SET.21th.2019 - FEB.23rd.2020
The concept of border does not only belong to territory or geography anymore. It has been conceptually expanded and is now part of a bigger universe, one made of broader questions and, overall, more transversal ones. There is already a plural imagination that touches aspects of understood natures. Far away, that is, from commensurate; tranquilizing; pertaining in geographic limits answering to a thematic narrative physics – and closer to the important meaning distortions of social, technological, cognitive and contemporaneous nature. Especially amidst our times, ripe with changes and transformations of multiple signs (with the concurrency of new time and space coordinates, globalization, post-history, the worldwide technologization, environmental crisis, the search for new cosmologies etc.), which moves the meaning of old semantics, mono-dimensionally fixated in a single meaning.
On the one hand, contemporary history – that which belongs to our most recent times – has not only been modifying the idea of limits and frontiers; it has been also detracting some older ones, spatially, in the very plane of territory. A fruit of historical conflicts of many kinds, changes in borders, regions, countries have been happening; swapping signs and realities from entire populations’ lives. Our times live under such a degree of uncertainty that physical and symbolical notions of place have been suffering great erosion and transformation, for both good and bad. We now know that real borders exist, but so do invisible ones – they contradict one another, and they establish very unpeaceful conflicts. A border may be many things at the same time.
On the other hand, however, art has always been a space of frontiers, a hiatus between the realms of language and reality, a borderline state of fluctuating, non-fixated nature. When, after all, has art not been such double vigil, such atavistic split from representation, from language? The possibility of naming habitat from language, or even linking oneself to a new place?
We have two movements in front of us: the mutating geography of history and its spatial correlates and the mutating geography of art and its linguistic derivations, in line and difference, convergence and divergence. And it is in such a scope that some contaminating aspects are offered: the 21st century subject lives in a new border condition, with counterposing experiences, faced with alterity and self-absorption. Experiences of violence, domestication and xenophobia (the so-called refugee crisis, or new intercontinental emigratory waves, and the planetwide communication reveal how much the frontier is imploded and exploded and, in consequence, in need of new evaluations and updates). We are, thus, in a new situation of reborders and unborders, new spatial and social, territorial groups, as well as of new artistic experiences of border-art, presence of nomadic (or far from their origins) artists, counting on the existence of works in multicultural partnerships, as well as amplifying even more the field of borders between languages and their connection.
The 2019 Curitiba Biennial intends to incorporate said instigating contemporary condition, opening even more its expositive borders, creating partial venues, convergent with other countries – windows to another platform –, linking itself to artists in the entire world, to artistic production from every cardinal point in the globe and, in this edition, highlighting countries from another emerging geopolitics like the BRICS, with its new intercontinental orbit, as well as symbolic and meaningful European countries , an indispensable cartography and so strictly linked, both historically and culturally to the Americas, to Latin America, to Brazil, and materially to Curitiba. Not only the European cultural melting pot, but its richness and diversity have had a never seen transculturalization in the American continent, an autonomous creation – unprecedented anthropophagy and miscegenation – always worthy of independence, but also of new links and interworld dialectics, such as the new cultural and territorial interconnections of our globalized age. And the artists’ recognized vocation was of revaluating their roles as connectors, contributing to the work in progress that is every process of artistic research, imagery to attain new states of consciousness regarding the surrounding reality and the timeless problems of human condition. And, in consequence, contributing with new thoughts on the construction and the process of another history.
Art, especially when fulfilling a symbolic and speculative function – one of translation and interpretation – inside a Biennial is a high profile social and reflexive task. It has a great responsibility in our aestheticized society, be it as a showcase where art and culture are linked or as a place of action which also reflects the spirit of its time. The Biennial, the border-art, reveals in its turn its own perception of things, of contexts, since it never stops being art and its circumstances. And its chimerical dream of open borders or, even better, of expanding borders, for it is a frank utopia in the making, the openness of a critic hope. What will bring another sensorium, a new contact with what’s sensory, a free production of the being. An antidote-language against fundamentalism, the instrumentalized visuals which still host a singular spiritual benefit. As a space for revelations and image analysis, art also works as a compass of another map in movement, on course, a better cartography: it offers a unique repertoire of signals, a new signage.
Born in Madrid, Spain, in 1954, but lives in Brazil for 26 years. Is a poet, visual artist, art critic and independent curator. Collaborator in several cultural publications from Spain, Brazil and Latin America, is an international and brazilian contemporary art researcher, and author of books about Anna Bella Geiger, Regina Silveira, Iberê Camargo, Paulo Bruscky, and other renowned artists. Carried out numerous monographic curatorships in Brazil and Spain. Adolfo Montejo Navas understands all his critical, curatorial, literary and cultural projects as cross-border and transversal. Some of his research fronts are the theory of image and photography, visual poetry, relationships and word/image affinities. Curator of the 14ª Curitiba International Biennial of Contemporary Art.
Art historian and independent curator, Tereza de Arruda has lived since 1989 between São Paulo, Brazil, and Berlin, Germany, where she studied Art History at Freie University Berlin.
Curator of several exhibitions such as Ilya and Emilia Kabakov, Kunsthalle Rostock; Chiharu Shiota, SESC / São Paulo and Kunsthalle Rostock; Katharina Sieverding, Cuba Photo Library; India Side by Side, Banco do Brasil Cultural Center Rio de Janeiro, São Paulo and Brasília; Sigmar Polke die Editionen, MASP / São Paulo and Me Collectors Room / Berlin; InterAktionBrasilien in Sacrow, Schloß Sacrow / Potsdam; Wang Qingsong at the Køs Museum for Kunst in Copenhagen; WANG CHENGYUN, TodayArt Museum of Beijing; If not at this time - German Contemporary Painting with Teixeira Coelho Netto at MASP / São Paulo among others. Contributing to the Biennial of Havana, Cuba, since 1997. co-curator of the Curitiba Biennial in 2009, 2013, 2015 and 2017.
The registrations to the CUBIC 4 - Curitiba Biennial Universitary Circuit are already open. Those who are interested must submit their applications according to the instructions in the notice, which has all the informations about inscriptions deadlines, circuit realization dates and other informations. The notice can be reached through this link:
The CUBIC was created in 2013, in the 20 years commemorative edition of the Curitiba Biennial. Under Stephanie Dhan Batista and Angelo Luz’s curatorship, the Universitary Circuit was created in order to bring closer all Visual Arts Higher Education Courses in Curitiba, creating a dialogue, an exchange of experiences and visibility to the small poetics that come with the students. In its first edition 38 young artists were involved and could present their works in different places of the city.
In its second edition, in 2015, the CUBIC expanded its selection criterion, allowing artist from other knowledge areas to participate, and not only the Visual Arts. With that, it increased the city’s emergent art visibility, regardless of its origin. In the CUBIC 2, the interdisciplinary character and the connection bridge were solidified.
In its last edition, in 2017, the CUBIC has grown even more, contemplating students from other places, through the partnership between the Curitiba Biennial and UFRGS (Federal University of Rio Grande do Sul) and UDESC (University of the State of Santa Catarina). Besides that, there was the special participation from universities of Córdoba (Argentina) and Asunción (Paraguay), in order to enlarge the works exchange between Latin American regions.
Overall, the CUBIC has contributed with the work of about 100 students, so they could be presented.
Founder of the Universitary Circuit, Stephanie Dahn Batista was born in Hannover, in north Germany. Has a bachelors and master degree in Art History, Cultural Sciences and Political Sciences from the WestfälischeWilhelms-Universität, Münster (2000) and a Doctorate in History from the Federal University of Paraná, (2011). Since 2008 she teaches Art History in the Federal University of Paraná at the Arts Department. Currently, she is also the vice-director of the University’s Arts, Communication and Design Sector (SACOD).
Your researches guidelines are subjects like Art History, Art Critics, body and gender. Performed curatorships at MAC/PR - Museum of Contemporary Art of Paraná, was the curatorial coordinator of the Curitiba international Biennial Young Curators (2013) and was CUBIC’s curator in all its editions.
Access here the Curitiba Biennial previous editions websites and remember all about the artists, artworks, venues, curators and programmation of the past editions. You can also find here informations about FICBIC, Literary Curitiba and other publications from the Biennial. In the tab “Access Publications” are available for reading all the catalogues published by the Biennial since 2007: there are books, catalogues, guidebooks and programmation , all available on ISSUU, with free access.
The Cine Móvel, project from the Curitiba Biennial Film Festival (FICBIC), will spread in 2019 the cinematographic universe to the public of 39 cities with up to 50 thousand inhabitants in the State of Paraná. The main goal is the formation of cinema public, stimulate and create access national movie production.
The travelling project will be conducted by three guidelines: Movie Workshop using Smartphones, School Cinema, and Square Cinema. First will be performed the workshop with students from state schools, with the production of videos with up to 1 minute. After that, the movies produced during the workshops will be shown in the city’s square along with a national full-length movie and, to seal the sequence of events, national short films will be exhibited in the schools that received the workshop.
The Movie Workshop using Smartphones will gather High School students from 14 to 17 years old that will produce videos with up to 1 minute of duration. The workshop aims to introduce and spread the cinematographic culture, taking the history of cinema as a medium and using smartphones to create fiction movies or documentaries. The movies produced by the students will be exhibited before the national movie session in the cities and will be available in the Curitiba Biennial YouTube page, inside the “Cine Móvel” playlist.
In the School Cinema proposal, the selected state schools from Paraná will receive brazilian short films exhibitions. After the movies session, an activities guider will create reflexion dialogues and debates with the students.
In the Square Cinema, the public will approach the movies through sessions of national and award-winning films with contemporary narratives. Before the film exhibition there will be a short film session with the movies produced during the Movie Workshop.
The exhibited movies have a 12 years old age rating, as the Cine Móvel is a program aimed to many publics, involving not only the students but the whole city population. The Cine Móvel curatorship pre-selected 3 brazilian movies, in a way each participant city could choose one of them to be exhibited. The programmation is completely free.
The cities that will receive this travelling project are Campina Grande do Sul, Palmeira, Cerro Azul, Lapa, Rio Azul, Corbélia, Guaíra, Itaipulândia, Capanema, Santo Antônio do Sudoeste, General Carneiro, Palmas, Coronel Vivida, Laranjeiras do Sul, Prudentópolis, Floraí, Loanda, Rondon, Cruzeiro do Oeste, Goioerê, Pitanga, Luiziana, Ivaiporã, Califórnia, Porecatu, Ibiporã, Assaí, Cornélio Procópio, Jacarezinho, Wenceslau Braz, Ibaiti, Faxinal, Mandaguari, Astorga, Guaratuba, Sengés, São Mateus do Sul, Rio Negro e Tibagi.
For more informations, enter the project site and Instagram: