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The text states that—although France had always been a symbol of freedom—the French government, along with its curators and some artists, was willing to send a submission to the São Paulo Biennial despite the dramatic situation that Brazil was enduring at that moment. By contrast, the authors of this flyer affirmed their support for the revolutionaries and those men who fought valiantly against the bourgeoisie and American and European imperialism. The text ends by stating: “Against Fascist repression. Long live the heroic struggle of the Latin American people.”


From its founding in 1951, the Bienal de São Paulo was a fundamental event in the establishment and dissemination of art in Latin America. Given the Brazilian dictatorship that had resulted from the coup d’état of March 1964, different groups of artists decided to boycott the Tenth São Paulo Biennial that would be held in September 1969.

The organization to boycott the event, which had begun in France (Non à la biennale), was led by Pierre Restany (1930-2003), the French critic who supported New Realism; Restany also collaborated on the Milan magazine Domus and presided over the Palais de Tokyo, in Paris. He was an intellectual who was always interested in contemporary art and in strengthening ties with Latin American art.

This document sheds light on the strategies that artists used to promote the boycott of the Tenth Bienal de São Paulo. It was selected because it bears witness to the reaction of foreign artists and labor groups against the censorship, repression and torture imposed by the different political dictatorships of some Latin American countries.

Cristina Rossi
Fundación Espigas, Buenos Aires, Argentina
Archivo Julio Le Parc, París, Francia.