This document consists of a series of statements on the XXI São Paulo Biennial. Professor Walter Zanini, curator of the sixteenth and seventeenth biennials, held in 1981 and 1983 respectively, condemns a modality whereby artists are selected to participate based on registration. He also criticizes certain business interests for meddling in determining the artistic criteria of the event. Artist and cultural administrator Maria Bonomi, who had resigned from the biennial Comissão Técnica, defends the new selection process even though, she admits, it has been completely distorted by the current administration. José Américo Pessanha, a member of the new Comissão Técnica, states that selection is difficult due to the large number of applications, most of them presenting dreadful work. Visual artist Paulo Monteiro criticizes selection based on photographs of works and/or the curriculum vitae of applicants. Gilberto Salvador, an artist who had been selected, states that he will not participate in the event because he believes the Fundação Bienal serves business, rather than artistic, interests. Regina Boni, the director of a gallery representing some of the artists selected to participate in the biennial, discusses how a presidential mandate on culture (called the Sarney Law) would affect the finances of the biennial. She states that it is important for the event to continue come what may and she harshly criticizes the “judicial action” undertaken against the biennial curator and the members of the commission who resigned. Lastly, Luisa Strina, the director of a gallery not representing any of the artists selected to participate in the biennial, issues a radical condemnation of the procedures and ideas behind the biennial, and of everyone involved in an event that no longer has any reason for being. 

This article contains statements by seven figures active in the art world in Brazil on the planning of the XXI São Paulo Biennial held in 1991. The individual statements are preceded by a brief overview of the event and of the growing controversy surrounding it. Incidents mentioned include the dismissal of the curator and of members of the Comissão Técnica, legal disputes, selection of participants on the basis of registration rather than invitation, and the requirement that accepted artists cover some of the biennial’s expenses.

The XVIII and XIX São Paulo Biennials, held in 1985 and 1987 respectively, had witnessed major changes pertinent to this document. Under the curatorship of Sheila Leirner, the issues of the universal and curatorial participation became central to the biennial [see doc. no. 1111107 and doc. no. 1110910]. The interview by Agnaldo Farias with one of the curators of the twentieth biennial is particularly relevant to the issues discussed in this document: “João Cândido Galvão: ‘fiz uma Bienal com transgressors’” [doc. no. 1111317].