The 13th International Architecture Biennale of São Paulo finally opened in late May after a series of major adjustments, including the postponement of its opening. Initially, the theme of this year's Biennale was defined by the organizers as "Reconstruction", which was intended to show the reconstruction, reshaping and renewal of the relationship between social groups and their domestic spaces, between public and public spaces, and between personal and professional places, existing in a relatively closed and relatively clustered space during the global epidemic. The relationship between social groups and their domestic spaces, between public and public spaces, and between personal and professional places, exists in a relatively closed and relatively clustered space. The year before the opening of the Biennale, the theme of the Biennale was finally defined as "Crossings" in the "Reconstruction" of the co-curatorial team. In the co-curatorial team's interpretation, "Crossings" implies "Reconstruction", in which the cities and buildings in which people live are constantly reconstructed in the process of intersection of people and times, reflecting the intersection of survival, life forms, architecture and urban planning in the history of communities, nations and societies. This reflects the intersection and interaction between existence, life patterns, and architecture and urban planning in the history of communities, nations and societies.

For Brazilian society, the arrival of the New Coronavirus pandemic has undoubtedly brought about great changes. During this period, inequalities between different communities, classes, and geographies have increased significantly. In the eyes of urban and architectural experts, this in turn brought about a spatial inequality of people. In Brazil's past, racism, colonialism, sexism, authoritarian rule, and class oppression ...... have all caused indelible pain and left spatial traces that reveal inequalities. It is still visible under the statue of the savior, a wall of paradise for the rich on one side and a cage for the poor on the other. Under the epidemic, this part of Latin America seems to have reached a new turning crossroads, and the Biennale tries to present itself as an initiator and coordinator of reshaping the relationship between people and urban forms, trying to speak out in front of the crowd, recreating the memory of history with architecture, and telling its own point of view.

Maria Beatriz Nascimento, a Brazilian historian of African descent, has conducted a great deal of meticulous research on the traces of Brazil's own colonial history and the history of immigration, as well as examining the changes in the situation of immigration worldwide, and in the 1970s proposed the concept of "intersection In the 1970s, he developed the concept of "intersectionality," under which he worked to improve the political environment and racial policies of the Brazilian government toward the Afro-descendant community. The Biennale's curatorial team has used this concept to give more meaning to "intersectionality" as a connection. For example, bridges connect the two banks of a river, stairs connect two floors. On a larger scale, the curatorial team believes that "abducted African people are forced to migrate from their countries of origin, fleeing to Kilombo or moving from the countryside to the city", and that the people are connected to the land physically based on shared experiences, memories and identities, while the shaped shape of the buildings reflects the contours of the identity of the community.

In her narration for the film Ori, Beatriz Nascimento says, "The image needs to recover identity, it must become visible, because one person's face is a reflection of another person, one person's body is a reflection of another person, each person is a reflection of all bodies. Becoming invisible is the source of the loss of identity." This belief has led this edition of the Bienal Internacional de Arquitectura de São Paulo to dedicate itself to the transmission of ideas in a number of different ways, such as the photographs in the exhibition, the visualization of the installations, and the actual street architecture in the city. From Beatriz's point of view, this intersection that exists in the Brazilian community is still present, and the intention and power to erase this presence is clear, not just through a silent narrative that allows the sense of identity to go to nothingness and extinction.

The curatorial team at the Biennale presents a common idea in different ways, which is that "the urban fabric of Brazilian cities is a structure marked by fragmentation, discontinuity and simultaneity, both physically and symbolically. The origins of these fabrics are rooted in the violent process of colonization and represent opportunities to reinterpret the collective memory of our ancestors." These memories are evoked in different ways through the architecture and urban planning already present in people's lives, and through the artist's video and installation works. The various collective consciousnesses about the relationship between communities to society at large and people to urban architecture intersect in different social disputes in Brazil, and all of these collective consciousnesses are intertwined in the narrative of architecture.

The curatorial team focuses not only on Brazil, but also on the wider international community. As a region influenced by the triangular trade and colonial activities from the early days of globalization, the vast differences in living spaces and lifestyles between the indigenous people of the Brazilian rainforest and the modern coastal metropolises of Portuguese, African, and Japanese descent remind the people of this country that on the other side of the social corner, there are people who live in a completely different way. Among the invited architects and artists are Banga Nossa, a group of architects and artists from Angola, Christophe Hutin, an architect from France, Dele Adeyamo, an architecture and urban development specialist from Nigeria who is also active in the UK, and a recent Pritzker Prize winner from Burkina Faso. Francis Kéré, a recent Pritzker award-winning architect from Burkina Faso. There are also works of different shapes and sizes from other countries in North America and Latin America.

Within the universe, people everywhere are in a community of destiny. From a spatial perspective, different communities inevitably meet in the corners of communities, creating different relationships. From the level of time, the whole society is not determining its own direction in the intersection of the times. In this São Paulo International Biennial of Architecture and Design, the curatorial team, the participating architects and artists try to evoke the physical memory of inequality and collision in the past through visual and experiential means. In this way, at the corner of social development, at the junction of the advancing times, there will be one more point of force for good, pushing the world to break more shackles and move towards a crossroads of sharing freedom, peace and prosperity.

Article Source:艺术与设计

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