Icelandic Art Center shares
Katrín Sigurðardóttir | 33rd São Paulo Bienal, Brazil
33rd São Paulo Bienal
Sept 7 – December 9, 2018
Katrin Sigurdardottir is among the artists exhibiting in the 33rd São Paulo Bienal, opening September 7th, until Dec 9th, 2018.
The exhibition, titled “Affective Affinities” offers an alternative to thematic exhibitions by focusing the artists’ gaze on their own creative contexts. It features 7 group shows organised by invited artist-curators as well as 12 individual projects selected by curator Gabriel Pérez-Barreiro.
Katrín’s work is part of the exhibition O pássaro lento [The Slow Bird], organized by Claudia Fontes (Buenos Aires, Argentina, 1964) and draws on a metanarrative: a fictional book of the same title whose content is unknown, except for some fragments and a few material remains. Both Fontes and her invited artists present artworks that activate links between the visual arts, literature and translation, through experiences that propose an expanded temporality. “The experience of speed and slowness are political experiences rooted in the body. They both influence understandings of space, distance and possibility”, Fontes states. In a horizontal and collaborative curatorial project, Katrin Sigurdardottir has produced a specially commissioned works for the occasion.
Katrin Sigurdardottir was born in Reykjavik, Iceland. In the last 20 years, her works have been shown extensively in Europe, North- and South America and are included in numerous public and private collections. She represented Iceland in the 55th Venice Biennial in 2013, as well as exhibiting in FRONT International Cleveland Triennial of Contemporary Art, 2018, Torino Triennale in 2005 and Momentum Nordic Biennial in 2000. She has had notable solo exhibitions at The List Center at MIT, Boston (2015), Parasol Unit Foundation of Contemporary Art, London (2015), SculptureCenter, New York (2014), The Metropolitan Museum of Art, New York (2010), MoMA PS1, New York (2006), FRAC Bourgogne, Dijon, France (2006), Sala Siqueiros, Mexico City (2005) and Fondazione Sandretto, Turin, Italy (2004).
With an ambitious and unprecedented format, the 33rd Bienal de São Paulo – Affective Affinities hopes to encourage an individual appreciation of art by avoiding an overarching theme that could prompt pre-established understandings.
The title for the 33rd edition of the Bienal de São Paulo was selected by its curator Gabriel Pérez-Barreiro, director and chief curator of the Cisneros Collection, to resonate with ideas presented in Johann Wolfgang von Goethe’s novel Elective Affinities (1809), as well as Mário Pedrosa’s important thesis On the Affective Nature of Form in the Work of Art (1949).
However, the title is not intended to provide the exhibition with a thematic direction. Rather, it reflects the show’s organisation, which draws on artistic and cultural links, as well as affinities between participating artists. As in Pedrosa’s text, it proposes an investigation into the ways that art creates an environment of relationships and communication, which begins with the artist and moves through the object to the viewer.
Presence, attention and the way that the environment influences our experience, are the premises that guide Pérez-Barreiro’s curatorial proposal, which functions as a response to a world of ready-made truths, in which the fragmentation of information and inability to focus attention can lead to alienation and passivity.
With a strong belief in the positive impact of a radical change in the operating systems of the Bienal de São Paulo, for this edition, Pérez-Barreiro has invited seven different artists to freely organise exhibitions that dialogue with their practices. Mamma Andersson (Sweden), Sofia Borges (Brazil), Waltercio Caldas (Brazil), Alejandro Cesarco (Uruguay), Claudia Fontes (Argentina), Antonio Ballester Moreno (Spain) and Wura-Natasha Ogunji (USA) have, with complete autonomy, chosen their participating artists and artworks. The only criteria is that they must also include their own work in their exhibitions.
In addition, Pérez-Barreiro has also curated 12 solo projects featuring work by Feliciano Centurion (Paraguay), Alejandro Corujeira (Argentina), Luiza Crosman (Brazil), Nelson Felix (Brazil), Siron Franco (Brazil), Tamar Guimarães (Brazil), Aníbal López (Guatemala), Maria Laet (Brazil), Vânia Mignone (Brazil), Denise Milan (Brazil), Bruno Moreschi (Brazil) and Lucia Nogueira (Brazil).