Biennales

The Biennale de Dakar as a project of cooperation and development
The study observes the international art system from Dak’Art, the Senegalese contemporary African art biennale; in particular it explores the relationship between visual arts, spatial dynamics, cultural policies and the market; it is based on the keywords cooperation, development, territory and representation. The research analyses the international phenomena of biennial exhibitions, the ones in Africa, the history of the Dakar biennale, contemporary art and its landscape, contemporary African art historiography, the network of Dak’Art and the way contemporary productions are structured as “projects”. It appears clearly that culture is more and more often structured as “projects”; contemporary African art is a brand for the import-export of cultural goods; the network is the central resource of a cultural event and the wider and the more fragmented this network is, the more difficult it is to satisfy it; the geography of cultural events is defined by its international links; cultural events generate landscapes, a combination and interrelation of natural and human factors. The contemporary art system observed from the biennial art exhibition of Dakar appears strongly influenced by the funding organizations, and closely related to cultural policies and to the market, even though it doesn’t necessarily imply the selling of artworks within a gallery.

https://documenta-studien.de/media/1/documenta_studies__8_Anthony_Gardner___Charles_Green_1.pdf

Editorial by Nanne Buurman

In Trade Routes: History and Geography: 2nd Johannesburg Biennale (1997), the first large biennial that he would direct in the course of
an extraordinary career of curatorial experimentation, curator Okwui Enwezor presciently selected art that explored themes of migration, cultural traffic, and sites of crisis. This essay by Anthony Gardner and Charles Green explains that his biennial occurred at precisely such a moment of crisis in postapartheid South Africa, when attention from the restlessly moving international art world biennial circuit meant little to local audiences, who were struggling with ongoing inequalities, economic hardships, financial uncertainties and constant change in their municipal power structures. This eventually led to a shut-down of the Biennale before its scheduled end.

Enwezor’s biennial was, the authors of Biennials, Triennials and documenta. The Exhibitions that Created Contemporary Art (2016) argue, the site of an intense and telling disagreement about the role of a biennial of contemporary art in a time of crisis. It was caught in the frictions between Enwezor’s internationalist ambition to scrutinize globalization from a postnational perspective, hailed by international reviewers, and South African demands for identity politics and nation building at a time
of enforced financial austerity, all resulting in a sometimes hostile local reception and its marginal importance to civic leaders.

Although located in a radically different time and space, the critical reception of the second Johannesburg Biennale seems to foreshadow the response that documenta 14 (2017) received twenty years later in Athens, where curator Adam Szymczyk was blamed for crisis tourism,
for turning Athens into an exemplary showcase of the destructiveness of neoliberal austerity measures while allegedly not taking into account the needs of the local scene enough. And it is perhaps no coincidence that the authors draw attention to the necessity to understand the power and nuances of such patterns of critique in the wake of Brexit, in an era when nationalist policies have gained new momentum across the globe and the dream of a postnational world seems to move out of reach. In times like these, we should turn to Okwui Enwezor’s legacy, reminding ourselves one year after the curator’s tragically early death, that his exhibitions were always generous interventions within specific and charged histories, opening up new realities yet to come.

This dissertation analyses how the Korean contemporary art scene has been impacted by globalisation in the years after 1989. It begins by providing an account of how Korean contemporary art was introduced and exhibited to international art audiences, providing some comparative study with the Japanese contemporary art during the same period. It is then followed by an account and analysis of home-grown mega-events, intended for a domestic and international audience, such as the Gwangju and Busan Biennales and how they impacted the art practice of those involved. Then, the Korean contemporary art market is examined, providing an analysis of how Korean contemporary art began to have increasing presence in the international art market. This is then followed by a statistical analysis which shows how the market economy and attention capital are linked, in an attempt to provide an empirical picture of how the art world operates. It is shown that, for a global art world, both market economy and attention capital conform to the Pareto Rank law, with some measure of autocorrelative growth. This statistical analysis is first applied to the world as a whole, and then for individual countries; and it is shown that that, whilst the mechanism for attention capital seems to be same across the world, this is not the case for market capital. It is further argued that both market and attention capitals are driven by extreme events, reminiscent of Nassim Nicholas Taleb’s Black and Grey Swan events.

Giorgio de Chirico e la Biennale di Venezia 1924-1936 in
Metafisica 17/18 Quaderni della Fondazione Giorgio e Isa de Chirico.

GIORGIO DE CHIRICO E VENEZIA: 1924-1936
SOMMARIO:
Parte I
1) 1924: XIV Esposizione Internazionale d’Arte della Città di Venezia
2) 1927-1930: da «Comœdia» alla non partecipazione alla XVI Biennale 1928 e XVII Biennale 1930
3) 1932: XVIII Esposizione Biennale Internazionale d’Arte

Parte II
Giorgio de Chirico e le mostre organizzate all’estero dalla Biennale
4) 1933: New York e Vienna 5) 1935: Varsavia e Parigi
6) 1936: Budapest

Intro to 'Section II, Exhibition Histories' from the anthology 'Curating After the Global: Roadmaps for the Present' (ed. Paul O'Neill, Simon Sheikh, Lucy Steeds & Mick Wilson; The MIT Press, 2019), titled 'Activating What Might Have Happened to Shape What Could Be'. Plus contents pages for the book.

El Grupo 3.4.5. fue un movimiento asociativo de artistas, encabezado por la pintora y restauradora de tapicería antigua, Gisella Santi, que estuvo activo entre 1978 e 2002, en la ciudad de Lisboa. Según Ana Maria Gonçalves, la cooperativa tuvo un papel fundamental en la afirmación de la tapicería contemporánea portuguesa, tanto a nivel nacional como internacional. Sin embargo, su obra permanece desconocida y públicamente inaccesible.
El Grupo 3.4.5. se fundó hacia el año 1977/1978 por Santi en el taller que compartía con Mizette Nielsen, que también ha contribuido para su formación, a par de Ana Isabel Miranda Rodrigues. El nombre de la asociación fue inspirado en el número de la puerta del taller, lo cual estaba ubicado en la Avenida Infante Santo, nº 345, 2º Dto, Lisboa.
Tras un período de aprendizaje, los alumnos del taller eran invitados a integrar la cooperativa, como ha sido el caso de Fernanda Matos, Guida Fonseca, Inês Carrelhas, Lena Horta Lobo, Manuel Alves Dias, Maria Altina Martins, Maria Delfina Macedo y Teresa Segurado Pavão. Todavía, la naturaleza del Grupo 3.4.5. no era estática, sino flexible, dada la colaboración de artistas externos, incluyendo en exposiciones.
Algunos de los artistas que integraron esta asociación adquirieron una visibilidad internacional, a través de la participación en eventos como la Trienal de Tapicería Contemporánea de Lódz y la Bienal de Lausanne. Entre 1985 e 2016, Gisella Santi, Eveline Martin, Teresa Segurado Pavão, Lena Önnesjö Horta Lobo, Carmo Portela, Maria Cândida Correia Marques, Maria Delfina Macedo, Maria José Mateus, Maria Luísa Ferreira y Maria Altina Martins han participado en diferentes ediciones de Łódź, mientras que Ana Isabel Miranda Rodrigues, Eduardo Nery, Isabel Laginhas e Isabel Magos han integrado la segunda competición.
Alrededor de 2000, Santi y varios miembros de la asociación donaron obras de su autoría al Instituto Politécnico de Castelo Branco (IPCB), con vista a integrar la colección del Museo de Tapicería Contemporánea de Castelo Branco, en Portugal. A partir de las piezas donadas, el IPCB organizó la Exposição Itinerante de Tapeçaria Contemporânea: Colecção Privada do Museu de Tapeçaria, la cual abrió al público el en Centro Cultural Raiano de Castelo Branco, entre julio y agosto de 2001 y, posteriormente, en la Sala da Nora del Cine-Teatro Avenida, dónde inauguró el 28 de febrero de 2002. En este contexto, se produjo un catálogo con todas las piezas expuestas y destinadas a integrar la colección del futuro museo. No obstante, este museo no llegó a consumarse.
A partir de un análisis de los testimonios de algunos miembros del Grupo 3.4.5. (recogidos por Ana Maria Gonçalves en su tesis de máster), de la consulta de catálogos disponibles y del contacto con profesores del IPCB, se procurará averiguar cuáles las obras que integraron dicha exposición y que fueron donadas para integrar la colección del futuro museo, cuál es su paradero actual y cuáles las perspectivas futuras para su muestra pública.

Since 1984 the Havana Biennale has been known as “the Tri-continental art event,” presenting artists from Latin America, Africa, and Asia. It also has intensely debated the nature of recent and contemporary art from a Third World or Global South perspective. The Biennale is a product of Cuba’s fruition since the Revolution of 1959. The Wifredo Lam Center, created in 1983, has organized the Biennial since its inception.
This dissertation proposes that at the heart of the Biennale has been an alternative cosmopolitanism (that became an existential internationalism during the “contemporary” moment) embraced by a group of local cultural agents, critics, philosophers, art historians, and also supported by a network of peers around the world. It examines the role Armando Hart Dávalos, Minister of Culture of Cuba (1976-1997), who played a key figure in the development of a solid cultural policy, one which produced the Havana Biennale as a cultural project based on an explicit “Third World” consciousness. It explores the role of critics and curators Gerardo Mosquera and Nelson Herrera Ysla, key members of the founding group of the Biennale. Subsequently, it examines how the work of Llilian Llanes, director of the Lam Center and of the Biennale (1983-1999), shaped the event in structural and conceptual terms. Finally, it examines the most recent developments and projections for the future.
Using primary material, interviews, and field work research, the study focuses on the conceptual, contextual, and historical structure that supports the Biennale. It presents from several optics the views and world-view of the agents involved from the inside (curators and collaborators), as well as, from an art-world perspective through an account of the nine editions. Using the Havana Biennale as case study this work goes to disentangle and reveal the socio- political and intellectual debates taking place in the conformation of what is call today global art. In addition, recognizes the potentiality of alternative thinking and cultural subjectivity in the Global South.

GIORGIO DE CHIRICO E VENEZIA - PARTE III (1937-1947) Giorgia Chierici
Giorgio de Chirico e la Biennale di Venezia
7) 1938: XXI Esposizione Biennale Internazionale d’Arte
8) 1940: Zurigo
9) 1942: XXIII Esposizione Biennale Internazionale d’Arte e Linz 10) XXIV Esposizione Biennale Internazionale d’Arte
11) 1947: Losanna
Appendice:
Elenco delle opere di alcuni dei più importanti collezionisti milanesi di Giorgio de Chirico messe al riparo nei sotterranei del Castello Sforzesco durante gli anni della Seconda Guerra Mondiale.

Do we live in the same
P L A Y G R O U N D ?
Vol 7 No 3 Juli - September

Tajuk ini kami pilih untuk merangkum pembacaan
kami dan seniman-seniman yang terlibat di dalam
perhelatan Biennale Jogja Equator #5 atas
segelintir persoalan “pinggiran” yang berlangsung
di kawasan Asia Tenggara, terutama yang
beririsan dengan masalah identitas (gender, ras,
dan agama), narasi kecil, konflik sosial-politik,
perburuhan, lingkungan, atau yang lebih spesifik,
praktik kesenian.
PLAYGROUND adalah alegori bagi ruang hidup
dan/atau ruang ekspresi kita yang acap kali
tampak menyenangkan, tetapi mempunyai
berlapis-lapis persoalan di baliknya. Kita tidak
hanya perlu mengurai dan mengenali persoalanpersoalan
itu, tetapi juga bertanya–terutama
kepada diri kita sendiri–tentang bagaimana kita
akan mengambil posisi (entah sebagai seniman,
kurator, penikmat kesenian, dan pihak-pihak lain)
terhadap berbagai isu bersama yang hadir di
hadapan kita.

„I was a stranger and you took me in. Ich war ein Fremdling und ihr habt
mich beherbergt.“ Ein Zitat aus der Bibel in vier Sprachen (Deutsch, Englisch, Arabisch und Türkisch) auf einem 16,3 Meter hohen Obelisken steht mitten auf dem Königsplatz in Kassel. Es handelt sich dabei um die documenta-Arbeit Das Fremdlinge und Fluchtlinge Monument des Kunstlers Olu Oguibe. Beide, die Bibel und die Form des Obelisken, entfalten uberdeterminierte Bedeutungen. Mit diesem Kunstwerk der documenta 14 erhielt Olu Oguibe den Arnold-Bode-Preis der Stadt Kassel. Der Kasseler AfD-Stadtverordnete Thomas Materner bezeichnete den Obelisken in jenem Kulturausschuss, der sich dem Verbleib des Obelisken auf dem Kasseler Königsplatz widmen sollte, als „ideologisch polarisierende, entstellte Kunst“. Er kundigte Demonstrationen an.
Wie kann eine künstlerische Erinnerung aussehen, wenn es wieder möglich ist, Kunst öffentlich als „entstellt“ und „abartig“ zu verunglimpfen, während zugleich ein „Nie wieder“ in aller Munde ist, von dem längst nicht mehr klar ist, was es heißen soll? Und was heißt das fur eine Erinnerungskultur, die bis in die 1980er-Jahre erkämpft werden musste, um in den 1990er-Jahren reflexiv und in den 2000ern sogar zum Tourismusfaktor zu werden – während gleichzeitig rechts sein wieder schick, möglich und mächtig wurde? Was ist also ein Monument als Erinnerungsort in einer neoliberalen Welt, die sich vielerorts zunehmend faschisiert? Der Text verortet die Geschichte künstlerischer Gegen-Monumente und fragt nach Para-Monumenten für die Gegenwart.

This case study on Singapore’s Contemporary Art highlights a global condition for nations competing for a place in the present international art world of Biennials and Triennials. By tracing the development of Contemporary Art in Singapore beginning from 1970 to the present moment, this paper shows how Contemporary Art is a local response to a global phenomenon, and in particular, to economic globalization such that the State now plays the roles as both patron and mediator. Its development cannot be viewed as separate from a global phenomenon nor from a local one for it is on one hand circumscribed by global aesthetic trends and on the other by local socio-economic developments. Its consecration also took place in tandem with the State’s effort to develop a global arts industry such that it is difficult to map a local stylistic discourse without reference to a global context. As such, this overlapping of the local Art World with the local/global Art Industry had reconstituted the need to position ‘art’ as cultural products. ‘Identity’, then, became its accompanying market positioning.

***Previously published as 'The Photographic Conditions of Contemporary Thai Art', in the Taipei Fine Arts Museum Journal, no. 34, 2017.***
This paper takes as a point of departure, Rosalind Krauss’ essay ‘The Photographic Conditions of Surrealism’, in which she describes the relationship between photography’s indexical function and its position as the example par excellence of Surrealist artistic practice. In the same way, this paper examines changing attitudes in Thailand towards photography’s artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary. Photography’s crucial role in this shift is located in key alterations to the medium’s functions and perceptions of its artistic legitimacy. On the one hand, the acceptance of photography as an art form reflects developments in imbricated networks of legitimation, occurring with the rise of international education and exhibition opportunities in the post-Cold War period. On the other hand, the conditions of photography itself, or rather its ontology, produce a conceptualisation of the contemporary as manifested in a desire for proximity with difference. In examining works by a number of contemporary Thai artists, I argue that photography’s visualisation of the ‘optical unconscious’  allows one to fulfil this desire for contemporaneity, while also pointing to the limits of representation as a means of asserting coevality.

Les biennales internationales sont le phénomène d’art mondain et mondial des années quatre-vingt-dix par excellence. Elles répondent bien au rêve global de tous les gouvernements qui veulent représenter le savoir de la planète entière et l’amener chez eux. Les gouvernements? Certes, encore bien avant d‘être des événements d’art, les biennales sont des événements politiques. Elles naissent d’une volonté nationale, elles sont essentiellement financées par les États (aussi bien locaux qu‘étrangers) et elles sont inaugurées par une foule de hauts fonctionnaires.

Este artículo tiene por objetivo analizar cómo la cuestión de la latinidad y de la construcción de una consciencia continental, latinoamericana, fue debatida y problematizada en el contexto de diferentes Bienales de arte realizadas en Brasil a lo largo del siglo XX. Discutiré tanto el deseo de internacionalización que fundamentó la creación de la Bienal de São Paulo, en 1951, como otras experiencias curatoriales en que se asumió una postura crítica y se valorizó lo regional.

Today we live in a digital revolution, we participate in all kinds of mobilizations in the global capitalist society, we see how they are emerging new forms of organization at all levels and new types of practices. Awareness of social conditions and power exercised in society makes us question the meaning of art, art institutions, the role of art in the form and content of the artwork and also makes us consider art as a social practice no separate from life and ideological awareness.

The idea of enabling resistant narratives to neoliberalism through dialogical and participatory works, steadily informs the agenda of perennial large-scale exhibitions of contemporary art (biennials) around Europe and the world. Somewhat paradoxically, the proliferation of such shows since the early 1990s depends on this very neoliberal model that values culture for its measurable outcomes. By discussing such predicaments of the “biennial phenomenon,” this article lays out its ambivalences and potentials within the current political–economic context. Moreover, through looking at the case of the 7th Berlin Biennale (2012), a controversial exhibition that prioritized activism and the “real effects” of art in society, the article suggests that such biennial complexities could be better addressed through ethnographic methodologies.

With the 56th Bienalle, Okwui Enwezor has become a milestone in the biennial concept and its relationship with the contemporary art, igniting a discussion about Walter Benjamin and his historical materialist ideas in the context of Marxist philosophy, in a post-colonial approach.  It is not surprising that his work situated at the core of the contemporary artworld being altered by the urgent agenda has caused a series of ironclad arguements.  The Biennale transformed under his new public space of debate that he created for this edition has become an academic institution with the help of the international artists and curators, gaining a position as a factory of knowledge production. He has given this new form of artistic knowledge by questioning the impact of the past on the present, setting us up with complicated entrapments, weaving it with a relational process as a virus penetrating into the nervous system with all its contagious power, with an ingenuity in challenging “All the World’s Futures”.  As a personification of the Angel of History, the curator assumes all the calamity by giving us a portrait of the past he had failed to restore. He advises us to be always aware of the relentless roots of the past in a state of responsibility keen to all the possibilities of future by using pedagogical methods.

Its relationship with the positions and fields of its own creation and evolving under the contemporary socio-economic and political changes are the very characteristics of the biennials that cannot be seperated from the other practices of art. Born into the modern era, they played a crucial role in designating the fashion of thought of the period from time to time. The Venice Biennale therefore is a brand for it is the very first biennial that has survived to this day with all its traditional and transmuted elements. This narrative space which brings the theoretical detached from a utopia and puts it into the center of the truth itself, has been a home to the numerous works of art.

In association with Business of Fashion, Textiles and Technology (BFTT), Creative R&D Partnership. London College of Fashion, UAL, with the support from UK Industrial Strategy: An industry roundtable discussion with Dr Lipi Begum discussing the recently launched nationwide survey consultation to help shape the future sustainable development of the fashion industry. Reactions were invited to the initial findings and perspectives from key contributors representing all aspects of the textiles ecosystem and related industries including apparel & textiles industrialists, sector bodies and academic institutions. Key Contributors included: Beverley Lamey - Surface Pattern & Textiles: University of Central Lancashire (UCLan); Brant Richards, - Co-founder: HebTroCo; Danielle Slinger - Textiles & Fashion: Blackburn College; Denise Pearson - MD: Deni-Deni; Gemma Potter - Transformation North West; Glenda Brindle - Creative Lancashire Board; Paige Earlam - Plexus Cotton; Rajan Soond - University Centre at Blackburn College (UCBC); Sandra Dartnell - Creative & Cultural Skills (CCSkills); Sarah Lloyd - Head of Design: Panaz and Suzanne Jennions - Try & Lilly

Dissertação apresentada ao Programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo para obtenção do título de Mestre em Estética e História da Arte.
Área de concentração: Teoria e Crítica de Arte
Orientadora: Profa. Dra. Maria Cristina Machado Freire

Conceitualismos em trânsito: intercâmbios artísticos entre Brasil e Argentina na década de 1970 – MAC USP e CAYC. São Paulo, 2015. 213 p. Dissertação (Mestrado em Estética e História da Arte) – Programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo.

Esta dissertação apresenta uma reflexão sobre o intercâmbio artístico realizado entre São Paulo e Buenos Aires, no decorrer da década de 1970. Essa rede de trocas está focada no Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), sob a gestão de Walter Zanini, e no Centro de Arte y Comunicación (CAYC), dirigido por Jorge Glusberg. Para tanto, iniciamos com um breve estudo sobre as políticas de modernização cultural na Argentina e no Brasil, desde a fundação das primeiras instituições de caráter moderno, nas décadas de 1950 e 1960. Nessa trajetória, traçamos os locais na Argentina onde houve o estímulo às novas vanguardas, desde a ascensão da pop art até a desmaterialização do objeto artístico. Sabemos que o MAC USP e o CAYC constituíram-se como plataformas interdisciplinares e multimídias fundamentais para a ampliação e o incentivo das práticas experimentais, sobretudo da arte conceitual. Desse modo, estabeleceram-se como importantes polos de arte contemporânea na América Latina nesse período. Procuramos analisar os interesses particulares de ambas as gestões, o perfil institucional e os mecanismos de divulgação e circulação das propostas conceituais amparadas pelas duas entidades. E, por fim, mapeamos a presença dos artistas argentinos do Grupo de los Trece, ligados ao CAYC, no acervo do MAC USP.

Palavras-chave: Arte Conceitual, Arte Latino-Americana, Exposições de Arte.
***

Conceptualisms in transit: artistic Exchange between Brazil and Argentina in the 1970s – MAC USP and CAYC. São Paulo, 2015. 213 p. Dissertation (Masters in Esthetics and Art History) – Interunits Postgraduation program in Esthetics and Art History, Universidade de São Paulo.

This dissertation offers a reflection on the artistic exchange occurred between Sao Paulo and Buenos Aires in the 1970s. This reciprocal network is centered in the University of Sao Paulo’s Museum of Contemporary Arte (MAC USP), under de auspice of Walter Zanini, and in Buenos Aires’ Art and Communication Center (CAYC), directed by Jorge Glusberg. We begin with a brief study of cultural modernization programs in Brazil and Argentina, as of the establishment of the first institutions of a modern nature, in the 1950s and 1960s. In this trajectory we map venues in which new avant-garde were stimulated, from the dawn of pop art to the dematerialization of the artistic object. We demonstrate that MAC USP and CAYC established essential interdisciplinary and multimedia platforms aiming at amplifying and motivating experimental practices, especially concept art, thus constituting important loci of contemporary art in Latin America at that time period. We aim to analyze the particular interests of each administration, their institutional profile and mechanisms to broadcast and promote conceptual propositions sustained by each organization. Finally, we trace the presence of Argentine artists of Grupo Los Trece, associated to CAYC, in MAC USP’s collection.

Key-words: Concept Art; Latin-American Art; Art Exhibits.

El Grupo 3.4.5. fue un movimiento asociativo de artistas, encabezado por la pintora y restauradora de tapicería antigua, Gisella Santi, que estuvo activo entre 1978 e 2002, en la ciudad de Lisboa. Según Ana Maria Gonçalves, la cooperativa tuvo un papel fundamental en la afirmación de la tapicería contemporánea portuguesa, tanto a nivel nacional como internacional. Sin embargo, su obra permanece desconocida y públicamente inaccesible.
El Grupo 3.4.5. se fundó hacia el año 1977/1978 por Santi en el taller que compartía con Mizette Nielsen, que también ha contribuido para su formación, a par de Ana Isabel Miranda Rodrigues. El nombre de la asociación fue inspirado en el número de la puerta del taller, lo cual estaba ubicado en la Avenida Infante Santo, nº 345, 2º Dto, Lisboa.
Tras un período de aprendizaje, los alumnos del taller eran invitados a integrar la cooperativa, como ha sido el caso de Fernanda Matos, Guida Fonseca, Inês Carrelhas, Lena Horta Lobo, Manuel Alves Dias, Maria Altina Martins, Maria Delfina Macedo y Teresa Segurado Pavão. Todavía, la naturaleza del Grupo 3.4.5. no era estática, sino flexible, dada la colaboración de artistas externos, incluyendo en exposiciones.
Algunos de los artistas que integraron esta asociación adquirieron una visibilidad internacional, a través de la participación en eventos como la Trienal de Tapicería Contemporánea de Lódz y la Bienal de Lausanne. Entre 1985 e 2016, Gisella Santi, Eveline Martin, Teresa Segurado Pavão, Lena Önnesjö Horta Lobo, Carmo Portela, Maria Cândida Correia Marques, Maria Delfina Macedo, Maria José Mateus, Maria Luísa Ferreira y Maria Altina Martins han participado en diferentes ediciones de Łódź, mientras que Ana Isabel Miranda Rodrigues, Eduardo Nery, Isabel Laginhas e Isabel Magos han integrado la segunda competición.
Alrededor de 2000, Santi y varios miembros de la asociación donaron obras de su autoría al Instituto Politécnico de Castelo Branco (IPCB), con vista a integrar la colección del Museo de Tapicería Contemporánea de Castelo Branco, en Portugal. A partir de las piezas donadas, el IPCB organizó la Exposição Itinerante de Tapeçaria Contemporânea: Colecção Privada do Museu de Tapeçaria, la cual abrió al público el en Centro Cultural Raiano de Castelo Branco, entre julio y agosto de 2001 y, posteriormente, en la Sala da Nora del Cine-Teatro Avenida, dónde inauguró el 28 de febrero de 2002. En este contexto, se produjo un catálogo con todas las piezas expuestas y destinadas a integrar la colección del futuro museo. No obstante, este museo no llegó a consumarse.
A partir de un análisis de los testimonios de algunos miembros del Grupo 3.4.5. (recogidos por Ana Maria Gonçalves en su tesis de máster), de la consulta de catálogos disponibles y del contacto con profesores del IPCB, se procurará averiguar cuáles las obras que integraron dicha exposición y que fueron donadas para integrar la colección del futuro museo, cuál es su paradero actual y cuáles las perspectivas futuras para su muestra pública.