Starting in the late 1980s, there was a shift towards transnational exhibitions this shift aligned with a larger shift in global politics. Previously, international exhibitions consisted of primarily white male European and American artists, with a few token women and non-Western artists. In contemporary art, curators have risen to a place of prominence, and many are attempting to overcome the impact of Colonialism on the art world, by using curation to create a more transnational practice of art and exhibition. Please note that image captions incorrectly reproduced: second image (p.41) shows the Bienal de São Paulo, 1987. First given as a paper at the World Biennial Forum, no.2, in São Paulo, November 2014, this chapter is published in the resulting digital book (/iccoart/docs/wbf_book_r5_issuu) (printable: ). Are these possibilities then diminished or amplified in the Cuban Bienal of 1989? What becomes apparent through this geographical and historical parcours is not only how the historiography of works and exhibitions (in this case biennials) might be intertwined, but also how a single work may, over time, either endorse or undo curatorial intentions.
In this context, Projeto terra is then considered as a productively disruptive force, and some discursive possibilities are explored.
In particular, the São Paulo initiative is presented as the postmodern heir to the Venice Biennale’s aging modernism, postmodernism being identified here with a Brazilian concept of the baroque. Drawing on the documentation amassed by Dórea himself, critical readings of each exhibition context are developed and breaks with the official record are examined. This chapter tracks a single work of art, 'Projeto terra' by Juraci Dórea, through the archival traces of three successive biennials – São Paulo in 1987, Venice in 1988 and Havana in 1989.
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