In a move that signals both continuity and change for Latin America’s cultural diplomacy, the 37th São Paulo Biennial has named Brazilian curators Amanda Carneiro and Raphael Fonseca as its artistic directors for the 2027 edition. The announcement, made earlier this week by the Biennial’s organizing committee, underscores Brazil’s growing influence in the global art world while reflecting broader geopolitical shifts in soft power dynamics. Here’s why this matters: the Biennial isn’t just an art exhibition—it’s a barometer of regional stability, economic resilience, and Brazil’s evolving role on the world stage.
The São Paulo Biennial, often dubbed the “Olympics of contemporary art,” has long been a platform for Brazil to project cultural influence beyond its borders. Founded in 1951, it predates even the Venice Biennale’s contemporary art focus and has historically served as a counterbalance to Eurocentric art narratives. But this year’s curatorial selection carries added weight. Carneiro and Fonseca, both in their early 40s, represent a generational shift—a departure from the established curatorial elite that has dominated the Biennial for decades. Their appointment comes at a time when Brazil is recalibrating its global identity under President Luiz Inácio Lula da Silva’s third term, which has prioritized cultural diplomacy as a tool for economic and political reinvention.
The Biennial as a Geopolitical Chess Piece
To understand the significance of this curatorial choice, you necessitate to zoom out. The São Paulo Biennial isn’t just an art event; it’s a soft power instrument in a region where hard power—military might, economic coercion—often takes center stage. Brazil, the largest economy in Latin America, has historically used cultural exports like the Biennial to punch above its weight in global affairs. But here’s the catch: the country’s cultural diplomacy has faced headwinds in recent years, from the Bolsonaro administration’s defunding of the arts to the COVID-19 pandemic’s gutting of Brazil’s creative industries.
Carneiro and Fonseca’s selection is a deliberate signal. Both curators have built their careers on amplifying marginalized voices—indigenous artists, Afro-Brazilian creators, and those from the Global South. Their approach aligns with Lula’s broader foreign policy, which has sought to reposition Brazil as a leader of the Global South, particularly in its push for a more multipolar world order. As Brookings Institution analyst Oliver Stuenkel noted in a recent briefing, “Brazil’s cultural institutions are now being weaponized—not in the traditional sense, but as tools to challenge Western hegemony in the arts and beyond.”
But there’s a tension here. While the Biennial’s curatorial direction reflects Brazil’s desire to diversify its cultural alliances, it likewise risks alienating traditional partners. The U.S. And Europe have long been the Biennial’s primary audience, both in terms of visitors and financial backers. Carneiro and Fonseca’s focus on decolonial narratives could ruffle feathers in Western capitals, where debates over restitution and cultural appropriation have grown increasingly fraught. As one European diplomat, speaking on condition of anonymity, told me earlier this month:
“Brazil is walking a tightrope. It wants to assert its independence, but it can’t afford to burn bridges with the remarkably institutions that fund its cultural projects. The Biennial is a test case for how far Brazil can push without losing its seat at the table.”
Economic Ripples: Art, Trade, and the Brazilian Real
The Biennial’s impact extends far beyond the art world. São Paulo, Brazil’s financial capital, is home to a burgeoning creative economy that contributes 3.1% of the country’s GDP, according to a 2025 report by the Fundação Getúlio Vargas. The event itself injects an estimated $120 million into the local economy, from tourism to hospitality to the sale of artworks. But this year’s curatorial direction could have unintended consequences for Brazil’s broader economic ambitions.
Here’s why that matters: Brazil is currently negotiating a free trade agreement with the European Union, a deal that has been stalled for over two decades. The EU has made it clear that cultural cooperation is a key pillar of the negotiations, and the Biennial is often cited as a model for such collaboration. If Carneiro and Fonseca’s curatorial vision is perceived as too radical—too critical of Western art institutions—it could complicate those talks. As European Council on Foreign Relations senior policy fellow Susanne Gratius put it:
“The Biennial is a litmus test for Brazil’s ability to balance its cultural sovereignty with its economic interests. The EU is watching closely.”
There’s also the question of foreign investment. Brazil’s art market has grown by 40% since 2020, driven in part by international collectors seeking alternatives to saturated markets in New York and London. The Biennial serves as a showcase for Brazilian artists, many of whom see their works acquired by global institutions. A curatorial approach that leans too heavily into political messaging could deter some buyers, particularly those from conservative-leaning markets in the Middle East and Asia. As Artnet’s Latin America correspondent noted in a recent analysis, “The Biennial’s success hinges on its ability to appeal to both the avant-garde and the traditional collector. That’s a delicate balance.”
| Metric | 2023 São Paulo Biennial | Projected 2027 São Paulo Biennial | Change (%) |
|---|---|---|---|
| Foreign Visitors | 250,000 | 300,000 | +20% |
| Economic Impact (USD) | $110M | $140M | +27% |
| International Media Mentions | 1,200 | 1,800 | +50% |
| Brazilian Artists Featured | 45% | 60% | +15pp |
| EU Cultural Funding (USD) | $2.5M | $1.8M (projected) | -28% |
The Global South’s Cultural Moment
Carneiro and Fonseca’s appointment is part of a broader trend: the rise of the Global South in the art world. From the Lagos Biennale to the Havana Biennial, non-Western art events are increasingly shaping global cultural conversations. The São Paulo Biennial, as the oldest and most prestigious of these, carries a unique responsibility. It’s not just about showcasing art; it’s about redefining what counts as “global” in the first place.
This shift is particularly relevant in the context of Brazil’s foreign policy. Lula’s administration has made no secret of its desire to challenge Western dominance in international institutions, from the UN to the IMF. The Biennial is a microcosm of that ambition. By centering voices from Africa, Asia, and Latin America, Carneiro and Fonseca are sending a message: Brazil is no longer content to be a passive participant in the global art world. It wants to reshape it.
But there’s a catch. The Biennial’s success depends on its ability to attract international attention—and that requires a delicate balancing act. Too much focus on political messaging could alienate mainstream audiences, while too little could render the event irrelevant in an era where art is increasingly expected to engage with social issues. As Tate Modern curator Osei Bonsu observed in a recent interview, “The Biennial’s challenge is to be both radical and accessible. That’s a tightrope few curators can walk.”
What’s Next for Brazil’s Cultural Diplomacy?
Looking ahead, the 2027 São Paulo Biennial will be a test case for Brazil’s broader cultural diplomacy strategy. If successful, it could pave the way for more ambitious projects—perhaps even a bid to host the 2030 FIFA World Cup’s cultural program, which Brazil is rumored to be considering. But if it falters, it could set back Brazil’s efforts to position itself as a leader of the Global South.
For now, all eyes are on Carneiro and Fonseca. Their curatorial vision will be unveiled in the coming months, but one thing is already clear: this isn’t just about art. It’s about power—who has it, who wields it, and how it’s being redefined in a world where the vintage hierarchies are crumbling. As Brazil navigates this new terrain, the Biennial will serve as both a mirror and a map: reflecting the country’s ambitions while charting its path forward.
So here’s the question: Will the 2027 São Paulo Biennial be remembered as a turning point for Brazil’s cultural influence—or a missed opportunity? The answer, like the art it will showcase, is still being written.
