{"id":9447,"date":"2025-09-20T17:37:07","date_gmt":"2025-09-20T15:37:07","guid":{"rendered":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/?p=9447"},"modified":"2025-09-25T12:32:57","modified_gmt":"2025-09-25T10:32:57","slug":"2025-2026-36th-bienal-de-sao-paulo-brazil","status":"publish","type":"post","link":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/2025-2026-36th-bienal-de-sao-paulo-brazil\/","title":{"rendered":"2025-2026 – 36th Bienal de S\u00e3o Paulo, Brazil : \u00ab\u00a0Not All Travellers Walk Roads \u2013 Of Humanity as Practice\u00a0\u00bb"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n

36th Bienal de S\u00e3o Paulo, Brazil<\/strong>
Not All Travellers Walk Roads – Of Humanity as practice<\/em><\/strong><\/h3>\n

La Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo annonce la liste des participants \u00e0 la 36e Biennale de S\u00e3o Paulo, intitul\u00e9e Not All Travellers Walk Roads – Of Humanity as Practice.<\/em>\u00a0 (voir la liste)<\/a><\/p>\n

Con\u00e7ue 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 conseill\u00e8re en communication et strat\u00e9gie Henriette Gallus – la 36e Biennale s’inspire du po\u00e8me \u00ab Da calma e do sil\u00eancio \u00bb [Du calme et du silence] de la po\u00e8te Concei\u00e7\u00e3o Evaristo.<\/p>\n

Artistes participants \u00e0 la 36eme Biennale de S\u00e3o Paulo :<\/strong><\/p>\n

Adama Delphine Fawundu; Adjani Okpu-Egbe; Aislan Pankararu; Akinbode Akinbiyi; Alain Padeau; Alberto Pitta; Aline Baiana; Amina Agueznay; Ana Raylander M\u00e1rtis dos Anjos; Andrew Roberts; Antonio T\u00e1rsis; Behjat Sadr; Berenice Olmedo; Bertina Lopes; Camille Turner; Carla Gueye; Cevdet Erek; Cha\u00efbia Talal; Christopher Cozier; Cici Wu; Cynthia Hawkins; Edival Ramosa; Emeka Ogboh; Ernest Cole; Ernest Mancoba; Farid Belkahia; Firelei B\u00e1ez; Forensic Architecture; Forugh Farrokhzad; Frank Bowling; Frank\u00e9tienne; G\u00ea Viana; Gervane de Paula; G\u014dz\u014d Yoshimasu; Hajra Waheed; Hamedine Kane; Hamid Z\u00e9nati; Hao Jingban; Heitor dos Prazeres; Helena Uambembe; Hessie<\/strong> (Carmen Lydia \u0110uri\u0107); Huguette Caland; I Gusti Ayu Kadek Murniasih (Murni); Imran Mir; Isa Genzken; Joar Nango with the Girjegumpi crew; Jos\u00e8fa 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 V\u00e1squez; Lidia Lisb\u00f4a; Lynn Hershman Leeson; Madame Zo; Madiha Umar; Malika Agueznay; Manauara Clandestina; Mansour Ciss Kanakassy; Mao Ishikawa; M\u00e1rcia Falc\u00e3o; Maria Auxiliadora; Mar\u00eda Magdalena Campos-Pons; Marlene Almeida; Maxwell Alexandre; Meriem Bennani; Metta Pracrutti; Michele Ciacciofera; Ming Smith; Minia Biabiany; Moffat Takadiwa; Mohamed Melehi; Mois\u00e9s Patr\u00edcio; Myriam Omar Awadi; Myrlande Constant; N\u00e1dia Taquary; Nari Ward; Nguy\u1ec5n Trinh Thi; Noor Abed; Nzante Spee; Olivier Marboeuf; Olu Oguibe; Oscar Murillo; Otobong Nkanga; P\u00e9lagie Gbaguidi; Pol Taburet; Precious Okoyomon; Raukura Turei; Raven Chacon com Iggor Cavalera & Laima Leyton; Rebeca Carapi\u00e1; Richianny Ratovo; Ruth Ige; Sadikou Oukpedjo; Sallisa Rosa; Sara Sejin Chang (Sara van der Heide); S\u00e9rgio Soarez; Sert\u00e3o Negro; Sharon Hayes; Shuvinai Ashoona; Simnikiwe Buhlungu; Song Dong; Suchitra Mattai; Tanka Fonta; Thania Petersen; Theo Eshetu; Th\u00e9odore Diouf; Theresah Ankomah; Tr\u01b0\u01a1ng C\u00f4ng T\u00f9ng; Tu\u1ea7n Andrew Nguy\u1ec5n; Vilanismo; Werewere Liking; Wolfgang Tillmans; Z\u00f3zimo Bulbul.<\/p>\n

Cinq autres participants prendront part au \u00ab\u00a0Tributaries program\u00a0\u00bb de la 36e Biennale de S\u00e3o Paulo, \u00e0 la Casa do Povo, commissariat de Benjamin Seroussi et de Daniel Blanga Gubbay : Alexandre Paulikevitch, Boxe Aut\u00f4nomo, Doroth\u00e9e Munyaneza, Marcelo Evelin, MEXA.<\/p>\n

6 septembre 2025 – 11 janvier 2026<\/strong>
Ciccillo Matarazzo Pavilion
Ibirapuera Park – Gate 3 – S\u00e3o Paulo, SP<\/p>\n

Hessie<\/strong> (n\u00e9e Carmen Lydia \u0110uri\u0107, Spanish Town, 1933 – Pontoise, 2017) \u00e9tait une artiste autodidacte dont la pratique combinait broderie, collage et mat\u00e9riaux domestiques, transformant des gestes traditionnellement f\u00e9minins en un langage politique et exp\u00e9rimental. \u00c0 partir de la fin des ann\u00e9es 1960, alors qu’elle vit dans la campagne fran\u00e7aise, elle d\u00e9veloppe une \u0153uvre marqu\u00e9e par la r\u00e9p\u00e9tition, l’abstraction et l’\u00e9conomie de moyens. Elle participe activement aux mouvements f\u00e9ministes en France. Sa premi\u00e8re grande exposition personnelle a eu lieu au Mus\u00e9e d’Art Moderne de la Ville de Paris (1975). Ses \u0153uvres font partie de collections publiques, notamment du FRAC Bretagne (Rennes), du MUSAC Le\u00f3n et du Centre Pompidou (Paris).<\/p>\n

(Participation soutenue par l’Institut fran\u00e7ais dans le cadre du programme IF Incontournable.)<\/p>\n\n\n

\/\/\/ VUES D\u2019EXPOSITION<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n

Label presenting Hessie’s work within the exhibition :
<\/span><\/strong><\/p>\n

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), V\u00e9g\u00e9tations [Vegetations] (1970s), and D\u00e9chets 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 V\u00e9g\u00e9tations, 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.<\/p>\n

\"\"\"\"<\/p>\n\n\n

\/\/\/ \u0152UVRES EXPOS\u00c9E<\/strong>S<\/p>\n\n\n

[Sans titre], s\u00e9rie V\u00e9g\u00e9tations (Landscape), (No.Inv.024)<\/a>
<\/strong>Vers 1970
Broderie de fil vert avec du bolduc dor\u00e9 et une aiguille, 56 x 87 cm.<\/p>\n

[Boutons bleus], s\u00e9rie Boutons, (No.Inv.031)<\/a>
<\/strong>Vers 1974-75
Boutons bleus et gris cousus sur tissu de coton, 165 x 295 cm.<\/p>\n

[Trous forme ronde], s\u00e9rie Trous, (No.Inv.036)<\/a>
<\/strong>Vers 1973
Broderie de fil blanc sur perforations sur tissu de coton, 163 x 113,5 cm.<\/p>\n

[V\u00e9g\u00e9tations], s\u00e9rie V\u00e9g\u00e9tations, (No.Inv.054)<\/a>
<\/strong>Vers 1976
Broderie de fil bleu sur tissu de coton, 42 x 63,5 cm.<\/p>\n

[D\u00e9chets-collage], s\u00e9rie D\u00e9chets collages, (No.Inv.059)<\/a>
<\/strong>1976 \/ 2015
Papiers d’emballage cousus sous tissu de coton, 127 x 185 cm.<\/p>\n

[Sans titre], s\u00e9rie Grillage, (No.Inv.107)<\/a>
<\/strong>1975-80
Broderie de fils jaune, marron et gris sur tissu de coton, 130,5 x 54,5 cm.<\/p>\n

[Sans titre], s\u00e9rie V\u00e9g\u00e9tations, (No.Inv.226)<\/strong><\/a>
Broderie de fils rose, mauve et violet sur tissu de coton, 39 \u00e9pingles, 35 x 48 cm.<\/p>\n

[Sans titre], s\u00e9rie Points cousus, (No.Inv.241)<\/a>
<\/strong>1975
Broderie de fils bleus sur tissu de coton, 139 x 57 cm.<\/p>\n

[Sans titre], s\u00e9rie Papiers, (No.Inv.018)<\/a>
<\/strong>1970
Collage de papier journal perfor\u00e9 sur papier blanc, 50 x 65 cm.<\/p>\n

[Silence], s\u00e9rie Perforations, (No.Inv.083)<\/a>
<\/strong>1972
Perforations sur papier gris, 50 x 65 cm.<\/p>\n

[Sans titre], s\u00e9rie Emballages, (No.Inv.109)<\/strong><\/a>
Collage d’un filet \u00e0 pomme de terre orange sur papier blanc, 67,5 x 53 cm.<\/p>","protected":false},"excerpt":{"rendered":"

36th Bienal de S\u00e3o Paulo, BrazilNot All Travellers Walk Roads – Of Humanity as practice La Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo annonce la liste des participants \u00e0 la 36e Biennale de S\u00e3o Paulo, intitul\u00e9e Not All Travellers Walk Roads – Of Humanity as Practice.\u00a0 (voir la liste) Con\u00e7ue par Bonaventure Soh Bejeng Ndikung – avec […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":["post-9447","post","type-post","status-publish","format-standard","hentry","category-expositions-collectives"],"_links":{"self":[{"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/posts\/9447","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/comments?post=9447"}],"version-history":[{"count":11,"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/posts\/9447\/revisions"}],"predecessor-version":[{"id":9511,"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/posts\/9447\/revisions\/9511"}],"wp:attachment":[{"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/media?parent=9447"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/categories?post=9447"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galeriearnaudlefebvrearchives.com\/hessie\/wp-json\/wp\/v2\/tags?post=9447"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}