make people know regions and cultures to which no one paid attention until now. And they are huge, since there are only few museums dedicated to the contemporary art in the Third World. The massive presence of the Chineses at the Biennal in Venice hints to a more important dialog between the countries. And from Documenta 11 onwards, a new evolution into that direction is expected. The international critic, which would limits itself to comments on Cassel, Venice and the Whitney Biennal fo New York, also begins to look up to San Paolo, l'Avana and Gwangju in Korea, to remain up-to-date. Contact for this article. 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