Descarcă revista în format PDF - idea

scena
Procesul bienalei e spafliul activ de explorare a regulilor de conduitæ stabilite în sistemul
artistic occidental, a modului în care e normatæ circulaflia øi receptarea
informafliei øi a felului în care o putem (øi o putem face cu adeværat?) provoca, concentrîndu-se
în principal pe regiuni din Balcani øi fosta Europæ de Est, Asia Centralæ, Orientul
Mijlociu øi Africa de Nord, unde raportul cu „mentorii“ occidentali øi dependenfla
de practicile avangardei, de validare din sistemele artistice occidentale, încæ definesc
în mare mæsuræ contextul artei contemporane. Acest proces se desfæøoaræ de-a
lungul a douæ traiectorii interconectate, una corespunzînd modelului hegemonic
occidental al rolului øi pozifliei artei contemporane øi istoriei acesteia, aøa cum e perpetuat
de sistemul globalizat al institufliilor de artæ øi reflelei de piefle care le reglementeazæ,
iar cealaltæ, practicilor artistice øi culturale care evalueazæ critic comercializarea tinzînd
sæ domine viafla în condifliile capitalismului neoliberal.
Traducere de Alex Moldovan
region, considering the fact that Istanbul plays a major role in the
political and social landscape of the region in the widest sense of the
word. This research tends to become public in the attempt to also
activate the two-years period between biennial exhibitions in the
process of creating a possibility for sustained collaborations with
existent independent cultural initiatives and programs. The format
of the exhibition itself is understood as a possibility of transient and
temporary, yet ambitious plans for long-term communication and
establishing new international platforms for artist and cultural workers
from supposedly shrinking but still corporeally very real geographical
margins. Even if today one feels that there is no region
excluded from the international art circuit, there still remains the
issue of control, the unresolved and continuing play of inclusion and
exclusion. In that respect, the role of biennial-as-process is understood
as a counter-position to general weakening of any institutional
safeguards that determine (cultural) standards outside the marketplace.
The process of biennial is the active site for exploring the rules
of conduct established in the Western art system, how is the circulation
and reception of information regulated and how can we (and
can we really) challenge it, focusing primarily on regions of the
Balkans and former Eastern Europe, Central Asia, Middle East and
North Africa, in which relationship with Western “mentors“ and
dependence of avant-garde art practices on validation from the
Western art systems still largely define the context of contemporary
art. It develops across two interconnecting trajectories, one responding
to hegemonic Western model of the role and position of contemporary
art and its history, as perpetuated by globalized system of art
institutions and network of markets that regulate them, and the
other to artistic and cultural practices that are critically assessing
commercialization that tends to dominate life under conditions of
neo-liberal capitalism.
Andreja Kulunčić
“Nama: 1908 employees, 15 department stores, 2000“, intervention at various city-lights locations in the
Zagreb city center, “What, How & for Whom, on the occasion of the 152nd anniversary of the Communist
Manifesto“, Zagreb, 2000
*Nama – (Peoples Magazine) was the strongest Yugoslav chain of department stores that ended in bankruptcy
in late 1990’s. The project has been the result of artist’s several months of dialogue with Nama workers’ union.
113