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  • From iPhone 17 Pro to AirPods Pro 3: Everything expected at Apple’s ‘Awe Dropping’ Event on September 9

    From iPhone 17 Pro to AirPods Pro 3: Everything expected at Apple’s ‘Awe Dropping’ Event on September 9

    Apple is preparing to host its annual autumn hardware launch, dubbed the “Apple Awe-Dropping Event,” on 9 September at 10 AM Pacific Time (10:30 PM IST). The company’s next-generation iPhone 17 models are expected to dominate the presentation. Updates to the Apple Watch line and the long-awaited AirPods Pro 3 are also anticipated.

    As in previous years, speculation has been mounting for months, with leaks pointing to notable design changes across the iPhone line-up. Bloomberg’s Mark Gurman has suggested that this year will mark the start of a three-year cycle of significant redesigns, with an entirely new foldable iPhone projected to debut in 2026.

    iPhone 17, Air, Pro, and Pro Max

    The iPhone 17 itself is tipped for a visible overhaul. Reports suggest the handset will likely move closer in appearance to the Pro models, adopting a slightly larger 6.3-inch display with a 120Hz refresh rate, a considerable step up from the 60Hz screens on previous standard models. The front-facing camera may also be upgraded to 24 megapixels.

    New colour finishes are expected, with purple and green among the options. Pricing is projected to begin at around $800.

    At the higher end, the iPhone 17 Pro is rumoured to introduce a redesigned camera layout. Concept renderings show a horizontal bar stretching across the rear of the phone, housing three cameras, while the flash and sensors are positioned separately to one side. The Pro may also drop its titanium frame in favour of aluminium, a shift that could lower manufacturing costs and reduce overall weight.

    The Pro will reportedly cost about $1,100, though buyers may have fewer storage choices. Analysts suggest the entry-level 128GB option could be dropped, leaving only 256GB, 512GB, and 1TB variants. The Pro line could also add new finishes in dark blue and copper.

    The iPhone 17 Pro Max may see a subtler update. Its most significant change is rumoured to be a slightly thicker body to accommodate a larger battery, a move that would provide longer usage times between charges. Pricing is expected to hover around $1,250.

    The ultra-thin iPhone Air

    The most widely discussed development is the reported introduction of the iPhone Air. Positioned as a replacement for the Plus model, the Air is expected to be Apple’s slimmest handset to date, measuring just 5.5mm thick. That would make it about 0.08 inches thinner than existing iPhones and slimmer than Samsung’s Galaxy S25 Edge, which comes in at 5.8mm.

    Also Read | Apple iPhone 17 a sell-out before launch? 70% of US users plan to upgrade
    Also Read | Apple ‘Awe Dropping’ Event: iPhone 17 Pro Max, Air, Pro pricing tipped

    Despite its thin profile, the Air may feature a 6.6-inch screen, slightly larger than the standard iPhone 17. However, the design appears to involve some trade-offs. Leaks indicate the device may ship with only one rear camera lens, compared with two on the outgoing Plus model. Space constraints could also mean the absence of a bottom-firing speaker, leaving the front earpiece as the only audio source.

    Battery capacity remains uncertain, with analysts warning of shorter life due to the reduced thickness. To address this, Apple may offer an optional battery case, although this would add bulk to the handset.

    Pricing predictions vary. Early reports suggested a $950 launch price, though more recent projections from JPMorgan indicate a slightly lower $899 price tag. Expected colours include black, silver, and light gold.

    New accessories and cases

    Alongside the phones, Apple may introduce new accessories. Three weeks before the event, leaks revealed images of so-called “TechWoven” cases designed for the iPhone 17 Pro models. The cases are said to use a tougher fabric than Apple’s discontinued FineWoven line from 2023. Some variants are reported to come with detachable crossbody straps, pointing to an expansion in Apple’s case design strategy.

    Apple Watch: Series 11, Ultra 3, and SE 3

    The Apple Watch range is also due for attention. The Ultra 3, the company’s most rugged smartwatch, is expected to see its first major changes in two years. Potential upgrades include faster charging, satellite connectivity, and 5G support, alongside a larger display.

    One of the most talked-about features in development could be the blood pressure monitoring, which would warn users of unusually high or low readings. A sleep apnoea detection system has also been reported. However, Gurman has cautioned that both may be delayed until further testing is completed.

    The Series 11 is likely to receive more modest improvements, possibly including the same health features if they are ready in time. Meanwhile, the more affordable Apple Watch SE 3 is rumoured to get only a larger display, with talk of a new plastic-bodied variant still unconfirmed.

    Prices are expected to remain similar to current models: around $250 for the SE, $400 for the Series 11, and $800 for the Ultra 3.

    AirPods Pro 3

    Finally, Apple’s event may see the debut of AirPods Pro 3, the first update to the line since 2022. Reports suggest a more compact design with smaller earbuds, a slimmer case, and touch-sensitive controls replacing physical buttons. The pairing button may be removed entirely, with users tapping the case itself instead.

    The new H3 chip is said to improve active noise cancellation and adaptive audio performance, extending Apple’s focus on sound quality in its premium earbuds.

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  • Gene therapy vector produced by UMass Chan used to deliver prophylactic therapy for HIV

    Gene therapy vector produced by UMass Chan used to deliver prophylactic therapy for HIV

    Guangping Gao, PhD 
    Photo: Faith Ninivaggi

    An adeno-associated virus produced by Guangping Gao, PhD, and colleagues at UMass Chan Medical School was used to deliver an HIV broadly neutralizing antibody that protected preclinical animal models from HIV. Published in Nature, these findings point to potential new approaches to protect young infants from perinatal HIV transmission. 

    “AAV is a very promising vehicle for delivering broadly neutralizing antibodies, such as the ones that protect against HIV transmission,” said Dr. Gao, the Penelope Booth Rockwell Chair in Biomedical Research, chair and professor of genetic & cellular medicine, director of the Horae Gene Therapy Center and director of the Li Weibo Institute for Rare Diseases Research. “By using a viral vector, we’re able to turn muscle cells into tiny biofactories capable of continuously pumping out protective antibodies for potentially years.”  

    Antiretroviral cocktails for HIV that include nevirapine, which prevents mother-to-infant transmission—also called perinatal transmission—are available but require patients to maintain regular dosages each day. Similarly, broadly neutralizing antibodies can be protective but levels deteriorate rapidly in the blood stream, requiring repeated infusions to maintain protection. Additionally, adults often develop anti-antibodies that cause their effectiveness to wane after repeated treatments.  

    New HIV infections among children have declined by more than 60 percent worldwide, but progress has stalled in recent years. Approximately 120,000 children acquire HIV each year globally, according to UNAIDS, a United Nations program.  

    Adherence to therapy can be challenging due to social and economic reasons as many patients lack access to regular medical care. A treatment that could be given once during a mother’s prenatal medical care has the potential to greatly reduce perinatal HIV transmission.  

    The biggest advantage of delivering immune proteins via AAV that protect against HIV is that the code to make the antibodies become imbedded in muscle cells at the injection site.  

    If delivered either prenatally to the mother or directly to a new born infant, the developing immune system learns to recognize the antibody as native and therefore is far less likely to develop anti-immune responses that typically occur with repeated exposure.  

    The next step for investigators will be a clinical trial in patients. Katherine Luzuriaga, MD, the UMass Memorial Health Care Chair in Biomedical Research, vice provost for clinical and translational research and professor of molecular medicine, pediatrics and medicine at UMass Chan, has received a $250,000 grant from the National Institute of Allergy and Infectious Diseases to plan a clinical trial to evaluate AAV-delivered antibodies in infants. 

    An infectious disease expert, Dr. Luzuriaga has led early-stage pediatric clinical trials resulting in licensing of multiple antiretroviral agents, including nevirapine in 1991. Her leadership of the first early combination antiretroviral therapy clinical trials in infants, along with characterization of the first case of HIV-1 remission in a very early treated infant, paved the way for current federal and WHO recommendations for very early infant diagnosis and lifetime combination antiretroviral therapy. Luzuriaga’s current efforts are focused on strategies to achieve long-term HIV remission in children off antiretroviral therapies.


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  • Chinese researchers identify a key gene to combat “cancer” in cruciferous crops-Xinhua

    Chinese researchers identify a key gene to combat “cancer” in cruciferous crops-Xinhua

    This undated photo shows Liu Lijiang (L), chief scientist of the research team, working at the Oil Crops Research Institute of the Chinese Academy of Agricultural Sciences in Wuhan, central China’s Hubei Province.  (Xinhua)

    WUHAN, Sept. 5 (Xinhua) — A recent study led by Chinese scientists has identified a key susceptibility gene linked to clubroot disease, often called the “cancer” of cruciferous crops, offering durable resistance resources for cruciferous clubroot disease control and fresh insights into how plants defend against invasive eukaryotic protozoon pathogens.

    This study, conducted by a team from the Oil Crops Research Institute of the Chinese Academy of Agricultural Sciences, was published in Nature Genetics on Monday.

    Cruciferous crops hold significant economic and nutritional value, providing vegetables, edible oil and protein. However, their production faces a growing threat from clubroot disease, which has spread rapidly across more than 80 countries in recent years, causing global yield losses of 10 to 15 percent annually. In China alone, the disease affects over 20 million mu (about 1.3 million hectares) of farmland each year.

    This disease is caused by the protozoon Plasmodiophora brassicae, which exclusively jeopardizes cruciferous species. Traditional breeding methods to control this disease, such as interspecific or intraspecific hybridization, often encounter challenges, including lengthy cycles and rapid loss of resistance.

    According to Liu Lijiang, chief scientist of the research team, it took nearly a decade to identify the role of GSL5, a gene that facilitates infection. This gene can easily be hijacked by Plasmodiophora brassicae. This hijacking can result in the reinforcement of immune repression, disabling disease resistance signaling and enabling pathogen proliferation.

    After identifying the gene, the researchers performed genome editing to knock out GSL5 in cruciferous plants. The genome-edited plants demonstrated broad-spectrum, high-level resistance to Plasmodiophora brassicae pathotypes with no adverse effects on plant growth or seed yield in the field trials.

    This innovation provides a durable, efficient strategy for controlling cruciferous clubroot disease and supports the breeding of high-resistance varieties of cruciferous crops like rapeseed, Chinese cabbage and broccoli, Liu said. 

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  • Study shows sharp increase in kidney disease deaths linked to high blood pressure

    Study shows sharp increase in kidney disease deaths linked to high blood pressure

    The death rate from hypertensive kidney disease (high blood pressure-related kidney disease) increased by 48% in the U.S. over the past 25 years, with continued differences across demographic groups, according to preliminary research presented at the American Heart Association’s Hypertension Scientific Sessions 2025. The meeting is in Baltimore, September 4-7, 2025, and is the premier scientific exchange focused on recent advances in basic and clinical research on high blood pressure and its relationship to cardiac and kidney disease, stroke, obesity and genetics.

    This is the first study to examine 25 years of national data on hypertensive kidney disease deaths across all U.S. states and major demographic groups. Despite national efforts to reduce health inequalities, Black individuals still had over three times the death rate compared to other groups of people.”


    Joiven Nyongbella, M.D., an M.P.H. candidate and internal medicine resident at Wayne State University/Henry Ford Rochester Hospital in Detroit

    High blood pressure (when the force of the blood pushing against the walls of vessels is too high) is a known risk factor for kidney damage. It is the second leading cause of end-stage kidney disease and contributes significantly to morbidity and mortality. Untreated high blood pressure can lead to serious outcomes, such as heart attack, stroke, heart failure and progression to kidney failure. Globally, the rate of death from chronic kidney disease increased 24% from 1990 to 2021, according to the American Heart Association’s 2025 Heart Disease and Stroke Statistics.

    This study, looking at data from 1999 – 2023, found age-adjusted mortality rate (AAMR) for hypertensive kidney disease deaths increased 48%. Men, people living in the South and Black or Hispanic adults had higher than average death rates.

    “High blood pressure isn’t just about strokes or heart attacks – it’s also a major cause of kidney disease and death, especially in Black and Hispanic communities,” said Nyongbella. “The message is simple: check your blood pressure, treat it early and don’t ignore it, because it can quietly lead to life-threatening kidney problems.”

    In this study, researchers reviewed data from the U.S. Centers for Disease Control and Prevention’s (CDC’s) WONDER database from 1999 to 2023 for all death certificates noted with hypertensive renal disease as the cause of death. The analysis found:

    • Kidney disease caused by high blood pressure resulted in 274,667 deaths from 1999-2023 among individuals ages 15 and older.
    • From 1999-2023, the age-adjusted mortality rate (AAMR) for hypertensive kidney disease deaths rose from 3.3 per 100,000 people in 1999 to 4.91 per 100,000 people in 2023, an increase of 48%.
    • Men had a higher average AAMR than women (4.48 vs. 3.69, respectively), with a 22% higher mortality in individuals with renal failure.
    • The highest average AAMR was for individuals who were identified as Black, at 10.37 per 100,000 people versus the range of 3.33 – 3.90 per 100,000 for people in other population groups. Hispanic individuals had a 15% higher AAMR when compared to non-Hispanic individuals (4.55 vs. 3.97, respectively).
    • Across the U.S., the West had the highest overall AAMR for hypertensive kidney disease deaths at 4.59 per 100,000. In the South, Washington, D.C., (7.6 per 100,000), Tennessee (5.9) and Mississippi (5.83) had the highest AAMRs.

    “This study provides important observational data indicating a concerning rise (48%) in age-adjusted deaths due to high blood pressure-related kidney disease over the last 25 years, especially among men, and Black and Hispanic individuals,” said American Heart Association volunteer expert Sidney C. Smith Jr., M.D., FAHA. “These findings are in line with the recently released 2025 AHA/ACC High Blood Pressure Guideline and AHA’s Presidential Advisory on Cardiovascular Kidney Metabolic (CKM) Health. Both papers emphasize the importance of early treatment for high blood pressure, its direct link to kidney disease, as well as the impact of social factors among high-risk populations.” Smith is a cardiologist and professor of medicine at the University of North Carolina’s School of Medicine, a past president of the American Heart Association and a co-author of the 2025 AHA/ACC High Blood Pressure Guideline; he was not involved in this study.

    There are several limitations to the study’s findings. Of note, the study relied solely on death certificate data, which may include errors due to missing or mislabeled causes of death. In addition, individual health factors like access to care, medication use or diet were not available, so future research is needed to investigate these factors in addition to health data.

    Study details, background and design:  

    • Data from the CDC WONDER database was reviewed for all death certificates in the U.S. from 1999 to 2023 with any of the ICD-10 codes for hypertensive renal disease with and without renal failure listed as a cause of death.
    • The analysis included demographic information about people who had died with and without hypertensive renal disease, ages 15 to 85 and older; 54.9% were women, 23.5% were Black, 8.47% were Hispanic and 68% were from other racial and ethnic groups.
    • Age-adjusted mortality rates (AAMRs) per 100,000 were calculated and stratified by year, sex, race, ethnicity, state and region.
    • The abstract also details the additional calculations used to assess trends including average annual percent change (AAPC) in deaths statistical testing.

    Source:

    American Heart Association’s Hypertension

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  • A Case of Multifocal Adenoid Cystic Carcinoma of the Breast: Using Immunohistochemical Diagnosis to Guide Conservative Management

    A Case of Multifocal Adenoid Cystic Carcinoma of the Breast: Using Immunohistochemical Diagnosis to Guide Conservative Management


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  • Tennis – US Open 2025: Full order of play, Friday 5 September

    Tennis – US Open 2025: Full order of play, Friday 5 September

    It’s time to hand out some hardware at the 2025 US Open. And where better to do it, than on centre court at Arthur Ashe Stadium on Friday, 5 September.

    There, No.1 seeds Kateřina Siniaková and Taylor Townsend – champions at the 2025 Australian Open – will face off against the third seeded duo of Canadian cancer survivor Gabriela Dabrowski and Kiwi doubles standout Erin Routliffe in what’s bound to be a memorable battle for women’s doubles title at 12:00 local time (EDT, GMT-4).

    As if that isn’t enough to get even the most sceptical tennis fan excited, day thirteen will then be pushed into overdrive at Flushing Meadows, as world No. 2 Carlos Alcaraz takes to centre court opposite of the Serbian maestro himself: Novak Djokovic.

    The semifinal duel will mark the second time the two players have met at a Grand Slam, since playing against one another for the men’s singles gold medal at the Olympic Games Paris 2024 – a match Djokovic won.

    The question is: will history repeat itself, or will Alcaraz author a story of his own at the 2025 US Open?

    With the victorious player guaranteed a spot in the men’s singles final – where they’ll face the winner of another compelling duel between world No. 1 Jannik Sinner and Canadian underdog Felix Auger-Aliassime – the stakes couldn’t be any higher at Flushing Meadows.

    Below, you can find out the start times for all the matches on day thirteen of the year’s final Grand Slam.

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  • Giulia Essyad: Other Planes – Announcements

    Giulia Essyad: Other Planes – Announcements

    The Musée cantonal des Beaux-Arts, Lausanne (MCBA), is pleased to present Giulia Essyad’s solo exhibition Other Planes, commissioned for its Project Space.

    Giulia Essyad stages and transforms her own body, seeking to challenge the mechanisms of commodification that shape our relationship to desire within a society where advertising is omnipresent. Continuing her exploration of the relation between self-representation and inner life, she transforms the Espace Projet gallery into an immersive installation that weaves together DIY technology, digital imagery, and personal memory.

    For over fifteen years, the artist has continually returned to the self-portrait—a genre she began exploring as a teenager through drawing, and which she continues to pursue by subverting the commercial aesthetic of lightboxes. Recently, she has focused on the invisible aspects of the body: emotions, pain, pleasure, as well as the stereotypes associated with expressing these states of consciousness. For Other Planes, she also draws inspiration from mystical poetry, guided by the conviction that at the heart of all things lies an impenetrable mystery.

    The new works on view embrace porosity and transparency. They reveal their making—traces of hands, machines, and digital tools like Photoshop brushes are deliberately left visible. The object becomes a site of exchange, not concealment, inviting viewers into the process rather than shutting them out. Materiality is treated not as a mystery to be decoded but as a shared reality to be explored. Craft is evident—even in digital works—asserting that one does not need mastery to engage meaningfully with a medium.

    Having grown up in Lausanne, the artist reconnects here with a place filled with memories, one she used to hang out in when the MCBA was still an industrial wasteland. The exhibition unfolds as a journey imbued with the ambivalent feeling of longing, caught between nostalgia and aspiration, between what has been and what remains elusive.

    Curated by Pierre-Henri Foulon, Curator of contemporary art, MCBA

    Biography
    Giulia Essyad (b. 1992) lives and works in Geneva. Recent solo exhibitions include INNARDS at the Centre d’édition contemporaine, Geneva (2024); Tunnel Vision III at Tunnel Tunnel and Cinema Bellevaux, Lausanne (2023); Chocolate Factory at Cherish, Geneva (2020); Blue Period at Lokal Int, Biel (2020); A Selene Blues at Fri Art Kunsthalle, Fribourg (2020). Her work has been recognized with a Swiss Art Award in 2023 and, more recently, the 9th Gustave Buchet Prize in 2025.

    Edition
    A limited-edition T-shirt, designed by the artist and produced by the independent screen-printing studio Ladycotton, will be released on the occasion of the exhibition and available for purchase at the MCBA Book and Gift Shop.
    shop.mcba@plateforme10.ch

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  • Tom Burr: Paul – Announcements

    Tom Burr: Paul – Announcements

    In Paul, Tom Burr works with Pier Paolo Pasolini’s unrealized film on the life of Saint Paul—a script drafted in 1966 that reimagines the apostle not in robes and desert dust, but in a trench coat and city streets, striding through the hard geometries of Paris, Rome, Geneva, and New York. Pasolini’s Paul is a man undone by light, revelation, and the unbearable weight of seeing too much, too clearly. Burr takes up this figure—not as saint, but as a fault line of unrest and longing, of vision turning against itself. He recasts Paul’s infamous blinding on the road to Damascus as something different from divine revelation: a violent unfastening—from certainty, from state-sanctioned belief, from the straight lines of power. Echoing the film’s unfinished state, Paul embraces incompletion as a generative method for pushing inherited fragments and unresolved ideas into motion. The exhibition inhabits the unfinished: a form that rehearses other forms, carried forward into subsequent iterations, arrangements, and contexts. Throughout its making, Burr will develop a publication in collaboration with the exhibition’s curator, Tom Engels, extending the exhibition beyond its present iteration and preparing its next lives—further mutations of Paul that will morph with each new staging. In this unravelling, Paul becomes a fractured mirror, a lingering disobedience, where to be struck down is also, somehow, to begin again.

    Tom Burr (b. 1963, New Haven) is an artist whose oeuvre includes sculpture, collage, photography, and writing. Drawing directly from the formal languages of Minimalism and Conceptual Art, and responding to the political commitments of feminist art and institutional critique, Burr interlaces autobiographical references—particularly around queerness and public space—into his installations. His work persistently interrogates how bodies navigate place, desire, and control, exposing the tension between visibility and invisibility as both a personal and political condition. Burr lives and works in New York and Connecticut.

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  • Emma Reyes: Naturaleza muerta resucitando – Announcements

    Emma Reyes: Naturaleza muerta resucitando – Announcements

    Naturaleza muerta resucitando is the first comprehensive exhibition of Emma Reyes’ work in a gallery since her death in France in 2003. A self-taught artist, born in 1919 in Colombia, she was connected to various artistic scenes across the world and produced over two thousand works, leaving behind a considerable pictorial legacy that has eluded the institutional recognition that it deserves.

    The illegitimate daughter of a prominent public figure and an indigenous woman from Boyaca, Reyes never forgot the importance of maintaining a pre-Colombian identity, inverting and re-appropriating the codes of colonization in her art. After a childhood spent in a catholic orphanage in Bogota, where every day she was forced to do embroidery work, she escaped at the age of eighteen, this period instilling in her the life-saving force of the imagination as a means of surviving violence. Her discovery of the world then lead her to painting. Without any formal training, she invents her own techniques, developing a very personal pictorial style characterized by continuous contours that delimit but also construct, filling space with dense parallel lines, volumes and textures.

    Across her various artistic encounters (from Diego Rivera to Marcel Janco, as well as Enrico Prampolini, Alberto Moravia, Gabriel García Marquez etc.) Reyes explores numerous stylistic approaches while fashioning her own very embodied, personal sensibility, never ceasing to emphasize the necessity of a new form of communication with the living world, beyond the hierarchical norms inherited from colonial civilization.

    Reyes didn’t like the term “still life” (naturaleza muerta in Spanish, meaning “dead nature”) for her paintings always sought to represent an animate, and animating, life. This idea of “resuscitating the still life” is borrowed from Remedios Varo, who, in one of her last paintings Naturaleza muerta resucitando, depicts a moving round table in a gothic interior, above which eight plates and fruits spin, orbiting the flame of a candle like planets in a solar system. Juxtaposing sacred architecture with invisible cosmic force, this dynamic represents the kind of energy that we hope the new visibility of Emma Reyes’ work inspires.

    Press inquiries: info@galeriecrevecoeur.com.

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  • 36th edition: Not All Travellers Walk Roads—Of Humanity as Practice – Announcements

    36th edition: Not All Travellers Walk Roads—Of Humanity as Practice – Announcements

    The 36th Bienal de São Paulo opens to the public on September 6, 2025, at the Ciccillo Matarazzo Pavilion, after a year and a half of curatorial engagements and encounters in different parts of the world. The public program began in November 2024 with the Invocations convened in four locations: Marrakech, Guadeloupe, Zanzibar, and Tokyo. Each stop brought together artists, poets, musicians, and activists in performances, debates, rituals and presentations, discussing and enacting the spectrum of humanity through themes such as belonging, memory, togetherness, emancipation, interdependence, care, technology and transitions. These experiences served as an “initial ritual” that now flows into the exhibition in São Paulo, carrying stories and languages, tastes and sounds, aesthetics and rhythms that have crossed oceans and borders. The metaphor of the estuary, a meeting place between different currents, site of manifestation and coexistence of different beings, space of exuberance permeates an exhibition with 125 positions and divided into six chapters, conceived as fractals and connected by constant flows and dialogues.

    Chapter 1—Frequencies of Landings and Belongings draws us to soil, to the potentials of land and the vibrations that sustain life. “Human” is etymologically related to the word “humus,” which is soil. Belonging is evoked here through relation to the earth, to communities, to the subtle pulse of existence. Works made with stones, roots, and natural pigments reflect on the relationship between body, soil, and memory. The idea of belonging appears as an active practice of listening and mutual recognition, involving not only other humans, but also rivers, plants, and animals. 

    Chapter 2—Grammars of Defiances brings together works that address different forms of resistance to dehumanization. Artists explore colonial archives, retrieve erased narratives, and propose new languages of struggle. There are videos and installations that address the impact of extractivism, sculptures that reconstruct silenced histories, and sound works that give voice to songs of resistance.

    Chapter 3—Of Spatial Rhythms and Narrations investigates the marks left by displacement, migration, and urban transformation. Maps, photographs, and films record everything from forced migration routes to subtle changes in city architecture. Sculptures and installations reconfigure spaces of passage, while sound and light works recreate the atmospheres of places in constant flux.

    Chapter 4—Currents of Nurturing and Plural Cosmologies presents works that break with colonial and patriarchal models of care, offering other ways of relating to the world. Installations combine elements such as herbs, water, and ritual objects; performances and collective gatherings address Indigenous, African, and Asian healing practices and mythologies, highlighting the interdependence between ecosystems and cultures.

    In Chapter 5—Cadences of Transformations, change is seen as a permanent condition. Kinetic works, works in constant alteration, and works that reinterpret cultural traditions explore transformation as creative power. Some works change their form or content over the four months of the exhibition, inviting the public to follow living processes.

    Chapter 6—The Intractable Beauty of the World concludes the journey by celebrating beauty as an act of resistance. Paintings made with earth pigments, photographs of fragmented landscapes, and sculptures made from reused materials show that beauty can also be found in the unfinished, in that which resists and survives.

    A total of 120 positions occupy the Ciccillo Matarazzo Pavilion, while another five are part of the Tributaries program, held at Casa do Povo and curated by Benjamin Seroussi and Daniel Blanga Gubbay. Developed in partnership with Cinémathèque Afrique, the Stream of Images / Imaginaries screening program, also part of Tributaries, is scheduled to take place across two countries. In addition to the Pavilion auditorium, the sessions will be presented at la Friche la Belle de Mai in Marseille as part of the Saison France-Brésil.

    The public program, entitled Conjugations, will include debates, performances, and meetings, most of them held in partnership with institutions from different continents, such as 32º East (Kampala); Africa Design School (Cotonou); Afrotonizar (Salvador); Ajabu ajabu (Dar es Salaam); blaxTARLINES (Kumasi); Center for Art, Research and Alliances (CARA) (New York); Central Bank Museum (Port of Spain); Festa Literária das Periferias—FLUP (Rio de Janeiro); Fondation H (Antananarivo); Jatiwangi Art Factory (Jatiwangi); Kunsthochschule Weißensee (Berlin); Más Arte Más Acción (Chocó); Metro54 (Amsterdam); SAVVY Contemporary (Berlin); Tanoto Art Foundation (Singapore).

    Another highlight of this edition is the Apparitions project, an unprecedented initiative in the history of the Bienal de São Paulo, developed in partnership with the WAVA platform. Using augmented reality technology, fragments, extensions, and echoes of the works in the Bienal de São Paulo manifest themselves in Ibirapuera Park and specific locations around the world, chosen by the artists themselves—such as the banks of the Congo River, the border between Mexico and the United States, urban parks in São Paulo or cities in Africa and Asia. Through the app, visitors can access the works only at the designated locations, creating a situated and globally accessible sensory experience.

    The publication program for this edition is one of the most ambitious in the event’s history, with four educational publications—each dedicated to an Invocation—co-produced with The Center for Art, Research and Alliances (CARA). The publications will be distributed internationally for the first time, with free distribution in Brazil, focusing on teachers and educators. The editorial program also includes the exhibition catalog and a reader, a collection of essays and poems that engage with the concepts mobilized by the show. All publications are available in Portuguese and English.

    Beyond the numbers and grandeur of this edition, the 36th Bienal de São Paulo is structured as a crossing: an estuary where voices, memories, and gestures from different shores meet and transform. Walking through the Pavilion, the public is invited to experience humanity as action, a verb that is conjugated in the plural, and to take with them the certainty that every encounter can be a starting point for new ways of living together.

    About the 36th Bienal de São Paulo
    With a concept proposed by Bonaventure Soh Bejeng Ndikung, alongside co-curators Alya Sebti, Anna Roberta Goetz, and Thiago de Paula Souza, co-curator at large Keyna Eleison, and strategy and communications advisor Henriette Gallus, this edition is inspired by the poem “Da calma e do silêncio” [Of Calm and Silence] by poet Conceição Evaristo, and has active listening, encounter, negotiations, and respect as foundations of humanity as a practice.

    The Fundação Bienal de São Paulo would like to thank its strategic partner Itaú, and its master sponsors Bloomberg, Bradesco, Petrobras, Vale, Citi, and Vivo.

    This project is funded by the Culture Incentive Law, the Ministry of Culture, and the Federal Government.

    Access the full program at 36.bienal.org.br/en/events/.

    Press contacts
    Fundação Bienal de São Paulo
    Fernando Pereira: fernando.pereira@bienal.org.br 

    Sam Talbot
    Kitty Malton: kitty@sam-talbot.com 
    Maja Renfer: maja.renfer@sam-talbot.com

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