II Biennial of Visual Arts

II Biennial of Visual Arts

01 to 31 October 2015

Petrolina/Juazeiro
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Curatorial Axes:
1. The backwoods abducted
2. Dilutions and endeusamentos (unknown and irraciocínio in the landscape)
3. Historic Core

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Support: Center of culture Joao Gilberto-Juazeiro, UNIVASF, Home of the hinterland of Petrolina.

Balakrishna Argolo
Ana Paula Maich
Andressa Monique
Antonio Golden Lamb
Bernadette Fernandez Farias
Mukul Mathur
Chana de Moura
Diogenes Magno
Elen Gruber
Group ERROR
Erivalda Filipe de Oliveira Angels
Farah City
Fernando Quitério
Gabriela Noujaim
William Bergamini
Helena Lion
Henrique Marques
Herbert Baioco
Icarus Lira
Jussara Pires
Luma Flowers
Maicon Mann
Maíra Valerie Valente
Marina Camargo
Mariana Guimarães
Marcia Porto
Mirela Brant
Mozileide Naidu
Patricia Aguilar
Patricia Gallagher
Patríca Mosque
Paula Scavazzi
Paul Aurelian da Mata (CLA. Excesses)
Pedro Carneiro
Rafael Calixto
Renata Cruz
Rita Melo
Rodrigo Quintanilha
Shinji Nagabe
Susana Bravo
Thaieny Days
Thyago Marão Villela
Tonil Barua
Xoxu
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The hinterland is been art

A biennial of Arts (visuals, contemporary, historic) designed and installed in a narrow area pro Sertão (Brazil) always be brief attention and importance for several reasons, and the fact is universal way think it and opposed its current do playful and humanistic/manuals related to be the man in this environment and not least the lives of raw form/arid, insciente and true to story time.

The vehemence of alter the place in relation to its physical space, extending his interpretations and requirements of that local/global to which covers by insuspeição, some works by being next to a particular universe of landscape became way, poetry and signonimia that live that per hour play as '' landscape '' abuses, as spare and hybrid States pós-poética permission in addition to its banks.
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'' Seducing the next '' or charm the traditions

This gólem, now exacerbated by the universalization of the machines pós-midiáticas, the laments and images of both the man and the frontiersman concerns that arise from that State of perception in ' be-so ', the fact that central and peripheral at the same time the condition I found of place/fictional found, enormous force and wide of quizzical and questions cover and intersect the range of works that appear on this show, that for evidence only appear as a precipitate of boats, as a mercurial dismember in separation of gold in gold sands.

The vein '' backwoods '' the alibi of enchantments, magical images, medieval tradition, archaic, Lusa, Baroque, as hallucinations in the sphere of the sacred, image taken in prospecting, on suspicion, pregnant, alitere, formalized in new endeusamentos and dilutions ranging from the incognito by relations of proximity to constant irraciocínio divorces in the landscape or (des)Vios of image. These ' States ' of resistance seem to concuminar a conjugated art stages of perception, alliterations, receptacles of unknowns, fortal of insinuating as predisposed to your wilderness located.

Think about the area of the outback as a scan that spans several States and municipalities of Brazil regurgitates the biennial ' roving ' as an afterthought among other biennials and formulates the need of an intercultural nomadism and intercambialista between artists, students, educators, desleigos and outrens of various Nations, Yes the biennial International of the outback by their actions, by reference to a broad thinking and approaches between foreign and local artists, the Union of traditional arts, Classic and contemporary.

Both inside as outside inside, that's what sings the song when reminds us that the Outback was and will be a great sea, of ideas and creativity.