In his e-flux review of the Bienal de São Paulo (September 17, 2025), Chris McCormack observes that curator Bonaventure Ndikung seeks to explore “humanity as a practice” rather than framing the exhibition around identity, politics, or national categories. While the Bienal succeeds in creating immersive, sensorial experiences and fostering social and participatory encounters, McCormack notes that it largely sidesteps pressing political realities — for instance, the situation in Gaza is addressed only indirectly, through works like Christopher Cozier’s After the Appeal Will Come the Next Delivery (2025) — a tension that contrasts with the exhibition’s stated ambition to rethink humanity.
Amid the Bienal, McCormack mentions Behjat Sadr’s pre-Revolution aluminum piece as particularly compelling, describing its “evocative smears of paint on aluminum” and “shimmering surfaces replete with political transmission,” making her work a powerful and resonant presence in the exhibition.
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