Entitled Not All Travellers Walk Roads – Of Humanity as Practice, the edition will be led by chief curator Prof. Dr. Bonaventure Soh Bejeng Ndikung together with his conceptual team of co-curators Alya Sebti, Anna Roberta Goetz and Thiago de Paula Souza, as well as co-curator at large Keyna Eleison and strategy and communication advisor Henriette Gallus. The exhibition takes its cue from Afrobrazilian poet Conceição Evaristo’s enigmatic poem Da calma e do silêncio [Of calm and silence].
The central proposal of this Bienal is to rethink humanity as a verb, a living practice, in a world that requires reimagining relationships, asymmetries and listening as the basis for coexistence, based on three curatorial fragments/axes. The metaphor of the estuary – a place where different water currents meet and create a space for coexistence – guides the curatorial project, inspired by Brazilian philosophies, landscapes and mythologies. This concept reflects the multiplicity of encounters that have marked Brazil’s history and proposes that humanity comes together and transforms itself through an attentive ear and negotiation between different beings and worlds.
This edition of the Bienal de Sao Paulo is structured as a research project that will manifest itself in three fragments/axes. The first curatorial fragment/axis advocates for claiming space and time, it seeks to slow down and pay attention to details and other beings that constitute our surroundings. This fragment situates itself within Conceição Evaristo’s poem Da calma e do silêncio and evokes the importance of exploring the submerged worlds that only the silence of poetry and poetic listening can access, by welcoming differences and suggesting a reconnection with the natural environment and its subtleties.
In the second fragment/axis, the Bienal invites the public to see themselves in the reflection of the other. The proposal is to question what we see when we look at ourselves and others, confronting the barriers and borders of our societies. This fragment situates itself within the poem by Haitian poet René Depestre Une Conscience En Fleur Pour Autrui and it explores the interconnectedness of experiences, proposing a coexistence that is more attentive to collective needs.
Finally, the third fragment/axis focuses on spaces of encounters – like estuaries that are spaces of multiple encounters, not only the meeting of sweet and salt water, but also the encounter of the so-called new world by the enslaved people abducted from Africa. This fragment reflects on coloniality, its power structures and the ramifications thereof in our societies today. This reflection is based on the manguebit movement and its ‘Crabs with Brains’ manifesto, understood as a representation of the so-called collective social brain. Brazil’s history, marked by the fusion of Indigenous peoples, Europeans and enslaved Africans, is a microcosm of the power asymmetries that still persist. Along these lines, the exhibition explores how cultures and societies deal with these differences and create new paths of coexistence and beauty, as manifested in Patrick Chamoiseau and Edouard Glissant’s The intractable beauty of the world.


Prof. Dr. Bonaventure Soh Bejeng Ndikung is a curator, author and biotechnologist, currently serving as director and chief curator of Haus der Kulturen der Welt (HKW) Berlin, Germany. He is the founder and former artistic director of SAVVY Contemporary in Berlin, as well as the artistic director of sonsbeek20->24, a quadrennial contemporary art exhibition in Arnhem, the Netherlands. He also worked as curator-at-large for Adam Szymczyk’s documenta 14 in Athens, Greece and Kassel, Germany in 2017 and was guest curator of the Dak’Art: African Contemporary Art Biennale in Dakar, Senegal, in 2018. Additionally, he served as the artistic director for the 12th and 13th editions of the Bamako Encounters – African Biennale of Photography in Mali, taking on this role in 2019 and 2022. Together with the Miracle Workers Collective, he curated the Finnish Pavilion at the 58th Biennale di Venezia, 2019. Prof. Dr. Ndikung was a guest professor in curatorial studies and sound art at the Städelschule in Frankfurt, and he is currently a professor and head of faculty in the Spatial Strategies Master’s program at the weißensee academy of art berlin. He was the recipient of the first OCAD University International Curators Residency fellowship in Toronto in 2020. His published works include, inter alia, The Delusions of Care (2021), An Ongoing-Offcoming Tale: Ruminations on Art, Culture, Politics and Us/Others (2022) and Pidginization as Curatorial Method (2023).
Alya Sebti (Casablanca, Morocco, 1983) is a contemporary art curator and director of ifa-Galerie (Institut für Auslandsbeziehungen) in Berlin (Germany), where she created the research and exhibition platform Untie to Tie – on colonial legacies in contemporary societies. Her independent curatorial practice focuses on the Biennale format as a space of encounter. She was co-curator of the European Manifesta biennial in Marseille in 2020, guest curator of the 2018 Biennale de Dakar in Senegal, and artistic director of the 2014 Marrakech Biennale in Morocco. She has also staged exhibitions in several countries and has written extensively on art and the public sphere. She has supervised curatorial research with mentoring programs at the ZK/U artist residency in Berlin and at MACAAL in Marrakech with a focus on contemporary practices in relation to post-independence artistic languages in North and West Africa.
Anna Roberta Goetz (Basel, Switzerland, 1984) is a curator and writer living between Switzerland and Mexico. Her research interests include artistic strategies that challenge hierarchies and narratives prevalent in society. She has worked at the Marta Herford Museum and the MMK Museum für Moderne Kunst Frankfurt, both in Germany, and was assistant curator and project manager of the German Pavilion at the 55th Venice Biennale, 2013. She has staged outstanding solo and group exhibitions in several countries and has taught at various international art schools, such as the Zurich University of the Arts (Switzerland) and the Städelschule in Frankfurt (Germany). She is widely published in art magazines and has a number of recent and forthcoming publications, including Rodney McMillian: The Land: Not Without a Politic, organized with Kathleen Rahn (2024) and Cinthia Marcelle – By Means of Doubt, organized with Isabella Rjeille (2023).
Henriette Gallus (Grevesmühlen, German Democratic Republic, 1983) is a communication and cultural strategist as well as an editor. After working as an editor and literary agent from 2005 onwards, in 2011 she became the press officer of dOCUMENTA (13) (2012), and from 2014 head of communications of the 14th edition of documenta in both Kassel and Athens (2017). From 2018-2022 she was deputy director of steirischer herbst festival for contemporary art in Graz, until she became deputy director of Haus der Kulturen der Welt (HKW), Berlin, in 2022. She has advised numerous cultural institutions worldwide, among them: sonsbeek 20–>24, Arnhem; Rencontres de Bamako, Mali, 2018 and 2022; the German Pavilion at the 58th Venice Biennale, 2019; Württembergischer Kunstverein, Stuttgart, 2021, and Castello di Rivoli – Museo d’Arte Contemporeana, Turin from 2017 to 2023.
Keyna Eleison (Rio de Janeiro, Brazil, 1979) is a curator, researcher, and educator in art and culture. With a degree in philosophy from UFRJ, a specialist degree in history of art and architecture and a master’s degree in art history from PUC-Rio, she took part in the legitimation of Cais do Valongo as a UNESCO World Heritage Site. Eleison coordinated all public institutions from the Rio de Janeiro Municipal Department of Culture and taught at the Escola de Artes Visuais do Parque Lage, where she was also teaching coordinator. She writes for Contemporary & magazine and, since 2019, is the founder of the collective Nacional Trovoa, showcasing the artistic production of black and non-white women. She was the curator of the 10th Bienal Internacional de SIART in Bolivia (2018), the curator of the 1st Bienal das Amazônias (2023), the artistic director of the Museu de Arte Moderna do Rio de Janeiro (2020-2023) and director of research and content at the Bienal das Amazônias.
Thiago de Paula Souza (São Paulo, Brazil, 1985) is curator and educator. He is interested in stretching and re-elaborating the exhibition format as well as in the intersection of contemporary art and education in the creation of new ethical codes. He is co-curating the 38th Panorama of Brazilian Art at the MAM São Paulo (2024). Recently, he co-curated Some May Work as Symbols: Art Made in Brazil, 1950s–70s, at Raven Row in London. Between 2022 and 2023, he was co-curator of the Nomadic Program at the Vleeshal Center for Contemporary Art (The Netherlands). In 2022, he co-curated While we are embattled (Para Site, Hong Kong) and Acts of revolt (MAM Rio, Brazil). Between 2020 and 2021, he was part of the curatorial team of the 3rd edition of Frestas – Triennial of Arts, São Paulo. He also was a curatorial advisor for the 58th Carnegie International (2021/2022, United States). In 2018/2019, he curated Tony Cokes’ first solo exhibition in The Netherlands, at BAK (Utrecht). He was a member of the curatorial team of the 10th Berlin Biennale (2018). He’s currently a member of the Artistic Committee of NESR Art Foundation, in Angola, and a PhD candidate at HDK Valand – University of Gothenburg (Sweden).
Federal Government of Brazil
The Federal Government, through the Ministry of Culture, is celebrating the 36th Bienal de São Paulo in partnership with the Fundação Bienal de São Paulo. Just like the great film festivals, the Bienal de São Paulo – the second oldest art biennial in the world – raises enormous expectations on the global exhibition circuit. This year, with the title Not All Travellers Walk Roads – Of Humanity as Practice, inspired by a poem by the renowned Brazilian writer Conceição Evaristo, the Bienal reaffirms its vocation as a major showcase for the most current production on the national and global art scene, without losing sight of its wide-ranging educational activities in the formation of new and well-known audiences.
The Ministry of Culture has been working to strengthen the cultural sector through various initiatives and promotion tools. Policies such as the Paulo Gustavo Law and the Aldir Blanc National Policy for the Promotion of Culture encourage other artistic languages, creating opportunities for artists, cultural producers, managers, and visitors. Creating solid conditions for culture means strengthening the creative economy and encouraging the implementation of perennial, permanent, and democratic cultural policies.
Being alongside projects like the Bienal’s new movie theater is a source of pride, as it brings together two issues dear to the government: expanding democratic access to cultural facilities combined with an educational arm capable of mediating and making sense of what is on display. By providing free film screenings accompanied by educational activities, another stage is created to strengthen the culture of our country’s award-winning and increasingly active audiovisual field.
The Federal Government remains committed to arts and education, which are indispensable fronts for ensuring the right to citizenship and a fairer future for all. We will continue to invest in initiatives that encourage cultural creation and innovation, ensuring that events such as the Bienal de São Paulo continue to inspire and transform generations.
For more than 35 years, Itaú Cultural (IC) has played a fundamental role in boosting the appreciation of art, culture and education in a complex and heterogeneous society like Brazil. This role is expanded through essential partners for the development of the cultural and creative economy, such as the Fundação Bienal de São Paulo.
Itaú Unibanco is proud to be a sponsor of the Fundação Bienal de São Paulo – it has been for the past 27 years, with this being the 12th edition held in that period – reaffirming its commitment to promoting the visual arts and their transformative role. The Bienal de São Paulo is an important meeting and exchange space for artists, curators, critics, and the public.
In this field, Itaú Cultural organizes actions for enjoyment, education and promotion, including solo and group exhibitions that take place both at its headquarters on Avenida Paulista, 149 (with free admission) and at venues in Brazil’s five regions. Highlights of the 2025 exhibitions include Carlos Zilio – A querela do Brasil, curated by Paulo Miyada, which will present a retrospective of this artist who, with erudition and irreverence, explored the tensions of Brazilian art. Exhibitions will also be dedicated to the visual artist Rivane Neuenschwander and the curator and critic Paulo Herkenhoff.
Visit itaucultural.org.br to browse the Filmes e vídeos de artistas virtual exhibitions, with experimental audiovisual works, and Livros de artista na Coleção Itaú Cultural, whose immersive and interactive features allow for detailed appreciation. At Enciclopédia Itaú Cultural (enciclopedia.itaucultural.org.br) you can access hundreds of entries on figures, works, and events in the visual arts.
Being present at the Bienal de São Paulo reinforces our goal of building links with different audiences, valuing the diversity of formats, thoughts, and subjectivities, and fostering creative and critical thinking through Brazilian art and culture.
Bloomberg is proud to sponsor of the 36th edition of the Bienal de São Paulo. For more than a decade we have supported the Bienal’s exceptional contemporary art exhibitions in the stunning Ciccillo Matarazzo Pavilion in Ibirapuera Park and around Brazil, through our partnership with Fundação Bienal. This year’s edition continues the tradition of presenting captivating and thought-provoking art installations that are free and open to the public.
Every day, Bloomberg connects influential decision makers to a dynamic network of information, people, and ideas. With more than 19,000 employees in 176 offices, Bloomberg delivers business and financial information, news and insight around the world. Our dedication to innovation and new ideas extends to our longstanding support of arts, which we believe are a valuable way to engage citizens and strengthen communities. Through our funding, we help increase access to culture and empower artists and cultural organizations to reach broader audiences.
For Bradesco, a Brazilian bank par excellence that has just celebrated its 83rd anniversary, art and culture are not only fundamental elements in the formation of a people’s identity or the construction of their intangible heritage, but also a journey of inclusion and citizenship, a healthy convergence of different points of view. It is, so to speak, a journey towards the new, but with the care to value what is special enough to be history or tradition.
Therefore, when it comes to art and culture, the boundaries between past, present, and future, between form and content, become meaningless. Everything becomes reflection and learning, everything becomes provocation and surprise.
It was on the basis of this interpretation, combined with the positive view of the role of companies in making possible what society considers important, that Bradesco became a sponsor of the 36th edition of the Bienal de São Paulo, undoubtedly one of the most important events in the country aimed at promoting the arts scene, publicizing the various expressions of art and promoting cultural exchange, with all the good that this brings.
By participating in something that is both great and multifaceted, Bradesco shares with the Fundação Bienal de São Paulo – which has organized the event for more than six decades – the goal of democratizing access to culture, multiplying its reach and promoting the appreciation of art.
It’s a path with no end, no turning back, full of challenges and at least one certainty: the more people who take part, the better!
Petrobras has a history of more than forty years of continuously believing in culture as a transformational element and a source of energy for society. By supporting unique projects and long-term partnerships, we have built a relationship of respect and collaboration with producers and initiatives all over the country.
The Petrobras Cultural Program has Brazilianness as its guiding element, which is materialized in the themes, origins, curatorship, history, and characteristics of each project we select. By supporting different projects, we put into practice our belief that culture is an important energy that transforms society. We believe that through creativity and inspiration we promote growth and change.
The Bienal de São Paulo is one of the sector’s most prestigious events in the country and the world. Petrobras’s sponsorship reinforces the company’s role in promoting culture in its various forms, consolidating its position as one of the biggest supporters of the arts in Brazil.
Events such as the Bienal de São Paulo make a significant contribution to the economy, promoting innovation, creativity, and sustainability in the economic dynamic. Petrobras is an ally of Brazil’s development in its various sectors. It invests in many forms of energy, and culture is certainly one of them. Petrobras is proud to support Brazilian culture in its plurality of manifestations, taking art to all audiences, all over the country. Because culture is also our energy.
To find out more about the Petrobras Cultural Program, visit petrobras.com.br/cultura.
Instituto Vale Cultural believes in the transformative power of culture. As one of the main supporters of culture in Brazil, it sponsors and promotes projects that foster connections between people, initiatives, and territories. Its commitment is to make culture increasingly
accessible and diverse, while also contributing to the strengthening of the creative economy.
It is therefore a pleasure to be part of the realization of this 36th Bienal de São Paulo and its educational program, which explores new formats and approaches. Developed from the Invocations proposed by the curatorial team – encounters with poetry, music, performance, and debates that explore notions of humanity across different geographies – the educational program expands the Bienal’s communication with diverse audiences and extends its reach beyond the exhibition space and timeframe, in an interdisciplinary way.
With each new edition, the Bienal invites us to rethink art as an exercise in dialogue, in openness to new narratives, and as a space for learning. In this sense, it aligns with the purpose of the Instituto Cultural Vale: to expand opportunities for learning, reflection, new perspectives, and the sharing of art, culture, and education – both inside and outside museums, throughout Brazil.
Where there is culture, Vale is there.
For 110 years, Citi has been part of Brazil’s history, accompanying its transformations and driving its development. Our journey is intertwined with that of the country: we are both witnesses to and participants in a Brazil that constantly reinvents itself and moves forward.
More than a financial institution, we believe in the power of culture and education as engines for a more inclusive, innovative, and sustainable future. Investing in these pillars also means celebrating the diversity, creativity, and talent that define the Brazilian spirit.
With this commitment, we are proud, for the first time, to support the 36th Bienal de São Paulo – one of the most important spaces for artistic expression in Latin America, where Brazil thinks, feels, and reinvents itself through art.
We believe in art as an agent of social transformation. Artistic creation has the power to spark dialogue, expand horizons, and inspire new possibilities for the world. By sponsoring the Bienal, we reaffirm our commitment to culture, innovation, and all those who, through art, are building new narratives for both the present and the future.
Vivo believes in culture as a means of social transformation and is one of the most important brands supporting the visual and performing arts and music in Brazil. Art, like technology, creates connections between people and encourages the search for balance between history, nature and time.
Vivo is currently a sponsor of the most important museums in Brazil, such as the Museu de Arte de São Paulo Assis Chateaubriand (MASP), the Pinacoteca de São Paulo, the Museu da Imagem e do Som (MIS-São Paulo), the Museu Afro Brasil Emanoel Araujo, the Museu de Arte Moderna de São Paulo (MAM SP), as well as the Instituto Inhotim and the Palácio das Artes, both in Minas Gerais, and the Museu Oscar Niemeyer, in Paraná.
Teatro Vivo, located in São Paulo, offers a curated selection of contemporary plays that promote reflection on current issues and value cultural diversity. In addition, it is a fully accessible space, offering resources such as translation into Libras (Brazilian sign
language), audio descriptions and trained staff, ensuring inclusion for people with disabilities and reduced mobility. In 2024, it welcomed over 50,000 people.
The brand also supports projects in the world of music that are genuinely Brazilian and regional, reinforcing its proximity with local culture at iconic and traditional events in our country, such as the Parintins Festival, Galo da Madrugada, the Çairé Festival, Lollapalooza,
The Town, and Vivo Música.
The brand’s initiatives in the cultural sphere broaden access to knowledge with new ways of experiencing and learning, strengthened by the aspects of diversity, sustainability, inclusion and education. All information is gathered and shared on the @vivo.cultura and @vivo
Instagram profiles.
Confronted with the incessant problems of humanity, perhaps it is worth dwelling a little longer on some open questions, taking sustenance from resources that allow us to dig and build answers procedurally. In this sense, art, in its many guises, offers fertile ground for critical elaborations about the world and ourselves.
The meeting of art and education – both understood as fields of knowledge – enables the torsion of time and space: it becomes possible, thus, to suspend neutralities and dilate what is precipitated in structures. How far is this approach able to infer the real and interfere in it? It allows us to (re)populate imaginaries, to unpick the universalizing statute attributed to concepts, practices and people, and thus to carve out reality with narratives that articulate the individual and the collective, in a procedural and coherent manner regarding the issues
that permeate existence.
It is according to this panorama that Sesc São Paulo and the Fundação Bienal, through the 35th Bienal de São Paulo, reiterate their long-standing partnership, a mutual commitment to fostering experiences of coexistence with the visual arts, expanding access to cultural actions and the exercise of otherness.
This partnership, which has been established and renewed for over a decade, has led to the promotion of projects such as simultaneous exhibitions, public meetings, seminars and training for educators, as well as the consolidated itinerant exhibition with excerpts from the Bienal in Sesc units in the wider state of São Paulo. The confluence of choices and propositions is part of the institutional perspective of culture as a right, and conceives, together with one of the largest exhibitions in the country, an accessible horizon for contemporary art in Brazil.
Center for Art, Research and Alliances / CARA
National Center for Art Research, Japan
Office for Contemporary Art Norway
ifa – Institut für Auslandsbeziehungen
Independent Curators International
Latitudes Viagem de Conhecimento
Consulate General of the Kingdom of the Netherlands in São Paulo
Royal Norwegian Embassy in Brasília
Governo Federal | Ministério da Cultura | Pronac – Lei de Incentivo à Cultura
Governo do Estado de São Paulo | Secretaria da Cultura, Economia e Indústria Criativas do Estado de São Paulo | ProAC – Programa de Ação Cultural
Prefeitura de São Paulo | Secretaria Municipal de Cultura e Economia Criativa da Cidade de São Paulo | PROMAC – Programa Municipal de Apoio a Projetos Culturais


The Berlin studio Yukiko, founded by Michelle Phillips and Johannes Conrad, will be responsible for the visual identity of the 36th Bienal. Renowned for its experimental style, the studio brings an approach that dialogues directly with the curatorial concept of this edition, creating a visual and graphic experience that reinforces the role of listening and the idea of confluences based on the image of the estuary.
The designers explain: “The visual concept for the 36th Bienal de São Paulo is inspired by the idea of humanity as a practice, emphasizing interconnectedness, empathy, and creative coexistence. Drawing from the curatorial axis of sound and the manguebit movement, the visual identity is grounded in polyphonic sound waves and the harmonic series, symbolizing the overlapping frequencies of human experiences. These sound waves represent the idea that humanity is constantly evolving and reshaping through encounters, much like the estuary, where multiple worlds meet and blend. This visual manifestation reinforces the Bienal’s core message: that through intentional listening and deep reflection, we can reimagine humanity as a living, breathing practice.”
The architectural and exhibition design is signed by Gisele de Paula and Tiago Guimarães. “Inspired by the fluidity of rivers and the image of the estuary present in the curatorial proposal, the exhibition space is being designed as a sensory journey, with sinuous margins that invite listening, encounters, and pause. The proposal embraces emptiness as a force and space as a landscape in constant motion. Like travellers, it does not repeat the path, but reinvents itself in a continuous rite of transformation and presence,” the architects affirm.
The exhibition design of the 36th Bienal de São Paulo evokes the fluid and transformative nature of rivers. Like a moving body that crosses, outlines, and reinvents space, the exhibition is built in dialogue with the idea of crossing. Organic forms, and lightweight structures compose a sensory landscape. More than defining paths, the design suggests ways of being and moving, understanding flow as a form of existence. The project also counted with initial architectural advisory by Agence Clémence Farrell.
Founder
Francisco Matarazzo Sobrinho · 1898–1977 · chairman emeritus
Governing Board
Eduardo Saron · president
Ana Helena Godoy Pereira de Almeida Pires · vice president
Lifetime Members
Adolpho Leirner
Beno Suchodolski
Carlos Francisco Bandeira Lins
Cesar Giobbi
Elizabeth Machado
Jens Olesen
Julio Landmann
Marcos Arbaitman
Maria Ignez Corrêa da Costa Barbosa
Pedro Aranha Corrêa do Lago
Pedro Paulo de Sena Madureira
Roberto Muylaert
Rubens José Mattos Cunha Lima
Members
Adrienne Senna Jobim
Alberto Emmanuel Whitaker
Alfredo Egydio Setubal
Ana Helena Godoy Pereira de Almeida Pires
Angelo Andrea Matarazzo
Beatriz Yunes Guarita
Camila Appel
Carlos Alberto Frederico
Carlos Augusto Calil
Carlos Jereissati
Célia Kochen Parnes
Claudio Thomaz Lobo Sonder
Daniela Montingelli Villela
Eduardo Saron
Fábio Magalhães
Felippe Crescenti
Flavia Buarque de Almeida
Flávia Cipovicci Berenguer
Flavia Regina de Souza Oliveira
Flávio Moura
Francisco Alambert
Heitor Martins
Isay Weinfeld
Jeane Mike Tsutsui
Joaquim de Arruda Falcão Neto
José Olympio da Veiga Pereira
Kelly de Amorim
Ligia Fonseca Ferreira
Lucio Gomes Machado
Luis Terepins
Luiz Galina
Maguy Etlin · on leave
Manoela Queiroz Bacelar
Marcelo Mattos Araujo
Mariana Teixeira de Carvalho
Miguel Setas
Miguel Wady Chaia
Neide Helena de Moraes
Nina da Hora
Octavio de Barros
Rodrigo Bresser Pereira
Rosiane Pecora
Sérgio Spinelli Silva Jr.
Susana Leirner Steinbruch
Tito Enrique da Silva Neto
Victor Pardini
Audit Board
Edna Sousa de Holanda
Flávio Moura
Octavio Manoel Rodrigues de Barros
International Advisory Board
Frances Reynolds · president
Ana Helena Godoy Pereira de Almeida Pires · vice president
Andrea de Botton Dreesmann, Quinten Dreesmann
Barbara Sobel
Caterina Stewart
Catherine Petitgas
Flávia Abubakir, Frank Abubakir
Laurie Ziegler
Mélanie Berghmans
Miwa Taguchi-Sugiyama
Pamela J. Joyner
Paula Macedo Weiss, Daniel Weiss
Sandra Hegedüs
Vanessa Tubino
Board of Directors
Andrea Pinheiro · president
Maguy Etlin · first vice president
Luiz Lara · second vice president
Ana Paula Martinez
Francisco Pinheiro Guimarães
Maria Rita Drummond
Ricardo Diniz
Roberto Otero
Solange Sobral
Team
Superintendencies
Antonio Thomaz Lessa Garcia Junior · chief operating officer
Felipe Isola · chief projects officer
Joaquim Millan · chief projects officer
Caroline Carrion · chief communications officer
Irina Cypel · chief institutional relations and partnerships officer
Executive Superintendency
assistants
Beatriz Reiter Santos · executive assistant
Marcella Batista · administrative assistant
Projects Superintendency
coordinators
Bernard Lemos Tjabbes
Dorinha Santos
Marina Scaramuzza
producers
Ariel Rosa Grininger
Camilla Ayla
Carolina da Costa Angelo
Nuno Holanda Sá do Espírito Santo
Tatiana Oliveira de Farias
assistants
Fabiana Paulucci
Ziza Rovigatti
Communications Superintendency
coordinator
Rafael Falasco · editorial
advisors
Adriano Campos · design
Eduardo Lirani · grafic production
Fernando Pereira · press office
Francisco Belle Bresolin · digital projects and documentation
Julia Bolliger Murari · social media
Luciana Araujo Marques · editorial
Nina Nunes · design
assistants
Marina Fonseca · social media
apprentice
Victória Pracedino
Institutional Relations and Partnerships Superintendency
advisors
Luciana Raele
Raquel Silva
Victória Bayma
Viviane Teixeira
assistants
André Massena
Jefferson Faria
Laura Caldas
Education
manager
Simone Lopes de Lira
coordinator
Danilo Pera
advisors
André Leitão
Renato Lopes
Tailicie Nascimento
assistants
Gabri Gregorio
Giovanna Endrigo
Julia Iwanaga
Vinicius Massimino
apprentice
Lincon Amaral
Bienal Archive
manager
Leno Veras
coordinators
Antonio Paulo Carretta
Marcele Souto Yakabi
assistants
Ana Helena Grizotto Custódio
Anna Beatriz Corrêa Bortoletto
Gislene Sales
Gustavo Paes
Thais Ferreira Dias
apprentices
Ilana Alionço
Manoel Assis
Financial and Administrative
Finances
manager
Amarildo Firmino Gomes
coordinator
Edson Pereira de Carvalho
advisor
Fábio Kato
assistant
Silvia Andrade Simões Branco
Materials and Property
manager
Valdomiro Rodrigues da Silva Neto
coordinators
Larissa Di Ciero Ferradas · materials and property
Vinícius Robson da Silva Araújo · purchasing
assistants
Angélica de Oliveira Divino
Daniel Pereira
Sergio Faria Lima
Victor Senciel
Wagner Pereira de Andrade
auxiliary
Isabela Cardoso
apprentice
Lucas Galhardo
Planning and Operations
advisors
Rone Amabile
Vera Lucia Kogan
Human Resources
coordinators
Andréa Moreira · human resources
Higor Tocchio · payroll and personnel department
assistants
Matheus Andrade Sartori
Patricia Fernandes
Information Technology
consultants
Ricardo Bellucci
Júlio Coelho
Matheus Lourenço
assistant
Jhones Alves do Nascimento
36th Bienal de São Paulo
Not All Travellers Walk Roads – Of Humanity as Practice
Conceptual Team
Bonaventure Soh Bejeng Ndikung · chief curator
Alya Sebti, Anna Roberta Goetz, Thiago de Paula Souza · co-curators
Keyna Eleison · co-curator at large
Henriette Gallus · strategy and communications advisor
André Pitol, Leonardo Matsuhei · curatorial assistance
Architecture and Exhibition Design
Gisele de Paula, Tiago Guimarães
Alexandra Souza, Santiago Rid · architectural assistance
Agence Clémence Farrell · initial architecture advisory
Visual Identity
Studio Yukiko
Projects and Production
Acoustic Advisory
Alexandre Sresnewsky
Assembly Coordination
Alexandre Cruz
Arão Nunes
Mauro Amorim
Audiovisual Advisory
Patrícia Mesquita
Conservation
coordinator
Patrícia Guimarães dos Reis
team
Alice Quintella Tischer
Daniel Zuim Mussi
Ellen Marianne Röpke Ferrando
Fabiana Franco Barbosa Oda
Gisele Guedes
Thaís Ramos Carvalhais
Valerie Midori Koga Takeda
Fine Arts Insurance
Sonia Sassi
Puplic Program Production
Helena Prado
Transportation Logistics
Nilson Lopes · national
Waiver Arts · international
Communications and Editorial
AV Content and Photographic Documentation
Bruno Fernandes
Duma Hub de Inovação Criativa e Produção Artística
João Gabriel Hidalgo
Design
assistants
Aninha de Carvalho Price
Tamara Lichtenstein
Editorial
Cristina Fino · editorial coordination of the educational publications
Deborah Moreira · editorial assistance
Press Office
Index · national
Sam Talbot · international
Website
Fluxo
Invocations
Marrakech – Nov 14-15, 2024
LE 18 · co-convener
Laila Hida · partner venue direction
Youssef Sebti · local production
Zora El Hajji · local press office
Mahacine Mokdad, Sofian Amly, Hamza Morchid, Youssef Boumbarek · AV content and photographic documentation
Embaixada do Brasil em Rabat / Instituto Guimarães Rosa – Ministério das Relações Exteriores · local support
Guadeloupe – Dec 5-7, 2024
Lafabri’K · co-convener
Marie-Laure Poitout · partner venue presidency
Léna Blou · partner venue direction
Hellen Rugard · local production
Annik Benjamin · simultaneous translation
Cédric Marcellin, Philippe Hurgon · AV content and photographic documentation
Institut français; Embaixada do Brasil em Paris / Instituto Guimarães Rosa – Ministério das Relações Exteriores · local support
Zanzibar – Feb 11-13, 2025
Bernard Ntahondi · co-convener
Dhow Countries Music Academy (DCMA) · partner institution
Halda Alkanaan · partner institution direction
Thureiya Saleh · local production
Raymond Peter, Alex Marcel · sound engineering
William Chazega Nkobi, Habibu Ramadhani Diliwa · simultaneous translation
Aden Rajab Said, Ally Nassor, Arafat Khamis Moh’d, Caroline-Jamie Dandu, Gulaam Abdullah, Venance Leonard, Waleed Khamis Mohammed · AV content and photographic documentation
YAS, Fondation H, Embaixada do Brasil em Dar es Salaam / Instituto Guimarães Rosa – Ministério das Relações Exteriores · local support
Tokyo – Apr 12-14, 2025
Andrew Maerkle, Kanako Sugiyama · co-convener
The 5th Floor; Sogetsu Kaikan; The University of Tokyo (with ACUT) · venues
Jordan A. Y. Smith · poetry program advising
Tomoya Iwata · local production
Yoshiko Kurata · local press office
Wataru Shoji · sound engineering
Art Translators Collective · simultaneous translation
Kenji Agata, Naoki Takehisa, Sora Shirai, Takuma Osugi, Yoshikatsu Hirayama · AV content and photographic documentation
Embaixada do Brasil em Tóquio / Instituto Guimarães Rosa – Ministério das Relações Exteriores; Art Center, The University of Tokyo (ACUT) · local support