La galerie de la Biennale

What if we reversed the classical stance of the right-thinking Westerner visiting the amiable natives somewhere? In her docudrama "Iracema" (de Questembert), specially made for the Biennale, Maria Thereza Alves recounts the ambiguous story of Iracema, a young woman from the isolated Brazilian village of Corubime. Iracema makes the long journey from São Paulo to France, where she learns that she has just inherited her father’s estate. She is now the owner of a vast property which the local authorities would like to buy from her rather than see it in the hands of a "savage". Undaunted, our young heroine fights to keep her property, where she founds the Questembert Institute for Art and Science. She makes speeches at the World Social Forum in Porto Alegre and sets about meeting artists and thinkers. In this analysis of France, and of cultural reflexes in general, Maria Thereza Alves takes a look at the positions of strength and weakness resulting from the automatisms that govern Western societies.

With the support of the Villa Medici, Rome.

Maria Thereza ALVES
Iracema (de Questembert), 2009
Photos: Blaise Adilon
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An authorial biennale rooted in a museum project

The Lyon Biennale stemmed from a project by Lyon's Museum of Contemporary Art, directed by Thierry Raspail since its inception in 1984. From 1984-1988, the Biennale was preceded by an annual event entitled "October of the Arts", which ended with the exhibition "Colour Alone": The Experience of Monochrome". This retraced the adventure of monochrome, from the beginnings of Impressionism and the historical avant-gardes to topical work by artists ranging from Malevitch to Anish Kapoor. Staged in various venues around the city, "Colour Alone" was highly successful, making its mark and illustrating Lyon's potential for hosting an international event, following the Paris Biennale's closure in 1985. The event gave rise to the inaugural Lyon Biennale in September 1991.
The desire to create an event capable of artistic self-renewal while building a stable, long-term project that bonded with its host territory led to an organisational model specific to the Lyon Biennale: an Artistic Director builds the event's identity over time, and for each edition chooses a curator/ curators with whom he collaborates closely to devise an artistic project.
The Lyon Biennale is therefore truly an authorial biennale and, as Jean-Hubert Martin noted, "a clever way of having themes addressed through the personalities of others". Each biennale provides the opportunity to explore a specific issue. Its nine editions thus far have formed three successive trilogies: the first devoted to History, the second to Globalisation, and the third to Temporality. They have been curated by an international array of art historians, critics and professional curators including: Harald Szeemann, Jean-Hubert Martin, Le Consortium (with Robert Nickas and Anne Pontégnie), Stéphanie Moisdon and Hans Ulrich Obrist, and now, in 2009, Hou Hanru.

 


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The Biennale of Lyon is a Les Biennales de Lyon event

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