Minimum Supports, Maximum Effects
Dematerialization Languages in Two São Paulo Biennials
DOI:
https://doi.org/10.24215/4516643e017Keywords:
Art, biennials, processesAbstract
In the last decades of the 20th century and the beginning of the 21st century, curatorial projects emerged that adopted criteria based on dematerialization processes. In 1973, Lucy Lippard published a record of works linked to dematerialization, and around 1981 Juan Acha and Aracy Amaral mapped the non-objectualisms in Latin America and the process-driven impulse in art. In this article, we will analyse two of the international Biennials of São Paulo, in 1996 and 2010, with the aim of reviewing the impact of the concepts dematerialization and non-objectualism.References
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