The 24th Bienal de São Paulo 1998, Exhibition Histories Volume 4
Introduction by Pablo Lafuente. Text by Lisette Lagnado, Renato Sztutman, Mirtes Marins de Oliveira, Carmen Mörsch, Catrin Seefranz. Interviews by Paulo Herkenhoff.
Published with Afterall Books.
The 1998 Bienal de São Paulo remade art history from a Brazilian perspective, and presented a new model for exhibition-making in the era of postcolonial globalization. The show employed the Brazilian notion of anthropophagy as both concept and method, encouraging "contamination" and "cannibalization" of the canon. By doing so it proposed a new model for large-scale curatorial projects that could effectively address nonspecialist audiences. Photographs and gallery plans reconstruct this important project, and an essay by Lisette Lagnado provides critical analysis and historical context. Additional texts by Renato Sztutman, Mirtes Marins de Oliveira and Carmen Mörsch and Catrin Seefranz are complemented by recent interviews with curator Paulo Herkenhoff and participating artists.
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FORMAT: Pbk, 6 x 8.5 in. / 216 pgs / 95 color / 7 b&w. LIST PRICE: U.S. $27.50 LIST PRICE: CANADA $38.5 ISBN: 9783863355548 PUBLISHER: Walther König, Köln AVAILABLE: 10/27/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR
Cultural Anthropophagy The 24th Bienal de São Paulo 1998, Exhibition Histories Volume 4
Published by Walther König, Köln. Introduction by Pablo Lafuente. Text by Lisette Lagnado, Renato Sztutman, Mirtes Marins de Oliveira, Carmen Mörsch, Catrin Seefranz. Interviews by Paulo Herkenhoff.
Published with Afterall Books.
The 1998 Bienal de São Paulo remade art history from a Brazilian perspective, and presented a new model for exhibition-making in the era of postcolonial globalization. The show employed the Brazilian notion of anthropophagy as both concept and method, encouraging "contamination" and "cannibalization" of the canon. By doing so it proposed a new model for large-scale curatorial projects that could effectively address nonspecialist audiences. Photographs and gallery plans reconstruct this important project, and an essay by Lisette Lagnado provides critical analysis and historical context. Additional texts by Renato Sztutman, Mirtes Marins de Oliveira and Carmen Mörsch and Catrin Seefranz are complemented by recent interviews with curator Paulo Herkenhoff and participating artists.
