The 5th edition of VentoSul Biennal joins works of artists from different parts of the planet: North and South,
center and periphery, cold and warm poles, First and Third World. Undoubtedly, these positions cannot be
considered separatedly, as if they were fixed contradictions. Actually, they are proposals in order to disorganizing
the diagram of the map mundi: the art focuses the stable limits and the fixed positions. The art alters the maps,
invents places, raises limits, tranfers the sites and names them differently. The places of geographic sources of
the artists are considered places of different enunciations and signs of diversity, but not as indexes of fixed
geographic places.


Title and curatorial matter

The idea of a map composed by countries which participate of the Biennal helps to think about displacements,
mobilizations and slidings of places and positions. There are not fixed places for art: confronted to others, open,
every space send to different sites, to intermediary zones, to third places. These crossed and provisory points
not only disorient the chartographic directions, but also serve the purpose of enriching the points of view and
found new perspectives which may be rethought the starting points.

The global space is, in a certain way, submitted to the logic of the maps: it opens itself in successive spacial
movements, and is displayed full of mobile diagrams of migrations and continuous displacements. This Biennal
wants to organize these fluxes in a poetic way: as objects of the view.

The movement of the maps privileges the transitory positions: the goes and comes, the oscillation of what is
present and absent, the crossing of the territories.

In the debate about the maps, there are rivers, lakes and lagoons. Gaps that multiply the banks, reflect the
image, desorient the localization of whom doesn't have land in sight. The figure of the river allows to imagine
the ambiguous moment of the departure and the arrival: the instance of the transit. These figures of
disorietation, of alternance of space, seek raising questions about the disconcerting that is produced by a
globalized geography, which mixes the cardinal points, erases the traditional landmarks and changes the
course of the rivers.

One of the leading conductors of the edition will be water, which nowadays carries the status of beauty, in
the future will be the a kind of currency due to the possible shortage triggered by the unaware consumption
and by the fast global warming. Nowadays, water is the center of contemporary geopolitical debates. This way,
it can serve as symbol of concern about the destiny of the planet, displayed in a poetic way and open to
questions of multiple senses.


Title: Água Grande: the altered maps

The curatorial proposal of VentoSul intends to face the two others biennals trying a dialogue in order to contribute
with the debate about the the crucial points of the contemporary art: the sense of image in the context in which
was used by the market, its critical possibility where the transgression has turned to a show, the custody of poetry
in a disenchanted world, the ethical obligation and the politics of naming the conflict and the injustice without losing
the characteristics of the form.

In the context of the these complex scene, VentoSul define its own strategies and objectives: it is a biennal open
to places and distinct regions, the complex modalities of diffusion and exposure, the private proposals of a conceptual
discussion. The pictures of the map and the water allow that an alive and fluid environment be thought, an environment
capable of disorienting and reorienting the space in order to amplify the space of the critical image and the discussion
about the difficult luck of the art in this globalized epoch.

The biennal spreads across the city, and its uncountable lakes will lead the visual speech. Metaphorically they will
be representing the Água Grande, named by the wisdom of Guarani mythology like Iguaçu. That's the site where
the starting point to some artists will be. Artists who have the ecology as DNA of their works.

The lakes and their compositions of different forms will be integrated in this biennal, not as a simple frame of a
landscape for contemplation, but entwining themselves to the several works that will be drifting over them. A reverence
to culture and to ecology.

The moment we mention the "Y guasú" ( The Água Grande of the guaranis) we are referring to a region marked by
the river and their great falls (the river that has its source in Curitiba, its large fall in the cross of three borders, etc.)
but we invocate the figure of the water as metaphor of a zone of union and difference, of space of flux or stanch,
of paths always open between the banks.

Back to the altered maps, the idea has its source from the opposition worked by Deleuze and Guattari between
map and decal. On the contrary of the monotonous sharpness of the decal, the map is capable of moving the
geographies and allow them movements, entrances and exits: new diagrams moved by the memory or by the
desire. The maps of art can descentralize the cartographies, accelerate or retard the course of the rivers, illuminate
the lakes and transform the borders in unstable lines of crossing that can be carried in both ways with unpredictable
ways which bet on the other side. On the other hand, the borders of the map are nowadays an alternative for the
contemporary art: force them to discuss their own limits and try transgress them.