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Cartaz da 30ª Bienal

A metáfora de constelação, ponto central da proposta do curador Luis Pérez-Oramas, serviu de base para o desenvolvimento das ideias dos participantes do workshop de criação dos cartazes da 30ª Bienal, formado por membros da equipe curatorial e designers convidados. O trabalho coletivo foi norteado por profissionais como Chico Homem de Mello e a dupla de designers holandeses Mevis & Van Deursen.

Autoria: André Noboru

"A metáfora de "constelação", ponto central da proposta do curador Luis Pérez-Oramas, serviu de base para o desenvolvimento das ideias dos participantes do workshop de criação dos cartazes da 30ª Bienal, formado por membros da equipe curatorial e designers convidados. O trabalho coletivo foi norteado por profissionais como Chico Homem de Mello e a dupla de designers holandeses Mevis & Van Deursen".

all posters

1 bienal sp

This is the first outstanding piece of Brazilian modem graphic design. It was no accident that the artist was a Constructivist, thus starting the relationship of almost totalldentification between Constructivist art and modem graphic designo Waves emerge from the white rectangular core – the latter being the time-honored format for paintings – and create an optical movement of continuous expansion. This expanding wave was a fitting icon for the inaugural edition of an event that even today continues to echo in Brazilian culture.. Bienal 50 Anos, 1951-2001, 2001, p.293

Authorship: Antônio Maluf

2 bienal sp

Abstractionism was still the main influence, but this poster was a break in the sequence of works related to the geometric trend. Its creator was a prominent figure in Informal Abstractionism in Brazil, and this fact naturally gained visibility in the poster. The result brings out a way of creating graphic language that is still very c/ose to the work of the plastic artist: an image from the world of the art is imported, adapted to printing techniques, and text with the required details added. Bienal 50 Anos, 1951-2001, 2001, p.293

Authorship: Antônio Bandeira

3 bienal sp

This is the first poster in which graphic language acquires independence from painting. ln this, it was quite unlike the poster for the 1st Bienal, when the author was a Constructivist artist and also an occasional designer, here, the author was a designer and a sometime Constructivist artist. Forms succeed each other in a mathematical progression-pairs of triangles make up squares and their diagonaIs have the same dimension as the following square; the texts are carefully laid out so that the whole poster follows one single compositional principIe.. Bienal 50 Anos, 1951-2001, 2001, p.293

Authorship: Alexandre Wollner

4 bienal sp

Alexandre Wollner himself takes a step forward. While the poster for the previous edition still displayed the resonance of a Constructivist work of art, here specifíc elements of graphic design language are themselves featured as the theme, with reticules becoming the basis for half tones ín pnnted images. We are no longer looking at a work of art with some text attached to it but rather a piece in which text and image form a cohesive whole. Bienal 50 Anos, 1951-2001, 2001, p.295

Authorship: Alexandre Wollner

5 bienal sp

This was another step on the road leading to an independent affirmation of graphic language in relation to plastic arts since it was the first exclusively typographic poster: the theme was the similarity between the number 5 and the letter b. ln spite of the relative timidity of the result the fact of the image formed by the juxtaposition of 5 and b being supported by a rectangular mass of text points to its roots in Constructivist design. Bienal 50 Anos, 1951-2001, 2001, p.295

Authorship: Arnaldo Grostein

6 bienal sp

The strictness of the orthodox geometric approach had been losing ground in painting and this had an effect on design too. The previous step was consolidated as graphical themes independent from painting were posed - but the concise and uncluttered Constructivist influence made way for disorder in the guises of apparently severe and orderly images. ln this poster, it was done by enlarging a detail of a reticule–a strictly ordered system for creating printed images–, which revealed the irregularities produced by the contact between ink and the wrinkled surface of the paper. The result is a new leap, this time in terms of the force and boldness of graphic language.. Bienal 50 Anos, 1951-2001, 2001, p.295

Authorship: Luís Osvaldo Vanni

7 bienal sp

Here the formula is: image imported from the plastic arts + text with details as in the 2nd Bienal. Again the creator of the poster was an artist prominent for his support of Brazilían Informal Abstractionism. Although image and diagram are competent and precise, it is an example of graphic language being submitted to the language of plastic arts. Bienal 50 Anos, 1951-2001, 2001, p.295

Authorship: Danilo Di Prete

8 bienal sp

Authorship: Dércio Bassani

9 bienal sp

The precision of this design, from what was known as the Swiss school corroborates the expression Iess is more. The number 9 gives rise to nine squares, and the visual sequence alludes to transformations in art at the time: it starts from the pattern of a clearly-defined field bounded by a frame, and moves toward a field in which there is no distinction between within and the frame itself; its boundaries become indefinable. Bienal 50 Anos, 1951-2001, 2001, p.297

Authorship: Gobel Weyne

10 bienal sp

This was an example of dialog between the languages of the plastic arts and graphic design, rather than submission of one to the other. ln this case, the subtleties of Op Art inform modem design - Iet us recall that they have a natural affinity - with the presence of the most prominent members of this movement at the 9th and 10th Bienals. The graphic solution lends the diagonal black band the task of moving into the field of the poster, pushing the thread of lines, shifting the upper vertical axis, and, as a result of this operation, creating a vibrating optical effect. Bienal 50 Anos, 1951-2001, 2001, p.297

Authorship: Maria Argentina Bibas

11 bienal sp

The reference to the Mona Lisa, as the greatest icon in art history, involves bringing out its most significant detail - the smile. Just as the poster for the previous Bienal dialogs with Op Art, this one does so with Pop Art, as the movement that had been the great star of the 9th Bienal. This dialog is seen in the fact of the detail being enlarged to make reticules visible, a typical Roy Uchtenstein ploy, and in its use of images from the mass media, which was a recurring feature of Andy Warhols work.. Bienal 50 Anos, 1951-2001, 2001, p.297

Authorship: Godubin Belmonte and Moacyr Rocha

12 bienal sp

The layout recalls the 9th Bienal poster, although the geometric forms and their number are modified - now there are 12 circ!es instead of nine squares. The reasoning, however, is different and the network of meanings shifts from art to politics: in the place where the 12th circle should be found, corresponding to the 12th Bienal, there is a red circ!e, in a veiled allusion to political repression in Brazil. Bienal 50 Anos, 1951-2001, 2001, p.299

Authorship: Cláudio Moschella

13 bienal sp

A large but clean metallic foil paper is used as a mirror for viewers to see themselves. This graphic piece was open to multiple readings: it could be understood as a translation of the new cultural moment, in which limits between what is or is not art are increasingly difficult to determine; or as a message that the ultimate role of art is to reflect the world around it; or again as an allusion to the political situation in Brazil, where there were no alternative discourses available except to reflect reality in its most concrete and immediate dimension. Bienal 50 Anos, 1951-2001, 2001, p.299

Authorship: Rogério Batagliese and Maria Elisabeth S. Nogueira

14 bienal sp

Here there is no longer much room for ambiguities: there is clear reference to censorship, represented by 13 blank torn paper strips - metaphors both for the 13 previous editions of the Bienal, and the many messages silenced by the military government. So the Bienal announced by the poster is represented by the 14th strip of paper and is posed as the only possible room for expression. Bienal 50 Anos, 1951-2001, 2001, p.299

Authorship: Regis Madureira Cardieri

15 bienal sp

This was the Bienal of Bienals planned to bring together all the award-winning foreign works from the previous 14 editions. ln view of this, the curator commissioned a poster that necessarily would inc!ude smaller format reproductions of the posters for all the previous editions. This limited the work of the designer to arranging the 14 images as a frame for a central black square, in which the number 15 was highlighted. Bienal 50 Anos, 1951-2001, 2001, p.299

Authorship: Carlos Clémen

16 bienal sp

There was a retum to the layout of the posters for the 9th and 12th Bienals, and this time the graphic element was the number 16, repeated 16 times. Although there is still a politicai allusion we return to a discourse in which the subject is the Bienal itself. The deslgn of the sequence of numbers suggests a course in which the Bienal gradually separates from a compact and amorphous graphic mass - an alluslon to the years of censorshlp that clouded several editions of the event - and regains clear and recognizable contours. Bienal 50 Anos, 1951-2001, 2001, p.301

Authorship: Cláudio Moschella

17 bienal sp

The reference to art returns. Divided down the middle in two vertical fields, each side is the negative of the other. The word INTERARTE as the main graphic element is handwritten and the suface of the letters is filtered by a retlcule, so as to suggest a video screen. The poster refers both to the guiding principle of the exhibition, based on analogous languages, and the complexity of the contemporary artistic scene, marked by integration between the arts, coexistence between several media, and the consequent blurring of boundaries. Bienal 50 Anos, 1951-2001, 2001, p.301

Authorship: Dario Chiaverini, Donato Ferrari and Celso Sparapan

18 bienal sp

Here the reference to the field of art is made through a collage impregnated with a sense of ingenuousness and Iightness, in which the number is again the theme. A sense of Brazilanness prevails ln the graphics, as derived from popular aesthetlcs reprocessed by the contemporary gaze. Coincidence or not the patchwork aspect of the poster coincides with the Bienal of the Great Canvas, in which paintings were arranged side by side in three long corridors, thus becomlng fragments of a gigantic collage. Bienal 50 Anos, 1951-2001, 2001, p.301

Authorship: Cláudia Stamacchia

19 bienal sp

As in the poster for the 18th Bienal; the number of the Bienal edition is the main element but the chromatic vibration and profusion of forms gives way to the sobriety of blacks and browns and the latters conciseness. The curators theme was Utopia versus Reality. A continuous brush stroke - the foundational gesture of painting - transforms the numbers 1 and 9 into a single image, with a small red patch placed inside the ring of the number 9. The ensemble floats alone in the field defined by the Iine of the horizon. Bienal 50 Anos, 1951-2001, 2001, p.301

Authorship: José Maria Lopez Prieto

20 bienal sp

This was the poster that most clearly showed that the project of Modemism had been surpassed. It was controversial and produced a strong and memorable image. It had the code of Brazilianess - the ever-present banana - and the irreverence of art - the banana is associated with a gesture of subversion. This image was immediately accessible to the public, as was appropriate for a Bienal that was beginning to draw a mass audience. ln spite of critics at the time rejecting the piece and seeing the banana as a stereotyped image of Brazilianness, this was one of the most frequently remembered Bienal posters. Bienal 50 Anos, 1951-2001, 2001, p.303

Authorship: Rodolfo Vanni

21 bienal sp

Following in the wake of the break from the canons of Modemism, the poster uses collage as a basic resource to create images: complexity rather than simplicity, profusion rather than conciseness. The coIlage combines art historical references, from a Greek column and Rodins The Thinker through to video art. It attempts to translate the principles of the curatorship, which aimed to open up the event to urban culture and the multiplicity of artistic manifestation. Bienal 50 Anos, 1951-2001, 2001, p.303

Authorship: Rico Lins

22 bienal sp

The poster does not show the work, but rather the packaging of the work. This is an industrial packaging poster, carrying graphic language imbued with a careless gestuality The resulting image has to do with artistic procedures bent on valuing the banality of everyday life and with arts concern for its own processes, inc!uding its authenticity acquired through events on the intemational circuit. Bienal 50 Anos, 1951-2001, 2001, p.302

Authorship: Fernando Bakos

23 bienal sp

Louise Bourgeois was commissioned with a design for the poster, but in fact she sent four, so four different posters were produced. The poster above had the greatest impact and was adopted as the main piece for publicity purposes. Although it represents a retum to the reproduction of a work + text with details formula, and has a standard layout, this poster fulfilled its role as an icon for the event due to its powerful design. Bienal 50 Anos, 1951-2001, 2001, p.303

Authorship: Louise Bourgeois

24 bienal sp

Although once again reproducing an artists work, this one avoids the standard layout of the previous poster. The backdrop was the theme of the 24th Bienal, Anthropophagy, and the image chosen was severe and sharp. Unlike the excess of the posters for the 21st and 22nd Bienals, here the prevalent mood is cleanliness and precision. The design floats in the black plane and within it a figure walks on a thread, suggesting the delicate balance that characterizes the artists work as being independent of time or place. Bienal 50 Anos, 1951-2001, 2001, p.305

Authorship: Leonilson; Raul Loureiro and Rodrigo Cerviño Lopez

25 bienal sp

“The result of a competition that had 252 entries, the first poster of the 25th Bienal, created by advertisers Benjamin Yung Jr. and Guilherme Facci was charged with plagiarism. The second version, presented by the same duo after a new call for works, reproduced the door of an old apartment, number 25, and its peephole. Selected once again by the judging committee, the pair received the prize of $10,000 Brazilian reals. The prize was originally R$20,000 reals. The jury was comprised of architect Ricardo Ohtake, the curators of the 25th Bienal, Alfons Hug and Agnaldo Farias and graphic designers Milton Cipis and Chico Homem de Melo, who also selected the fifty best works to compose an exhibition at Espaço Cultural Pavilhão da Bienal.” - Agência Estado, “The same duo creates the Bienal Poster,” December 10. 2001

Authorship: Benjamin Yung and Guilherme Facci

26 bienal sp

“Designed by cartoonist Ziraldo – and as Bienal’s tribute to him, who, in turn, did not charge for the work – the poster for the show ‘Free Territory’ alluded to the geographical mappings proposed by Alfons Hugs curatorship. Taking Brazil’s diversity and miscegenation into account, the piece presents a variety of the 143 different skin tones that exist in the country.”

Authorship: Ziraldo

27 bienal sp

“The Argentine artist Jorge Macchi tried to think of an image for a poster that was not illustrative of the event, but that dialogued with the proposals of the 27th edition, so he chose to use a photograph of a fragment of his work, Speakers Corner (2002), in which the presence of isolated quotes from newspaper cut outs evokes a coexistence of phrases and speakers. It is an ambivalent image: on the one hand, it alludes to the democratic coexistence of discourses and, on the other, to their emptiness and paralysis. In the photograph, the space and the characteristics of the paper are visible. When they return to two-dimensionality, the fragments of paper do not return to their initial state in the newspaper. The photograph tells the story of these cut outs; what is especially interesting to the artist is the sculptural character that the paper acquires when the information for which it was a support disappears.

Authorship: Jorge Macchi; Rodrigo Cerviño Lopez

28 bienal sp

Authorship: Elaine Ramos, Daniel Trench and Flávia Castanheira

29 bienal sp

The idea was to give form and consistency to the motto ‘Theres always a cup of sea to sail in,’ by Jorge de Lima, following, among many interpretations, the fact that, despite the difficulties, it is always possible to go on. An improvised compass in a glass of water alludes to the semantic universe proposed by the edition. It is a familiar image, which produces reactions that are as affective as they are intellectual. Two circles – one large and defined, one smaller and crossed by a line—form a clear visual conundrum, reinforced by a multicolored and vibrant graphic layout, even if all the needles coherently point in the same direction.

Authorship: André Stolarski, Aninha de Carvalho and Felipe Kaizer

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Adriano Guarnieri

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: André Noboru

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: André Severo

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: André Stolarski

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Aninha de Carvalho

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Armand Mevis e Linda Van Deursen

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Armand Mevis e Linda Van Deursen

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Cecília Oliveira da Costa

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Daniel Frota de Abreu

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Daniel Trench

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: David Francisco

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Débora Falleiros Gonzales

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Douglas Higa

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Elaine Ramos

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Felipe Kaizer

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Isabela Villanueva

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Jair de Souza

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Luis Pérez-Oramas

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Matheus Leston

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Miguel Nobrega

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Pedro Moraes

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Rafael Antônio Todeschini

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Renata Graw

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Renato Tadeu Cardilli

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Rico Lins

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Roman Atamanczuk

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Tatiana Tabak

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Tobi Maier

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: Victor Bergmann

30 bienal sp

The ‘constellation’ metaphor, central to Luis Pérez-Oramass curatorial proposal, served as the basis for the development of the ideas of those participating in the 30th Bienal poster creation workshop, comprised of members of the curatorial team and guest designers. The collective work was guided by professionals such as Chico Homem de Mello and Dutch designers Mevis & Van Deursen.

Authorship: William Hebling

31 bienal sp

Spirals and knots are recurrent in the visual identity of the 31st Bienal; as well as other intricate forms, including organic figures from pre-modern societies. Indian artist Prabhakar Pachpute was invited to create a drawing whose structure results in the shape of a tower of Babel supported by a strange conglomeration of human bodies. The fantastic aspect of the figure also refers to a made up collective and to mental and physical transformation; crucial to this Bienal’s curatorial approach. The movement of this organism points to the need for us to unite to walk in the same, although uncertain, direction.

Authorship: Prabhakar Pachpute; Aninha de Carvalho and Felipe Kaizer

32 bienal sp

A reference to the simplified signs on hiking trails and the visual appeal of technical drawings of living beings are the inspiration behind the creation of the 32nd Bienal posters. Plants and animals that are easily recognizable, and somehow present in the Brazilian cultural and/or natural world, have been given simplified designs that are far removed from scientific detail. The jellyfish, crab and cassava root echo the cultural and environmental heritage of Brazil. The signs come from elementary geometric shapes and sharply contrast the handmade drawings. The colors yellow, red and blue, taken from standard traffic signals, are always applied to the signs, but refer to the images and evoke ideas such as danger, caution, attention and life. In the overlapping of elements, the idea of uncertainty is synthesized as a living entity with which we not only have to live with but also engage with.

Authorship: Aninha de Carvalho, Adriano Campos and Roman Atamanczuk

32 bienal sp

A reference to the simplified signs on hiking trails and the visual appeal of technical drawings of living beings are the inspiration behind the creation of the 32nd Bienal posters. Plants and animals that are easily recognizable, and somehow present in the Brazilian cultural and/or natural world, have been given simplified designs that are far removed from scientific detail. The jellyfish, crab and cassava root echo the cultural and environmental heritage of Brazil. The signs come from elementary geometric shapes and sharply contrast the handmade drawings. The colors yellow, red and blue, taken from standard traffic signals, are always applied to the signs, but refer to the images and evoke ideas such as danger, caution, attention and life. In the overlapping of elements, the idea of uncertainty is synthesized as a living entity with which we not only have to live with but also engage with.

Authorship: Aninha de Carvalho, Adriano Campos, Roman Atamanczuk

32 bienal sp

<p>A reference to the simplified signs on hiking trails and the visual appeal of technical drawings of living beings are the inspiration behind the creation of the 32nd Bienal posters. Plants and animals that are easily recognizable, and somehow present in the Brazilian cultural and/or natural world, have been given simplified designs that are far removed from scientific detail. The jellyfish, crab and cassava root echo the cultural and environmental heritage of Brazil. The signs come from elementary geometric shapes and sharply contrast the handmade drawings. The colors yellow, red and blue, taken from standard traffic signals, are always applied to the signs, but refer to the images and evoke ideas such as danger, caution, attention and life. In the overlapping of elements, the idea of uncertainty is synthesized as a living entity with which we not only have to live with but also engage with.</p>

Authorship: Aninha de Carvalho, Adriano Campos, Roman Atamanczuk

33 bienal sp

<p><span>The poster for this edition is designed by Raul Loureiro, who brought his own affinities as graphic motifs for the visual identity of the exhibition. It is composed of a reproduction of the work </span><i>Formas expressivas</i><span> [Expressive Forms] (1932), by Hans (Jean) Arp – a relief painting with wood –, accompanied by typographic elements. The visual identity adopts the Helvetica font family, which prioritizes clarity and neutrality of meaning, and emphasizes the number 33 as a conceptual element.</span></p>

© Arp, Jean / AUTVIS, Brazil, 2017. Formas expressivas (1932). MAC-USP Collection. Photography: Eduardo Ortega / Fundação Bienal de São Paulo

34 bienal sp

<p><span>Developed by artist and designer </span><b>Vitor Cesar<span> </span></b><span>with Fernanda Porto, Julia Pinto and Deborah Salles</span><b><span>,</span></b><span> the 34th Bienal’s visual identity embodies the poetics of the rehearsal proposed by the curatorship, developing a malleable language that can be transformed within the different contexts of the 34th Bienal, with a system that gathers different visual syntaxes that appears in the show’s various communication spaces over time. “Instead of summarizing everything together in a single image, the aim was to experience a visual plurality where it is possible to transit between clarity and complexity with resources created based on ideas such as encounters, crossings, links, wrinkles, folds and reliefs,” the designer explains.</span></p>

Design: Vitor Cesar / Fundação Bienal de São Paulo

34 bienal sp

Jaider Esbell, Entidades [Entities], 2021. Work installed in the Ibirapuera Park. Reproduction: Levi Fanan / Fundação Bienal de São Paulo. Poster design: Adriano Campos, Vitor Cesar / Fundação Bienal de São Paulo

34 bienal sp

Marinella Senatore. Nos erguemos ao levantar outras pessoas [We Rise by Lifting Others], 2021. Commissioned by Fundação Bienal de São Paulo for the 34th Bienal. Reproduction: Levi Fanan / Fundação Bienal de São Paulo. Poster design: Adriano Campos, Vitor Cesar / Fundação Bienal de São Paulo

34 bienal sp

Daniel de Paula, Marissa Lee Benedict & David Rueter. deposition, 2018 ‑. Reproduction: Levi Fanan / Fundação Bienal de São Paulo. Poster design: Adriano Campos, Vitor Cesar / Fundação Bienal de São Paulo

34 bienal sp

Oscar Tuazon, Growth Rings, 2020. Commissioned by Fundação Bienal de São Paulo for the 34th Bienal. Work installed in the Ibirapuera Park. Reproduction: Levi Fanan / Fundação Bienal de São Paulo. Poster design: Adriano Campos, Vitor Cesar / Fundação Bienal de São Paulo

34 bienal sp

Daiara Tukano, Kahtiri Ēõrõ – Espelho da vida [Mirror of Life], 2020. Reproduction: Levi Fanan / Fundação Bienal de São Paulo. Poster design: Adriano Campos, Vitor Cesar / Fundação Bienal de São Paulo

34 bienal sp

Arjan Martins, Complexo Atlântico (Corda) [Atlantic Complex (Rope)], 2021. Commissioned by Fundação Bienal de São Paulo for the 34th Bienal. Reproduction: Levi Fanan / Fundação Bienal de São Paulo. Poster design: Adriano Campos, Vitor Cesar / Fundação Bienal de São Paulo