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Arts & Communication Female Body at 8 Biennial Sea Salon
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Figure 6. Oriana Duarte, a visual exploration of the young male athletic body through repetition, highlighting the dynamic interplay of form and
movement, Plus Ultra, 2012

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In conclusion, revisiting the 8 Sea Salon prompts collections worldwide, underscoring that gender equality
a brief but necessary evaluation of the participation within the artistic realm remains a distant goal. The stark
of female artists, shedding light on both their roles contrast with the previous salon compels us to approach
and exclusions within the public sphere dialog. Aside these issues with a critical eye, devoid of naivety, and
from Oriana Duarte’s project, only those of Melina neutrality.
Almada and the Maruípe Collective (which includes
artists Elaine Pinheiro and Meng Guimarães among 3. Conclusion
its five members) were selected. Consequently, out of Oriana Duarte’s Plus Ultra truly went “beyond” at the
the 12 urban interventions showcased, only two were 8 Biennial Sea Salon, playing on the pun that the Latin
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exclusively executed by women – a significant departure root of the artwork’s title allows. Her journey transcended
from the previous edition of the Sea Salon, which borders, prejudices, and waters propelled by the intense
boasted 27 artists, including 12 women: Patrícia Osses, energy of being and existing in the world, forming a
Camila Sposati, Branca, Cristine de Bem e Canto, Carla poetic link between art and life. Her project resonated
Zaccagnini, Maria Lúcia Cattani, Isadora Bonder, Raquel with the themes of other urban interventions, fostering a
Baelles, Ana Gastelois, Luciana Ohira, Beatriz Pimenta, continuous exchange between landscape, city, body, and
and Dayse Resende. This discrepancy underscores the subjectivity. In addition, the sharing of her experience
ongoing challenges and disparities faced by female artists through audiovisual mediums expanded the scope of the
within the realm of public art exhibitions. work, inviting viewers to imagine themselves in her place,
While it may appear incidental, the organization to shift from observer to participant in the scenery, the
asserts justifications for the criteria it applied in selecting moment, the rhythm of breathing, the flow, and the rowing
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works for the 8 Salon, citing unpredictability and the of the waters.
interplay between city, art, and community. However, The artist’s “body-boat” took on an intersubjective
there is an unmistakable gender asymmetry within the dimension, involving athletes, the public, passersby, and
salon’s participants that warrant careful consideration. visitors. This allowed for a re-evaluation of Vitória Bay’s
This discrepancy echoes broader patterns observed in art waters, which are often disregarded amidst the constant

Volume 2 Issue 4 (2024) 6 doi: 10.36922/ac.3023