Descrição
The ambitions of the 1st Ceará América Biennial, which opened in December 2002, were not small: to invert the logic of North-South subordination within the continent; to found an international event in a geography far from the major centers of the art system; to combat the pejorative regionalist sense associated with Latin American production; to expand local cultural spaces and broaden the audience attentive to contemporary art. The biennial was dedicated to the production of the "three Americas", under the sign of the American post-9/11 era and a new chapter in global imperialism. This text discusses the curatorial project, the discourses outlined by the contrast between the coast and the interior, seeking to make distinct temporalities explicit from the city's geography. To improve our analysis, we have chosen to present the context of the event, its reception by national critics and the political and economic conditions for the show not to go ahead.||Las ambiciones de la 1ª Bienal de América Ceará, inaugurada en diciembre de 2002, no eran pequeñas: invertir la lógica de subordinación Norte-Sur dentro del continente; fundar un evento internacional en una geografía alejada de los grandes centros del sistema del arte; combatir el sentido regionalista peyorativo asociado a la producción latinoamericana; ampliar los espacios culturales locales; y ampliar el público atento al arte contemporáneo. De este modo, la 1ª Bienal de América Ceará se dedicó a la producción de las "tres Américas", bajo el signo de la era americana post-11 de septiembre y de un nuevo capítulo del imperialismo global. Este texto discute, por lo tanto, el proyecto curatorial y los discursos esbozados por el contraste entre el litoral y el interior, buscando explicitar diferentes temporalidades a partir de la geografía de la ciudad. Para mejorar nuestro análisis, optamos por presentar el contexto del evento, su recepción por parte de la crítica nacional y las condiciones políticas y económicas que impidieron la realización de la exposición.||The ambitions of the 1st Ceará América Biennial, which opened in December 2002, were not small: to invert the logic of North-South subordination within the continent; to found an international event in a geography far from the major centers of the art system; to combat the pejorative regionalist sense associated with Latin American production; to expand local cultural spaces and broaden the audience attentive to contemporary art. The biennial was dedicated to the production of the "three Americas", under the sign of the American post-9/11 era and a new chapter in global imperialism. This text discusses the curatorial project, the discourses outlined by the contrast between the coast and the interior, seeking to make distinct temporalities explicit from the city's geography. To improve our analysis, we have chosen to present the context of the event, its reception by national critics and the political and economic conditions for the show not to go ahead.
