Notes related to Bienal

Cuban artist Roberto Diago presents a sculptural installation that turns the scar into an emblem of identity and precariousness into an act of sovereignty.

Curated by Diane Lima, the exhibition brings together Adriana Varejão and Rosana Paulino for the first time to rewrite the wounds of colonialism.

As curator of the Peruvian pavilion in Venice, Andrade examines how the Shipibo-Konibo artist transforms a visual thinking system into an all-encompassing experience —and why that gesture reshapes the scale of what contemporary art can hold.

The Ecuador Pavilion presents Tawna, curated by Manuela Moscoso, exploring territory, knowledge, and coexistence.

The exhibition evokes a present marked by oppression, where bodies, sensibilities, and politics are deeply intertwined.

Combining science, music, and theatricality, Jenna Sutela’s work—curated by Stefanie Hessler—explores the unpredictable nature of the wind and its connection to the contemporary environmental crisis.

An exhibition that revisits television archives to reflect on coexistence as both a social promise and a contested field.

The intergenerational selection traces a sensitive map of practices connected to the United States, where affective, political, and technological ties intertwine through an experimental lens.

Lucía Sanromán and Aimee Harrison to co-curate the 14th edition of the festival, taking place from 5 June 2027 until 12 September 2027.

The event will bring together 46 Indigenous artists from different regions of Argentina and neighboring countries, with exhibitions and activities taking place between February and April.

Curated by Josefina Barcia, the project was selected among 69 submissions and will occupy the Argentine Pavilion from May 9 to November 22, 2026.

The 25th edition, curated by Hoor Al Qasimi, announced new projects which will explore memory and history through works from around the world.

Curated by Diane Lima, the project Comigo ninguém pode will bring together two of the most powerful voices in contemporary Brazilian art around themes of colonial memory, resilience, and poetic imagination in Brazil’s Pavilion.

The International Art Biennial returns after 44 years, bringing together over 120 artists from 25 countries, 300 artworks, and a free program spanning 15 municipalities.

The world’s largest art bienniale returns with a curatorial proposal inviting artists to explore the meeting point between technology and imagination—without geographic or entry barriers. Application deadline: September 15, 2025.

This edition unfolds in Belém as a poetic and political reflection on Amazonian and Caribbean territories. More than 80 artists explore the notions of dream, memory, and accent as forces that reconfigure geography, time, and resistance.

BIENALSUR Week 2025 opened with a diverse and expansive program at key venues in the city of Buenos Aires. It will continue throughout July and run until December at various venues.

MOMENTUM, the Nordic Biennale of Contemporary Art, inaugurated its 13th edition, Between/Worlds: Resonant Ecologies, curated by Danish curator and academic Morten Søndergaard. The show invites the public to tune into the quiet, the overlooked, the unheard; presents sound as a way to reorient how we live and as a medium for unprepared listening.

The 13th Berlin Biennale for Contemporary Art, titled passing the fugitive on, opens on the evening of June 13, 2025, 7–10pm, at four locations in Berlin with over 170 works by more than 60 artists. More than half of the artworks are newly commissioned. 

Rememory, as coined by Toni Morrison in her novel Beloved is the theme and title for the 25th edition of the Biennale of Sydney, which will take place from March 17 until June 17, 2026. Expanding from the understanding of memory as information retention with the passing of time, rememory works in the dark, from the residues and amputations of the past. In Morrison’s own context and research, it relates to chronicling African American history and how it upturns what is canonised as American history.

The 19th International Architecture Exhibition of La Biennale di Venezia, titled Intelligens. Natural. Artificial. Collective., will be an immersive exploration of how architecture can adapt to a rapidly changing world. Curated by Carlo Ratti, the exhibition will run from May 10 to November 23, 2025, across the Giardini, Arsenale, and Forte Marghera.

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

The 2024 edition of the Venice Biennale is coming to an end. Stranieri Ovunque - Foreigners Everywhere, curated by Brazilian Adriano Pedrosa, offered a reflection through art about migration and borders, recurring themes in today's global discussion. Arte al Día was present to cover the 60th International Exhibition, not only to bring the work of more than 300 artists from almost 100 countries, but also to focus on the contribution of Latin American artists to the global scene, whose presence marked a high point in this edition.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

Under the general curatorship of Bonaventure by Soh Bejen Ndikung, the 36th São Paulo Biennial announces its title, curatorial concept, collaborators and visual identity, in addition to informing about an important change in its exhibition period. The title will be: Nem todo viandante anda estradas / Da humanidade como prática [Not All Travelers Walk Roads / Of Humanity as Practice].

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

Disobedience Archive is a video archive project in constant transformation, linking artistic practices and political action. At the Venice Biennale exhibition, it takes the form of The Zoentrope, a pre-cinematographic machine that gives life to a space that generates new perspectives.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing.