[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-133305-en":3,"doc-seo-133305-105":31,"detail-sidebar-cat-0-en-105":95},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},133305,7971461740886,"Theodore","https://ap-avatar.wpscdn.com/davatar_3d24733baf745e90a7e4bdd5f77d97b2",2,"Literature","Choreographies of the Impossible - 35th Bienal de São Paulo 2023 - Introduction","Choreographies of the Impossible presents the 35th Bienal de São Paulo as a major every-two-years art stage, bringing together paintings, sculptures, drawings, research, and installations. The text explains how a new curatorial proposal initiates a long production cycle, including negotiations, budgeting, fundraising, sponsor partnerships, and sustainability measures that address the event’s carbon footprint. It also describes how education and communication teams shape outreach, educational publications, and visitor engagement, while installation preparations turn planning into a finished pavilion.","choreographies 2023  \nof the impossible  \n35th Bienal de São Paulo  \nThe Ministry of Culture, São Paulo State Government,  \nthrough the Secretary of Culture, Creative Economy and Industry, the Municipal Secretary of Culture,  \nFundação Bienal de São Paulo and Itaú present  \nchoreographies of the  \nimpossible  \n35th  \nBienal de  \nSão Paulo 2023  \nEvery two years, the Ciccillo Matarazzo Pavilion becomes a stage for the most relevant works and themes in the art world at the time. Visitors walking among the paintings, sculptures, drawings, research, installations, and so many other languages in constant transformation, and realized by artists from the most diverse settings, can imagine the effort that goes into each part of the exhibition. The task of orchestrating a show on the scale of the Bienal de São Paulo, and with the degree of excellence that it demands, is only possible thanks to the collective work of professionals from the most varied specializations.  \nEverything begins with the choice of a curatorial proposal, which is always new, always innovative. From that moment, the preparations begin, only ending when the exhibition closes. The endless meetingsand difficult decisions, messages exchanged and contracts needing signing, schedules and their multiple revisions, budget and  \nfundraising, and strengthening ties with public authorities and private initiatives in a network of sponsors, supporters, and partnerships. Everything needs to be negotiated with transparency and designed in a way that respects the conservation of the pavilion itself –a jewel of modern architecture –as well asthe environment, according to the institutional guidelines that include mitigating the event’s carbon footprint.  \nThe production team transforms the abstract into concrete: building bridges between the collections, working alongside suppliers of the most varied trades, arranging transport, dealing with programming, and creating the conditions necessary for the works to be included in the exhibition with the utmost care, safety, and creativity. The education team offers formation courses for educators, sets up outreach programs in schools and research centers, produces educational publications, their tools of the  \njosé olympio da veiga pereira  \npresident – fundação bienal de são paulo  \ntrade, and mediates the relationship between the works and visitors interested in creating new connections between their experiences and the art exhibited in the show. The communication team, in turn, delivers news and announces the exhibition contents to a captive and demanding Bienal public while simultaneously inviting people who have never had the chance to see the exhibition up close. It is also down to them to coordinate publications, signpost the space, and tie together texts and images. In keeping with the financial and administrative health of the event, together, these teams provide the environment needed to host the Bienal.  \nThe installations happen with tight deadlines, and each step in this phase must be studied and measured beforehand. First, the walls are erected and the architecture starts to take shape. The pavilion is overtaken by construction workers, wood, plaster, and iron. Once the building  \nhas been prepared, it is time to welcome the artworks and the boxes they are packagedin, which are unpacked so the installers can mount the works with care and precision. In an ocean of details and finishings, the text panels are mounted, the lights turn on, visitor guides take their places, and another Bienal opens its doors.  \nFor the 35th Bienal de São Paulo, the curatorial collective formed of Diane Lima, Grada Kilomba, Hélio Menezes, and Manuel Borja-Villel, selected over a hundred participants who, in incalculable ways, choreographed the impossible. The Fundação Bienal de São Paulo is proud to hold this exhibition and, in its own way, to play a part in this impossible choreography, orchestrated by collective work.  \nSharing the historic miss","cbCairyVugCKNvCP","https://ap.wps.com/l/cbCairyVugCKNvCP","pdf",64922643,3,1,296,"English","en",105,"# Overview of the 35th Bienal\n## Curatorial proposal and preparation\n## Production, education, and communication teams\n## Installation process and exhibition opening\n## Curatorial collective and impact","[{\"question\":\"What is the central theme of the 35th Bienal de São Paulo?\",\"answer\":\"The exhibition is presented as “choreographies of the impossible,” shaped through a curatorial project that brings together more than a hundred participants. It frames the event as a collective orchestration involving many teams and specialties.\"},{\"question\":\"How does the Bienal’s preparation process begin and what does it include?\",\"answer\":\"Preparation starts with selecting a curatorial proposal, after which preparations continue until the exhibition closes. The process involves meetings and decisions, signed contracts, schedule revisions, budgeting and fundraising, and coordination with public and private partners with transparency and conservation in mind.\"},{\"question\":\"What roles do the education and communication teams play?\",\"answer\":\"The education team provides training for educators, outreach programs in schools and research centers, and educational publications that support artistic-pedagogical projects. The communication team publicizes exhibition content, coordinates publications, and helps guide visitors through texts and images.\"},{\"question\":\"How are artworks installed during the final phase?\",\"answer\":\"Installation is carried out under tight deadlines, with planned steps measured beforehand. Walls and pavilion architecture are erected first, then artworks are received from their packaged boxes and mounted, followed by finishing activities like mounting panels and turning on lights for the opening.\"}]","Choreographies of the Impossible - 35th Bienal de São Paulo 2023 - Introduction | PDF",1787217230,456,{"code":4,"msg":32,"data":33},"ok",{"site_id":25,"language":24,"slug":34,"title":13,"keywords":35,"description":14,"schema_data":36,"social_meta":90,"head_meta":92,"extra_data":94,"updated_unix":29},"choreographies-of-the-impossible-35th-bienal-de-sao-paulo-2023-introduction","",{"@graph":37,"@context":89},[38,53,68],{"@type":39,"itemListElement":40},"BreadcrumbList",[41,45,48,50],{"item":42,"name":43,"@type":44,"position":21},"https://docshare.wps.com","Home","ListItem",{"item":46,"name":47,"@type":44,"position":11},"https://docshare.wps.com/document/","Document",{"item":49,"name":12,"@type":44,"position":20},"https://docshare.wps.com/document/literature/",{"item":51,"name":13,"@type":44,"position":52},"https://docshare.wps.com/document/choreographies-of-the-impossible-35th-bienal-de-sao-paulo-2023-introduction/133305/",4,{"url":51,"name":13,"@type":54,"author":55,"headline":13,"publisher":57,"fileFormat":60,"inLanguage":24,"description":14,"dateModified":61,"datePublished":62,"encodingFormat":60,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":56},"Person",{"url":42,"name":58,"@type":59},"DocShare","Organization","application/pdf","2026-09-01","2026-08-20",true,{"@type":65,"interactionType":66,"userInteractionCount":20},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81,85],{"name":72,"@type":73,"acceptedAnswer":74},"What is the central theme of the 35th Bienal de São Paulo?","Question",{"text":75,"@type":76},"The exhibition is presented as “choreographies of the impossible,” shaped through a curatorial project that brings together more than a hundred participants. It frames the event as a collective orchestration involving many teams and specialties.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"How does the Bienal’s preparation process begin and what does it include?",{"text":80,"@type":76},"Preparation starts with selecting a curatorial proposal, after which preparations continue until the exhibition closes. The process involves meetings and decisions, signed contracts, schedule revisions, budgeting and fundraising, and coordination with public and private partners with transparency and conservation in mind.",{"name":82,"@type":73,"acceptedAnswer":83},"What roles do the education and communication teams play?",{"text":84,"@type":76},"The education team provides training for educators, outreach programs in schools and research centers, and educational publications that support artistic-pedagogical projects. The communication team publicizes exhibition content, coordinates publications, and helps guide visitors through texts and images.",{"name":86,"@type":73,"acceptedAnswer":87},"How are artworks installed during the final phase?",{"text":88,"@type":76},"Installation is carried out under tight deadlines, with planned steps measured beforehand. Walls and pavilion architecture are erected first, then artworks are received from their packaged boxes and mounted, followed by finishing activities like mounting panels and turning on lights for the opening.","https://schema.org",{"og:url":51,"og:type":91,"og:title":13,"og:site_name":58,"og:description":14},"article",{"robots":93,"canonical":51},"index,follow",{"doc_id":7,"site_id":25},{"code":4,"msg":5,"data":96},[97,101,104,108,113,118,123,128,133,136,140],{"id":21,"doc_module":4,"doc_module_name":47,"category_name":98,"show_sort_weight":99,"slug":100},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":47,"category_name":12,"show_sort_weight":102,"slug":103},80,"literature",{"id":52,"doc_module":4,"doc_module_name":47,"category_name":105,"show_sort_weight":106,"slug":107},"Exam",70,"exam",{"id":109,"doc_module":4,"doc_module_name":47,"category_name":110,"show_sort_weight":111,"slug":112},5,"Comic",60,"comic",{"id":114,"doc_module":4,"doc_module_name":47,"category_name":115,"show_sort_weight":116,"slug":117},6,"Technology",50,"technology",{"id":119,"doc_module":4,"doc_module_name":47,"category_name":120,"show_sort_weight":121,"slug":122},7,"Healthcare",40,"healthcare",{"id":124,"doc_module":4,"doc_module_name":47,"category_name":125,"show_sort_weight":126,"slug":127},8,"Research & Report",30,"research-report",{"id":129,"doc_module":4,"doc_module_name":47,"category_name":130,"show_sort_weight":131,"slug":132},9,"Religion & Spirituality",20,"religion-spirituality",{"id":131,"doc_module":4,"doc_module_name":47,"category_name":134,"show_sort_weight":131,"slug":135},"World Cup","world-cup",{"id":137,"doc_module":4,"doc_module_name":47,"category_name":138,"show_sort_weight":137,"slug":139},10,"Lifestyle","lifestyle",{"id":141,"doc_module":4,"doc_module_name":47,"category_name":142,"show_sort_weight":109,"slug":143},19,"General","general"]