36th Bienal de São Paulo, Brazil
Not All Travellers Walk Roads – Of Humanity as practice

La Fundação Bienal de São Paulo annonce la liste des participants à la 36e Biennale de São Paulo, intitulée Not All Travellers Walk Roads – Of Humanity as Practice.  (voir la liste)

Conçue par Bonaventure Soh Bejeng Ndikung – avec les co-commissaires Alya Sebti, Anna Roberta Goetz, Thiago de Paula Souza, la co-commissaire Keyna Eleison et la conseillère en communication et stratégie Henriette Gallus – la 36e Biennale s’inspire du poème « Da calma e do silêncio » [Du calme et du silence] de la poète Conceição Evaristo.

Artistes participants à la 36eme Biennale de São Paulo :

Adama Delphine Fawundu; Adjani Okpu-Egbe; Aislan Pankararu; Akinbode Akinbiyi; Alain Padeau; Alberto Pitta; Aline Baiana; Amina Agueznay; Ana Raylander Mártis dos Anjos; Andrew Roberts; Antonio Társis; Behjat Sadr; Berenice Olmedo; Bertina Lopes; Camille Turner; Carla Gueye; Cevdet Erek; Chaïbia Talal; Christopher Cozier; Cici Wu; Cynthia Hawkins; Edival Ramosa; Emeka Ogboh; Ernest Cole; Ernest Mancoba; Farid Belkahia; Firelei Báez; Forensic Architecture; Forugh Farrokhzad; Frank Bowling; Frankétienne; Gê Viana; Gervane de Paula; Gōzō Yoshimasu; Hajra Waheed; Hamedine Kane; Hamid Zénati; Hao Jingban; Heitor dos Prazeres; Helena Uambembe; Hessie (Carmen Lydia Đurić); Huguette Caland; I Gusti Ayu Kadek Murniasih (Murni); Imran Mir; Isa Genzken; Joar Nango with the Girjegumpi crew; Josèfa Ntjam; Juliana dos Santos; Julianknxx; Kader Attia; Kamala Ibrahim Ishag; Kenzi Shiokava; Korakrit Arunanondchai; Laila Hida; Laure Prouvost; Leiko Ikemura; Leila Alaoui; Leo Asemota; Leonel Vásquez; Lidia Lisbôa; Lynn Hershman Leeson; Madame Zo; Madiha Umar; Malika Agueznay; Manauara Clandestina; Mansour Ciss Kanakassy; Mao Ishikawa; Márcia Falcão; Maria Auxiliadora; María Magdalena Campos-Pons; Marlene Almeida; Maxwell Alexandre; Meriem Bennani; Metta Pracrutti; Michele Ciacciofera; Ming Smith; Minia Biabiany; Moffat Takadiwa; Mohamed Melehi; Moisés Patrício; Myriam Omar Awadi; Myrlande Constant; Nádia Taquary; Nari Ward; Nguyễn Trinh Thi; Noor Abed; Nzante Spee; Olivier Marboeuf; Olu Oguibe; Oscar Murillo; Otobong Nkanga; Pélagie Gbaguidi; Pol Taburet; Precious Okoyomon; Raukura Turei; Raven Chacon com Iggor Cavalera & Laima Leyton; Rebeca Carapiá; Richianny Ratovo; Ruth Ige; Sadikou Oukpedjo; Sallisa Rosa; Sara Sejin Chang (Sara van der Heide); Sérgio Soarez; Sertão Negro; Sharon Hayes; Shuvinai Ashoona; Simnikiwe Buhlungu; Song Dong; Suchitra Mattai; Tanka Fonta; Thania Petersen; Theo Eshetu; Théodore Diouf; Theresah Ankomah; Trương Công Tùng; Tuần Andrew Nguyễn; Vilanismo; Werewere Liking; Wolfgang Tillmans; Zózimo Bulbul.

Cinq autres participants prendront part au « Tributaries program » de la 36e Biennale de São Paulo, à la Casa do Povo, commissariat de Benjamin Seroussi et de Daniel Blanga Gubbay : Alexandre Paulikevitch, Boxe Autônomo, Dorothée Munyaneza, Marcelo Evelin, MEXA.

6 septembre 2025 – 11 janvier 2026
Ciccillo Matarazzo Pavilion
Ibirapuera Park – Gate 3 – São Paulo, SP

Hessie (née Carmen Lydia Đurić, Spanish Town, 1933 – Pontoise, 2017) était une artiste autodidacte dont la pratique combinait broderie, collage et matériaux domestiques, transformant des gestes traditionnellement féminins en un langage politique et expérimental. À partir de la fin des années 1960, alors qu’elle vit dans la campagne française, elle développe une œuvre marquée par la répétition, l’abstraction et l’économie de moyens. Elle participe activement aux mouvements féministes en France. Sa première grande exposition personnelle a eu lieu au Musée d’Art Moderne de la Ville de Paris (1975). Ses œuvres font partie de collections publiques, notamment du FRAC Bretagne (Rennes), du MUSAC León et du Centre Pompidou (Paris).

(Participation soutenue par l’Institut français dans le cadre du programme IF Incontournable.)

/// VUES D’EXPOSITION

Label presenting Hessie’s work within the exhibition :

Hessie’s (1933-2017) artistic practice has redefined the boundaries between embroidery and collage. She mainly worked with very simple materials, such as cotton fabrics or used packaging materials of ali kinds. Overtly minimalist and abstract, they were transformed into striking, vivid, and animated geometric compositions, exemplifying a unique poetic language developed over time.
With a large body of work divided into various series such as Boutons [Buttons] (1974-1975), Trous [Holes] (1973), Végétations [Vegetations] (1970s), and Déchets collages [Waste Collage] (1976), just to name a few, Hessie’s ability to transform domestic techniques into powerful artistic expressions made her a pioneering feminist figure, who challenged the idea that female ascribed activities such as sewing or embroidery were just simplistic or old-fashioned. As a self-taught artist, she was inspired by everyday life and materials such as buttons, paper scraps, threads, or salvaged objects, challenging conventional notions and understandings of arts and/or crafts. In certain cases, the boundaries between art and science were blurred. For instance, in the series Végétations, whose title is a clear and direct reference to plants, the artist’s works appear full of life through the repetitiveness of the red or white threads, reminiscing the microscopic observation of cells, which, as defined by human biologists, are the smallest common denominator of life, responsible for all functional aspects of an organism.
Beyond the harmony or formal beauty of her textile pieces, Hessie’s works also highlight the profound potential of textiles as a medium for social and artistic commentary. Due to the tactile intimacy of fabric, each piece carries personal and collective narratives, offering a deeply humane and subversive voice that addresses societal issues such as labor and gender through a familiar medium.
Furthermore, the slow, deliberate process of stitching, sewing, and perforating contrasts with the idea of mass production, displaying the artist’s conscious approach to sustainable practices. The aspect of time and its passing as well as her life conditions also left their mark on the works, for example in the form of traces of rust and water, which were due to the precarious storage conditions in her house, a lighthouse in the French countryside where she lived most of her adult life.

/// ŒUVRES EXPOSÉES

[Sans titre], série Végétations (Landscape), (No.Inv.024)
Vers 1970
Broderie de fil vert avec du bolduc doré et une aiguille, 56 x 87 cm.

[Boutons bleus], série Boutons, (No.Inv.031)
Vers 1974-75
Boutons bleus et gris cousus sur tissu de coton, 165 x 295 cm.

[Trous forme ronde], série Trous, (No.Inv.036)
Vers 1973
Broderie de fil blanc sur perforations sur tissu de coton, 163 x 113,5 cm.

[Végétations], série Végétations, (No.Inv.054)
Vers 1976
Broderie de fil bleu sur tissu de coton, 42 x 63,5 cm.

[Déchets-collage], série Déchets collages, (No.Inv.059)
1976 / 2015
Papiers d’emballage cousus sous tissu de coton, 127 x 185 cm.

[Sans titre], série Grillage, (No.Inv.107)
1975-80
Broderie de fils jaune, marron et gris sur tissu de coton, 130,5 x 54,5 cm.

[Sans titre], série Végétations, (No.Inv.226)
Broderie de fils rose, mauve et violet sur tissu de coton, 39 épingles, 35 x 48 cm.

[Sans titre], série Points cousus, (No.Inv.241)
1975
Broderie de fils bleus sur tissu de coton, 139 x 57 cm.

[Sans titre], série Papiers, (No.Inv.018)
1970
Collage de papier journal perforé sur papier blanc, 50 x 65 cm.

[Silence], série Perforations, (No.Inv.083)
1972
Perforations sur papier gris, 50 x 65 cm.

[Sans titre], série Emballages, (No.Inv.109)
Collage d’un filet à pomme de terre orange sur papier blanc, 67,5 x 53 cm.