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The distinctive objective of the UNASUR Contemporary Art International Biennial is to specify a format and a working modality whereby the art of the region is no longer a mere diversity quota, but acknowledges its singularities. It will do so by redefining traditional positions, elaborating on relationships, recovering traditions, establishing new liaisons between spaces and times, and being consistent with the new post-autonomous paradigm that makes it possible to revisit the contemporary artistic and cultural scene.

In line with the objectives of the cultural programme of the UNASUR, the invitation to this Contemporary
Art International Biennial seeks to:
• Foster and strengthen cultural cooperation in the region;
• Acknowledge and promote the importance of culture as a fundamental factor for the development and elimination of poverty and inequality;
• Advance the reduction of regional and sub-regional asymmetries in terms of promotion of and
universal access to culture.

Main Objectives:
• To build a biennial space at UNASUR where contemporary aesthetic, artistic and theoretical-critical projects converge on equal footing with regard to both production and exhibition conditions.
• To make this biennial a beacon for the regional and global artistic and cultural scene by appealing to artists, critics, scholars, cultural managers and other agents of this field.
• To specify a format and a working modality whereby the art of the region is no longer a mere diversity quota, but acknowledges its singularities. It will do so by redefining traditional positions, elaborating on relationships, recovering traditions, establishing new liaisons between spaces and times, and being consistent with the new post-autonomous paradigm that makes it possible to revisit the contemporary artistic and cultural scene in a plural fashion.
• To create the conditions to reach a high level of involvement of the artistic and cultural community of the region with the projects put forth by the General Management and the curatorial, production, education, promotion and transference teams of the UNASUR Contemporary Art International Biennial.
• To make this biennial a space for critical thinking in the region that is independent of the major canonical accounts.
• To contribute to the construction of other visibility, circulation and exchange networks for the contemporary art and culture of the region and the world as a whole, thus fostering the reconfiguration of symbolic exchange relationships on both a regional and a global scale.
• To contribute to the re-articulation between art and everyday life.
• To develop strategies for the inclusion in and access to the world of art and culture of new and diverse audiences.
• To design a variety of resources including those which reach out to the streets, the schools and the homes of the UNASUR and others that promote global integration to enable the expansion of the projects, proposals and actions of the Biennial.

In this regard, a new reality system, a new order of meaning will be put forth by a curatorial project that will bring together theoretical-critical concepts and symbolic -artistic objects which will question the established knowledge, push the existing limits and cross the borders to place themselves amid various dimensions. All of this will certainly require the emergence of new objects, reading modalities and ways of interpretation. It is necessary to go beyond the production of knowledge into what may be called spaces for thinking.

As pointed out before in the analysis of the system of knowledge circulation, “distribution channels define the worth of what is read”. In the context of cognitive capitalism, those who control distribution somehow control the world. Therefore, this UNASUR International Biennial will seek to bring new modes of circulation and a new gathering modality with a view to contributing to the emergence of a novel appraisal of what is produced here and elsewhere in the world.

This proposal appears to be very ambitious as it does not just aspire to put creators from different backgrounds on an equal footing, but also endeavours to give birth to a space where questions can be formulated, certainties are challenged and give way to new practices through the generation of alternative modalities in the production of meaning. Such practices will invite every social actor to recycle the imagination and its creative capacity – in a broader sense – deviating independent thinking from conventional paths in order to blaze new trails.

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