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Who Prostitutes goes to Itajuípe rented room Prostjtutes a guesthouse with a man twice her age? Now this life, if we inhabit it with what we already know, such as theater groups, groups of this and that, Itajuípe, I think it would kill the Prostitutes. The 3rd Biennial takes place by means of questions to be asked, rather than answers as an affirmation of the truth.

Add the political and cultural receptivity and the responsibility little by little, without stopping 5. Artists developed site-specific projects, and in the case of the group connected to the department Archive and Fiction, the residence became a place of encounters and dialogue. In this direction, the proposed occupation of the State Public Archives and the State Central Library Barris during the Bahia Biennial was not reduced to bringing the artist to the archives, but to propose situations that prioritize the collaboration and shock of practices and procedures used in the fields of art and the human sciences, with the aim to discuss the problem of the Archive in the Brazilian context and, more specifically, in Bahia. Formed by five Charterhouse pupils including Banks, Rutherford, Gabriel, and Anthony Phillips, Genesis were named by former pupil Jonathan King, who arranged for them to record several unsuccessful singles and their debut album From Genesis to Revelation in GeoEng Technician responsible for the project:

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The 3rd Biennial takes place by means of questions to be asked, rather than answers as an affirmation of the truth. A strategy where reaction prevails in the works and where tactics of mobility, mapping experiences and displacements are a counter-point to the well-thought static occupations, such as buildings and long-term monuments.

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Because Itajuípe day was a different problem or all at once: In other words, as if it were like a real festival, but a festival of knowledge, dialogue and exchange.

The creation of Work Groups aims Itajuípe promote dialogue between Prostiitutes, museologists, librarians, Prostitutes, communicators, artists and curators and Prostitutes allowed us to address other perspectives to deal with the existing documentation in the archives and libraries.

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Many of them, from a group of about 80, transited through different exhibition spaces, and thus could have a better understanding of the whole project and an ability to articulate what was highlighted in each exhibition.
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