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This edition was marked by an excessive number of works selected, which, in turn, created an eclectic scene that was difficult to understand. This was the first time that Fundação Bienal (founded in 1962) organized the exhibition, instead of the Museum of Modern Art of São Paulo. The catalog was dedicated to Wanda Svevo, who died the previous year

Fundação Bienal de São Paulo is created in the previous year
President of Bienal: Ciccillo Matarazzo
General Director: Mário Pedrosa
Consultants: Geraldo Ferraz, Sérgio Milliet, Walter Zanini (Plastic Arts); Aldo Calvo, Sábato Magaldi (Theather); Jannar Murtinho Ribeiro (Graphic Arts)
In the Selection Jury: Sérgio Milliet, Walter Zanini
In the Award Jury: Giulio Carlo Argan, Martin Friedman (Walker Art Center, USA)

Authorship: Danilo Di Prete

photos

all photos

Exhibition of the posters that were selected and awarded at the 7th Bienal / © Unknown photographer

American artist Adolph Gottlieb and Brazilian painter Yolanda Mohalyi are awarded at the 7th Bienal / © Unknown photographer

Opening of the 7th Bienal. Sitting at the table is Minister of Foreign Affairs Aguinaldo Bolitreau Fragoso, Mayor Prestes Maia, Secretary of State for Justice Miguel Reale, General Aluísio Miranda Mendes, Councilman Durval Cardoso. Speaking is Francisco Matarazzo Sobrinho, president of Fundação Bienal, alongside Oswaldo Corrêa Gonçalves and Diná Lopes Coelho / © Athayde de Barros

Italy Room with sculptures by Arnaldo Pomodoro / © Athayde de Barros

Lygia Clark’s series ‘Bichos’ [Critters] and ‘Superfícies’ [Surfaces] in the Special Room: Lygia Clark and her “Bichos” at the 7th Bienal / © Athayde de Barros

The central space of the 7th Bienal with a view of sculptures by Felicia Leirner and paintings by Yolanda Mohalyi / © Athayde de Barros

View of the 7th Bienal. In the foreground is Liuba Wolf’s sculpture ‘Dragão’ [Dragon]. In the back are sculptures by Felicia Leirner and paintings by Yolanda Mohalyi / © Athayde de Barros

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"[…] young artists, especially encouraged by the French gobelins exhibition held at the Austrian Museum of Applied Arts in 1949, began to devote themselves entirely to weaving tapestries. Most of these artists, who came from painting on easels, engraving or handicrafts, discovered in the old technique of weaving a suitable field for solving problems of the art of our time with new and fascinating material."

MRAZEK, Wilhelm. “Tapeçarias Modernas da Áustria” [Modern Austrian Tapestries]. In VII Bienal de São Paulo. São Paulo: Fundação Bienal de São Paulo, 1963, p.59 (exhibition catalogue)

"So far there has been no long-term plan for the Brazilian representation at Bienal de São Paulo. Millions are spent on trips abroad, the organization of all of the individual country rooms, and no one visits the capitals of Brazil to invite this or that artist with a group of works so that we can be represented with dignity (perhaps it would be easier to think of things as: “they send in work, we pick afterwards”)."

AMARAL, Aracy. "E a sala do Brasil?" [What about the Brazil Room?]. Brasil-Urgente, 07 abr. 1963. In 30 x bienal: transformações na arte brasileira da 1ª à 30ª edição. Curated by Paulo Venâncio Filho. São Paulo: Fundação Bienal de São Paulo, 2013, p.224.

"In Clark's sculptural series there is, however, not only a canonical or fleeting succession of music to continuous melodic voices cutting into each other and then retreating, but also a simultaneous, vertical occurrence of harmonic music. From the latter, derive a series of dramatic orchestrations by chords, in the play of shadow and light of its wide openings, of its open spaces and its enclosed spaces, of the luminous reflections on the surfaces of its parts, the positioning of the lights that ignite, at times, the contours of triangles, squares or circles, or cut them in half, into thirds, into quarters, into an intimate particle, in a corner; it is a constant weaving of new interior figurations; only this time they are fantastic visual impressions, sound echoes, rare interferences that populate the architectural block in the space of a myriad tiny strokes, an entire bloom of unexpected life."

PEDROSA, Mario. “Lygia Clark e os seus "Bichos”. In VII Bienal de São Paulo. São Paulo: Fundação Bienal de São Paulo, 1963, p.59 (catálogo de exposição), p. 122