Aníbal Jozami: consider globality from the south

Arte al Día – Why another biennial and why the UNASUR Biennial?   

This must be analyzed from the point of view of politics and then from that of art. The integration of the Latin American countries is a long-dating aspiration that can be observed both in the solution of the great majority of border conflicts when the will is a coming closer expressed by the blocks of the Mercosur and the action of the Pacific Alliance. This integrating vocation can also be noticed in the creation of the UNASUR. All these elements show that we are embarked along this path and that everything that may be done to consolidate cultural bonds between our countries is correct and will contribute to this approach, since there is nothing better to internalize these processes than to undertake actions to make individuals feel these identities as their own.

If we analyze it from the perspective of art, we see that the different biennials are correlative: the Sao Paulo Biennial makes its appearance as a result of the industrial emergence of that city in the mid-20^th century, and the Venice Biennial because of the enthusiasm of the Venetian bourgeoisie with regard to the Italian reunification, originating the First International Art Biennial. We may enumerate others and we will see that similar phenomena occur.

This case is different, since it is an international event undertaken by a group of nations integrated in a region, which aspire to show their cultures on a par with those of the Northern countries in such a way as to cease being participants of a quota within diversity.

Arte al Día – What does this mean, having so many artists from South and Latin America who are successful at the international level?

We believe that the success of many South American artists is being the exception that confirms the rule of ignorance about the region, and also the lack of appreciation at the level that would correspond to diverse movements and currents originating in our countries. (And this is valid for Uruguayan constructivism, the movements of Argentine social art, a large part of the kinetic artists, Ecuadoran muralism, among other historical artistic processes). It would seem normal or even worse, that almost nobody questions the fact that the work of Portinari, Reverón or Berni, are not included in major museums. This is the reason why we consider an ambit where it is possible to establish a dialogue on a par between our artists and those who appear today as the most respected at world level.

This not only has to do with artists, in the strict sense, but also with the production of theory, our theoreticians, who in many cases surpass the production of Europeans and Americans, and do not reach the equivalent levels of circulation that they would deserve.

It is a question of reconsidering the circulation channels or of remaking passports or redesigning the world atlas, as two renowned South American thinkers say. In other words, of considering globality from the south, as Torres-García had imagined. When one analyzes that today the exhibition held in Paris with the greatest affluence of public is the one of Congolese artists, one may perceive that it is the moment to do so.

 Arte al Día - Who will curate the biennial?

We are not considering an author’s biennial based on an individual thinking, but rather the criteria will emerge from an encompassing curatorial committee composed of those who emerge from the open call we will issue and others will be invited by the Biennial Direction. Diana Wechsler, renowned professional from Argentina, with whom I have shared work experience in the framework of the MUNTREF (Museum of the National University of Tres de Febrero) which I direct, will be responsible for the coordination of this ensemble. We also consider assessing the opinion of some historical collectors from our countries who have actively collaborated through their international actions in the preservations and appreciation of the work of many artists.

Arte al Día – Where will the biennial take place?

The main venue will be the Centro Cultural Kirchner, which will function as a place of emission and reception, since via Internet, in different places of the region there will be simultaneous parallel activities. Likewise, before its inauguration it will be open to the public and to students from different countries, who will be invited to participate in the process of construction of the works.

Arte al Día – What relationship do you plan to establish with similar events in the region?

With the closest one in terms of time and geography, which is the Mercosur Biennial in Porto Alegre that once again will take place at the same date in 2017. We have already initiated a dialogue to establish agreements and coordination. We will do the same with the other biennials in the region. We will also utilize the context of some of the fairs held in our countries to disseminate and make this project known. Of course, we aspire to include arts schools, universities, cultural centers, museums, etc., in our project from their specificities. The idea is to gradually integrate, through a virtuous collaboration process, art schools, universities, etc., for an integral and articulate development of this biennial format that we are imagining, greater integration and wider social scope.