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In addition to the artistic director and the trio of curators of the 21st Bienal, participated in the artist’s selection process during the Open Call:
ALEJANDRA HERNÁNDEZ MUÑOZ (Uruguay, 1966) is an architect with a master’s degree in urban design and a doctorate in urbanism from the Architecture Faculty of the Universidade Federal da Bahia (FAU UFBA). She teaches art history at the Escola de Belas Artes. Muñoz has curated numerous exhibitions, including Circuito das Artes (Salvador, 2012–2016) and Triangulações (Salvador, Recife, Brasília, Maceió, Belém, Goiânia, and Fortaleza, 2013–2015). She was a member of the curatorial teams for Itaú Cultural’s. Rumos Artes Visuais Program (São Paulo, 2011–2013 and 2017–2018) and the 3rd Bienal da Bahia (2014). Between February 2016 and September 2017, she coordinated the Canizares Gallery at EBA/UFBA.
JULIANA GONTIJO (Brazil, 1980) is a researcher and independent curator. She took a degree in film studies at the Sorbonne Nouvelle (Paris) and completed a doctorate in art history and theory from the University of Buenos Aires. She is the author of the book Distopias tecnológicas (Circuito, 2014). Her curatorial projects include Dura lex sed lex, with Raphael Fonseca (BienalSur, Centro Cultural Parque de España, Rosário, 2017); Território, povoação, with Gabriel Bogossian (Pr.mio C.LAB, Blau Projects, São Paulo, 2016); ALTERMÁQUINA (Instituto Di Tella, Buenos Aires, 2015); and Instabilidade estável (Prêmio Temporada de Projetos, Paço das Artes, São Paulo, 2014). She is an associate lecturer at the Universidade Federal do Sul da Bahia.
RAPHAEL FONSECA (Brazil, 1988) is a researcher in the areas of curatorship, art history, criticism, and education. He is the curator of MAC Niterói and a teacher at Colégio Pedro II, in Rio de Janeiro. He holds a doctorate in art criticism and history from UERJ. The winner of the Marcantonio Vilaça (2015) and Centro Cultural São Paulo (2017) curatorship prizes, his recente exhibitions include The Sun Teaches Us that History Is not Everything (Osage Art Foundation, Hong Kong, 2018); Dorminhocos – Pierre Verger (Caixa Cultural Rio de Janeiro, 2018); and Regina Vater – Oxalá que dê bom tempo (Museu de Arte Contemporânea de Niterói, 2017). He contributes to ArtNexus magazine and was a guest author on the catalogue of the 32nd Bienal de São Paulo — Incerteza viva (2016).