Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
Editorial Categories [?]
Synopsis

Sheila Leirner, the curator of the Eighteenth São Paulo International Biennial [1985], introduced her curatorial model based on “a universalist vision and the abolition of borders in time and space.” She expected that as well as the new media used by the work in this round, the São Paulo Biennial would accept a number of works that defended “the new painting,” which had now become a worldwide phenomenon. She also hoped to see a larger number of installations. These expectations led her to organize the exhibition space to correspond with the changes in the nature of art, with everything culminating in the exhibition that would be called Grande Tela [The Big Screen]. To the curator, the Grande Tela provided an internal coherence to the works “in a kind of uninterrupted, narrative and noisy development,” as a set of works that would be “antididactic, antihistoricist, anarchic, and as theatrical as the works, themselves.”

Leia esta sinopse em português
Synopsis

A curadora da 18a Bienal Internacional de São Paulo, Sheila Leirner, apresenta a proposta da exposição, que se fundamenta numa "visão universalista, na abolição de fronteiras no tempo e no espaço". Leirner afirma que, ao lado dos novos "media" e suportes, era esperado que a Bienal recebesse uma grande quantidade de trabalhos que defendessem a "nova pintura", por se tratar de um fenômeno mundial, e também crescesse o número de instalações, o que a levaria a organizar o espaço de maneira análoga a essas características artísticas, culminando na exposição que seria conhecida por "Grande Tela". Para a curadora a "Grande Tela" proporciona uma articulação dos trabalhos entre si "num desenrolar ininterrupto, narrativo e ruidoso", num conjunto de obras que seria também "antididático, anti-historicista, anárquico; e tão teatral quanto os próprios trabalhos".

Revert to English synopsis
Annotations

With Sheila Leirner as curator, the Eighteenth São Paulo International Biennial introduced a radical phase in the event. Once and for all, the separation of works by techniques (painting, sculpture, printmaking, and/or drawing) and the separation by countries were abolished. In other words, the new times demanded an exhibition without fixed boundaries. In Leirner’s opinion, this would be the most “universal” São Paulo biennial of all time. This was an early manifestation of the concept of “the global” that would only appear in the next decade. The controversial show, under the title of Grande Tela, brought up for discussion a painting trend that would turn out to be universal. This was the idea of homogeneous painting without borders, which would become globalized in a bold way. Various canvases featuring abstract painting were placed near others, so that their similarities clearly emerged. The arrangement of the show turned the “exhibition space” into an “installation in itself,” which launched a new period of biennials in which the “curator/author” took center stage.

As a journalist and art critic, French Brazilian Sheila Leirner (b. 1948) was a member of the Conselho de Arte e Cultura da Bienal in 1982-83, and came to be the chief curator of two biennials in that period: the eighteenth (1985) and the nineteenth (1987). After studying the sociology of art in France, Leirner became an art critic for the daily newspaper O Estado de S. Paulo in 1975. She published a collection of her essays under the title Arte e seu tempo (São Paulo: Editôra Perspectiva, 1991). That was the year she moved to Paris, where she worked and specialized as an arts administrator. She represented the Galerie nationale du Jeu de Paume in Latin America (1993-99), and became a member of the International Association of Art Critics (AICA) (French division). Leirner has contributed to countless journals and supplements in both countries, including Beaux-Arts Magazine, Europe Magazine Littéraire, Revista da USP, and Cadernos de Literatura Brasileira. She was also on the scholarship committee for UNESCO-Aschberg Bursaries for Artists.

To supplement the information about this biennial, see information about the next biennial (the nineteenth to be held in 1987), also directed by Leirner. The nineteenth biennial resumed the emphasis on universal themes and the centrality of the curator’s participation [see doc. no. 11109010].

Leia este comentário crítico em português
Annotations

A 18a Bienal de São Paulo, com a curadoria de Sheila Leirner, inaugurou uma nova fase na história do evento. Estavam abolidos de uma só vez as separações de obras por técnicas (pintura, escultura, gravura, desenho) e a separação por delegações de países, os novos tempos pediam uma exposição sem fronteiras demarcadas. Esta seria a Bienal mais "universal" de todos os tempos, dizia a curadora, antecipando o conceito de "global" que surgiria na década seguinte. A polêmica exposição denominada "Grande Tela" buscou mostrar o que seria uma espécie de tendência pictórica universal, a idéia de uma pintura homogênea, sem fronteiras, portanto globalizada foi mostrada por Sheila Leirner de maneira ousada: dispondo as diversas telas de pintura abstrata bem próximas umas as outras, ressaltando sua similaridade. O arranjo da mostra tornava o "espaço expositivo" uma "instalação" em si e instaurava uma nova era para as Bienais na qual o "curador-autor" seria o grande protagonista. Sheila Leirner, jornalista e crítica de arte, integrou o Conselho de Arte e Cultura da Bienal em 1982 e 1983 e foi curadora da XVIII e XIX Bienais. Publicou coletânea de seus artigos intitulada Arte e seu tempo. São Paulo: Perspectiva, 1991.

 

k- Atuação curatorial

m- Bienal de São Paulo

Revert to English annotations
Researcher
Polyana Canhete
Team
FAPESP, Sao Paulo, Brazil
Credit
Reproduzido com o consetimento de Sheila Leirner, Paris, France.
From Sheila Leirner. Arquivo Histórico Wanda Svevo /Fundação Bienal de São Paulo
Location
Arquivo Histórico Wanda Svevo, Fundação Bienal de São Paulo