The Guardian

(…) One of the aims of the biennial, Esche said, was to bring together communities that are invisible to one another. This invisibility was evident in the press preview and gala opening, when almost the only non-white faces were those of security guards and waiters (though more than half of Brazil’s population are mixed race or black). “Inequality in Brazil is gross,” the curator told me. “We need to use the elite biennial to give a platform for those communities.”

They are certainly visible in the giant murals of mixed-race youths that stare out across the second floor of the biennial. These huge portraits are the work of Amazonian street artist Éder Oliveira, who finds his subjects in the crime pages of newspapers: “They are usually seen in photographs, where they are handcuffed and being led away by police,” says Oliveira, who, like his portraits, is a “coboclo” a mix of white, black and indian. “The media images were very sensationalist. Everything about them said, ‘This type of person is dangerous.’ It’s a form of racism.”

Trecho da crítica de Jonathan Watts, “São Paulo biennial: radical art and the struggle for survival”, para o The Guardian.

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