31st Bienal de São Paulo Confronts Global Struggles Through Political Artworks

The 31st Bienal de São Paulo, which opened in 2014 under the theme How to (…) Things That Don’t Exist, emphasizes political urgency rather than aesthetic finesse. Curated by a team led by Charles Esche, the exhibition showcases works that delve into themes of identity, oppression, and activism. Among the highlights are Halil Altındere’s video Wonderland (2013), featuring Turkish rap that critiques capitalism and police brutality. Ana Lira’s Voto! (2012–) critiques political promises using worn election posters on Perspex. Eder Oliveira’s wall paintings illustrate young men from crime supplements, reflecting racial tensions. Armando Queiroz’s film Ymà Nhandehetama (2009) addresses indigenous oppression alongside activist Almires Martins. Nurit Sharett’s Counting the Stars (2014) captures Jewish perspectives on matrilineality and alienation. The Indonesian collective Ruangrupa constructed a space for workshops and karaoke within Oscar Niemeyer’s pavilion. Additionally, the side exhibition Dios Es Marica (God Is Queer) highlights queer activism from 1973 to 2001, featuring Ocaña’s carnival videos and Franco-era sculptures, as well as Sergio Zevallos’s photographs from Peru’s 1980s turmoil. The Bienal amplifies diverse voices that challenge constructs of nationality and gender, forming a powerful critique of injustice.