An art gallery scene with a dense foreground installation of knives partially wrapped in white fabric, suspended before a bright red wall with other artworks, including a painting of a face.

Vista da instalação, Pavilhão das Bahamas, In Another Man’s Yard: John Beadle, Lavar Munroe and the Spirit of (Posthumous) Collaboration. Obras de John Beadle. Foto: Camila Gonzatto

Vista de instalação

4 Junho 2026

Revista América Latina

Palavras Camila Gonzatto

Tradução Jess Oliveira

2 min de leitura

Vista da exposição

Bienal

Brasil

Cuba

México

61ª Bienal de Veneza: Pavilhões Nacionais

Nesta Installation View, destacamos alguns dos Pavilhões Nacionais latino-americanos e caribenhos apresentados na Bienal deste ano, incluindo Bahamas, Brasil, Cuba, Equador e México.

Bahamas

Com curadoria de Krista Thompson e intitulada In Another Man’s Yard, a exposição do Pavilhão das Bahamas reúne obras de John Beadle (1964-2024) e Lavar Munroe (n. 1982), artistas cujas práticas são moldadas pelos universos visuais e sociais das Bahamas e da diáspora africana de forma mais ampla.

Mixed-media artwork with a person playing a horn, a howling wolf, and three figures, one holding a yellow umbrella, against a textured background.

A vibrant diptych painting shows two green-skinned figures in patterned yellow-green clothing. The left figure plays a drum surrounded by orange flames; the right figure, with a horned headdress and sunflowers, stands by a howling wolf against a dark, swirling background.

An art exhibition featuring multiple intricately decorated, mixed-media figures with masks, some resembling tigers, under a draped white ceiling.

An orange and black tiger head decoration with green eyes, a pink open mouth, and gold glitter accents.

Brasil

O Pavilhão do Brasil, Comigo ninguém pode, estabelece um diálogo entre as artistas Rosana Paulino e Adriana Varejão sob curadoria de Diane Lima. Nas obras apresentadas, ambas abordam feridas e traumas coloniais. O título faz referência à planta comigo-ninguém-pode, símbolo de proteção no Brasil, bem como à expressão popular associada à força e à resistência.

A black and white portrait on crumpled paper hangs among rusty rebar and white strings.

Wall art installation of small reddish-brown organic objects, some paired with white forms, others clustered at the base.

Abstract sculptures of reddish-brown clay forms partially wrapped in white fabric, displayed on a white wall.

Long underside of a structure with painted panels in red, pink, purple, and blue abstract and figurative designs, between concrete beams.

Rough, reddish-brown lines form an abstract vertical, horizontal, and stepped diagonal pattern on a white background.

Cuba

Hombres libres é o título do Pavilhão Cubano. Com curadoria de Nelson Ramírez de Arellano Conde, a exposição reúne obrasescultóricas de Roberto Diago. O título homenageia cimarrones (quilombolas) que escolheram a morte em vez da escravização, bem como pessoas que lutaram por liberdade.

Numerous large, abstract human-like sculptures made from patchwork rusty metal and wood in an industrial gallery.

Art installation with rusty metal letters spelling "EL SISTEMA NO NOS QUIERE" next to a dark, rusty, abstract head sculpture with blue accents on a white wall.

Two artistic busts made of rusted metal and salvaged materials. One features colorful side panels, the other an open frame. On white pedestals against a brick wall.

A towering, weathered sculpture made of salvaged wood planks and rusted metal sheets, resembling a hooded figure, stands in a room with rough brick walls.

Weathered surface of rusted metal with peeling paint and wooden planks covered in bent nails.

Equador

Reunindo obras do coletivo indígena anticolonial Tawna e do artista Oscar Santillán, este é o primeiro pavilhão oficial do Equador na Bienal de Veneza. Com curadoria de Manuela Moscoso, as obras retratam distintas formas de criação de mundos humanos e não humanos, com ênfase em narrativas andinas e amazônicas.

A projection of a clay pot on a stand is cast onto an irregular, bark-like sheet in a dark room.

An art installation of dark, gnarled organic forms connected by translucent amber tubes and metal fittings on a grey floor.

An art installation featuring two dark, organic, vertical sculptures, one with a textured gray oval top and the other with a dark leaf-like form, interconnected by winding pipes and textured elements on a grey platform.

Vibrant abstract painting of swirling organic forms on black.

An orange Hawaiian shirt with vibrant tropical patterns hangs against a dark, sheer net.

México

No Pavilhão Mexicano, a curadora Jessica Berlanga Taylor apresenta o trabalho de RojoNegro, dupla formada por María Sosa e Noé Martínez, sob o título Actos invisibles para sostener el universo [Atos invisíveis para sustentar o universo]. O espaço é concebido como uma invocação de inteligências materiais, corporais e espirituais com a intenção de reparar fraturas do mundo contemporâneo.

Art exhibition in a brick-walled room with curved displays of white material showcasing ancient vessels and sculptures. Abstract blue figures are projected on background screens.

Mound of translucent white crystals with a dark, curved object behind.

A dark, sculptural metal pot with a bird-shaped handle and a star-shaped adornment sits in white granular material in an exhibition space with projected blue figures in the background.

An art exhibition features two large projections of people meditating, above winding sand beds containing various ceramic vessels.

An exhibition with holographic projections of ancient figures above winding paths filled with white granular material and displaying pottery vessels.

Sobre o autor

Camila Gonzatto

Camila Gonzatto é editora da C&AL.

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