Located in the bustling urban park of Ibirapuera, the art inside this architectural leviathan is only separated from the city’s greenery by glass walls, and its entrances are open six days a week. The Oscar Niemeyer building that houses “choreographies of the impossible,” the 35th edition of the Global South’s oldest biennial, is as much protagonist as background. Several of the artists here point to literature in their work: Joo Yeon Park’s kit-like engraved aluminum is a fragment of potentially infinite architecture such as that imagined in Jorge Luis Borges’s “The Library of Babel” (1941) a commissioned text by poet Anthony (Vahni) Capildeo, swimming amongst fish in a blue vinyl … Sculpture and poetry are taught and interpreted as distinct disciplines, when they are in fact intimately connected by purpose and technique. ![]() ![]() The curators, Clare O’Dowd and Nick Thurston, argue that the works on display represent the meeting of two traditions that have been artificially separated and codified. Yet the works that feature them are poetic in the best of senses: distilled and suggestive, affecting in ways I can’t quite explain and yet will remember. Here are some of the phrases the visitor will encounter at “The Weight of Words,” a group show featuring eighteen living artists and writers working across sculpture and poetry: “WHAT IF NOT EVERY WORD IN YOUR SENTENCE ” “Traducing Ruddle ” “as you wlak the distance changes ” “stilllife ” “EFEND DIGNITY COPY AND ORIGINAL.” Out of context, these formulations sound more like material gathered by a lexicographer or anthropologist than lines composed by a poet.
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