Exposures. Reflections on a Curatorial Strategy

2016

'This year’s Venice Biennale, which opened to the public on 9 May, had been widely anticipated since its curator, Okwui Enwezor, announced his intention to turn the event into a forum for the study and reconsideration of the three volumes of Marx’s Capital. Such an undertaking promised to highlight the inherent contradictions of the biennial format and the contemporary art world more generally, which maintain the illusion of a kind of lofty detachment from market forces whilst being deeply entwined within them.'

THE BIENNALE THAT WAS MEANT TO BE, 2021

The 2021 Venice Architecture Biennale, "How will we live together" Prof. Johannes M. P. Knoops Originally slated for a Spring 2020 opening, this 17th International Architecture Exhibition of the Venice Biennale, had been postponed twice in the face of a pandemic that has tweaked the tides of time. It was first postponed to the fall of 2020 and then quickly rescheduled for the following year. Many consider it to be Architecture's most significant global showcase. Not as a trade show, but as a forum of the here and the now. Earlier this Spring, in the face of a third wave of Covid-19 infections and new variants, Italy's Prime Minister implemented further restrictions while declaring the entire country a red zone for the Easter Weekend of April 3-5, 2021. Yet despite all the lamentations of an extensive quarantine across Northern Italy, just a mere week later, on April 12th, La Biennale di Venezia livestreamed a press conference for the 17th International Architecture Exhibition "How will we live together?" Featuring Roberto Cicutto, the newly named President of La Biennale di Venezia, and Hashim Sarkis, Curator of the 2021 Architecture Biennale.

Deadline for proposals: 14 February 2023

Prelom, 2004

An good, wide ranging and sometimes uncomfortable interview by Prelom from Beograd.

Machina Rivista, 2024

Foreigners Nowhere (stranieri da nessuna parte). A reflection on the curation of the 2024 Biennale di Venezia Let's put it this way. We all know where Adriano Pedrosa is coming from. As curator of this year's Venice Biennale, running under the title "Strangers Everywhere", and as artistic director and curator of notable exhibitions and institutions (such as the São Paulo Biennales 1998 and 2006 as adjunct curator, the Istanbul Biennale 2011, and the Museo de Arte de São Paulo [MASP] since 2014), he is well aware of the critical potential of "alterity" and the power of narratives in the creation of history, epistemology, and "truth". He is no stranger to curation across transcontinental modernisms and their undergirding histories of colonial modernity. He reshaped and activated the collections of the MASP like nobody did before. His Histórias project, initiated with widely popular Brazilian anthropologist and historian Lilia K. Moritz Schwarcz at São Paulo's Instituto Tomie Ohtake, was brought to MASP in 2016 with an exploration of childhood, sexuality (2017),

Aica South Caribbean , 2022

Autoethnography on La Biennale of Art, Venice 2022 perfromative writing

2016

An analysis of the 2015 Venice Biennale (and its focus on the nexus of culture, colonialism, and capitalism) in light of curator Okwui Enwezor's contention that an international biennial should be an occasion to probe and illuminate local history.