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| Bienal de Arte Contemporânea de Curitiba | |
|---|---|
| Name | Bienal de Arte Contemporânea de Curitiba |
| Native name | Bienal de Arte Contemporânea de Curitiba |
| Established | 2013 |
| Location | Curitiba, Paraná, Brazil |
| Type | Contemporary art biennial |
| Founder | Prefeitura de Curitiba |
Bienal de Arte Contemporânea de Curitiba is a major biennial of contemporary art held in Curitiba, Paraná, Brazil, organized to exhibit Brazilian and international contemporary artistic production across municipal and regional institutions. The Bienal engages with museums, cultural centers, galleries and public spaces in Curitiba and the wider Southern Brazil region, fostering interactions among artists, curators, critics and institutions such as the Museu Oscar Niemeyer, Centro Cultural São Paulo, and Fundação Bienal de São Paulo. It operates within a field alongside events like the Venice Biennale, documenta, São Paulo Art Biennial, and Mercosul Biennial, contributing to debates on curatorial practice, urban cultural policy, and international exhibition circuits.
The Bienal emerged in the early 2010s amid local cultural initiatives involving the Prefeitura de Curitiba, Secretaria Municipal da Cultura, Instituto Municipal de Turismo and cultural planners linked to the Museu Oscar Niemeyer, Museu da Gravura, and Memorial de Curitiba. Foundational moments invoked dialogues with predecessors and contemporaries including the Bienal de São Paulo, Bienal de Veneza, Bienal do Mercosul and Fundação Bienal de São Paulo, while commissioning partnerships with Fundação Nacional de Artes, Ministério da Cultura and Instituto Itaú Cultural. Early editions sought to position Curitiba within networks that include the Pinacoteca do Estado de São Paulo, Museu de Arte de São Paulo (MASP), Museu de Arte Moderna do Rio de Janeiro, and SESC São Paulo, aiming to diversify regional representation and exchange with institutions such as the Museu de Arte Contemporânea de Niterói and Museo Tamayo. Institutional changes, municipal cultural policy shifts and collaborations with international bodies like British Council, Institut Français, Goethe-Institut and Pro Helvetia shaped successive curatorial frameworks, echoing curatorial experiments linked to figures and projects related to the Tate Modern, Centre Pompidou, and MoMA.
Governance of the Bienal involves municipal agencies together with advisory boards composed of curators, museum directors and cultural managers from entities such as Museu Oscar Niemeyer, Pinacoteca do Estado de São Paulo, Fundação Bienal de São Paulo, Instituto Tomie Ohtake and Museu de Arte do Rio (MAR). Funding and partnerships have included federal bodies like Instituto do Patrimônio Histórico e Artístico Nacional, Ministério da Cultura, Fundação Cultural de Curitiba, private sponsors such as Fundação Itaú, Banco do Brasil Cultural, and corporate patrons familiar from collaborations with SESC, Petrobras Cultural and Instituto Moreira Salles. Curatorial appointments have often drawn professionals affiliated with Museu de Arte Contemporânea de Serralves, Museo Nacional Centro de Arte Reina Sofía, New Museum, Haus der Kunst, and Palais de Tokyo, reflecting networks with academic programs at Universidade Federal do Paraná, Universidade de São Paulo, Goldsmiths, Columbia University and Universidade Estadual de Campinas.
Each edition curated exhibitions across museums and public sites, producing projects that dialogued with exhibitions at the Venice Biennale, documenta, São Paulo Bienal and the Biennials of Whitney and Istanbul. Notable thematic strands referenced exhibitions and projects connected to artists and shows at Tate Modern, Centre Pompidou, Museum of Contemporary Art Chicago, Solomon R. Guggenheim Museum, and Walker Art Center. Special projects and commissions echoed residencies and presentations associated with Fundação Bienal de São Paulo, Fundação Jan Michalski, Museo Tamayo and Museu de Arte Moderna de São Paulo (MAM-SP), while collateral programs included symposia, performances and film programs drawing on relationships with Cinemateca Brasileira, Instituto Moreira Salles, SESC, andUniversidade Federal do Paraná. Major thematic exhibitions brought together works resonant with curatorial histories of the New Museum Triennial, Carnegie International, and Yokohama Triennale.
Participants have included a mix of Brazilian and international practitioners whose careers intersect institutions such as Museu de Arte de São Paulo (MASP), Pinacoteca do Estado de São Paulo, Museu Oscar Niemeyer, Museum of Modern Art (MoMA), Tate Modern, Centre Pompidou, Museo Reina Sofía, Hamburger Bahnhof, and Museo Nacional Centro de Arte Reina Sofía. Curators invited to lead projects have affiliations with the New Museum, Tate Modern, Museum of Contemporary Art Los Angeles, Haus der Kunst, and Museo Tamayo. Collaborations and residencies have connected artists and curators to programs at Pro Helvetia, British Council, Goethe-Institut, Fundação Bienal de São Paulo, and the Calder Foundation, facilitating exchanges with collections such as the Museu de Arte do Rio (MAR), Pinacoteca, and Fundação Joaquim Nabuco.
Venues have included the Museu Oscar Niemeyer, Centro Cultural Teatro Guaíra, Memorial de Curitiba, Museu Paranaense, Paço da Liberdade, Praça Osório and public spaces in Curitiba, as well as partnerships with regional institutions like Museu de Arte Contemporânea do Paraná and Fundação Cultural de Curitiba. Satellite and off-site projects utilized cultural infrastructures comparable to the Pinacoteca do Estado de São Paulo, SESC, Instituto Moreira Salles, Cinemateca Brasileira and Espaço Cultural da Marinha, while logistics often referenced museum standards practiced at institutions such as MoMA, Tate Modern and Centre Pompidou.
The Bienal’s ancillary programs have included prizes, curatorial fellowships and educational initiatives developed in concert with Museu Oscar Niemeyer, Fundação Bienal de São Paulo, SESC, Instituto Moreira Salles, Universidade Federal do Paraná and Universidade de São Paulo. Workshops, guided tours and school programs partnered with Secretaria Municipal da Educação, Fundação Cultural de Curitiba and local universities, while critical forums invited participants associated with Goldsmiths, Columbia University, Universidade Estadual de Campinas and Museu de Arte de São Paulo (MASP). Awards and commissioning commissions echoed grant models used by British Council, Pro Helvetia, Itaú Cultural and Fundação Calouste Gulbenkian.
Critical reception positioned the Bienal in conversations with the Venice Biennale, São Paulo Bienal, Mercosul Biennial and documenta, with coverage and critique referencing curatorial discourses present at Tate Modern, MoMA, Centre Pompidou, Museo Reina Sofía and Hamburger Bahnhof. Reviews in national and international outlets compared programs to exhibitions at Museu de Arte Moderna do Rio de Janeiro, Pinacoteca, SESC and MASP, while academic responses drew on scholarship from Universidade de São Paulo, Universidade Federal do Paraná, Goldsmiths and Columbia University. The Bienal’s role in regional cultural policy and international exhibition circuits has been assessed alongside initiatives led by Fundação Bienal de São Paulo, Fundação Joaquim Nabuco, Instituto Moreira Salles and Fundação Calouste Gulbenkian, contributing to debates about the circulation of contemporary art between Latin America, Europe and North America.
Category:Contemporary art exhibitions in Brazil Category:Art biennials