Umbigo

Raphael Fonseca and Yina Jiménez Suriel will be the artistic directors responsible for the 

 2027 biennial, one of the most important contemporary art events in Iceland and the Nordic countries.

Fonseca and Jiménez Suriel have built a remarkable and original curatorial career characterized by extensive experience in the Global South and Latin America. Their work is marked by a strong investigative approach, and they have participated in some of the most reputable institutions in the United States and Europe. Fonseca's notable contributions include his curatorship of the 14th Mercosur Biennial in Brazil and his work at the Department of Modern and Contemporary Latin American Art at the Denver Art Museum, where he serves as curator and head of the department. Jiménez Suriel's notable contributions include his itinerant curatorial projects at Kunsthalle Lissabon, TBA21 – Academy (Ocean Space, Venice), Pivô, and the Cinemateca Dominicana, his role as adjunct curator of the 14th Mercosur Biennial, and his essayistic research developed across various media, such as Contemporary And (C&) and Umbigo.

Both now face the challenge of reconciling distinct geographies in a biennial with a markedly collaborative and experimental genesis, focused on time-based media.

The Sequences 2027 biennial takes place from October 1st to 10th, 2027, and is organized by the Living Art Museum, the artist-run space Kling & Bang, and the Icelandic Art Center.

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"></span></div></span></div>

Artistic directors for the Sequences 2027 biennial announced 

Raphael Fonseca e Yina Jiménez Suriel serão os diretores artísticos responsáveis pela bienal 

 2027, um dos eventos mais relevantes da arte contemporânea na Islândia e nos países nórdicos.

Com experiência vasta em países do Sul Global e da América Latina, com participações nalgumas das mais reputadas instituições americanas e europeias, Fonseca e Jiménez Suriel têm feito um percurso curatorial notável, original, com forte pendor investigativo. De Fonseca destacam-se as passagens pela 14ª Bienal do Mercosul, no Brasil, e pelo Departamento de Arte Latino-Americana Moderna e Contemporânea no Denver Art Museum, onde atua como curador-chefe. De Jiménez Suriel, os projetos curatoriais itinerantes na Kunsthalle Lissabon, na TBA21 – Academy (Ocean Space, em Veneza), no Pivô e na Cinemateca Dominicana, a curadoria adjunta da 14ª Bienal do Mercosul e a investigação ensaística que tem vindo a desenvolver em diversos meios, como a Contemporary And (C&) ou a Umbigo.

Ambos têm agora pela frente o desafio de compatibilizar geografias distintas, numa bienal de génese vincadamente colaborativa, experimental, com foco nos time-based media.

A bienal Sequences 2027 decorre de 1 a 10 de outubro de 2027 e é organizada pelo Living Art Museum, pelo artist-run space Kling & Bang e pelo Icelandic Art Center.

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"></span></div></span></div></span></div>

Diretores artísticos para a Bienal Sequences 2027 anunciados

Margarida Alves

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p slate-align-justify m-0 px-0 py-1" style="position:relative;text-align:justify" data-slate-type="p" data-slate-align="justify" data-slate-id="Uxx62hXLWI" data-block-id="Uxx62hXLWI"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">At a time when the deterritorialisation of reality threatens to sever the fundamental ties between human beings and nature, a gap opens up that allows us to experience the earthy and ancestral meaning of ceramics. In </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Earth Gods / Velar Sculpture</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, we focus on ways in which it is still possible to share gestures, from southern India (Tamil Nadu) to Montemor-o-Novo, Portugal.</span></span></span></div></div></div></div></span></div></span></div></span></div></span></div></span></div>

Earth Gods / Velar Sculpture, at the Museu do Oriente

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p slate-align-justify m-0 px-0 py-1" style="position:relative;text-align:justify" data-slate-type="p" data-slate-align="justify" data-slate-id="k_UfHzL17G" data-block-id="k_UfHzL17G"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Num tempo em que a desterritorialização da realidade ameaça suprimir os laços fundamentais entre os seres humanos e a natureza, abre-se uma brecha que nos permite viver o sentido telúrico e ancestral da cerâmica. Em</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true"> Deuses de Terra / Escultura Velar</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, debruçamo-nos sobre formas ainda possíveis de partilhar os gestos, desde o sul da Índia (Tamil Nadu) até Montemor-o-Novo, Portugal. </span></span></span></div></div></div></div></div></div></span></div></span></div></span></div></span></div></span></div></span></div>

Deuses de Terra / Escultura Velar, no Museu do Oriente

Tomás Camillis

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p slate-align-justify m-0 px-0 py-1" style="position:relative;text-align:justify" data-slate-type="p" data-slate-align="justify" data-slate-id="I5MAOIgFXZ" data-block-id="I5MAOIgFXZ"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">After being tempted with banquets and riches, with visions of war and the offerings made to him by the dazzling Queen of Sheba, it is the wise Apollonius who penetrates deepest into Anthony—suggesting that the hermit's thirst for knowledge was stifled by his stubbornness in isolating himself from the world, in a desert that offered him nothing but hallucinations. “Sometimes torpid, sometimes furious — they remain forever in my conscience,” Anthony admits. “I crush them; they rise again, they stifle me; and sometimes I think that I am accursed.”</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-superscript="true"><sup data-slate-leaf="true" class="slate-superscript" data-slate-superscript="true"><span data-slate-string="true">[1]</span></sup></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> Flaubert's strangest novel</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">, The Temptation of Saint Anthony</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> presents us with a mystic in agony, divorced from the spiritual serenity he once knew. His search for epiphany is hampered by nocturnal demons who promise him every advantage, every pleasure. The saint repels them, one after another, in an ascetic obsession that borders on insanity. </span></span></span></div></div></div></span></div></span></div></span></div></span></div>

Nothing to Learn, Everything to Teach

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p slate-align-justify m-0 px-0 py-1" style="position:relative;text-align:justify" data-slate-type="p" data-slate-align="justify" data-slate-id="49No99yQb3" data-block-id="49No99yQb3"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Após ser tentado com banquetes e fortunas, com alucinações de guerra e com as ofertas da deslumbrante rainha de Sabá, é o sábio Apolónio que penetra mais fundo em Antão — sugere que a sede por saber do eremita estaria sufocada pela sua teimosia em isolar-se do mundo, num deserto que nada lhe ofereceria, salvo alucinações. “Entorpecidos e tumultuosos, tais pensamentos persistem em minha consciência”, admite Antão. “Esmago-os e eles renascem, sufocam-me; e creio, por vezes, que estou amaldiçoado.”</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-superscript="true"><sup data-slate-leaf="true" class="slate-superscript" data-slate-superscript="true"><span data-slate-string="true">[1]</span></sup></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> Mais estranho romance de Flaubert, </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">A Tentação de Santo Antão</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> apresenta-nos um místico em agonia, divorciado da serenidade espiritual que outrora conhecera. Sua busca por epifania é prejudicada por demónios da noite que prometem todas as vantagens, todos os prazeres. O santo repele-os, sucessivamente, numa ascética obsessão que é quase uma insanidade. </span></span></span></div></div></span></div></span></div></span></div></span></div></span></div>