Ayrson Heráclito curates exhibition questioning segregation between popular and erudite artists in Brazilian biennials

The exhibition "Reversos e Transversos: artistas fora do eixo (e amigos) nas bienais" at Galeria Estação in São Paulo, curated by artist Ayrson Heráclito, investigates the segregation between popular and erudite artists over seven decades of Brazilian biennials. Heráclito questions why artists like Agnaldo dos Santos (1926-1962) are more prestigious than Mestre Guarany (1884-1985), or why Lúcia Suanê (1922-2020) is less valued than Alfredo Volpi (1896-1988), suggesting race and gender as underlying factors. The show features 42 artists from different generations, with works mostly from the gallery's collection, creating dialogues between figures like Antonio Poteiro (1925-2010) and Djanira, or Marepe (1970) and Alcides Pereira dos Santos (1932-2007). Heráclito highlights Heitor dos Prazeres (1898-1966), who won a silver medal at the 1st São Paulo Biennial in 1951 but was later excluded as pop art entered the institution. The curator identifies Lina Bo Bardi (1914-1992) and Abdias do Nascimento (1914-2011) as key figures in dissolving the erudite-popular dichotomy. The exhibition was conceived after gallery director Vilma Eid saw Heráclito's show "Yorùbáiano" at Pinacoteca de São Paulo and invited him to curate, initially planning solo shows before developing this group exhibition timed with the 35th São Paulo Biennial. Heráclito, selected for that biennial, notes the current edition is "more black," with Black artists and curators.