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Arts & Communication Female Body at 8 Biennial Sea Salon
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dismantle them. This process occurs in favor of upholding The driving forces behind the exhibited works were
the dominant discourse of a cultural metropolis, to which the interplay of sea, city, and art. These central elements
we may be perceived as subservient. were meticulously selected through a public call, with
While it is not suitable to present a comprehensive social, artists contributing their unique perspectives. Notably, one
political, or economic history of the state in this context, it is exceptional piece diverged from this process – the work of
pertinent to underscore specific traits that have positioned the French artist and urban planner Jean–Blaise Picheral
Espírito Santo on the fringes of development, despite which was commissioned by SEMC (the only permanent
its coastal location and role as a conduit for abundant work among the participants).
natural resources. The state’s isolation and the consequent The highlight of the 8 Biennial Sea Salon was through
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deficiency in advanced knowledge and skills can be urban interventions, showcasing artworks outdoors
traced back to diverse factors, including colonization by and redefining specific locations in the city. This process
a grantee with limited financial means and political clout. established a strong connection between passersby, the
This isolation endured through the brutal eradication of urban landscape, and the public sphere. The SEMC
native populations in violent conflicts and the suppression received 110 submissions from 13 states, with the majority
of local cultural practices. Furthermore, it arises from the being from Espírito Santo. This contributed to a higher
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settlement and colonization by ethnic groups that adhere presence of local artists in the final selection.
to cultural practices emphasizing seclusion.
The following artworks were part of the exhibition:
While historiographical accounts of Espírito Santo “Do pó ao pó” (Laerte Ramos), “grandePEQUENAcatraia”
suggest the emergence of a reserved and distrustful society, (Marcelo Gandini), “Liquidas Fronteiras” (Lucimar Bello),
one seemingly detached from the ongoing process of “Flutuante: Ego trip Pré-sal” (João Wesley and Sandro
shaping and engaging with contemporary national culture, Novaes), “ATENÇÃO: ARTE” (Jo Name), “Folhetim sereia”
there was a notable shift in the 1990s. During this period, (Herbert Bastos), “O retorno de Araribóia” (Coletivo
there was a greater openness to incentives specifically Maruipe), “Marí[n]timo” (Melina Almada), “nós vemos a
directed at supporting local art production. Against this cidade como a cidade nos vê” (Heraldo Borges), “Caminho
backdrop, the Municipal Government of Vitória (PMV), das águas” (Piatan Lube), “Você vê” (Jean Picheral), “O
in collaboration with the Capitania dos Portos through the silêncio do martelo” (Fabricio Carvalho), and “Projeto Plus
Secretary of Culture (SEMC), launched the 1 edition of Ultra” (Oriana Duarte) – some of those artworks and their
st
the Sea Salon in 1999. The initiative aimed to invest in the creative process can be seen at https://www.flickr.com/
cultural development of the region, with the sea serving photos/bienal2/with/3269284983 [last accessed: March 26,
as the central theme for artistic projects participating ever 2023].
since.
Among these works, Oriana Duarte’s project, “Plus
Initially limited to artists from the states of Espírito Santo Ultra,” stands out as a captivating exploration saturated
and Minas Gerais, within the jurisdiction of the Capitania with personal connections, illuminating the intricacies of
dos Portos, the salon underwent a pivotal change starting subjectivity within the interplay of movement, landscape,
from the seventh edition in 2006. Recognizing the relevance and the human body. This project unfolds as a nuanced and
of broadening the event’s scope, the organizers decided to intricate exploration, intertwining various layers of actions
make it a national platform, intending to enhance visibility that delve into the artist’s profound experiences with
and prominence. Simultaneously, the venue was relocated to rowing. It encompasses the sharing of not only the physical
the warehouses of the Port of Vitória, Espírito Santo. In the aspects of rowing but also the emotional and societal
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eighth edition, the exhibition solidified its connection with dimensions that are inherent to the sport. This includes
the urban landscape, fully exploring the city’s boundaries delving into the challenges, pains, unexpected accidents,
and definitively departing from the “White Cube.” 2 and instances of misogyny that the artist has encountered
The 8 Biennial Sea Salon, titled “Waves, Bridges, and throughout her engagement with rowing. By sharing
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Navigable Interventions,” unfolded from December 20, these personal experiences, the project goes beyond the
2008, to February 5, 2009. This dynamic event showcased physical act of rowing, offering a comprehensive insight
12 ephemeral artistic proposals and one permanent into the complexities and nuances that shape the artist’s
installation, transforming the area delineated between the relationship with this sport. What sets “Plus Ultra” apart
Historic Center of Vitória and Beira Mar Avenue into an is its intricate dance of esthetic enjoyment, seamlessly
artistic canvas. The chosen route sought to rekindle the city harmonizing with the technical finesse of photography and
of Espírito Santo’s expansion movement spanning from the video, skillfully capturing fleeting moments in time. The
1960s to the 1990s. project also navigates the evolving landscapes encountered

Volume 2 Issue 4 (2024) 2 doi: 10.36922/ac.3023