Pavilion Magazine

PAVILION
contemporary art & culture magazine #12
BEING HERE. MAPPING THE CONTEMPORARY.
READER OF BUCHAREST BIENNALE 3.
VOL. 2: DOCUMENTED BB3
PAVILION #12 VOL. 2
BEING HERE. MAPPING THE CONTEMPORARY.
READER OF BUCHAREST BIENNALE 3 | 23 MAY - 21 JUNE 2008
VOL. 1: TEXT BOOK | VOL.2 DOCUMENTED BB3
www.pavilionmagazine.org / www.bucharestbiennale.org
BUCHAREST BIENNALE 3
Curators: Jan-Erik Lundström & Johan Sjöström
Participants: Kristoffer Ardeña, Lauri Astala, Milena Bonilla, Bureau DʼÉtudes, Renaud Auguste-Dormeuil,
Lukas Einsele, Buckminster Fuller, Atlas Linguarum Europae, Eduard Freudmann & Can Gülcü & Lorenz
Aggermann, Lucia Ganieva, Frances Goodman, hackitectura.net, Mona Hatoum, Brian Holmes, Ashley Hunt,
Karlo-Andrei Ibarra, Johan Jarnestad, Emma Kay, Maria Lantz, Cezar Lăzărescu, Philippe Rekacewicz/Le
Monde Diplomatique, Dinu Li, Armin Linke, Mikael Lundberg, Bertien van Manen, Adrian Matei, Christina
McPhee, Randa Mirza, Oliver Musovik, Karina Nimmerfall, Josh On, Yoko Ono, Lia Perjovschi, Arno Peters,
Sabine Réthoré, Arjen Van Susteren, Jan Svenungsson, Adriana Varejão.
Directors: Răzvan Ion & Eugen Rădescu
Assistant Curator: Felix Vogel
Design: Håkan Gustafson
Assistants of the Directors: Vlad Panait & Davina Bye
Educational Program & Parallel Events Coordinator: Andreea Grigore
Installation Team Coordinator: Alexandru Stamo-Bugnariu
Volunteers: George Călugăru, Andrei Crăciun, Mihaela Iacob, Ioana Iliescu, Roxana Iordache, Radu
Lesevschi, Ioana Niţu, Soline Pillet, Adinda Putri, Raluca Pop, Silvia Vasilescu, Elisa Tosoni.
PAVILION
Editors: Răzvan Ion & Eugen Rădescu
Advisory Board: Dan Perjovschi, Marina Gržinić, Lia Perjovschi, Dana Altman, Johan Sjöström, Felix Vogel,
Alexandra Jivan.
Contributors: Jan-Erik Lundström, Johan Sjöström, Anne Alexander, Irina Aristarkhova, Marina Gržinić,
Alexandra Jidvan, Brian Holmes, Cosmin Marian, Achille Mbembe, Gunalan Nadarajan, Sina Najafi, Gunnar
Olsson, Kristin Scheucher
Photo: Răzvan Ion, Jan-Erik Lundström, Johan Sjöström, Eugen Rădescu
Translations: Radu Pavel Gheo
Web: Alexandru Enăchioaie
PAVILION is the producer of BUCHAREST BIENNALE
www.bucharestbiennale.org
Published by: Artphoto Asc.
Chairman: Eugen Rădescu
Email: [email protected]
Phone/Fax: +4 031 103 4131
Postal Address: P.O. Box 26-0390, Bucharest, Romania
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® PAVILION & BUCHAREST BIENNALE are a registered marks of Artphoto asc.
© 2000-2008 PAVILION & the authors. All rights rezerved in all countries.
No part of this publication may be reproduced or used in any form without prior written permission from the editor. The view
expressed in the magazine are not necessarily those of the publishers.
This publication is printed with the support of
[1]
Proudly sponsored by:
EXTENT
PARTICIPANTS
AND VENUES OF
4 Museum of Geology
6 Lia Perjovschi
10 Dinu Li
14 Christina McPhee
18 Mikael Lundberg
22 Lauri Astala
26 hackitectura.net
30 Pavilion Unicredit
32
36
40
44
48
52
56
60
64
66
Karina Nimmerfall
Cezar L\z\rescu
Mona Hatoum
Yoko Ono
Frances Goodman
Oliver Musovik
Arjen Van Susteren
Josh On
Buckminster Fuller
Kristoffer Ardeña
70 TC
72 Philippe Rekacewicz/Le Monde
Diplomatique
76 Bertien van Manen
80 Adriana Varejão
84 Karlo-Andrei Ibarra
86 Ashley Hunt
[2]
BUCHAREST BIENALE 3
90 Simeza
92 Maria Lantz
96 Milena Bonilla
100 Arno Peters
102 Bureau D’Études
106 Sabine Réthoré
110 Lukas Einsele
114 Adrian Matei
118 Brian Holmes
122 Emma Kay
126 Orizont
128 Renaud Auguste-Dormeuil
132 Atlas Linguarum Europae
136 Eduard Freudmann & Can Gülcü &
Lorenz Aggermann
140 Lucia Ganieva
144 Johan Jarnestad
146 Armin Linke
150 Randa Mirza
154 Jan Svenungsson
158 Biographies/Biografii
168 Parallel events/projects of Bucharest
Biennale 3
[3]
Museum of Geology
Muzeul de Geologie
Sos.
Kiseleff nr.2
,
Set up in the historical building of the
Romanian Geological Institute (1906), the
National Geological Museum was opened
for public in 1990. The interesting aspects
of this space range from both, the perspective of the originality of the collections
setting and from the perspective of the
public that enters the museum and the
historical-emotional charged atmosphere.
Storing a patrimony of over 80 000 samples of minerals, rocks and fossils, the
museum is organized as a book, illustrating the main domains of geology.
Carol the Ist, prince of German origin
brought to rule Romania through the decision of the Parliament in 1866, is considered founder of modern Romania, is also
the founder of the Geological Museum.
The regulation signed by the monarch
foresaw: “mineral and rock collections of
our country will be organized, which, with
the approval of the director, will be visited
and consulted by the public”.
The current building, finished in 1908, following the project of the famous architect
Victor Stefanescu, in a neo-brancovenesc
style, was declared an architectonical
monument. It is situated on the main
artery of Bucharest, Sos. Kiseleff nr. 2,
continuing itself in Victoriei Boulevard,
which is today the major boulevard of
Romania‘s capital city.
The boulevard on which the National
Geological Museum is located, is the
area for promenades and relaxation of
Bucharest, continuing itself in Victoriei
Boulevard, shopping area, representative
for the radical capitalism that modified the
aspect of Bucharest.
[4]
Amenajat în clădirea istorică a
Institutului Geologic al României (1906),
Muzeul Naţional de Geologie a fost
deschis publicului în anul 1990.
Spaţiul este interesant din perspectiva unicităţii asamblării colecţiei, a
publicului care trece pragul muzeului, dar
şi din perspectiva incarcăturii istoricoemo
ionale.
Depozitarul unui patrimoniu de
peste 80.000 de eşantioane de minerale,
roci şi fosile, muzeul este organizat ca o
carte, ce ilustrează domeniile principale
ale geologiei.
Carol I, principe de origine germană adus la putere în România prin
decizia Parlamentului la 1866, considerat
fondatorul României moderne, este şi
fondatorul Muzeului de Geologie.
Regulamentul semnat de monarh
prevedea: "se vor alcătui colec
iuni de
roci şi minerale din ţară care, cu învoirea
directorului vor putea fi vizitate şi consultate de public".
Imobilul actual, terminat în anul
1908, după proiectul renumitului arhitect
Victor Ştefănescu, într-un stil neobrancovenesc, a fost declarat monument arhitectonic. Muzeul de Geologie este situat
pe artera principală a Bucureştiului, Sos.
Kiseleff nr. 2 prelungită în Calea Victoriei,
astăzi axă principală a Capitalei
României.
oseaua pe care se află Muzeul
de Geologie este locul de plimbare şi
loasir al Bucureştiului, fiind prelungită în
Calea Victoriei, loc de shopping şi exponentă a capitalismului radical ce a modificat faţa Bucureştiului.
[5]
Lia Perjovschi
Globe Endless Collection, 1990 - today
Globuri Colectie
Nelimitată, 1990 - astăzi
,
Over fifteen hundred objects, in the shape of,
or imprinted with , the image of the planet.
From a knowledge tool to a minimized object.
(L.P.)
Peste 1500 de obiecte, în formă sau imprimate
cu imaginea planetei. De la un instrument de
cunoaștere la un obiect minimizat. (L.P.)
Lia Perjovschi, Globe Collection, installation of different objects imprinted with globes, dimensions variable, 1990-today. Courtesy the artist.
Photo: Alexandra Mihalcea.
[6]
[7]
Lia Perjovschi
Lia Perjovschi, Globe Collection, installation of different objects imprinted with globes, dimensions variable, 1990-today. Courtesy the artist.
Photo: Alexandra Mihalcea.
[8]
[9]
Dinu Li
The Mother of All Journeys
Mama călătoriilor
The Mother of All Journeys by Dinu Li, takes
itʼs inspiration from the memories of the artistʼs
own mother. Originally told as bed-time stories, his motherʼs memories have since
become Liʼs memories. In 2001, Li worked in
collaboration with her, using each otherʼs recollections as starting points. Embarking on
many journeys together, they have attempted
to exact the sites of her history. Comparing the
actual with figments of their imagination.
Liʼs colour photographs teases out fragmented
moments in time, charting rural traditions in a
1920ʼs China and of communist ideologies
during the late 1940ʼs. Spanning two decades
from the mid 50ʼs, Li turns his attention to a
Hong Kong, morphing from fishing villages into
the beginnings of an urban metropolis. And
finally, Li focuses on Britain, from a family
resettlement in the 70ʼs era of strikes and deindustrialisation, through to the start of the millennium, of multiculturalism and globalisation.
(DL)
The Mother of All Journeys („Mama tuturor
c\l\toriilor”) de Dinu Li este o lucrare inspirat\
de amintirile personale ale mamei artistului.
Amintirile mamei sale, care erau ini]ial ni[te
pove[ti spuse artistului înainte de culcare, au
devenit de atunci amintirile lui Li. În anul 2001
Li a lucrat în colaborare cu ea, folosindu-se
reciproc unul de amintirile celuilalt ca puncte
de pornire. Cei doi au f\cut o mul]ime de
c\l\torii împreun\, încercînd s\ g\seasc\
locurile exacte ale relat\rilor ei, [i au comparat
realitatea actual\ cu închipuirile imagina]iei lor.
Fotografiile color ale lui Li reu[esc s\ smulg\
momente disparate ale vremii, cartografiind
tradi]iile rurale din China anilor 1920 [i din cea
a ideologiilor comuniste a anilor 1940. Apoi Li
î[i îndreapt\ aten]ia asupra Hong Kong-ului,
unde acoper\ o perioad\ de dou\ decenii,
începînd de la mijlocul anilor 1950, [i ilustreaz\ transformarea satelor de pescari în
începuturile acelei metropole urbane. Într-un
final Li î[i îndreapt\ aten]ia spre Britania,
pornind de la sosirea [i integrarea în acel loc a
unei familii în anii 1970, epoc\ a grevelor [i a
dez-industrializ\rii, [i ajungînd pîn\ la
începutul mileniului, în anii multiculturalismului
[i ai globaliz\rii. (D.L.)
Dinu Li, The mother of all journeys, slide projection installation, dimensions variable, 2007.
Courtesy the artist.
[10]
[11]
Dinu Li
Dinu Li, The mother of all journeys, slide projection installation, dimensions variable, 2007.
Courtesy the artist.
[12]
[13]
Christina McPhee
Carrizo Topologies
Topologiile Carizzo
Carrizo Topologies concerns a sustained
encounter with Carrizo Plain, where the most
prominent seismic feature in California, the
San Andreas Fault, is visible northwest of Los
Angeles. I went to Carrizo to perform a healing, through an experiment of duration, turning
on a spatial analogy: traumatized synapses in
the brain are to a performance of mappings, as
seismicity is to the generation (by humans or
nature) of geomorphic data. Displacing scientific visualization into new registers, seismic
data score the ʻscarringʼ of neural pathways as
a topology. Video animation and large format
photomontage store traces of field drawings,
remote performance, landscape photography,
geomorphologic maps of post-tremor surface
activity, and graphs of seismic activity at depth
from online geophysical research sites. The
images assay a cybernetic terrain of seismic
memory. (C.M.)
http://christinamcphee.net
Topologiile Carrizo au ca subiect un proiect
prelungit desf\[urat în cîmpia Carizzo, locul
unde poate fi v\zut\ cea mai remarcabil\ caracteristic\ seismic\ din California, Falia San
Andreas, plasat\ la nord-vest de Los Angeles.
Am mers la Carizzo pentru a realiza o vindecare prin intermediul unui experiment de
durat\, fundamentat pe o analogie spa]ial\:
sinapsele traumatizate ale creierului reprezint\
pentru un performance de tip cartografic ceea
ce reprezint\ seismicitatea pentru producerea
(de c\tre oameni sau de c\tre natur\) a unor
informa]ii geomorfice. Prin transferul vizualiz\rii [tiin]ifice în registre diferite, datele seismice înregistreaz\ „r\nirea” traseelor neurale
într-o form\ topologic\. Anima]ia video [i
fotomontajul în format mare adun\ laolalt\
urme ale desenelor de pe teren, scene de performance la distan]\, fotografie peisagistic\,
h\r]i geomorfologice ale activit\]ii post-trepida]ie de la suprafa]\ [i grafice cu activitatea
seismic\ din adîncuri, preluate de pe site-urile
de cercetare geografic\ online. Imaginile
supun analizei un teritoriu cibernetic al memoriei seismice.(C.M.)
http://christinamcphee.net
Christina McPhee, Carrizoprime, 2006, HD video original / SD downsample to PAL, 13'.
Courtesy the artist.
[14]
[15]
Christina McPhee
Christina McPhee, Aftershock Eventcloud, 2005-2008, chromogenic print / lightjet, 223 x 121 cm.
Courtesy the artist.
[16]
Christina McPhee, Slip City, 2005-2008, chromogenic print / lightjet, 223 x 121 cm.
Courtesy the artist.
[17]
Mikael Lundberg
Lifeline, 2003 - 2004
Linia vietii
,
During the period 2002-07-22 – 2003-12-12
Mikael Lundberg logged his position with a
GPS receiver, which gave him the information
of longitude, latitude, scale, time, date and
speed.
-
Length of project: 506 days
Logged days: 304 days
The GPS logged 1 time / 10 sec.
Logged positions: 313 627
Medium speed: 26.6 km/hour
Covered length: 38 920 km
The raw material of the logged GPS data is
then converted into a map, where the means
of representation become critical for our
understanding and interpretation. A map can
never mirror reality since its producers priorities, choice of perspective and scale govern
the information conveyed by it.
It does not seem far-fetched to see Lundbergʼs
investigation as a self-portrait of a year of his
life: Through his movements a personal map
and line of his life is drawn, a Lifeline.
(Shortened version of a text by Pia
Kristoffersson)
[18]
În perioada cuprins\ între 22 iulie 2002 [i 12
decembrie 2007 Mikael Lundberg [i-a înregistrat pozi]ia geografic\, folosindu-se de un sistem de tip GPS, care i-a furnizat informa]ii
legate de longitudine, latitudine, scal\,
moment temporal, dat\ [i vitez\.
- durata proiectului: 506 zile
- perioad\ de cuplare: 304 zile
- ritmicitatea de cuplare pe GPS: o dat\ / 10
secunde
- pozi]ii geografice pe parcursul cuplajului:
313.627
- viteza medie: 26,6 km / or\
- distan]a acoperit\: 38.920 km
Materialul brut rezultat din datele ob]inute prin
GPS este ulterior convertit într-o hart\, în care
mijloacele de reprezentare au un rol fundamental pentru în]elegerea [i interpretarea
acestor date. O hart\ nu poate reflecta niciodat\ realitatea, deoarece informa]iile transmise de ea sînt influen]ate în mod decisiv de
priorit\]ile creatorilor ei, de perspectiva selectat\ [i de scala utilizat\.
Nu exager\m deloc dac\ vedem în studiul lui
Lundberg un autoportret al unui an din via]a
sa: prin intermediul deplas\rilor acestuia, s-a
ajuns la trasarea unei h\r]i personale [i a unei
linii urmate în via]\, o linie a vie]ii.
(Versiune prescurtat\ a unui text de Pia
Kristoffersson)
Mikael Lundberg, Lifeline, 2003 - 2004, 80 min DVD, Book, 1 page / day.
Courtesy the artist.
[19]
Mikael Lundberg
Mikael Lundberg, Lifeline, 2003 - 2004, 80 min DVD, Book, 1 page / day.
Courtesy the artist.
[20]
[21]
Lauri Astala
Rome dérive
Provenienta
Romei
,
Urban space is on a general level a place for
arrivals and departures, a flow of non-returnable moments. The notion of the eternal city all
too easily creates an image of a static, even
massive and heavy, permanent place. In this
work Rome appears light and unattainable,
changing and amorphous. It is a city passing
by and streaming around you, its fixed points
forever growing dim. (L.A.)
La un nivel general, spa]iul urban este un loc
al sosirilor [i plec\rilor, un flux de momente
nereturnabile. Conceptul de ora[ etern
creeaz\ mult prea u[or imaginea unui loc permanent [i static, ba chiar masiv [i greoi. În
aceast\ lucrare Roma apare ca un ora[ intangibil [i u[or, proteic [i amorf. E un ora[ cu care
te întîlne[ti, un ora[ care te înv\luie, în timp ce
punctele lui fixe se estompeaz\ permanent.
(L.A.)
Lauri Astala, Rome dérive I, 2006, silent
installation version: hard drive (DV/H.264), 2’05”. Courtesy the artist.
[22]
[23]
Lauri Astala
Lauri Astala, Rome dérive I, 2006, silent
installation version: hard drive (DV/H.264), 2’05”. Courtesy the artist.
[24]
[25]
hackitectura.net
hackitectura.net is a group of architects and
programmers developing projects and theoretical research in the intersecting field of space,
electronic flows and social networks. hackitectura.net stresses the use of real time communication, free software, collaborative work and
the emancipatory use of technologies.
Their work has dealt with the creation of connected, participatory public spaces and infrastructures, including projects such as
Indymedia Estrecho (2003-present; in collaboration with a wide network of social movements in Southern Spain and Northern Africa),
La Multitud Conectada (Huelva 2003), Fadaiat
(a transborder medialab and event between
Tarifa and Tangier, 2004 & 2005), Wikiplaza Plaza de las Libertades (Sevilla, 2005)
Geografías Emergentes (Extremadura, 2007)
and GISS (Global Independent Stream
Support in collaboration with a wide network of
free software activists).
[26]
hackitectura.net este un grup de arhitec]i [i
programatori ce elaboreaz\ proiecte [i studii
teoretice într-o zona de interes în care se intersecteaz\ spa]iul, fluxurile electronice [i re]elele
sociale. hackitectura.net pune accent pe utilizarea comunic\rii în timp real, pe gratuitatea
programelor informatice (free software), pe
munca în echip\ [i pe utilizarea tehnologiilor
ca mijloc de emancipare.
Activitatea lor este legat\ de crearea unor
spa]ii [i infrastructuri publice conectate, de tip
participativ, printre care se num\r\ proiecte ca
Indymedia Estrecho (2003-prezent, în colaborare cu o vast\ re]ea de grup\ri sociale din
sudul Spaniei [i din Africa de Nord), La
Multitud Conectada (Huelva, 2003), Fadaiat
(un laborator media transfrontalier [i o manifestare comun\, desf\[urat\ între Tarifa [i
Tanger – 2004-2005), Wikiplaza - Plaza de las
Libertades (Sevilla, 2005) Geografías
Emergentes (Extremadura, 2007) [i GISS
(Global Independent Stream Support, în
colaborare cu o ampl\ re]ea de sus]in\tori ai
gratuit\]ii programelor informatice).
hackitectura.net, tactical cartography of the strait of gibraltar, online project.
Courtesy of the artist.
hackitectura.net
hackitectura.net
[27]
hackitectura.net, tactical cartography of the strait of gibraltar, online project.
Courtesy of the artist.
hackitectura.net
[28]
hackitectura.net, fadaiat. Courtesy of the artist.
[29]
PAVILION UNICREDIT
Centrul pentru cultură si
artă contemporană
,
Center for Contemporary Art & Culture
Sos.
Nicolae Titulescu nr. 1
,
[30]
Most of the 140 million inhabitants of Russia
live in communist block of flats, in apartments
they call hruschiovi (“hruschiovs”), named
after the former communist leader from the
ʼ60s, the period when they were built. But the
initiator of the project was actually Stalin. He
imagined them and he also turn the project
into reality. As a country dominated by Russia
for 45 years, Romania may pride itself on the
same type of habitat. Hruschiovi have some
small kitchenettes, but at least they have them,
and this was a big step forward, as compared
to the so-called communalki. Kommunalki had
common kitchens, common bathrooms and,
sometimes, common bedrooms. The idea of
the New Man (or “New Soviet Man”), who has
nothing to hide, went into the background. The
comfort becomes now the major instrument of
the propaganda.
PAVILION UNICREDIT, the center of contemporary art and culture, is located in Victoria
Square, being placed at the ground floor of
such a building. The aforementioned space
became a banking center in 1993 and it has
stayed like this for the last 15 years. The actual building of the block started in the years of
the communist regime and it was concluded
five years after the fall of the communism. The
hruschiovi from the center of Bucharest have
witnessed the changes of a Stalinist society
into a capitalist society, with strong social and
political marks. BB3 uses this space for the
implicit messages it conveys, for its location
(right across the center of the executive power
– the Romanian Government building) and,
moreover, for its history, so easily forgotten. It
is a space for the knowledge and interest in
society, city and community.
PAVILION UNICREDIT is a work-in-progress
independent space (with its official opening
scheduled for October 2008), a space for the
production and research in the fields of audiovisual, discursive and performative. It is a
space of the critical thinking, and it promotes
an artistic perspective implying the social and
political involvement of the art and of the cultural institutions.
Nevertheless, the basic function of the space
will remain the concretisation.
Majoritatea celor 140 de milioane de locuitori
ai Rusiei tr\iesc `n blocuri comuniste, `n
apartamente pe care le numesc "Hrusciovchi",
dup\ numele fostului lider comunist `n vremea
c\ruia au fost construite, `n anii '60. Totul a
pornit `ns\ de la Stalin. El le-a g`ndit si le-a pus
`n practic\. }ar\ dominat\ timp de 45 de ani de
c\tre Rusia, Rom=nia se poate m`ndri cu
acela[i timp de habitat. "Hrusciovchi" au ni[te
buc\t\rii minuscule, ceea ce reprezint\ un
mare pas `nainte fata de a[a-numitele "kommunalki" (acestea aveau buc\t\riile, b\ile [i
uneori chiar [i dormitoarele la comun). Ideea
omului nou, care nu are nimic de ascuns, a trecut in plan secund. Ast\zi, confortul devine
arma principal\ a propagandei.
A[ezat `n Pia]a Victoriei, PAVILION UNICREDIT, centrul de art\ [i cultur\ contemporan\, se afl\ la parterul unui astfel de bloc,
spa]iu devenit sediu de banc\ `n 1993, [i
r\mas la fel timp de 15 ani. Construc]ia blocului a `nceput `n timpul regimului comunist [i a
fost finalizat\ la 5 ani dup\ c\derea acestuia.
"Hrusciovchi" din centrul Bucurestilor este
martorul transform\rilor unei societ\]i staliniste
c\tre o societate captalist\ puternic marcat\
politic [i social. BB3 foloseste acest spa]iu
pentru mesajele sale, pentru pozi]ionare (vizavi de cl\direa puterii executive - Guvernului
Rom=niei) c`t [i pentru istoria sa, brusc uitat\.
Un spa]iu f\r\ o istorie special\, al istoriei
`ntrerupte, al `nt`rzierilor revolu]ionare. Un
spa]iu al cunoa[terii [i al interesului `n societate, ora[ [i comunitate.
PAVILION UNICREDIT este un spa]iu independent work-in-progress (ce va fi deschis oficial in octombrie 2008), un spa]iu de produc]ie
[i cercetare a vizualului, a discursivului [i a
performativului. Este un spa]iu al g`ndirii critice
[i care promoveaz\ o `n]elegere implicat\
socio-politc a artei [i a institu]iilor culturale.
Func]ia vital\ a spa]iul va ram`ne, `ns\, concretizarea.
[31]
Karina Nimmerfall
Cinematic Maps
Hărti
, cinematice
In relating to architectural space, as well as
strategies for their representation in Hollywood
level productions, Cinematic Maps depicts
researched images based on the US hit TV
drama Law and Order: a show filmed with New
York locations and alledgedly precise addresses (instead of establishing shots) edited into
the plot. Starting from these inserts, the project
documents the actual real locations (mostly
“in-between” or “non spaces”) using the formal
aesthetics of an establishing shot. In combination with the texts – as they appear on the
show – the project exists as a form of documentary, not one whose aim is to portray a
supposed “truth” in reality, but instead a work
that intends to highlight the possibilities of a
fictional space, an area each day claimed to
be almost more real than reality itself. (K.N.)
F\cînd conexiunea cu spa]iul arhitectural, dar
[i cu strategiile utilizate pentru reprezentarea
lor în produc]iile de nivel hollywoodian,
Cinematic Maps („H\rile cinematice”) prezint\
un studiu în imagini bazat pe serialul american
de mare succes Law and Order („Lege [i
ordine”), un spectacol de televiziune filmat în
diverse locuri din New York [i despre care se
afirm\ c\ are inserate în subiect adrese exacte
(în loc de decoruri). Pornind de la respectivele
inserturi, proiectul prezint\ locurile reale de filmare (majoritatea fiind spa]ii intermediare sau
non-spa]ii), utilizînd estetica clasic\ specific\
unui decor. Combinat cu textele – a[a cum
apar ele în serial –, proiectul apare ca un documentar, îns\ nu unul al c\rui ]el e acela de a
ilustra un presupus „adev\r” al realit\]ii, ci o
lucrare care urm\re[te s\ eviden]ieze posibilit\]ile oferite de spa]iul fic]ional, un teritoriu
ce se pretinde a fi tot mai mult unul chiar mai
real decît realitatea îns\[i. (K.N.)
Karina Nimmerfall, Cinematic Maps, series of photography, 2004-2006, 35 x 55 cm.
Courtesy the artist.
[32]
[33]
Karina Nimmerfall
Karina Nimmerfall, Cinematic Maps, series of photography, 2004-2006, 35 x 55 cm.
Courtesy the artist.
[34]
Karina Nimmerfall, Cinematic Maps, series of photography, 2004-2006, 35 x 55 cm.
Courtesy the artist.Installation shot courtesy of BB3.
[35]
Cezar Lăzărescu
Walk on the Grass!
Călcati
, pe iarbă!
The project “WALK ON THE GRASS!” proposes the discovery, in city Bucharest, of certain
grassy spaces where people can relax in the
neighborhood of some great institutions. What
is emphasized is the issue of a false concern
for nature as expressed through the wellknown expression “DO NOT WALK ON THE
GRASS!” and of its psychological influence.
The project argues for the promotion of a culture of relaxation in the centre of town, to be
strictly related to a culture of cleanliness expressed by means of the clean place you
leave behind you. (C.L.)
Proiectul „CĂLCAŢI PE IARBĂ!” propune
descoperirea, în orasul Bucureşti, a unor spaţii
cu iarbă pe care oamenii pot să se recreeze în
vecinătatea unor mari instituţii. Se ridică problema falsei griji faţă de natură prin deja celebra „NU CĂLCAŢI PE IARBĂ!” şi a influenţei
sale mentale. Proiectul susţine promovarea
unei culturi a recreerii în inima oraşului strâns
legate de o cultură a curăţeniei, prin locul
curat care-l laşi după tine.(C.L.)
Cezar Lăzărescu, Walk on the Grass!, intervention in public space, metal boards manually
imprinted, 2008, 25 x 35 cm. Courtesy the artist.
Photo: Alexandra Mihalcea
[36]
[37]
Cezar Lăzărescu
Cezar Lăzărescu, Walk on the Grass!, intervention in public space, metal boards manually
imprinted, 2008, 25 x 35 cm. Courtesy the artist.
Photo: Alexandra Mihalcea
[38]
[39]
Mona Hatoum
Bukhara (maroon)
Bukhara (maron)
Hatoumʼs work, Bukhara (maroon), 2007 is a
Persian carpet similar to one that furnished her
childhood home. The carpet looks as if it is disintegrating as patches of the weave appear to
have been moth-eaten or somehow worn-out
to form a recessed world map. The world is
depicted using the ʻPetersʼ projection, an egalitarian representation of landmass in true proportion as opposed to the more usual visualisation of the map from a dominant northerly
perspective. (Kristy )
Lucrarea lui Hatoum, Bukhara (maroon) din
2007 este un covor persian identic cu cel pe
care îl avea în copil\rie la ea acas\. Covorul
arat\ ca [i cum s-ar dezintegra, ca [i cum
buc\]i întregi din ]es\tur\ ar fi fost mîncate de
molii sau roase într-un fel sau altul, formînd
astfel pe fundal o hart\ a lumii. Lumea este
reprezentat\ cu ajutorul proiec]iei „Peters”, o
reprezentare egalitarist\ a masei planetare cu
propor]iile sale reale, în opozi]ie cu modelul
vizual mult mai familiar, cel al h\r]ii planetei
prezentate dintr-o perspectiv\ predominant
nordic\. (F.V.)
Mona Hatoum, Bukhara (maroon), 2008, carpet, 148 x 261 cm.
Photo: Alexandra Mihalcea
[40]
[41]
Mona Hatoum
Mona Hatoum, Bukhara (maroon), 2008, carpet, 148 x 261 cm.
Courtesy the artist.
Photo: Alexandra Mihalcea
[42]
[43]
Yoko Ono
Film No. 5 Smile
Film nr. 5 Zîmbet
Film No.5 (smile) develops the format of Ono's
first two Fluxus films (no.42). Film No.5
records the face of John Lennon for fifty-one
minutes, in two single continuous shots; yet it
differs from the earlier Fluxus films in several
important respects. The high-speed camera
used is slower, filming at 333 frames per second instead of the 2,000 frames per second of
Maciunaʼs scientific camera; the film is in
colour rather than black and white; and it is
shot outdoors instead of indoors, all of which
suggests the everyday rather than the
abstract. In a statement Ono described Film
No.5 and the accompanying film Two Virgins,
made the same afternoon in the their English
garden, as being made “in the spirit of home
movie we were mainly concerned about the
vibrations of the films send out—the kind that
were between us.”
Film No.5 could be described as a distillation
of Onoʼs earlier “ultimate” goal, stated in 1967,
to “make a film which includes a smiling face
snap of every single human being in the
world”. Her statement had a political edge:
“We can also arrange it with a television network so that whenever you want to see faces
of a particular location in the world, all you
have to do is press a button and there it is.
This way, if Johnson wants to see what sort of
people he killed in Vietnam that day, he only
has to turn the channel.”(This is a shorten version of the text written by Chrissie Iles, published Yes Yoko Ono, New York: Japan
Society and Harry N. Abrams, 2000)
[44]
Filmul nr. 5 („Zîmbet”) dezvolt\ formatul din
primele dou\ filme Fluxus ale lui Ono (nr. 42).
În Filmul nr. 5 chipul lui John Lennon este filmat vreme de cincizeci [i unu de minute, în
doar dou\ cadre continue. Totu[i el se
deosebe[te de filmele Fluxus mai vechi prin
cîteva aspecte importante. Aparatul de filmat
de mare vitez\ utilizat aici este mai lent [i
înregistreaz\ doar 333 de fotograme pe
secund\, în loc de 2.000 de fotograme pe
secund\, ca în cazul aparatului de filmat
[tiin]ific al lui Maciunas. Apoi filmul este color,
nu alb-negru, [i este filmat în exterior, nu în
interior, iar toate aceste elemente sugereaz\
mai degrab\ cotidianul decît abstractul. Într-o
comunicare Ono a spus despre Filmul nr. 5 [i
despre Dou\ virgine, realizat în aceea[i dup\amiaz\ în gr\dina lor englezeasc\, c\ sînt
f\cute „în spiritul peliculelor de familie. Am fost
interesa]i în primul rînd de vibra]iile pe care le
transmit filmele – vibra]ii de genul celor care
exist\ între noi”.
Filmul nr. 5 poate fi descris drept un fel de distilare a scopului „fundamental” enun]at anterior, în 1967, de Ono – acela de „a realiza un
film care s\ includ\ un instantaneu cu chipul
zîmbitor al fiec\rei fiin]e umane de pe planet\”.
Declara]ia ei are [i o conota]ie politic\: “De
asemenea, am putea s\ colabor\m cu un
canal de televiziune, astfel încît ori de cîte ori
ave]i chef s\ vede]i chipuri dintr-un loc anume
de pe glob, s\ nu trebuiasc\ decît s\ ap\sa]i
pe un buton [i s\ le vede]i instantaneu. Astfel,
în caz c\ Johnson vrea s\ vad\ ce fel de
oameni a ucis în Vietnam la vremea aceea, e
de ajuns s\ comute pe acel canal.” (acesta
este o versiune prescurtat\ a tectului scris de
Chrissie Iles, pulicat ca “Yes Yoko Ono”, New
York: Japan Society and Harry N. Abrams,
2000).
Yoko Ono, Film No. 5 Smile, 52', color, 16 mm film, 1968. © Yoko Ono.
Courtesy of the artist and Lenono Archives.
[45]
Yoko Ono
Yoko Ono, Film No. 5 Smile, 52', color, 16 mm film, 1968. © Yoko Ono.
Courtesy of the artist and Lenono Archives.
[46]
[47]
Frances Goodman
You
Tu
You and You II (2003) are two large dark circular photographic portraits of a man and
woman, accompanied by audio monologues.
As you stare into the dark orb of the portrait,
you lose yourself in a poetic string of naked
confessions: ʻYou make me believe I am lost
without you. You make me greedy for your
attention. You make me want to consume your
identity. You make my heart sink deeper into
the abyss every time I go to bed alone…ʼ
The female lover details the stream of obsessive thoughts that grip her being in a state of
pathological love. The seductiveness of the
voice and the dark sexiness of the image invite
you to feel the weak-kneed surrender of
desire. But at the same time the words awaken logic and disturbing phrases provoke an
interrogation of powerlessness, puncturing the
spell of romance. (Alex Dodd)
You [i You II („Tu” [i „Tu II”) sînt dou\ masive
portrete circulare [i întunecate ce reprezint\
un b\rbat [i o femeie, înso]ite de monologuri
audio. Privitorul fixeaz\ conturul circular [i
întunecat al portretului [i, concomitent, se las\
furat de curgerea poetic\ a confesiunilor
crude: „Tu m\ faci s\ cred c\ f\r\ tine sînt pierdut(\). Tu m\ faci s\ tînjesc dup\ aten]ia ta. Tu
m\ faci s\-mi doresc s\-]i nimicesc identitatea.
Tu faci ca inima mea s\ se afunde tot mai
adînc în h\u ori de cîte ori m\ vîr în pat singur(\)...”
Femeia îndr\gostit\ disec\ fluxul de gînduri
obsesive care o men]in într-o stare de iubire
patologic\. Vraja seduc\toare a vocii ei [i erotismul întunecat al imaginii invit\ spectatorul s\
simt\ cum voin]a cedeaz\ [i genunchii se
înmoaie în fa]a dorin]ei. În acela[i timp îns\
cuvintele stîrnesc logica, iar propozi]iile
[ocante declan[eaz\ un proces de interoga]ie
asupra lipsei de putere, risipind farmecul
pove[tii de dragoste. (Alex Dodd)
Frances Goodman, you, photograph 70 x 70 cm, audio tracks, walkman, headphone, 2003.
Courtesy of the artist .
[48]
[49]
Frances Goodman
Frances Goodman, you, photograph 70 x 70 cm, audio tracks, walkman, headphone, 2003.
Courtesy of the artist .
[50]
[51]
Oliver Musovik
Flags
Steaguri
Flags as functional objects have specific political significance built on the allegorical meanings of the used colours and symbols. By altering these elements on real national flags and
replacing them with others, widely associated
with the Islam, like the crescent moon or the
green colour, sometimes totally arbitrary, while
sometimes taking into consideration very specific historic or political circumstances of the
nations in question, I am playing on the card of
the growing Islamophobia, and with extreme
exaggeration, hopefully point to its irrationality.
(O.M.)
Ca obiecte func]ionale, drapelele au o semnifica]ie politic\ specific\, cl\dit\ pe în]elesurile
alegorice ale culorilor [i simbolurilor utilizate.
Prin modificarea respectivelor elemente pe
drapele na]ionale autentice [i înlocuirea lor cu
altele, asociate în general cu Islamul, cum ar fi
semiluna sau culoarea verde – înlocuire uneori complet arbitrar\, îns\ alteori determinat\
de anumite circumstan]e foarte concrete, de
ordin istoric sau politic, legate de na]iunea
implicat\ –, încerc s\ atrag aten]ia asupra
fenomenului islamofobiei [i, prin intermediul
exager\rii radicale, sper s\ îi scot în eviden]\
caracterul ira]ional. (O.M.)
Oliver Musovik, Flags, digital sketch, 2008.
Courtesy of the artist .
[52]
[53]
Oliver Musovik
Oliver Musovik, Flags, installation view, 2008.
Courtesy of the artist.
Photo: Alexandra Mihalcea
[54]
[55]
Arjen Van Susteren
Metropolitan World Atlas
Atlas Metropolitan Mondial
The Metropolitan World Atlas enables you to
compare at a glance such statistics as population density, use of the underground, data traffic, average speed on motorways and the
average temperature in July in metropolitan
areas such as Beijing, Lagos, London, Los
Angeles, Rio de Janeiro and Tokyo.
Despite the burgeoning interest in metropolises and global networks, this is the first time
they have been charted along such lines. The
atlas illustrates 101 metropolitan areas using
the same means, ranging from the largest in
terms of population and networks of air and
sea travel and communications to others
whose reputation alone requires that they be
included. (A. v S.)
Metropolitan World Atlas („Atlasul lumii metropolitane”) ne ofer\ posibilitatea s\ compar\m
dintr-o singur\ ochire statistici cum sînt densitatea popula]iei, utilizarea metroului, traficul pe
[osele, viteza medie pe autostr\zi [i
temepratura medie din animite zone metropolitane, cum sînt Beijingul, Lagos, Londra, Los
Angeles, Rio de Janeiro [i Tokyo.
În ciuda gradului de interes tot mai accentuat
pentru re]elele metropolitane [i cele globale,
ele au fost cartografiate aici pentru prima dat\
pe direc]iile de cercetare amintite. Atlasul
prezint\ 101 zone metropolitane, utilizînd acelea[i mijloace, [i porne[te de la cele mai
extinse – ca num\r de popula]ie, re]ele de
transport aerian [i maritim [i re]ele de comunicare –, ca s\ ajung\ pîn\ la cele a c\ror reputa]ie impunea inevitabil includerea lor în
atlas.(A. v S.)
Arjen van Susteren, Metropolitan World Atlas (Tokyo), book, 312 pages, 21 x 16,8 cm, 2004.
Courtesy Arjen van Susteren and 010 publishers, Rotterdam.
[56]
[57]
Arjen Van Susteren
Arjen van Susteren, Metropolitan World Atlas (Crime),
book, 312 pages, 21 x 16,8 cm, 2004.
Courtesy Arjen van Susteren and 010 publishers, Rotterdam.
[58]
Arjen van Susteren, Metropolitan World Atlas (Commuting time),
book, 312 pages, 21 x 16,8 cm, 2004.
Courtesy Arjen van Susteren and 010 publishers, Rotterdam.
[59]
TheyRule.net
TheyRule.net
They Rule aims to provide a glimpse of some
of the relationships of the US ruling class. It
takes as its focus the boards of some of the
most powerful U.S. companies, which share
many of the same directors. Some individuals
sit on 5, 6 or 7 of the top 500 companies. It
allows users to browse through these interlocking directories and run searches on the
boards and companies. A user can save a map
of connections complete with their annotations
and email links to these maps to others. They
Rule is a starting point for research about
these powerful individuals and corporations.(J.O.)
[60]
They Rule („Ei st\pînesc”) urm\re[te s\ ofere
o imagine a cîtorva tipuri de rela]ii existente în
sînul clasei conduc\toare din Statele Unite.
Proiectul se concentreaz\ pe consiliile de
administra]ie ale unora dintre cele mai puternice companii din S.U.A., care au de multe ori
aceea[i membri în structurile lor de conducere.
Unii indivizi sînt membri în conducerea a cîte
5, 6 sau 7 dintre primele 500 de companii ale
]\rii. Utilizatorii pot s\ treac\ în revist\ toate
aceste structuri de conducere interconectate [i
s\ caute nume concrete în interiorul consiliilor
[i al companiilor. Utilizatorul mai poate s\ î[i
salveze o hart\ cu conexiuni, completat\ cu
adnot\rile asociate fiec\reia, sau le poate
expedia [i altor persoane link-uri spre h\r]ile
respective. They Rule este un punct de plecare pentru o analiz\ aprofundat\ a acestor
corpora]ii [i indivizi puternici. (J.O.)
Josh On, TheyRule.net (loaded map: 'People on 5+ boards'), website, ongoing project since 2001. Courtesy the artist.
Josh On
[61]
Josh On, TheyRule.net (loaded map: 'Bush - Clinton - Haliburton'), website, ongoing project since 2001. Courtesy the artist.
Josh On
[62]
Josh On, TheyRule.net (loaded map: 'Two media giants linked'), website, ongoing project.
since 2001. Courtesy the artist.
[63]
Buckminster Fuller
The Dymaxion map of the Earth is a projection
of a global map onto the surface of a polyhedron, which can then be unfolded to a net in
many different ways and flattened to form a
two-dimensional map which retains most of
the relative proportional integrity of the globe
map. It was created by Buckminster Fuller, and
patented by him in 1946, the patent application
showing a projection onto a cuboctahedron.
The 1954 version published by Fuller under
the title The AirOcean World Map used a
slightly modified but mostly regular icosahedron as the base for the projection, and this is
the version most commonly referred to today.
Unlike most other projections, the Dymaxion is
intended purely for representations of the
entire globe. Each face of the polyhedron is a
gnomonic projection, so zooming in on one
such face renders the Dymaxion equivalent to
such a projection.
http://en.wikipedia.org/wiki/Dymaxion_map
[64]
Harta Dymaxion a P\mîntului este o proiec]ie
a h\r]ii globului p\mîntesc pe suprafa]a unui
poliedru, ce poate fi ulterior desf\cut într-o
re]ea în cele mai diverse moduri [i din care se
poate forma o hart\ bidimensional\, ce
p\streaz\ în cea mai mare parte integritatea
propor]ional\ relativ\ a h\r]ii globului. Ea a fost
creat\ de Buckminster Fuller, care a ob]inut
patentul în 1946 cu o aplica]ie în care proiec]ia
era f\cut\ pe un cub octaedru. Varianta publicat\ de Fuller în 1954 sub titlul The AirOcean
World Map („Harta globului Aer-Ocean)
folose[te ca baz\ a proiec]iei h\r]ii un icoasedru u[or modificat, dar în esen]\ regulat,
aceasta fiind [i versiunea la care se face de
obicei referire azi.
Spre deosebire de majoritatea celorlalte
proiec]ii, Dymaxion urm\re[te exclusiv producerea de reprezent\ri ale întregului glob
p\mîntesc. Fiecare fa]et\ a poliedrului constituie o proiec]ie gnomonic\, astfel c\ prin
focalizarea pe una din fa]ete se ob]ine echivalentul Dymaxion al proiec]iei respective.
http://en.wikipedia.org/wiki/Dymaxion_map
Map of the world with an unfolded Fuller projection, also known as Dymaxion Air-Ocean World
map. 1954 final version for an icosahedron, with folding lines. Courtesy Wikipedia.
Dymaxion Air-Ocean World Map
Harta Dymaxion aer-ocean a lumii
[65]
Kristoffer Ardeña
Erased Diary: Rome
Jurnal de călătorie sters:
Roma
,
In Erased Diary in Rome, Ardeña documents
his life in Rome, a city caught up in its past.
The legacy of the events and places,the
months, days and moments become vulnerable to the tension created between the dicotomy of rememberance and forgetfulness. Does
the diary ceases to function as memorabilia
and becomes another secondhand object
deprived of its original purpose? The artist only
leaves us with unrecognizable texts. (K.A.)
În „Jurnalul [ters din Roma” Ardeña î[i prezint\
via]a sa în Roma, un ora[ r\mas prizonier al
trecutului s\u. Mo[tenirea evenimentelor [i a
locurilor, lunile, zilele [i clipele devin vulnerabile în fa]a tensiunii create de dihotomia între
rememorare [i uitare. Oare jurnalul înceteaz\
s\ mai fie un mijloc de rememorare, ca s\
devin\ un nou obiect la mîna a doua, v\duvit
de scopul s\u original? Artistul se mul]ume[te
s\ ne lase în fa]a textelor irecognoscibile.
(K.A.)
Kristoffer Ardeña, Erased Travel Log, 21 x 13 x 1,5 cm, paper bound in black leather, 108
pages, 2006. Courtesy the artist.
[66]
[67]
Kristoffer Ardeña
Kristoffer Ardeña, Erased Travel Log, 21 x 13 x 1,5 cm, paper bound in black leather, 108
pages, 2006. Courtesy the artist.
[68]
[69]
TC
Str. Lipscani 63-65
[70]
TC is surrounded by famous monuments of the
Bucharest, such as Curtea Sticlarilor (“The
Glassblowersʼ Court”), Hanul lui Manuc
(“Manucʼs Inn”), Curtea Domneasc\ (“The
Voivodal Court”) or the National Bank building,
creating altogether a an attractive mediaeval
atmosphere in the vicinity. Close to it one can
find Lipscani Street, the street after which the
entire quarter was named and which, in its turn,
was named after the merchant who used to sell
here the merchandise brought from “Lipsca”
(Leipzig).
Hanul cu Tei (“Linden Inn”) is a small passageway between two central streets from
Bucharest. It houses TC and it is probably the
most famous place from the Romanian capital
city. Its memory is connected with a great commercial tradition, but also with a period of
intense criminal activity, that started once the
city of Bucharest had been forcibly taken over
by the Red Army. The criminal groups have
invaded the city. That was a time when prostitution, black market and bootlegging were the
orders of the day. Hanul cu Tei was positioned
amidst this criminal reality.
Hanul cu Tei was built in 1834 by two merchants and it moved along in the history together with the city. Until the construction of the big
general stores, following the Parisian fashion,
Hanul cu Tei was the most active commercial
center. There are books written about this
place. Today, right here, on a traditionalist
street, among paints, religious and classic
paintings from bygone days, BB3 intervenes
with the contemporary artists, contrasting with
the space.
As a space of the Biennale, TC Art Gallery will
be “a case apart”. Thus, the famous street
reaches to be a revitalized, renewed, enriched
space.
TC este înconjurată de monumente celebre ale
capitalei cum ar fi Curtea Sticlarilor, Hanul lui
Manuc, Curtea Domnească, clădirea Băncii
Naţionale, care imprimă zonei o atmosferă de
ev mediu, atrăgătoare şi se învecinează cu
Lipscani, stradă care dă numele întregului
cartier ce şi-a luat denumirea de la negustorii
care vindeau aici mărfuri aduse de la “Lipsca”
(Leipzig).
"Hanul cu Tei", un mic pasaj aflat între două
străzi în mijlocul Bucurștiului ce gzduiște TC,
este probabil cea mai celebră zonă din
Capitala României. De amintirea lui se leagă –
pe lîngă marea sa tradiţie comercială – și o
perioadă de intensă criminalitate, declanșată
odată cu ocuparea Bucureștiului de către
Armata Roșie. Lumea interlopă a invadat
orașul. A fost epoca în care prostituţia, bursa
neagră, contrabanda făceau legea. “Hanul cu
tei” se găsea în mijlocul acestei realităţi
infracţionale. Ridicat la 1834, de doi negustori,
hanul a traversat istoria orașului. Pînă la ridicarea marilor magazine universale, după moda
Parisului, “Hanul cu tei” a fost vadul comercial
cel mai activ. Despre “Hanul cu tei” s-au scris
cărţi.
Astăzi, aici, pe o stradă tradiţionalistă, între
icoane, vopseluri şi picturi clasice din vremuri
de mult apuse, BB3 intervine cu artişti contemporani care fac notă opusă spaţiului.
TC, ca spaţiu al Bienalei, va fi "aparte". Celebra
stradă devine astfel, un spaţiu revitalizat, reînnoit, adăugat.
[71]
Philippe Rekacewicz/Le Monde Diplomatique
Le Monde Diplomatique Atlas
Atlasul Le Monde Diplomatique
The Le Monde Diplomatique Atlas, published
by the newspaper with the same title and primarily designed by French cartographer/geographer Philippe Rakecewicz,is a collection of maps that focus on geo- and sociopolitical issues. Map titles including: Legal
trade in light weapons, The dirty-money archipelago, World poverty Use of UN right of veto
since the end of the second world war, Oil
routes, The coveted riches of the Democratic
Republic of Congo, The changing shape of
Yugoslavia (1815-1999), Environmental catastrophe and strategic interests in Europeʼs, The
Kurds a people divided, Palestinian territory
fragmented, Indians and guerrillas in Chiapas
and Major drug routes in Latin America.
(P.R./L.M.D.)
Le Monde Diplomatique Atlas, publicat de
revista cu acelasi nume [i realizat `n prim\ faz\
de cartograful francez Philippe Rakecewicz,
este o colec]ie de h\r]i axate pe probleme geo
[i socio-politice. H\r]ile abordeaz\ subiecte
diverse despre evolutiile si tendintele lumii
contemporane, in economie, politica, ideologie, cultura, religie, in domeniul fortelor militare, al mediului inconjurator cu tiluri de tipul
Rute majore ale drogurilor in Amrica latin\,
Forma
schimb\toare
a
Iugoslaviei,
Arhipeleagul banilor murdari etc.(P.R./L.M.D.)
Le Monde Diplomatique Atlas, paperback, 44 pages.
Courtesy Philippe Rekacewicz/Le Monde Diplomatique
[72]
[73]
Philippe Rekacewicz/Le Monde Diplomatique
Le Monde Diplomatique Atlas, paperback, 44 pages.
Courtesy Philippe Rekacewicz/Le Monde Diplomatique
[74]
[75]
Bertien van Manen
Give Me Your Image
Dă-mi imaginea ta
In 2002 I started photographing photographs
in parts of private interiors in Europe.
An interior is a metaphore for the inner being,
showing in an unemphatical way the history,
feelings, ideas and hopes of the inhabitants .
The interior is a cocoon or a shell, that people
build to keep their dreams in.
I find marks of war, suppression, happiness
and sadness over a period of sometimes more
than a hundred years. I find differences in history, atmosphere, religion, culture as well as
correspondence in human ideas about love,
friendship, family, birth and death. World history is somewhere in the backround.
The alterations of political situations, the restlessness caused by the current threats and
changes, war, migration, terrorism but also
consumption, TV, Internet, the speed of life, all
these things make people forget who they are.
And they make them cherish their family-photos. (B. v M.)
În anul 2002 am început s\ realizez fotografii
în unele p\r]i ale unor interioare private din
Europa. Interiorul reprezint\ o metafor\ pentru
sinele interior [i eviden]iaz\ într-un mod
neostentativ istoria, sentimentele, ideile [i
speran]ele locatarilor acestora. Interiorul este
o gogoa[\ sau o cochilie pe care oamenii [i-o
cl\desc ca s\-[i închid\ visele în ea.
Am descoperit urme ale r\zboiului, ale reful\rii,
ale fericirii [i ale triste]ii pe o perioad\ de peste
un secol. Am descoperit diferen]e legate de
istorie, atmosfer\, religie [i cultur\, precum [i
similitudini în concep]iile oamenilor despre
iubire, prietenie, familie, na[tere [i moarte.
Istoria lumii r\mîne cumva pe planul secund.
Degradarea situa]iilor politice, îngrijorarea
provocat\ de amenin]\rile [i schimb\rile
curente, r\zboiul, imigra]ia, terorismul, dar [i
consumismul, televiziunea, internetul [i curgerea accelerat\ a vie]ii – iat\ lucruri care îi fac
pe oameni s\ uite ceea ce sînt. {i lucruri care
îi determin\ s\ î[i pre]uiasc\ fotografiile de
familie. (B. v M.)
Bertien van Manen, Give Me Your Image (Prague), chromogenic color print,
40 x 50 cm, 2002-2005. Courtesy the artist.
[76]
[77]
Bertien van Manen
Bertien van Manen, Give Me Your Image (Rome), chromogenic color print,
40 x 50 cm, 2002-2005. Courtesy the artist.
[78]
Bertien van Manen, Give Me Your Image (Madrid), chromogenic color print,
40 x 50 cm, 2002-2005. Courtesy the artist.
[79]
Adriana Varejão
Contingente
Contingente
Adriana Varejão has always been interested
into creating “historic fictions,“ re-writing it in
such a way that she becomes an agent of history rather than a passive spectator. Her work
evokes a sense of continuous passage, a journey among divergent images, cultures, times
and spaces. It alludes to the notion of a universe in constant expansion and transformation, of an imagery infinitely projected onto “the
other.”
In a certain way her maps are like drawings of
a personal cartography. They donʼt have any
scientific role, but incorporate myths, poetry,
and personal traveling experiences. (Ana
Buarque)
Adriana Varejão a fost mereu interesat\ de
crearea unor „fic]iuni istorice”, de rescrierea
istoriei în a[a fel încît autoarea s\ devin\ un
actant al istoriei [i nu un spectator pasiv.
Opera ei stîrnesc senza]ia unei treceri permanente, a unei c\l\torii printre imagini, culturi,
epoci [i spa]ii divergente. Ea trimite la ideea de
univers în expansiune [i transformare constant\, a unei imagistici proiectate la infinit
asupra „celuilalt”.
Într-un anumit fel, h\r]ile ei sînt ca un fel de
reprezent\ri grafice ale unei cartografii personale. Ele nu au nici o func]ie [tiin]ific\, ci incorporeaz\ mituri, poezie [i experien]e de
c\l\torie personale. (Ana Buarque)
Adriana Varejão, Contingente, photography, 28x40,5 cm, 1998-2000,
Courtesy the artist and Lehmann Maupin gallery, New York.
[80]
[81]
Adriana Varejão
[82]
Adriana Varejão, Contingente Yanomami, photography, 28x40,5 cm, 1998-2000,
Courtesy the artist and Lehmann Maupin gallery, New York.
[83]
Karlo-Andrei Ibarra
Flesh Map
Harta din carne
The flesh map illustrates the continent of
America specifically, because most countries
in Latin America today suffer from the postcolonial condition. This has always contributed
to political, social and above all economic
problems. NAFTA or the North American Free
Trade Agreement is one of the systems that
implement large corporations and whose outcome alter the economic foundations of our
countries, making our continent a totally rotten
one, just like "cannon fodder". I'm interested in
engaging in a reflection on the processes of
identity that are affected by the economic and
social politics implanted by others.
From my perspective, Puerto Rico still has a
colonial political system that makes it a part of
Latin America, but on the other hand is placed
as a part of what is referred to as America, as
in United States of America. The question is:
where do I live? America the country or
America the continent? (K.-A. I.)
Harta c\rnii ilustreaz\ în mod concret continentul american, deoarece majoritatea ]\rilor
din America Latin\ sufer\ ast\zi de maladia
postcolonialismului. E un fapt care a contribuit
permanent la problemele politice, sociale [i
mai ales economice din zon\. NAFTA sau
North American Free Trade Agreement
(Acordul Nord-American de Comer] Liber) este
unul dintre sistemele care sus]in marile corpora]ii [i al c\ror efect afecteaz\ temeliile economice ale ]\rilor noastre, distrugîndu-ne complet continentul [i transformîndu-l în „carne de
tun”. Eu sînt interesat de implicarea într-o
analiz\ a proceselor identitare afectate de
politicile ecomonice [i sociale ce au fost
implantate de al]ii.
Din perspectiva mea, Puerto Rico are în continuare un sistem politic colonial, care face din
el o parte component\ a Americii Latine, dar,
pe de alt\ parte, este amplasat într-o zon\
care este numit\ America, fiind asociat cu
Statele Unite ale Americii. Problema care se
pune este: eu unde locuiesc? În ]ara America
sau în continentul America? (K.-A. I.)
Karlo-Andrei Ibarra, Flesh Map, photography, 100x70 cm, 2007.
Courtesy of the artist.
[84]
[85]
Ashley Hunt
“Prison Maps” trace out the role of the contemporary prison in society, one map asking,
“What is the Prison Industrial Complex?”, and
the other asking, “What is its Context?”
The first map theorizes the relationship
between a range of interests who, in different
ways, profit from a growing prison system,
forming a complex of government and business interests that encourage criminalization,
increased dependency upon prisons, and
thus, growth to the system.
The second suggests an historical shift in
models of governance, from a welfare-based
model to one predicated upon forms of security, replacing the stateʼs social functions with
institutions and practices of force, apprehension and detention.
Claiming to be maps but refusing to offer a
concrete spatial representation, they propose
processes and tendencies that are malleable,
moveable, repeatable and vulnerable. (A. H.)
[86]
“Prison Maps” („H\r]i ale închisorii”) urm\re[te
rolul jucat de închisoarea contemporan\ în
societate. Una din h\r]i lanseaz\ întrebarea
„Ce este complexul industrial al închisorii?”, iar
cea de-a doua propune o alt\ interoga]ie:
„Care este contextul s\u?”
Prima hart\ conceptualizeaz\ tipul de rela]ii
existente între o serie de grupuri de interese
care beneficiaz\ în diverse moduri de dezvoltarea sistemului carceral, formînd o combina]ie complex\ între guverne [i interesele de
afaceri, ce încurajeaz\ incriminarea, spore[te
dependen]a de închisori [i contribuie astfel la
dezvoltarea sistemului.
A doua hart\ sugereaz\ o deplasare istoric\ a
modelelor de guvernare de la un model bazat
pe statul asisten]ial la unul fundamentat pe
forme de securitate, care înlocuie[te func]iile
sociale ale statului cu institu]ii [i practici întemeiate pe constrîngere, team\ [i deten]ie.
De[i sînt prezentate drept h\r]i, ele refuz\ s\
ofere o reprezentare spa]ial\ concret\ [i ne
prezint\ anumite procese [i tendin]e
maleabile, perisabile, repetabile [i vulnerabile.
(A. H.)
Ashley Hunt, Prison Maps, 2003, print, 1500 take away copies, 60 x 45 cm. Courtesy the artist.
Prison Maps
Harta inchisorilor
[87]
Ashley Hunt
Ashley Hunt, Prison Maps, 2003, print, 1500 take away copies, 60 x 45 cm. Courtesy the artist.
88]
[89]
SIMEZA
Bd. Gh. Magheru nr. 20
Simeza and Orizont are two of the most
well-known exhibition spaces for classical art in Bucharest. Situated on the main
boulevard of Bucharest (Gheorghe
Magheru) they enjoy an extraordinary
bypass traffic. The galleries belong to the
Union of Plastic Artists and have been
established in the 1960s, having displayed communist art for many years.
The galleries that have become symbols
for classical art in Romania will be ‘occupied‘ by Bucharest Biennale through the
intervention of contemporary art works,
thus creating a parallel between the
involved art from the 60’s and the
involved art from more recent years - or
to make good for something that have
been missed.
The insertion of spaces that haven’t displayed contemporary art for 50 years
serves the Biennales purposes of transforming Bucharest in a field of artistic
action and remodeling the agitated
speech of generations of Romanian
artists in a coherent and rational dialogue.
Simeza şi Orizont sînt cele mai cunoscute spaţii de expunere ale artei clasice
din Bucureşti. Find plasate pe principalul
bulevard al Bucureştiului (Gheorghe
Magheru) beneficiază de un trafic extraordinar. Galeriile aparţin Uniunii Artiştilor
Platici şi datează din anii '60, fiind populate cu artă de tip comunist pentru foarte
mulţi ani.
Cele două galerii, devenite un simbol al
artei clasice din România, vor fi "ocupate"
de Bucharest Biennale, inserţia lucrărilor
de artă contemporană facînd în acest fel
o paralelă între arta implicată din anii '60
şi arta implicată din anii recenti, încercînd
să recupereze ceea ce a lipsit.
Inserarea în spaţii ce nu au conţinut de
50 ani artă contemporană serveşte scopurilor bienalei de a transforma
Bucureştiul în cîmp de acţiune artistică şi
de a remodela discursul agitat al generaţiilor de artişti români într-un dialog
coerent şi raţional.
The boulevard on which the National
Geological Museum is located, is the
area for promenades and relaxation of
Bucharest, continuing itself in Victoriei
Boulevard, shopping area, representative
for the radical capitalism that modified the
aspect of Bucharest.
[90]
[91]
Maria Lantz
As urbanization accelerates, informal
economies are also booming. Informal economic structures can often lie at the very centre of global economic systems and can be
seen as fuel in tiger economies. As manufactures look for cheaper and cheaper ways to
create our luxury goods, all of us are intimately linked to those who make our cheap, fashionable, 'must-have' products. Production has
bound together individuals across nations.
The generic architecture of slums, favelas and
shanty towns are today the fastest growing
housing solution of contemporary urban life.
Informal infrastructures are developing all over
the globe, but they are also centuries old – as
many old cities, today regarded as hot-spots
for tourism.
However, in-formalization is not only a question about economy and architecure. Within
informal life, there is self sustained structures,
negotiations, power-plays and grass-roots
organsisations. Local democracy, innovations
for sustaining life without support from the
state, care for one another and communal
projects develop in informal areas all around
the globe.
Within these informalities, the future is created. (Jonatan Habib Enquist)
[92]
Pe m\sur\ ce procesul de urbanizare se accelereaz\, economiile informale iau [i ele un avînt
formidabil. Structurile economice informale pot
sta adesea la baza sistemelor economice
globale [i pot fi considerate un fel de combustibil al economiilor emergente. Pe m\sur\
ce produc\torii de bunuri caut\ metode tot mai
ieftine de manufacturare a produselor lor de
lux, sîntem cu to]ii lega]i tot mai strîns de creatorii produselor noastre ieftine, elegante [i
irezistibile. Produc]ia a creat leg\turi între indivizi apar]inînd diverselor na]iuni.
Arhitectura obi[nuit\ din ghetouri, favele [i
bidonviluri reprezint\ ast\zi cea mai rapid\
solu]ie pentru dezvoltarea imobiliar\ a vie]ii
urbane contemporane. Pe tot întinsul globului
se creeaz\ infrastructuri informale, numai c\
ele nu au o vechime mai mare de cîteva secole – ca [i multe din ora[ele vechi, considerate
ast\zi importante atrac]ii turistice.
Numai c\ in-formalizarea nu e doar o problem\
de economie [i arhitectur\. În cadrul traiului
informal exist\ structuri autonome, negocieri,
jocuri de putere [i organiza]ii non-guvernamentale. Democra]ia local\, utilizarea
inova]iilor pentru asigurarea traiului f\r\ sprijinul statului, grija fa]\ de cel\lalt [i proiectele
comune sînt lucruri care se transform\ în realitate în toate zonele informale de pe fa]a
P\mîntului.
În interiorul acestor in-formalit\]i viitorul a fost
deja creat. (Jonatan Habib Enquist)
Maria Lantz,Informalities (Informal architecture in Rio), photography, 200 x 300 cm, 2007.
.Courtesy of the artist.
Informalities
Informalităti
,
[93]
Maria Lantz, Informalities (Informal architecture in Rio), detail, photography,
200 x 300 cm, 2007. Courtesy of the artist.
[94]
Maria Lantz, Informalities (Informal negotiations in UAE), photography, 100 x 150 cm, 2007.
Courtesy of the artist.
Maria Lantz
[95]
Milena Bonilla
Variations over an Homogeneous
Landscape
Variatiile
unui peisaj omogen
,
The piece depicts a dislocated map of
America, playing with two concepts or ways to
see; one vertical (cartography) and the other
horizontal (landscape). The geograpical accidents of the diferent maps are used in this
work to make one single horizon line, eliminating the normal historical – ideological limits
between them, and relocating the main cities
of each country as a node, with the objective to
maintain the traces of the maps. Therefore,
the normal, hierarchical view is yuxtaposed
with the idea of contemplation of nature
through the landscapes.(M.B.)
Lucrarea prezint\ o hart\ dislocat\ a Americii
[i propune un joc cu dou\ concepte sau moduri de a vedea: unul vertical (cartografia), iar
cel\lalt orizontal (peisajul). În lucrarea de fa]\
accidentele geografice din diferite h\r]i sînt utilizate pentru a crea o unic\ linie a orizontului,
eliminînd obi[nuitele limite istorico-ideologice
existente între ele [i schimbînd amplasamentul principalelor ora[e din fiecare stat, v\zut ca
un nod, obiectivul urm\rit fiind acela de a
men]ine contururile h\r]ilor. În consecin]\, perspectivei normale, de tip ierarhic, îi este suprapus\ ideea de contemplare a naturii prin intermediul peisajelor.(M.B.)
Milena Bonilla, Variations over an Homogeneous Landscape / América, 27 digital drawings
printed on photographic paper, 28 x 21,6 cm each, 2006.
Courtesy the artist
[96]
[97]
Milena Bonilla
Milena Bonilla, Variations over an Homogeneous Landscape / América, 27 digital drawings
printed on photographic paper, 28 x 21,6 cm each, 2006.
Courtesy the artist
[98]
[]
Arno Peters
Peters projection
Proiectia
Peters
,
In contrast to the Mercator projection the
Peters projection, published in 1974, is an
equal area map projection. Instead of inflating
the sizes of regions according to their distance
from the equator and therefore having distorted sizes as a result (e.g. a representation of
Greenland that is larger than Africa, whereas
in reality Greenland is 13 times smaller), the
Peters projection is a distance and area accurate map, i.e. using the same scale for every
square meter on the map.
The same standard is used for his 1989-published Atlas. All maps in the atlas have the
same scale and each continent would therefore show its “real dimension” as well as this
project has to be understood as “an antagonism to an eurocentric way of thinking”
(Peters).
With the same enthusiasm and the desire for
an equal world, Peters produced the
Synchronoptic World History already 18 years
before his world map in 1952. It could be
claimed that the basic principle of this world
history was then translated as a cartographic
practice: The book is structured as a histogram, each year taking up the same space
(100 years per double-page). Structured in
content, the book is divided into the sections:
economy (technology, science, discoveries,
communal life), mental life (art, poetry, philosophy, law, urban development), religion, politics (political system, social order), wars, revolutions (revolts, civil wars).(Felix Vogel)
[100]
Spre deosebire de proiec]ia Mercator, proiec]ia
Peters, prezentat\ public în anul 1974, este o
proiec]ie cartografic\ propor]ional\. În loc s\
extind\ dimensiunile regiunilor în func]ie de
distan]a lor fa]\ de Ecuator – avînd ca rezultat
tot soiul de dimensiuni deformate (cum ar fi
reprezentarea Groenlandei, care apare mai
mare ca Africa, de[i în realitate Groenlanda
este de 13 ori mai mic\) –, proiec]ia Peters
ofer\ o reprezentare cartografic\ exact\ a distan]elor [i a zonelor de pe planet\, id est utilizeaz\ aceea[i scal\ pentru fiecare metru
p\trat de pe hart\.
Acela[i model este folosit [i pentru Atlasul publicat de Peters în 1989. Toate h\r]ile din atlas
au aceea[i scal\, astfel c\ fiecare continent î[i
arat\ „adev\rata dimensiune”, iar proiectul
amintit trebuie în]eles ca „o form\ de opozi]ie
la modul de gîndire eurocentric” (Peters).
Cu acela[i entuziasm [i animat de aceea[i
dorin]\ de a vedea o lume echitabil\, Peters a
realizat o Synchronoptic World History („Istorie
sincronoptic\ a lumii”) cu 18 ani înainte de
harta lumii f\cut\ de el în 1952. S-ar putea
spune c\ principiul care a stat la baza amintitei
istorii a lumii a fost ulterior transpus ca principiu cartografic. Cartea este organizat\ sub
forma unei histograme, unde fiecare an ocup\
acela[i spa]iu (o sut\ de ani pentru o pagin\
dubl\). Cu un con]inut bine structurat, ea este
împ\r]it\ în mai multe sec]iuni; economie
(tehnologie, [tiin]\, descoperiri [tiin]ifice, via]\
comunitar\), via]\ spiritual\ (arte, poezie,
filosofie, drept, dezvoltare urban\), religie,
politic\ (sisteme politice, ordine social\),
r\zboaie [i revolu]ii (revolte [i r\zboaie civile).
(Felix Vogel)
Map of the World, Peters projection, 1974.
Here the map published by New Internationlist in 2008.
Courtesy New Internationalist.
[101]
Bureau D’Études
With the maps of social organization, there are
no latitudes or longitudes or techniques like
those of topography. There is no North Pole,
no social magnetic field, and therefore no compass. A "compass-image" of a social organization is based on symbolic or quasi-symbolic
elements such as information, conventions,
rules or laws that govern social relations. It
constitutes the invisible objects of social relations and powers, by means of legal, institutional, financial, sociological, anthropological,
psychological and historical knowledge. It constitutes identities or units of information (state,
firm, individual...). It works in advance via
selection, classification, data refinement, and
then finally symbolization, positioning, assemblage, interlinkage. Thus it produces a feeling
of totality through the construction of landmarks, the construction of a system of dynamic coordinates that allow you to put some order
into social reality. For all these reasons, the
map of social organization seeks to be a tool
allowing us to perceive, to orient ourselves, to
act on social space, like a general or a rat who
activates affects, representations, perceptions,
beliefs and rules. (B.dʼe.)
[102]
În cazul h\r]ilor organiz\rii sociale nu exist\
nici latitudini, nici longitudini [i nici tehnici precum cele din topografie. Nu exist\ nici un Pol
Nord, nici un cîmp magnetic social [i, în consecin]\, nici vreo busol\. O „imagine-busol\” a
organiz\rii sociale se bazeaz\ pe elemente
simbolice sau cvasi-simbolice cum sînt informa]iile, conven]iile, regulile sau legile ce
guverneaz\ rela]iile sociale. Ea instituie
obiectele invizibile ale rela]iilor sociale cu ajutorul cuno[tin]elor de ordin legal, institu]ional,
financiar, sociologic, antropologic, psihologic
[i istoric. Ea instituie identit\]i sau unit\]i de
informa]ie (statul, firma, individul...). Ea
ac]ioneaz\ în avans prin intermediul selec]iei,
clasific\rii, interpret\rii informa]iilor [i apoi, la
final, prin simbolizare, pozi]ionare, asamblare
[i interrela]ionare. Astfel, prin elaborarea unor
puncte de reper [i prin construirea unui sistem
de coordonate dinamice, care îi permite individului s\ ordoneze întrucîtva realitatea
social\, ea d\ na[tere unui sentiment al totalit\]ii. Din motivele sus-men]ionate, harta organiz\rii sociale încearc\ s\ devin\ un instrument
care s\ ne permit\ s\ percepem spa]iul social,
s\ ne orient\m în el [i s\ ac]ion\m în cadrul lui,
asemeni unui general sau unui [obolan care
î[i pun la lucru afectele, reprezent\rile, percep]iile, convingerile [i regulile lor. (B.d’e.)
Bureau D'Études, extract from the publication “The Ring”, 2006.
Courtesy the artist.
The Ring / World Government
Cercul / Guvernul mondial
[103]
[104]
Bureau D'Études, “World Government”, detail, 2005. Courtesy the artist.
Bureau D'Études, extract from the publication “World Government”, 2005. Courtesy the artist.
Bureau D’Études
[105]
Sabine Réthoré
Lovely Romania/ Sao Tomé Globe/ East-West Map
Încîntătoarea Românie/ Globul Sao Tomé/ Harta Est-Vest
When I used to paint, I painted on large canvases, often representing friends in symbolic
or theatrical surroundings, the main subject
being of little importance. Today I feel that I am
still playing the role of the producer. Nowadays
I create meaningful environments for people
who are complete strangers.
A map is a scenery that is always presented in
the same fashion. Roughly speaking, the
North at the top. I decided to orientate my work
towards the West, where the sun goes down.
The same image in a distorting mirror.
Meaning, which is the right image ? The image
reflected in the mirror, or the idea of oneʼs
SELF before the distortion took place ? It could
be said that anchorage in the West is properly
speaking a westernization, but my representations of the world spring from an essentially
artistic background.
The symbolic ideology that these images produce cannot be denied, but they donʼt contain
the same implicit hierarchy as the North-South
orientated images. (S.R.)
În vremurile cînd obi[nuiam s\ pictez, pictam
pe pînze mari [i adesea îmi reprezentam prietenii în decoruri simbolice sau teatrale, unde
subiectul central avea mai pu]in\ importan]\.
Ast\zi simt c\ joc în continuare rolul de produc\tor. În perioada actual\ creez medii [i
decoruri înc\rcate de semnifica]ii pentru persoane complet necunoscute.
O hart\ este un decor prezentat întotdeauna în
aceea[i manier\. Pur [i simplu nordul e plasat
sus. Eu am hot\rît s\ îmi orientez lucrarea
spre vest, locul unde apune soarele. Aceea[i
imagine, dar într-o oglind\ distorsionant\.
Ceea ce vrea s\ spun\: care e imaginea
corect\? Imaginea reflectat\ în oglind\ sau
ideea din mintea CUIVA înainte s\ aib\ loc distorsiunea? S-ar putea spune [i c\ orientarea
înspre vest este în mod clar o occidentalizare,
îns\ reprezent\rile lumii create de mine î[i au
r\d\cinile într-un mediu fundamental artistic.
Ideologia simbolic\ produs\ de imaginile de
fa]\ nu poate fi contestat\, numai c\ ele nu
con]in aceea[i ierarhie implicit\ existent\ în
imaginile orientate pe direc]ia nord-sud. (S.R.)
Sabine Réthoré, Tribute to Sao Tomé, 1999, globe, 100x86x140 cm. Courtesy the artist.
[106]
[107]
Sabine Réthoré
Sabine Réthoré, East-West Map, 2005, color print. Courtesy the artist.
[108]
Sabine Réthoré, Lovely Romania, 2008, color print, 135x135 cm. Courtesy the artist.
[109]
Lukas Einsele
One Step Beyond
Un pas în spate
ONE STEP BEYOND – The Mine Revisited
(OSB) is an artistic project which reports on
landmines, in the world's four most heavilymined countries: Angola, Afghanistan, Bosnia
and Combodia, and their victims by bringing
them into a visible and traceable relationship.
Whoever accepts One Step Beyond – whether
as viewer or active collaborator – also
becomes involved in this relationship, and in a
border dance between art and politics.
In OSB, people injured by a mine recall the
events leading up to the accident. Some make
a rough sketch of the incident's location. In a
public forum, the victims' stories, drawings and
portraits are set against documentation of the
landmine possibly responsible for their accident. Other themes relevant to OSB are photographed and presented, such as mine clearance, mine education, and rehabilitation projects. (L.E.)
www.one-step-beyond.de
UN PAS ÎN SPATE – Întoarcerea la mine
(engl. One Step Beyond – OSB) este un
proiect care se concentreaz\ asupra minelor
antipersonal din ]\rile cu cele mai multe zone
minate din lume – Angola, Afghanistan, Bosnia
[i Cambodgia – [i asupra victimelor lor,
sco]înd la iveal\ tipurile de rela]ii demonstrabile [i vizibile ce exist\ între el. Oricine accept\
s\ fac\ UN PAS ÎN SPATE – fie ca spectator,
fie în chip de colaborator activ –, se implic\
automat în aceast\ rela]ie [i în dansul de la
frontiera dintre art\ [i politic\.
În UN PAS ÎN SPATE persoanele r\nite de
minele antipersonal î[i reamintesc evenimentele ce au dus la accident. Unii fac o
scurt\ prezentare a locului incidentului.
Pove[tile, desenele [i portretele victimelor sînt
contrapuse într-un spa]iu public documentelor
despre minele ce ar putea fi responsabile pentru accident. Mai sînt fotografiate [i prezentate
[i alte teme relevante pentru UN PAS ÎN
SPATE: deminarea, educa]ia de tip genistic [i
proiectele de reabilitare. (L.E.)
www.one-step-beyond.de
Lukas Einsele, One Step Beyond, texts, images, and multimedia formats, 2005.
Courtesy the artist
[110]
[111]
Lukas Einsele
Lukas Einsele, One Step Beyond, texts, images, and multimedia formats, 2005.
Courtesy the artist
[112]
[113]
Adrian Matei
Hygienic
Igienic
What does it mean for an object to be hygienic and what does it mean for a well defined
social space to be hygienic? In the social
sphere we could talk about a “social hygiene”.
The term “social hygiene” refers to an ensemble of rules and practiced measures which are
followed by somebody who wants to maintain
his/her social health. Even though these rules
and measures are deformed so healthiness is
actually illness, the hygiene is a must .
Romanians among Europeans have the lowest rate of trust in themselves and trust in their
country. This is the subject of much debate
and the overall opinions are mostly negative.
In spite of this it is better to conform. You have
the right to accommodate to the image generated by the negative opinions. Expressions
like “thereʼs nowhere like here”(in the negative
way) are extremely eloquent being the motivation to all problems, representing the perfect
example of resigning in the face of the facts.
(A.M.)
Ce înseamnă pentru un obiect a fi igienic şi ce
înseamnă pentru un spaţiu social bine-definit a
fi igienic? Raportat la sfera socialului am putea
vorbi despre o “igienă socială”. Această noţiune de “igienă socială” se poate descrie ca un
ansamblu de reguli şi de măsuri practicate, pe
care cineva le respectă pentru a-şi păstra
sănătatea sociala. Ori, chiar dacă aceste reguli şi măsuri sunt deformate, iar sănătatea
este de fapt boală, igiena este totuşi obligatorie.
Românii au poate cea mai mică rată de
încredere în ei şi în ţara lor, din Europa. Se
vorbeşte mult despre asta si parerile sunt în
general negative. Asta nu-i împiedică în
schimb pe români să se conformeze. Dacă
imaginea este negativă ai dreptul să te împaci
cu ideea. Expresiile de genul “la noi ca la
nimeni” sunt extrem de evocatoare ca răspuns
la probleme, reprezentând exemplul perfect
de resemnare. (A.M.)
Adrian Matei, Hygienic, toilet paper manual printed, metal and ceramic support,
15,5 x 11 x 7 cm, 2008.
Courtesy the artist.
[114]
[115]
Adrian Matei
Adrian Matei, Hygienic, toilet paper manual printed, metal and ceramic support,
15,5 x 11 x 7 cm, 2008.
Courtesy the artist.
[116]
[117]
Brian Holmes
Continental Drift
Drift Continental
In the past few years I've been working on geopolitics
and geopoetics, for a seminar called "Continental
Drift," with the 16 Beaver Group. This is an openended research project with sketch maps and
unknown destinations.
As I come up with texts, I'm going to post them here
in unfinished form. When they're done I'll publish a
book, and move on to some other project. In the
meantime the whole thing will get more interesting if
you ask some questions, propose some ideas, start
a conversation. I'm also gonna put up some rants,
insights, snapshots, news items, whatever...
(B.H., from brianholmes.wordpress.com)
În ultimii ani am lucrat in geopolitică și geopoetică
pentru un seminar numit "Drift continental" cu grupul
Beaver 16. Este un proiect imbunătăţit al hărţilor și
destinaţiilor necunoscute. Am scris aceste texte și
vreau să le public aici așa cum sunt ele, într-o formă
nefinisată. Cînd aceste texte vor fi gata voi publica o
carte și am să merg mai departe către alte proiecte.
Între timp insă toate aceste lucruri vor deveni mai
interesante dacă vei începe să pui întrebări, să
propui cîteva idei, să începi o conversaţie. Eu voi
retoriza, voi pune gînduri, imagini, lucruri noi, orice...
(B.H. de pe brianholmes.wordpress.com)
Brian Holmes, Continental Drift, blog, intervention in public space, 2008.
Courtesy of the artist.
[118]
[119]
Brian Holmes
Brian Holmes, Continental Drift, blog, intervention in public space, 2008.
Courtesy of the artist.
[120]
[121]
Emma Kay
The World From Memory
Lumea din amintire
The World From Memory is the fourth of a
series of maps of the world, drawn from memory. These drawings are unique pencil drawings, progressive attempts to produce a map
of the world without recourse to any reference
materials, even once they are finished (the
point at which no more can be recalled). The
maps describe a specific subjectivity but also
function as autobiography, since they include
places known and visited, desired destinations
and places known through cultural consumption.
The World From Memory can be said to be a
meditation on the awareness of knowledge
that investigates the way in which the subjective is objectified and collective meaning is
locked in place. It references both the traditions of medieval cartography and the idea of
the cognitive map. (E.K.)
The World From Memory (Lumea din
amintire”) este a patra serie de h\r]i ale lumii
desenate din memorie. E vorba de ni[te
desene unicat f\cute în creion, ni[te încerc\ri
progresive de a realiza o hart\ a planetei f\r\
a recurge la orice fel de materiale informative
nici m\car atunci cînd h\r]ile sînt încheiate
(adic\ în momentul cînd nu se mai poate
rememora nimic). H\r]ile ilustreaz\ o subiectivitate specific\, dar au în acela[i timp [i o
func]ie autobiografic\, deoarece ele includ
locuri vizitate [i familiare, destina]ii dorite [i
locuri cunoscute prin consum cultural.
The World From Memory poate fi considerat o
medita]ie asupra con[tiin]ei de]inute de
cunoa[tere [i analizeaz\ modul în care subiectivul este reificat, iar semnifica]ia colectiv\ este
adecvat\ la realitatea spa]iului. Lucrarea face
trimitere atît la tradi]iile cartografiei medievale,
cît [i la ideea de hart\ cognitiv\.(E.K.)
Emma Kay, The World From Memory IV (detail), 2003, digital print, 109 x 159 cm, edition of
10. Courtesy the artist.
[122]
[123]
Emma Kay, The World From Memory IV, 2003, digital print, 109 x 159 cm, edition of 10.
Courtesy the artist.
Emma Kay
[124]
[125]
ORIZONT
Bd. N. Bălcescu nr. 23A
Simeza and Orizont are two of the most
well-known exhibition spaces for classical
art in Bucharest. Situated on the main
boulevard of Bucharest (Gheorghe
Magheru) they enjoy an extraordinary
bypass traffic. The galleries belong to the
Union of Plastic Artists and have been
established in the 1960s, having displayed communist art for many years.
The galleries that have become symbols
for classical art in Romania will be ‘occupied‘ by Bucharest Biennale through the
intervention of contemporary art works,
thus creating a parallel between the
involved art from the 60’s and the
involved art from more recent years - or to
make good for something that have been
missed.
The insertion of spaces that haven’t displayed contemporary art for 50 years
serves the Biennales purposes of transforming Bucharest in a field of artistic
action and remodeling the agitated
speech of generations of Romanian
artists in a coherent and rational dialogue.
Simeza şi Orizont sînt cele mai
cunoscute spaţii de expunere ale artei
clasice din Bucureşti. Find plasate pe
principalul bulevard al Bucureştiului
(Gheorghe Magheru) beneficiază de un
trafic extraordinar. Galeriile aparţin
Uniunii Artiştilor Platici şi datează din anii
'60, fiind populate cu artă de tip comunist
pentru foarte mulţi ani.
Cele două galerii, devenite un simbol al
artei clasice din România, vor fi "ocupate"
de Bucharest Biennale, inserţia lucrărilor
de artă contemporană facînd în acest fel
o paralelă între arta implicată din anii '60
şi arta implicată din anii recenti, încercînd
să recupereze ceea ce a lipsit.
Inserarea în spaţii ce nu au conţinut de
50 ani artă contemporană serveşte scopurilor bienalei de a transforma
Bucureştiul în cîmp de acţiune artistică şi
de a remodela discursul agitat al generaţiilor de artişti români într-un dialog
coerent şi raţional.
The boulevard on which the National
Geological Museum is located, is the
area for promenades and relaxation of
Bucharest, continuing itself in Victoriei
Boulevard, shopping area, representative
for the radical capitalism that modified the
aspect of Bucharest.
[126]
[127]
Renaud Auguste-Dormeuil
The Day Before
Ziua de dinainte
In antique Greece, the planetariums into different were used for the training of the future captains ship. One drew in planeterium a sky map
with different candles size. The student was to
know (by the positioning of the candles), the
exact position where it was on the surface of
the earth sphere. Powerful software allows
today to display on your computer the sky map
for one date on one point of the surface of the
earth. Some of this software propose a catalogue of more than 2500 stars, It is possible for
them to display the sky map for a given date,
but also to see the positions of the Saturn and
Jupiter satellites or to visualize the phases of
the moon...
The day before_Star system photographic
project proposes to realize the day before sky
map of a military bombing. These photographs
represent the arch of heaven that it could be
seen on place the day before of the bombing.
(R. A.-D.)
În Grecia antic\ planetariile de diverse feluri
erau folosite pentru instruirea viitorilor c\pitani
de cor\bii. În planetariu era conturat\ o hart\ a
cerului cu ajutorul unor lumîn\ri de dimensiuni
diferite. Dup\ felul cum era plasate lumîn\rile,
înv\]\celul trebuia s\-[i dea seama de exact\
în care se afla pe suprafa]a sferei planetare.
Azi programele informatice existente ne permit
s\ vedem pe ecranul computerului harta cerului la o anumit\ dat\ [i în orice loc de pe
suprafa]a p\mîntului. Unele din aceste
pograme ofer\ un catalog cu peste 2.500 de
stele. Ele sînt capabile nu numai s\ prezinte
harta cerului la un anumit moment în timp, ci [i
pozi]iile sateli]ilor lui Saturn [i Jupiter, sau pot
s\ vizualizeze fazele Lunii...
Proiectul fotografic The day before_Star system (Ziua de dinainte – Sistemul stelar) î[i
propune s\ prezinte o hart\ cereasc\ din ziua
de dinaintea unui bombardament militar.
Fotografiile de aici reprezint\ bolta cereasc\
a[a cum putea fi ea v\zut\ în acel loc cu o zi
înainte de bombardament. (R. A.-D.)
Renaud Auguste-Dormeuil, The Day Before (Guernica), photography, 150 x 170 cm, 2004.
Courtesy the artist and inSITU gallery, Paris.
[128]
[129]
Renaud Auguste-Dormeuil
Renaud Auguste-Dormeuil, The Day Before (Hiroshima), photography, 150 x 170 cm, 2004.
Courtesy the artist and inSITU gallery, Paris.
[130]
Renaud Auguste-Dormeuil, The Day Before (Hiroshima), detail, photography,
150 x 170 cm, 2004. Courtesy the artist and inSITU gallery, Paris.
[131]
Atlas Linguarum Europae
Atlas Linguarum Europae
On the basis of onomasiological and motivational maps, ALE offers a rigorous typology of
languages and dialects spoken in Europe.
From the point of view of the maps included
(semasiological, onomasiological and motivational maps, among which the latest give the
atlas a note of originality), ALE represents a
complex data basis for different linguistic
research and at the same time it offers relevant information regarding Europeʼs cultural
history.
ALE is the first continental linguistic atlas,
whose frontiers are neither political nor linguistic, but mere geographical. There exist six families of languages on the European territory:
Altaic, Basque, Indo-European, Caucasian,
Semitic and Uralic. Within these language
families there exist 22 language groups which
in their turn consist of 90 languages and individual dialects. (ALE)
Pe baza h\r]ilor onomasiologice [i motiva]ionale, ALE ofer\ o tipologie riguroas\ a
limbilor [i dialectelor vorbite în Europa. Din
perspectiva h\r]ilor incluse aici (h\r]i semasiologice, onomasiologice [i motiva]ionale –
ultimele conferindu-i atlasului [i o not\ de originalitate), ALE reprezint\ o baz\ de date complex\, rezultat al diverselor studii [i cercet\ri
lingvistice, [i, concomitent, ofer\ informa]ii relevante despre istoria cultural\ a Europei.
ALE este cel dintîi atlas lingvistic continental,
frontierele sale nefiind nici politice, nici lingvistice, di pur [i simplu geografice. Pe teritoriul
european exist\ [ase familii de limbi: altaice,
basce, indo-europene, caucaziane, semitice [i
uralice. În interiorul acestor familii de limbi se
g\sesc 22 de grupuri de limbi, care, la rîndul
lor, includ 90 de limbi [i dialecte individuale
diferite.(ALE)
Atlas Linguarum Europae, ongoing project since 1970, details.
Courtesy the ALE Bucharest office,
prof. dr. Niculae Saramandu, dr. Manuela Nevaci.
[132]
[133]
Atlas Linguarum Europae
Atlas Linguarum Europae, ongoing project since 1970, details.
Courtesy the ALE Bucharest office,
prof. dr. Niculae Saramandu, dr. Manuela Nevaci.
[134]
[135]
Eduard Freudmann & Can Gülcü & Lorenz Aggermann
Gazela Beograd
Gazela Belgrad
Although there are a great many slums
throughout Europe, hardly anyone ever asks
how they come into being, how life within them
transpires, and what impact such a location
has on the day to day life of its residents. One
particularly striking example of such a settlement lies under the highway bridge Gazela in
Belgrade: tens of thousands pass it daily; nevertheless there is hardly any reliable information about the settlement and the people – the
vast majority of whom are Roma – who are
forced to live there.
The travel guide focuses attention on a place
which is paradigmatic for the recent history of
Roma in Southeastern Europe. It provides
essential information about the social and economic structures of a slum, about the inhabitants and their daily lives and exposes the
complex mechanisms of marginalization and
discrimination against Roma. (L.A., E.F., C.G.)
Cu toate c\ în întreaga Europ\ exist\ un num\r
extraordinar de mare de ghetouri, aproape
nimeni nu se întreab\ vreodat\ cum apar ele,
ce fel de via]\ exist\ acolo [i ce impact are un
astfel de spa]iu asupra vie]ii cotidiene a
locuitorilor din el. Un exemplu [ocant [i concret
de astfel de a[ezare este ghetoul de sub podul
Gazela, pe autostrada din Belgrad: zeci de mii
de oameni trec zilnic peste el [i, cu toate acestea, nu avem aproape nici o f\rîm\ de informa]ie credibil\ despre a[ezarea respectiv\ [i
oamenii ce tr\iesc în ea, în afar\ de faptul c\
marea lor majoritate sînt ]igani.
Ghidul nostru de c\l\torie î[i concentreaz\
aten]ia asupra unui loc devenit paradigmatic
pentru istoria recent\ a ]iganilor din Europa de
Sud-Est. El furnizeaz\ informa]ii esen]iale
despre structurile economice [i sociale dintrun ghetou, despre locuitorii lui, despre traiul
cotidian de acolo, dezv\luind mecanismele
complexe de marginalizare [i discriminare a
]iganilor.(L.A., E.F., C.G.)
Can Gülcü, Eduard Freudman, Lorenz Aggermann, Beograd Gazela, 2008, book, 224 color pages.
Courtesy the artists.
[136]
[137]
Eduard Freudmann & Can Gülcü & Lorenz Aggermann
Can Gülcü, Eduard Freudman, Lorenz Aggermann, Beograd Gazela, 2008, book, 224 color pages.
Courtesy the artists..
[138]
[139]
Lucia Ganieva
Sunset Of Fame
Apus de glorie
This series of photographs is made in a retirement home for stage artists in St.Petersburg. It
contains 22 portraits of inhabitants of the home
and also photographs of the interiors of their
private rooms, where they keep their souvenirs
of their active life and career, and images of
the common spaces of the home.
The home was founded 112 years ago and is
situated on a beautiful place, one of the
islands forming St.Petersburg. It consists of a
complex of three buildings in a big park.
Especially the main building is impressive in its
style and architecture, richly decorated and
furnished with antiques.
At this moment there are 87 retired artists living in the complex, of which the youngest is 62
years old and the oldest 99 years old. (L.G.)
Seria aceasta de fotografii este realizat\ la o
cas\ de b\trîni pentru actori din Sankt
Petersburg. Ea include 22 de portrete ale ocupan]ilor casei respective, precum [i fotografii
cu interioarele camerelor personale, locul
unde actorii î[i p\streaz\ amintirile din timpul
vie]ii [i carierei lor, laolalt\ cu imagini ale
spa]iilor comune din casa de b\trîni.
A[ez\mîntul a fost înfiin]at în urm\ cu 112 ani
[i este amplasat într-un loc superb, pe una din
insulele ce formeaz\ ora[ul Sankt Petersburg.
E format dintr-un complex de trei cl\diri, toate
aflate într-un parc spa]ios. Cl\direa principal\
este [i cea mai impresionant\ prin stilul [i arhitectura sa, fiind generos decorat\ [i mobilat\
cu obiecte de epoc\.
La ora actual\ în complexul amintit tr\iesc 87
de arti[ti pensionari, dintre care cel mai tîn\r
are 62 de ani, iar cel mai vîrstnic 99 de ani.
(L.G.)
Lucia Ganieva, Sunset Of Fame (Stepanova), photography, 70 x 50 cm, 2004.
Courtesy the artist.
[140]
[141]
Lucia Ganieva
Lucia Ganieva, Sunset Of Fame (Shumskaya), photography, 70 x 50 cm, 2004.
Courtesy the artist.
[142]
Lucia Ganieva: Sunset Of Fame (Sonina), photography, 70 x 50 cm, 2004.
Courtesy the artist.
[143]
Johan Jarnestad
Values
Valori
I work as a news graphic artist. Among other
things I draw maps and diagrams.
I believe we must learn to decode diagrams
and maps and question them in the same way
we question other things. The truthful language of a map could be a devastating
weapon in the hands of a minister of propaganda. A manipulated diagram could sell tons
of worthless washing powder. It could also be
a wonderful tool for irony.
It is a bearer of truth only as long as you
believe in it. Working with news graphics at a
newspaper is interesting work. You learn
things about the world as you try to break it
down into explainable pieces. Occasionally
you may also make a difference to someone.
Making maps is something we all do, from time
to time. As children we draw
them on burnt pieces of paper to remember
where we buried the treasure.
Then much later, we draw them inside our
heads, trying to remember where we
got lost. (J.J.)
TRANSLATION
Eu lucrez ca grafician la departamentul de [tiri.
Printre alte lucruri pe care le fac, desenez h\r]i
[i diagrame. Convingerea mea este c\
oamenii trebuie s\ înve]e cum s\ decodifice
diagramele [i h\r]ile [i s\ le pun\ sub interoga]ie în acela[i fel în care pun sub interoga]ie
[i alte lucruri. Limbajul onest al unei h\r]i poate
deveni o arm\ nimicitoare dac\ ajunge în
mîinile unui minister al propagandei. O diagram\ manipulat\ poate vinde tone de detergent lipsit de valoare. Dar ea poate fi [i o
unealt\ minunat\ pentru ironie.
O diagram\ ilustreaz\ un adev\r doar atîta
timp cît crezi în ea. Munca de grafician de [tiri
la un ziar este interesant\. Înve]i multe despre
lume în timp ce te str\duie[ti s\ o separi în
buc\]i intelegibile. Iar uneori reu[e[ti chiar s\
ob]ii un impact pozitiv asupra cuiva.
Trasarea h\r]ilor e o chestie pe care o facem
cu to]ii din cînd în cînd. Atunci cînd sîntem
copii, le desen\m pe buc\]i de hîrtie arse pe la
col]uri, ca s\ ne amintim unde am îngropat
comoara. Apoi, mult mai tîrziu, le desen\m în
mintea noastr\, încercînd s\ ne amintim unde
ne-am pierdut direc]ia. (J.J.)
OF THE TEXT IN THE GRAPH:
This map reflects the fact that a large number of basic values are closely correlated; they can be depicted in just major two dimensions of cross-cultural
variation.
The World Values Surveys were designed to provide a comprehensive measurement of all major areas of human concern, from religion to politics to
economic and social life and two dimensions dominate the picture: (1) Traditional/ Secular-rational and (2) Survival/Self-expression values. These two
dimensions explain more than 70 percent of the cross-national variance in a factor analysis of ten indicators-and each of these dimensions is strongly
correlated with scores of other important orientations.
-------------------------------------Ex-Communist
Confucian
Protestant Europe
English speaking
Latin America
Africa
South Asia
Catholic Europe
---------------------------------------------Överlevnadsstyrda värderingar <--> Självförverkligande värderingar
Traditionella värderingar <--> Sekulariserade/förnuftsstyrda värderingar
=
Survival values <--> Self Expression values
Traditional values <--> Secular-Rational values
[144]
Johan Jarnestad, Values, 2007, print, 70 x 70 cm.
Courtesy the artist & Dagens Nyheter.
[145]
Armin Linke
Globalization
Globalizare
Armin Linke took around 10.000 photographs
at different places during the last few years.
The single image seems to vanish behind the
mass of this enormous amount of images, but
for his practice the single image is as important
as the mass, i.e. the connections between
each single image. He is always trying to document – or even better: to map – a very contemporary condition having in mind that nothing will be the same after his shot. (Felix
Vogel)
~n ultimii ani Armin Like a realizat aproape
10.000 de fotografii `n locuri diferite. Imaginea
unic\ peare sa dispar\ sub enormitatea cantit\]ii imagistice, dar pentru practica sa artistic\
imaginea unic\ este la fel de important\ ca
imaginea cantitativ\ i.e. conxiunile dintre imagini. ~ntotdeauna Linke `ncearc\ s\ documenteze - sau [i mai spus s\ cartografieze condi]ia contemporan\ av`nd tot timpul `n
minte c\ nimic nu va mai fi la fel dup\ ce a produs imaginea. (Felix Vogel)
Armin Linke, Globalisation (installation, part of his digital archive),
2008, print, 100x200 cm.
Courtesy the artist and Klosterfelde Gallery.
[146]
[147]
Armin Linke
Armin Linke, Computer dump, Guiyu China, 2005, print, 50 x 40 cm.
Courtesy the artist and Klosterfelde Gallery.
[148]
Armin Linke, Computer dump, Guiyu China, 2005, print, 50 x 40 cm.
Courtesy the artist and Klosterfelde Gallery.
[149]
Randa Mirza
Abandoned Rooms
Camere abandonate
Abandoned Rooms is a photography series
about fragmented lives, lives that are stuck
between the reality of the changeover and the
haunting ghost of the war.
During what is commonly known as the years
of the civil war in Lebanon (1975-1990), waves
of civilian migrants fleeing their devastated
regions sheltered in various blocks of flats,
rubble, abandoned apartments and chalets,
luxurious villas, hotels and summer houses.
The various Lebanese militias and the foreign
armies also took over these constructions and
turned them into housings or headquarters.
Since the ʻcivil warʼ ended in 1990, and until
the foreign armies recently withdrew from the
Lebanese territories, most of these places
were gradually being returned to their original
owners. They form the remains and traces of
the war: scattered holes in the collective memory. (R.M.)
Abandoned Rooms („Înc\peri p\r\site”)
prezint\ o serie de fotografii despre ni[te vie]i
fragmentate, vie]i blocate între realitatea
schimb\rii [i fantoma st\ruitoare a r\zboiului.
Pe parcursul perioadei cunoscute drept anii
r\zboiului civil din Liban (1975-1990) valuri de
emigran]i civili [i-au p\r\sit regiunile devastate
de lupte [i s-au ad\postit în diverse blocuri de
locuin]e, în apartamente d\rîmate [i abandonate, în castele, în vile luxoase [i în case de
vacan]\. Diversele mili]ii libaneze [i armatele
str\ine au preluat [i ele acest gen de locuin]e
[i le-au transformat în ad\posturi sau comandamente militare. Odat\ cu încheierea
„r\zboiului civil”, în anul 1990, [i concomitent
cu retragerea armatelor str\ine din teritoriile
libaneze, început\ de curînd, majoritatea
locurilor respective au fost înapoiate treptat
proprietarilor lor ini]iali. Ele constituie
r\m\[i]ele [i urmele r\zboiului: g\uri r\spîndite
pretutindeni în memoria colectiv\. (R.M.)
Randa Mirza, Abandoned Rooms (Black Room), photography, 100 x 150 cm, 2005-2006.
Courtesy the artist and Sfeir-Semler gallery.
[150]
[151]
Randa Mirza
Randa Mirza, Abandoned Rooms (Censorship), photography, 100 x 150 cm, 2005-2006.
Courtesy the artist and Sfeir-Semler gallery.
[152]
Randa Mirza, Abandoned Rooms (#4), photography, 100 x 150 cm, 2005-2006.
Courtesy the artist and Sfeir-Semler gallery.
[153]
Jan Svenungsson
Psycho-Mapping Scandinavia
Psiho-topografia Scandinaviei
In a map every line is linked to reality. I use
maps and produce new reality as a result, in a
group of serial works called "PsychoMappings". Having traced the first map image,
I then copy it by hand, trying to be as exact as
possible. I imagine being a machine, a human
scanner. I am patient and my copy comes out
well. Examined close-up, however, there are
little mistakes to be found everywhere.
Once my copy is finished, it changes status:
what was mistakes becomes new reality. The
first map is hidden away; my third image is to
be another careful copy; a copy of the copy.
The procedure is repeated a number of times.
I have to focus solely on the mechanical
process. Avoid any input.
A new (vision of a) geo-political reality thus
develops itself, in conflict with my efforts — if
not with my underlying intention. The work's
success is relative to my ability to separate
conceptual agenda from physical effort; to
achieve maximum robotic precision while
aware that all value is created in the glitches
that mar and betray the robot. No one knows
in advance the vision at the end of the line.
(J.S.)
Pe o hart\ fiecare linie este legat\ de realitate.
Eu utilizez h\r]ile [i ob]in drept rezultat o realitate nou\ în cadrul unei serii de lucr\ri intitulate
Psycho-Mappings („Psiho-cartografieri”). Dup\
ce am trasat prima hart\, am copiat-o de mîn\,
încercînd s\ o fac cu cît mai mult\ precizie. Miam imaginat c\ sînt o ma[in\, un scanner
uman. Cum am mult\ r\bdare, copia mea a
ie[it bine. Totu[i, studiat\ mai îndeaproape,
dezv\luie ni[te mici gre[eli care apar peste tot.
Dup\ ce am terminat de f\cut copia, ea [i-a
schimbat statutul: gre[elile au devenit noua
realitate. Prima hart\ a r\mas ascuns\, iar a
treia imagine avea s\ fie o nou\ copie minu]ios
executat\: o copie a copiei.
Procedura a fost reluat\ de mai multe ori. A
trebuit s\ m\ concentrez exclusiv pe procesul
mecanic. S\ evit orice fel de influen]\ exterioar\.
Astfel o nou\ (viziune referitoare la o) realitate
geopolitic\ s-a dezvoltat de la sine, în opozi]ie
cu eforturile mele – chiar dac\ nu [i cu inten]ia
mea ini]ial\. Reu[ita lucr\rii a depins de abilitatea mea de a-mi separa proiectul conceptual de efortul fizic, de a atinge un grad maxim
de precizie robotic\, fiind concomitent
con[tient de faptul c\ întreaga ei valoare este
dat\ de erorile care o deformeaz\ [i care
tr\deaz\ precizia robotic\. Nimeni nu [tie
dinainte imaginea de la cap\tul [irului. (J.S.)
Jan Svenungsson, Psycho-Mapping Scandinavia (23), faksimiled drawing, 42 x 29 cm, 1996.
Courtesy the artist.
[154]
[155]
Jan Svenungsson
Jan Svenungsson, Psycho-Mapping Scandinavia (27), faksimiled drawing, 42 x 29 cm, 1996.
Courtesy the artist.
[156]
Jan Svenungsson, Psycho-Mapping Scandinavia (32), faksimiled drawing, 42 x 29 cm, 1996.
Courtesy the artist.
[157]
CURATORS
Jan-Erik Lundström
Born 1958, is the director of BildMuseet, Umeå
University, Umeå, Sweden, a museum of contemporary art and visual culture. He is equally
involved in curating, organizing, lecturing and
writing. Among his latest exhibitions are "Politics
of Place", "Killing Me Softly" (Tirana Biennial),
"Projects for a Revolution" (Mois de la Photo,
Montreal), "Double Vision" (Prague Biennale),
"Same, Same, but Different" and "After the Fact",
a major survey towards documentary practices in
contemporary art. He is the author of numerous
books, including "Nordic Landscapes", "Tankar
om fotografi (Thoughts on Photography)", "Irving
Penn and Horizons: Towards a Global Africa". He
is a guest professor at HISK, Antwerp, Belgium
and at the Kunstakademie, Oslo, Norway.
Lundström is a prolific international lecturer and
writer, contributor to symposia internationally and
to cultural magazines such as Glänta, European
Photography, Paletten and tema celeste.
Johan Sjöström
Born 1975, has been a curator at BildMuseet in
Umeå,Sweden since 1998. In fall 2005 he did a
curatorial course at The University of Fine Arts in
Hanoi, Vietnam. Has contributed to magazines
such as Pavilion, Paletten and many more, and is
also the editor of several publications including
"Lara Baladi: Kai'ro"; "The Politics of Place";
"Mats Hjelm: Trilogy"; "Mirror's Edge", and "Head
North - Views from the Permanent Collection of
The South African National Gallery". Sjöström
curated for BildMusset shows like "Veli Granö &
Tuovi Hippeläinen - Rien/Is that all?", "Jane &
Louise Wilson - A Free and Anonymous
Monument"
or
"Adrian
Paci
Albanska berättelser".
During 2007-2008 Johan Sjöström is working as
curator at Göteborgs Konsthall, Sweden.
[158]
PARTICIPANTS BB3
Kristoffer Ardeña (ES/PH)
Born 1976 in Dumaguete, Philippines, lives and
works in Madrid, Spain.
He has worked with projects or shown at the
National Cultural Center (Manila/Philippines),
Apexart (NY/USA), Ssamzie Space (Seoul/South
Korea), Academia de España en Roma (Italy),
Museo Universitario del Chopo (Mexico D.F.),
Gatov and Merlino Galleries, California State
University in Long Beach (USA), Museo
Universidad de Alicante (Spain), Espacio Abisal
(Bilbao/Spain), Pipeline (Vienna/Austria) and
other venues.
Lauri Astala (FI)
Born 1958 in Valkeakoski, lives and works in
Helsinki, Finland.
Solo Exhibitions
2008 Institut finlandais, Paris, France
2005 Forum Box Gallery, Helsinki, Finland
1999 Tallinn Art Hall, Tallinn, Estonia
Centrum Rzezbypolskiej, Oronsko, Poland
1998 Uppsala Konstmuseum, Uppsala, Sweden
1997 Bildmuseet, Umeå, Sweden
Group exhibitions
2007 V TRIENNALE OF FINNISH ART,
HELSINKI ART HALL, HELSINKI, FINLAND
2006 DRAWING LUST, KUNSTHALLE LOPHEM,
BRÜGGE, BELGIUM
2005 NEW MEDIA ART FROM FINLAND -EXHIBITION, BOSTON CYBERARTS FESTIVAL, USA
2004 VOIDS, PADS & PLACES, KUNSTHALLE
LOPHEM, BRÜGGE, BELGIUM
2002 Myth, Helsinki City Art Museum, Helsinki,
Finland
Atlas Linguarum Europae (EUR)
The Atlas Linguarum Europae is the first continental linguistic atlas, whose frontiers are neither
political nor linguistic, but mere geographical. The
choice of the continent derives from the fact that
the linguistic situation in Europe is a complex one.
There exist six families of languages on the
European territory: Altaic, Basque, IndoEuropean, Caucasian, Semitic and Uralic. Within
these language families there exist 22 language
groups (such as Romance, Germanic or Celtic),
which in their turn consist of 90 languages and
individual dialects. The heterogeneous material
was collected in 2631 localities from Iceland to
the Ural Mountains. The ALE members belong to
the 47 national committees, to which 4 committees for the minority languages have been added.
Milena Bonilla (CO)
Born 1975 in Bogotá, Colombia, lives and workes
in Bogotá.
Solo Exhibitions
2006 Limítrofe, Valenzuela Klenner Gallery,
Bogotá
Donʼt say you love me, Valenzuela Klenner
Gallery, Bogotá
2004 Common Places (Sketches for a Garden)
Alianza Colombo Francesa, Bogotá
Group Exhibitions
2008 Revolución Industrial / Industrial Revolution,
Muca Roma Universidad Autónoma de 2007
México UNAM, Mexico-City
Once More With Feeling, A season of Colombian
Photography, Impressions Gallery, Bradford, UK
Displaced, Glynn Vivian Gallery, Swansea Wales,
UK
Fotográfica Bogotá, Contemporary international
photography, K proyects, Bogotá
Nuestra Hospitalidad, Espai dʼart contemporani
de Castelló EAAC, Castellón, Spain
2006 Bokaktig, Pastor Bonus Gallery, Oslo,
Norway
2003 X Salón Regional de Artistas, Museum of
Modern Art of Bogotá
Bureau DʼEtudes (FR)
The Paris-based artists Léonore Bonaccini and
Xavier Fourt form the artist-duo Bureau d´Etudes.
For the last several years, the French Group has
been producing cartographies of contemporary
political, social and economic systems. The visual analysis of transnational capitalism is based on
extensive researches and usually is presented in
the form of richly detailed maps.
Renaud Auguste-Dormeuil (FR)
Born 1968 in France, lives and works in Paris,
France.
Solo Exhibitions
2008 Birdʼs Eye View, in SITU-fabienne leclerc,
Paris, France
2006 The Day Before_Star System, Palais de
Tokyo, Paris, France
2005 The Day Before_Star System, Sala
Montcada, Fondation Caixa, Barcelone, Spam
2004 The Day Before_Star System, Swiss institute – Contemporary Art, New York, USA
Broadcast Hotels, Photoespana04, Madrid, Spain
2001 Excuse de provocation, Espace dʼart huit
novembre, Paris, France
Fin de représentation 2, Galerie du Haidouc,
Bourges, France
Group Exhibitions
2007 Medio dia - media noche, Centro cultural
Recoleta de Buenos Aires, Argentina
Fictions Cartographiques, Les imagiques, 8ème
rencontres photographiques en sud Gironde,
Langon,
France
Chateau de Tokyo, en collaboration avec le Palais
de Tokyo, Paris, Centre international dʼart et du
paysage, Ile de Vassivière, France
The Stability of Truth, SMART Project Space,
Amsterdam, Netherlands
2006 Conflicts, Photobiennal 2006, New Manezh
Moscow State Exhibition Hall, Mocow, Russia
2005 Home Works III, Ashkal Alwan, Beyrouth,
Liban
Vom
Verschwinden:
Weltverluste
und
Weltfluchten, Hartware Medien Kunst Verein,
Dortmund, Germany
Das neue Europa. Kultur des Vermischens und
Politik der Repräsentation, Generali Foundation
Vienna, Austria
2004 Junge Akademie, Akademie der Künste,
Berlin, Germany
2003 Gestes, Printemps de septembre, Toulouse,
France
Die offene Stadt, Kokerei Zollverein, Essen,
Germany
Lukas Einsele (DE)
Born 1963 in Essen, Germany, lives and works in
Darmstadt, Germany.
Solo Exhibitions
2005 Lukas Einsele: One Step Beyond GoetheInstitut New York
Lukas Einsele: One Step Beyond, Witte de With,
Rotterdam
Group Exhibitions
2007 1st Thessaloniki Biennale of Contemporary
Art State Museum of Contemporary Art Thessaloniki
2006 Einsele / Ezawa / Schellow Akademie
[159]
Schloss Solitude, Stuttgart
beton wurst und andere teamgeister, after the
butcher, Berlin
2005 Berlin Photography Festival 2005 Berlin
Photography Festival
Huis Clos, IG Bildende Kunst, Wien
open house - wg/3zi/k/bar, WG im Malkasten,
Düsseldorf
2003 Work in Transit, Witte de With, Rotterdam
2000 Lautlose Gegenwart, Kunstverein Bielefeld
Buckminster Fuller (USA)
born 1895 in Milton, USA, died in 1983.
Fuller was an architect, author, designer, inventor,
poet, visionary and an early environmental activist. He is famous for his geodesic dome buildings, such as the American pavilion for the
Montreal 67ʻs Expo, as well as for his Dymaxion
Map.
Eduard Freudmann & Can Gülcü & Lorenz
Aggermann (A)
Eduard Freudmann, born 1979 in Vienna.
Researches on and intervenes in the intersections of art and politics, power relations and social
contexts, theirstory/ourstory and media mechanisms. Since 2004 continuous collaboration with
Can Gülcü, with whom he founded Kraja, a
Vienna based association for art, culture and
communication. He lives and works in Vienna and
Belgrade and teaches at the Academy of Fine
Arts Vienna.
Can Gülcü, born 1976 in Bursa/Turkey, lives and
works as an artist in Vienna. Focuses of his formal varying work are political and social issues,
contemporary history and urbanism.
Lorenz Aggermann, born 1977 in Graz, works for
numerous theatres and festivals, writes regularly
reviews, essays and scientific articles. Currently
he is working at the University of Bern.
Lucia Ganieva (RU/NL)
Born 1968 in Russia, lives and workes in the
Netherlands since 1993.
Solo exhibitions
2008 National Centre for Photography,
St.Petersburg, Russia
2007 Gallery Foto21 Bredevoort, Bredevoort,
Netherlands
[160]
Group exhibitions
2007 Graduates Foto Academie, Amsterdam,
Netherlands
Les Rencontres dʼArles 2007, France
Photo Folio Gallery in Arles, France
Noorderlicht, Gallery Pictura, Groningen,
Netherlands
Nominees Photo Academy Awards, Amsterdam,
Netherlands
IPA Best of Show, Splashlight Studios New York,
USA
Best of Arles, Farmani Gallery Los Angeles, USA
2006 Exhibition PANL Award 2006, Post CS,
Amsterdam, Netherlands
2004 Gallery Fotogram, Foto Academy,
Amsterdam, Netherlands
Frances Goodman (ZA)
Born 1975 in South Africa, lives and works in
Johannesburg.
Solo Exhibitions
2007 Frances Goodman, The Goodman Gallery,
Johannesburg
Lift off II, Goodman Gallery Cape, Cape Town,
South Africa
2005 Petite Mort, The Goodman Gallery,
Johannesburg
2004 Wanting, KULAK, University of Kortrijk,
Belguim
Group Exhibitions
2007 Rare Essence, AEROPLASTICS contemporary, Brussels, Belgium
Compulsions, Galleri Specta, Copenhagen,
Denmark
2006 Women: Photography & New Media:
Imaging the Self and Body through
Portraiture, Goodman Gallery Booth, Art Basel,
Miami, USA
Farrago, Bernier/Eliades Gallery, Athens, Greece
Nie Meer, Der Warande, Turnhout, Belgium.
2005 Threat Zone, TPS - Triangle Project Space,
San Antonio, USA
[Prologue]
New
Feminism/New
Europe,
Cornerhouse, Manchester, England
Double Check Camera Austria, Graz , Austria
Art Out of Place, Norwich Museum and Art
Gallery, Norwich, England
2004 Double Check Re-Framing Space in
Photography: The Other Space, Parallel
Histories, Gallery of
Contemporary Art, Celje, Slovenia
2003 Something about Love, Casino Luxembourg
-Forum d'art contemporain, Luxembourg
Distance of Memory, Nairs, House of Culture in
Vulpera Tarasp, Nairs, Switzerland.
2002 Viper, Basel New Media Festival, Basel,
Swizerland
Sensing Sculpture, Wolverhampton Art Gallery,
Wolverhampton, UK
2000 EAST International, Norwich School of Art
and Design, Norwich, UK.
hackitectura.net (ES)
hackitectura.net consist of Pablo de Soto, Sergio
Moreno and José Pérez de Lama. hackitectura.net is a collaborative network that undertakes
practical and theoretical research into the emerging territories of information and communication
technologies, new social networks and the traditional physical space. hackitectura.net has produced such events as La multitud conectada and
Fadaiat (Tarifa - Tangiers).
Mona Hatoum (PS/GB)
Palestinian, born 1952 in Beirut, Lebanon. Lives
and works in London and Berlin.
Solo Exhibitions
2006 Mona Hatoum: Hot Spot, White Cube,
London
2004 Mona Hatoum, Hamburger Kunsthalle,
Hamburg; Kunstmuseum Bonn; Magasin 3
Stockholm Konsthall; Museum of Contemporary
Art, Sydney
2001 Mona Hatoum: Domestic Disturbance,
MASS MoCA, North Adams, MA
2000 Mona Hatoum, SITE Santa Fe, NM
Mona Hatoum, The Entire World as a Foreign
Land, Tate Britain, London
1998 Mona Hatoum, Kunsthalle Basel
1997-98
Mona
Hatoum,
Museum
of
Contemporary Art, Chicago; The New Museum of
Contemporary Art, New York; Museum of Modern
Art, Oxford; Scottish National Gallery of Modern
Art, Edinburgh
Group Exhibitions
2007-08 Neue Heimat – Berlin Contemporary,
Berlinische Galerie, Berlin
2007 Sharjah Biennial, Sharjah, United Arab
Emirates
3rd Auckland Triennial, Auckland, New Zealand
2006-07 Into Me/ Out of Me, P.S.1 Center for
Contemporary Art, Long Island City, NY; KunstWerke Berlin; Museo dʼArte Contemporanea
Roma
2006 Out of Time: A Contemporary View, Museum
of Modern Art, New York
2002 Documenta 11, Kassel
1997 Sensation: Young British Artists from The
Saatchi Collection, Royal Acadamy of Arts,
London
Brian Holmes (GB)
Brian Holmes is a cultural critic, living in Paris and
Chicago. He publishes in the journals Multitudes,
Brumaria, Springerin and the web-journal
Transform, he is the author of the essay collections Hieroglyphs of the Future_(Zagreb: WHW,
2002) and Unleashing the Collective Phantoms:
Essays in Reverse Imagineering (New York:
Autonomedia, forthcoming). He is currently engaged in the book project and seminar Continental
Drift.
Ashley Hunt (USA)
Lives and works in New York City, USA.
Group Exhibitions
2007 Documenta 12, Kassel, Germany
An Atlas of Radical Cartography, curated by Lize
Mogel and Alexis Bhagat
MoMA, Documentary Fortnight, New York
Left Forum, New York, Screening program by
Jesal Kapadia and Susan Johada
Princeton Human Rights Film Festival, Princeton,
New Jersey
3rd Annual Prisoners' Justice Film Festival,
University of Toronto
2006 Headquarters, Contemporary Museum,
Baltimore
When the Artist Says ʻWeʼ, Artistʼs Space, New
York, NY
Capital: It Fails Us Now, Tallinn, Estonia
Free Speech TV, Public Broadcast
Prison Nation, Center for the Study of Political
Graphics, Watts Towers Art Center
2005 I Beg Your Pardon, or, the Reestablishing of
Cordial Relations, Vera List Center for Art &
Politics, New York
Patriot, The Contemporary Museum, Baltimore,
MD
Amnesty International Firefly Film Festival,
Brooklyn, NY
2004 Identify! Studies in the Political Subject,
Vera List Center for Art & Politics, New York
2003 Territories, Kust-Werke Institute for
[161]
Contemporary Art, Berlin, curated by Anselm
Franke
Critical
Resistance
Southern
Regional
Conference, New Orleans, LA
Community Screening, The Refuge Community
Center, St. Petersburg, FL
Karlo-Andrei Ibarra (PR/USA)
Born 1982 in San Juan, Puerto Rico, lives and
works in San Juan, Puerto Rico.
Solo Exhibitions
2007 Each city can be Another, Museum of
Contemporary Art of Puerto Rico.
Walking towards the sun, The Storehouse Group,
San Juan, P.R
Group Exhibitions
2008 Landings 8, Taipei Fine Arts Museum,
Taiwan.
2007 Landings 7, Casa Las Americas, La
Habana, Cuba.
Art of Uncertainity, with Art Museum of El
Salvador, San Salvador.
Landings 5, Art Museum of Americas, Washington
D.C.
Re-mapping the Caribbean, Museum of Casas
Reales, Santo Domingo.
Johan Jarnestad (SE)
Graphical designer, living and working in
Stockholm, Sweden.
Emma Kay (GB)
Born 1961 in London, living and working in
London.
Solo Exhibitions
2008 Emma Kay, Toni Tapies, Barcelona
2006 Emma Kay, Marres, Centrum voor
Contemporaine Cultuur, Maastricht
2005 Emma Kay, Galerie Toni Tapies, Barcelona
2004 Emma Kay, The Power Plant, Toronto
2003 The Story of Art, Tate Contemporary
Intervention, Tate Modern, London The Story of
Art, Tate Britain, London
2001 Emma Kay, Hammer Projects, Armand
Hammer Museum, Los Angeles, USA
The Future From Memory, Chisenhale Gallery,
London, England
Group Exhibitions
2007 Fragments géographiques, Victoria and
Albert Museum, London, England
[162]
2006
FRAGMENTS
GÉOGRAPHIQUES,
Lehmann Maupin Gallery, New York City, USA
2005 Et maintenant - What now, Crac Alsace,
Altkirch, France
Move Your Past, Signal, Malmö, Sweeden
General Ideas - Rethinking Conceptual Art
1987–2005,
CCA
Wattis
Institute
for
Contemporary Arts, San Francisco, USA
Romance, Cristina Guerra Contemporary Art,
Lisbon, Spain
The Lisson Gallery Summer Show, Lisson
Gallery, London, England
Still Life - Naturaleza muerta arte contemporáneo
británico y peruano, Museo de Arte de Lima,
Lima, Peru
2003 Micro/Macro British Art 1996-2002
Műcsarnok Kunsthalle, Budapest, Hungary
2002 13th Biennale of Sydney- The World May Be
(Fantastic), Museum of Contemporary Art
Sydney
2001 ARS 01, Kiasma, Helsinki, Finland
2000 The British Art Show 5, Hayward Gallery,
London
1999 Istanbul Biennale, Istanbul
Maria Lantz (SE)
Born 1962 in Lund, Sweden, lives and works in
Stockholm.
Employed as adjunkt at Royal University College
of Fine Arts, Stockholm Sweden Runs th postgraduate program Art&Architecture; Editor Motiv:
a magazine on contemporary photography; member of the board for the Swedish Arts and Grants
committee.
Group Exhibitions
2007 Liljevalchs Kunsthalle, Stockholm
2007 Gothenburg Kunsthalle
2006 Vancouver World Social Forum, groupshow
2003 Cairo TownHouse Gallery,.,,and they got
sand..”On Location” groupshow
2002 Umeå, ”Politics of Place”, Umeå
Bildmuseum
Cezar Lăzărescu (RO)
Born 1969 in Iași, Romania, lives and works in
Iași.
Group exhibitions
2007 Back to the future / Cu spatele la viitor, Nouă
Gallery, Bucharest
Visual Eurobarometer, Neiborhood – Daily
practice of social values, MNAC Gallery 'Etaj ¾' National Theatre, Bucharest
2006 Festutopia 2006, Timișoara
2005 Staging Idioms. A documentary installation,
Stadtturmgalerie, Innsbruck
'Click-a-Cliché', Reiner Tisch Gallery, Berlin,
'On Difference #1. Local Contexts – Hybrid
Spaces',
Württembergischer
Kunstverein
Stuttgart, Stuttgart
2004 The Way the World is, Turkish Bath, Iaşi
2002 Public Art Transeuropa, Project 3, Focus on
Romania",
A9
forum
transeuropa,
MuseumsQuartier, Vienna,
2001 Periferic Biennial, Iași
Philippe Rekacewicz
Diplomatique
(FR)
/
Le
Monde
Born in 1960 in Paris, is a geographer and cartographer.
After completing his studies of Geography at the
Université de Paris I (Panthéon-Sorbonne), he joined the staff of the international French monthly
newspaper Le Monde diplomatique, for whom he
regularly produces maps (above all on prominent
geopolitical themes and environmental concerns
— conflicts, migrations and important social and
economic problems). He is interested in the relationships between cartography and art, science
and politics, but he is also particularly interested
in exploring the role that art plays in the creation
of maps and what effect it has as a means of propaganda when a map is used for political ends
(manipulation).
Dinu Li (GB/HN)
Born 1965 in Hong Kong, lives and works in
Manchester, UK.
Solo Exhibitions
2007 The Mother of All Journeys, 42 New
Briggate, Leeds
Chronicle of a Dream Foretold, The Bigger
Picture, Manchester
2005 Age of Transition, BCA Gallery, Bedford
As If I Were A River, Waterside Art Gallery,
Manchester
2004 Outside Are Our Dreams, Chapman Gallery,
Salford
2001 Treasured Island, An Tobar, Isle of Mull
Group Exhibitions
2007 Central Asian Project, Tashkent Biennale,
Uzbekistan
Central Asian Project, Underground Hall, Bishkek,
Kyrgyzstan
Central Asian Project, Tengri-Umay Gallery,
Almaty, Kazakhstan
London Is The Place For Me, Rivington Place,
London
2006 3 UK Artists in Central Asia, Exhibition Hall,
Almaty, Kazakhstan
In Exposed Areas, Kulturbunker, Cologne
Liminal Britain, University of Texas at San Antonio
Art Gallery
2005 The Mother of All Journeys, Victoria and
Albert Museum
Armin Linke (IT)
Born 1966 in Milan, Italy, lives and works in Milan.
Solo Exhibitions
2007 Armin Linke, Klosterfelde, Berlin
2006 Galleria Massimo De Carlo, Milano
2005 Prospectif Cinéma, Centre Pompidou, Paris
2004 Structures For Art and Architecture, New
York
Vitamin Creative Space, Guangzhou
Group Exhibitions
2007 Yo_User, ZKM Karlsruhe
1st Thessaloniki Biennale of Contemporary Art,
State Museum of Contemporary Art, Thessaloniki
The Second Moscow Biennale of Contemporary
Art, Museum of Modern Art at Petrovka, Moscow
This Place is My Place, Kunstverein, Hamburg
2006 The Maghreb Connection Townhouse
Gallery Cairo
In den Alpen Kunsthaus Zurich
Spectacular City NAI, Rotterdam
2005 La Dolce Crisi Villa Manin, Codroipo (Udine)
The Second Guangzhou Triennial, Guangzhou
InSite_05. Art Practices in the Public Domain,
Tijuana (San Diego)
2003 Territories, Witte de With, Rotterdam
Geography and the Politics of Mobility, Generali
Foundation, Vienna
2002 25th Bienal de São Paulo, Sao Paulo
1999 Cities on the Move, Hayward Gallery,
London Laboratorium, Antwerpen
1998 Berlin Biennale, Berlin
Mikael Lundberg (S)
Born 1952 in Lövö, Sweden, lives and works in
Stockholm.
[163]
Solo Exhibitions
2007 Nedslag i tiden 1937-2007, Statens konstråds galleri
2005 Klaipeda Art Hall, Lituania
Skövde konstmuseum
2000 Galleri Charlotte Lund, Stockholm
1997 Galerie Alexandre de Folin, New York
Group Exhibitions
2007 On the road, House Of Sweden,
Washington
2006 Trettiosju", med Magnus William Olsson,
SR, P1, radioteatern
Konsthallen Vitehall med Palle Dahlstedt,
Kungsbacka
2005 Nationalmuseum, Stockholm
Milliken Gallery, Stockholm
Tirana Biennale, Tirana
Bertien van Manen (NL)
Born 1952 in the Netherlands, lives and works in
Amsterdam.
Solo Exhibitions
2008 Museum für Gestaltung Zürich Switzerlandf
Yancey Richardson Gallery New York
Museum Ludwig Budapest Hungary
Fotohof Salzburg Austria
2007 Central European House of Photography
Bratislava Slovakia
2006 'Mois européen de la photographie' CNA
Luxembourg
2005 MoMA New York
Walter Gropius Bau Berlin, Berlin Photofest “After
the Fact” Germany
Group Exhibitions
2007 Howard Gilman Gallery, ʻHidden in Plain
Sightʼ Contemporary Photographs from the
Collection of
the Metropolitan Museum of Art New York
ʻScènes and Tracesʼ Collection Stedelijk Museum
Amsterdam
2006 ʻOp het tweede gezichtʼ Frans Hals Museum
Haarlem
ʻDutch Insight” Kumho Museum of Art Seoul
ʻL'esprit du Nordʼ Maison Européene de la
Photographie Paris
ʻFrames revisitedʼ De Hallen . Frans Hals
Museum Haarlem
ʻStories, Historiesʼ- from the Collection of the
Fotomuseum Winterthur, Suisse
Palais des Beaux Arts Bruxelles
ʻRécits dʼune Mondialisationʼ Palais des Nations
Genève
[164]
Adrian Matei (RO)
Born in 1980 Galati, Romania, lives and works in
Bucharest and Cluj-Napoca.
Group exhibitions
2004 Assez Loin, Espace Cosmopolis, Nantes.
Shoe Polish, Atas Gallery, Cluj-Napoca.
Christina McPhee (USA)
Born 1954 in Los Angeles, USA, lives and works
in California
Solo Exhibitions
2007 Christina McPhee, Katzen Arts Center,
Washington
2005 Christina McPhee, Bild Museet, Umea
Group Exhibitions
2007 Lyon Biennial, Lyon, France
2007 International Festival of New Film and New
Media, Split
Randa Mirza (LB)
Born 1978 in Beirut, lives and works in Lebanon.
Solo Exhibitions
2007 The Nahr el Bared relief campaign, Bourj
el Barajneh, Lebanon
2007
The finnish museum of photography,
Helsinki, Finland
2006
La Stanza delle biciclette gallery
(Vincenzo Cottinelli), Brescia, Italy
1999 Beirut theatre, Beirut, Lebanon
Group Exhibitions
2007 FIAC, Grand-Palais, Paris, France
Sites of imagination, Center cultural La mercé,
Girona, Spain
The representation of evil, The finnish museum of
photography, Helsinki, Finland
Moving Walls, Espace SD, Beirut, Lebanon
2006 Welcome, The Leibling Center for Film,
Photo and Video Hampshire College, USA
Nafas Beirut, Espace SD, Beirut, Lebanon
Stomping ground, Le Florence Gallery, Los
Angeles, USA
Les rencontres photographiques dʼArles, Arles,
France
Chou tabkha ya marra, Art Lounge, Beirut,
Lebanon
French Cultural Center, Torino, Italy
2005 5th francophone games, National museum
of modern art, Niamey, Niger
2004
8th international festival of photography,
Aleppo, Syria
2nd international photography meetings of Ghar
El-Melh, Tunisia
Oliver Musovik (MK)
Born 1971 in Skopje, Macedonia, lives and works
in Skopje.
Solo Exhbitions
2007 Skopje, Macedonia, Museum of
Contemporary Art
2006 Skopje, Macedonia, Driving, Contemporary
Art Center, Kurshumli An Gallery
2004 Adelaide, Australia, friends, neighbours and
others, Experimental Art Foundation
2003 Belgrade, Serbia & Montenegro, Mama
Loves Teleshop, Remont Gallery
Group Exhibitions
2007 Thessaloniki, Greece, 1st Biennale of
Contemporary Art “Heterotopias”, State Museum
of Contemporary Art
2006 Belgrade, Serbia, 47. October Salon "Art,
Life & Confussion"
2005 Diyarbakir, Turkey, A Consumption of
Justice, Diyarbakir Art Center
Vienna, Austria, REALITÄTEN I - Machtfaktor
Wirtschaft, Fotogalerie Wien
2004 Cetinje, Serbia & Montenegro, 5th Biennale
of Cetinje "Love it or Leave It"
Rome, Italy, Mediterraneo, MACRO al Mattatoio
2003 Kassel, Germany, In the Gorges of the
Balkans, Kunsthalle Fridericianium Kassel
Leipzig,
Germany,
Writing
Identities.
Autobiography in Art., Gallery for Contemporary
Art
Karlsruhe, Germany, Para > Sites / Who is moving the global city?, Badischer Kunstverein
2002 Frankfurt am Main, Germany, Manifesta 4 –
European Biennial of Contemporary Art
1999 Istanbul, Turkey, 6th International Istanbul
Biennial
Karina Nimmerfall (A)
Born 1971 in Deggendorf, Germany, lives and
works in Berlin.
Solo Exhibitions
2007 Power Play, Landesgalerie Linz
2006 Double Location, Bucket Rider Gallery,
Chicago
2005 New Talents, Art Cologne Sponsorship
Program, Cologne
Second Unit, Galerie Grita Insam, Vienna
Group Exhibitions
2007 You are here, Camera Austria, Graz
Historyteller, Lautom Contemporary, Oslo
2006 Location Uncertain, NIU Art Museum
DeKalb
2003 “8th Havana Bienale”, Havana
2002 MAK Center for Art and Architecture, Los
Angeles
Josh On: TheyRule.net (USA)
They Rule aims to provide a glimpse of some of
the relationships of the US ruling class. It takes as
its focus the boards of some of the most powerful
U.S. companies, which share many of the same
directors. Some individuals sit on 5, 6 or 7 of the
top 500 companies. It allows users to browse
through these interlocking directories and run
searches on the boards and companies. A user
can save a map of connections complete with
their annotations and email links to these maps to
others. They Rule is a starting point for research
about these powerful individuals and corporations.
Yoko Ono (USA)
Born in 1933 Tokyo, Japan, lives and works in the
USA.
Solo Exhibitions
2008 Yoko Ono. Between the Sky and My Head,
Kunsthalle Bielefeld, Germany
2007 Yoko Ono, Kunsthalle Bremen, Germany
2006 Yoko Ono: Grapefruit, Berkeley Art
Museum, USA
2004 Yoko Ono - Odyssey of a Cockroach ICA
London
2003 50. Biennale Venedig 2003 Biennale
Venedig
Yoko Ono - WOMEN´S ROOM Musée d´Art
Moderne de la Ville de Paris
Yoko Ono NGBK Berlin
Group Exhibitions
2007 PERFORMA07 PERFORMA, New York,
USA
Romantischer
Konzeptualismus
BAWAG
Foundation, Vienna, Austria
KISS KISS BANG BANG., Museo de Bellas Artes,
Bilbao, Spain
Vertigo, MAMbo, Bologna, Italy
Centre of the Creative Universe, Tate Liverpool,
[165]
Great Britain
2006 Concept. Action. Language. MUMOK,
Vienna, Austria
Altered, Stitched & Gathered, P.S.1 MoMA, New
York, USA
Looking at Words Andrea Rosen Gallery, New
York
2005 The Artistʼs Body. Then and Now, Mamco,
Geneve, Swiss
WAR IS OVER Galleria d´Arte Moderna,
Bergamo, Italy
8. Biennale de Lyon 2005, Biennale Lyon, France
2004 Taipei Biennial 2004, Taiwan
Utopia Station, Haus der Kunst, Munich,
Germany
5. Shanghai Biennale 2004, Shanghai Biennale
Liverpool Biennial 2004 Liverpool Biennale
Lia Perjovschi (RO)
Born 1961 in Romania, living and working in
Bucharest.
Solo Exhibitions
2006 Lia Perjovschi, Kunstraum Innsbruck
Group Exhibitions
2007 Dada East? The Romanians of Cabaret
Voltaire Färgfabriken, Stockholm
Learn to Read, Tate Modern, London
Auszeit. Kunstmuseum Liechtenstein, Vaduz
LE NUAGE MAGELLAN, Centre Pompidou, Paris
2006 Every Day..., Kunstverein Salzburg
Dada East?, Cabaret Voltaire Dadahaus, Zürich
ACADEMY. Learning from Art, Museum van
Hedendaagse Kunst, Antwerpen
10
Jahre
Kulturförderungsgesetz,
NÖ
Landesmuseum, St. Pölten
Check-in, Europe Europäisches Patentamt,
München
Periferic 7, Biennale Periferic, Iasi
AGAIN FOR TOMORROW, Royal College of Art,
London
Interrupted Histories, Moderna Galerija Ljubljana
2005 On Difference #1, Württembergischer
Kunstverein, Stuttgart
Das Neue Europa, Generali Foundation, Wien
2004 Who if not we...?, BAK Utrecht
Publish and be Damned, CUBITT Gallery and
Studios, London
Arteast 2000+, Moderna Galerija Ljubljana
2003 Lia Perjovschi & Dan Perjovschi, Kunsthalle
Göppingen
Balkan Konsulat proudly presents: Budapest,
rotor Graz
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Periferic 6, Biennale Periferic, Iasi
Arno Peters (DE)
Born 1916 in Berlin, Germany, died in 2002. Arno
Peters developed the Peters world map, based
on the Gall-Peters projection. Born in Berlin,
Germany, he began his career as a filmmaker
who studied American techniques of filmmaking
during the late 1930s, and helped to revolutionize
film production in Germany at the time. In 1942,
Arno Peters received his doctorate at the
University of Berlin, writing his dissertation on
political propaganda. This interest pushed Peters
into studying Synchronoptic World History, which
focuses on giving all people of the world equal
voice, by making a timeline with each year getting
equal space on a page. This project culminated in
Peters' development of the Peters world map in
1974.
Sabine Réhoré (FR)
Born 1963 in France, living and working in
Marseille.
In 1999, she decided to remake the world and
since that time, it became her job.Because map of
the worldʼs industrial making has set the picturing
of our planet, she wants to give back the expressive power of this topic to dream and fantasy.
Analysing symbols, physical realities and mental
models that leads our vision, she creates her own
planets Earth. Facing these works, the onlooker
gets puzzled and considers cartography with
brand new eyes.
Arjen van Susteren (NL)
Arjen van Susteren is designer and researcher.
Besides frequently lecturing, he recently published the Metropolitan World Atlas.
Jan Svenungsson (SE)
Born 1961 in Lund, Sweden. Lives in Berlin.
Solo Exhibitions
2007 A Place on Earth & Tracking, RMIT Faculty
Gallery, Melbourne, Australia (with Katrin von
Maltzahn)
2006 Sprachverschmelzende Mitteilungen,
Brandenburgischer Kunstverein, Potsdam,
Germany
2005 Schornsteinarbeit, Buxtehude Museum,
Buxtehude, Germany
2004 Chimney Works, Galleri Flach, Stockholm
Test Paintings, Galerie Werner Klein, Cologne,
Germany
2003 Psycho-Mapping the Current Crisis,
Moderna Museet, Stockholm
2002 Schornsteinarbeit, Galerie Werner Klein,
Cologne, Germany
Liverpool Project, Open Eye Gallery, Liverpool,
Great-Britain
Group Exhibitions
2007 20th Anniversary Exhibition, The Wanås
Foundation, Knislinge, Sweden
Den moderna staden – det offentliga rummets
estetik, Uppsala Konstmuseum, Sweden
2006 Skissutställning Halmstad 700", Nya
Stadsgalleriet, Halmstad, Sweden
Artist Migration Berlin, Heidelberg Kunstverein,
Heidelberg, Germany
2005 A Whiter Shade of Pale – Scandinavian Art
along the Lower Elbe (Buxtehude, Germany)
XL, la collection photographique dʼArles, Musée
Réattu, Arles, France
Svensk Konst Nu, Kalmar Konstmuseum, Kalmar,
Sweden
2004 The Pontus Hulten Collection..., Moderna
Museet, Stockholm
Berlin North, Nationalgalerie im Hamburger
Bahnhof, Berlin
2003 handlungsanweisungen - instruction,
Kunsthalle Wien project space
Contemporary Art From Sweden, European
Central Bank, Frankfurt, Germany
Insert - Aspekte Schwedischer Kunst”,
Kulturabteilung Bayer, Leverkusen, Germany
2002 Zeichen > < Sprache, Galerie Grita Insam,
Vienna
Transvisit Fort Masnedø, Masnedø, Denmark
Mare Balticum, National Museum, Copenhagen
DA2 - Domus Artium 2002, Salamanca, Spain
Adriana Varejão - Echo Chamber. Fondation
Cartier pour lart contemporain, Paris
2004 Adriana Varejão. Victoria Miro Gallery,
London, England
2003 Adriana Varejão. Lehmann Maupin Gallery,
New York City, USA
2002 Adriana Varejão - Secos e Molhados Galeria
Fortes Vilaça, São Paulo, Brazil
Adriana Varejão. Victoria Miro Gallery, London
England
Group Shows
2007 Coleções 8, Galeria Luisa Strina, São
Paulo, Brazil
Da Visualidade a o Conceito 80-90 Modernos
Posmodernos etc. Instituto Tomie Ohtake, São
Paulo, Brazil
IVAM - Institut Valencià dArt Modern, Valencia,
Spain
Global Feminisms. Brooklyn Museum of Art,
Brooklyn, USA
2006 Busy Going Crazy. The Sylvio Perlstein collection, La Maison Rouge, Paris, France
Liverpool Biennial 2006, Liverpool Biennial of
Contemporary Art, Liverpool, England
20 Desarreglos - Arte Contemporáneo de Brasil.
Museo de Artes Visuales, Santiago, spain.
Collection of the Fondation Cartier pour lart contemporain, Museum of Contemporary Art Tokyo,
Tokyo, Japan
ARS 06, Kiasma - Museum of Contemporary Art,
Helsinki, Finland
2005 Leilao Beneficente Galeria Luisa Strina, São
Paulo, Brazil
2004 Leilao de Parede Galeria Luisa Strina, São
Paulo, Brazil
SITE Santa Fes Fifth International Biennial
International Biennial Exhibition Site Santa Fe,
Santa Fe, USA
Adriana Varejao (BR)
Born 1964 in Rio de Janeiro, Brazil, lives and
works in Rio de Janeiro.
Solo Exhibitions
2007 Adriana Varejao, Hara Museum of
Contemporary Art, Tokyo, Japan
2005 Adriana Varejão | Câmara de Ecos, Centro
Cultural de Belém - CCB, Lisbon, Portugal
Adriana Varejão. Galeria Fortes Vilaça, São
Paulo, Brasil
[167]
Blog Performance
BREAKFAST AT PAVILION
PARALLEL
EVENTS/PROJECTS OF BUCHAREST BIENNALE
3
Authors: C`t`lin Avramescu (filosopher), Eugen R`descu (politologyst), Alexandru B`l`[escu (anthropologist), Felix Vogel (theoretician), R`zvan
Ion (political activist), Pavilion (magazine).
CE ESTE BREAKFAST?
Micul dejun este masa cea mai important` a zilei \n timpul c`ruia citim presa. Dac` mai mult decit informa]ie am primi [i comentarii personale
subiective, am putea reac]iona [i am g`si modalit`]i noi de interferen]`, altele dec\t cele obi[nuite?
“BREAKFAST” caut` sa transcead` tradi]ionalele grani]e \ntre cercetare, educa]ie [i expunere [i caut` noi forme de exprimare [i comunicare
discursiv` \ncerc\nd s` ofere r`spunsuri noi la \ntreb`ri vechi legate de politic`, estetic`, form`, fond, con]inut [i s` reevalueze conven]iile cotidianului.
“BREAKFAST” este un punct de propuneri, dezbateri, analize asupra scenei artei contemporane [i contextul interna]ional \n care aceasta
ac]ioneaz`. Este un proiect-baz` de discu]ii pentru problemele contemporane, ca un dublet analitic-(re)productiv aproape foucaultian.
WHAT IS BREAKFAST?
The breakfast is the most important meal of the day. Breakfast means reading the newspapers. What if we could get not just mere information
but also reactions to those events, could we react ourselves and would we have the opportunity to find new means of interference-different to
the usual ones?
“BREAKFAST” seeks to transcend the traditional borders between research, education and presentation and looks for new ways of expression
and communication trying to find new answers to some old questions related to politics, aesthetics and content and to reevaluate the conventions of everyday life.
“BREAKFAST” is a platform of debates on contemporary issues that involves proposals, debates, analyses of the contemporary art scene and
the international context in which it operates, almost like analytic-(re)productive foucaultian dublet.
http://blogs.pavilionmagazine.org/
Supported by:
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Exhibition / Travelling Video Installation | Expozi]ie / Instala]ie Video Nomad`
DIS-ECONOMY OF LIFE / DIS-ECONOMIA VIE}II
Migratory Aesthetics, Travelling Concepts & Organization of Economic Life
Estetica migra]iei, concepte de c`l`torie & organizarea vie]ii economice
Exhibition+Debate/Expozi]ie+Dezbatere
HOLY DAMN IT
50 000 posters against G8 – on the urgent need for radical answers
Despre necesitatea unor r`spunsuri radicale. 50.000 de afi[e \mpotriva summitului G8
Bucuresti, May 11 -25, 2007
Venue: Desant, Bd. Ion Mihalache nr. 123
Artists: bankleer (D), open circle (Indien), Mansour Ciss/Laboratoire Déberlinisation (Senegal), Markus Dorfmüller (D), Petra Gerschner (D), Marina Grzinic (Slovenia),
Ibrahim Mozain/Artists Without Walls, (Israel/Palästina), Oliver Ressler (A), Walter Seidl (A), Allan Sekula (USA).
CINEMA SUITCASE / Amsterdam, The Netherlands
Artists: Mieke Bal, Zen Marie, Thomas Sykora, Gary Ward and Michelle Williams
Curator: Marko Stamenkovic, art-e-conomy / Belgrade, Serbia
June 21 – 25, 2007
Desant, 123 Ion Mihalache Bd., Bucharest, Romania
Opening: Tuesday, June 21, 1 9.00 / Followed by Public Debate, 20.00
Debate with: Andreea Grecu (economist), Eugen Radescu (politologist), Razvan Ion (editor of Pavilion), Alex Balasescu (antropologist), Cristian
Crisbasan (journalist), Catalin Avramescu (political analist).
Moderator: Marko Stamenkovic (curator).
The concept of dis-economy of life is meant to suggest the tight connections between the various areas in which the economic, in the sense of
organization of life, affects people: public space, private life, individual mental well-being. In all these domains, a form of dis-economy occurs at
the present time. As a result, people float in uncertainty, at the same time economically connected to and yet, disconnected from one another.
The proposed series of films present these domains, by means of visual description, narrative, encounters, and reflexivity
Cinema Suitcase is an international group of filmmakers pursuing projects of experimental social documentary. The group consists of: Mieke
Bal, Zen Marie, Thomas Sykora, Gary Ward, and Michelle Williams. Coming from a diversity of fields in the visual arts, they seek to facilitate the
self-narration of their subjects, always encountered on the basis of a great intimacy, rather than constructing their stories for them. This
approach enhances the performative quality of filmmaking as a collective process. The travelling media exhibition brings together three separate yet complementary work-segments (video installation Nothing is Missing; Colony; Mille et un jours & Access Denied).
------------------------------Conceptul dis-economiei vie]ii este menit a sugera str\nse conexiuni \ntre zone variate unde economicul, \n sens de organizare a vie]ii,
afecteaz` popula]ia: spa]iul public, via]a privat`, bunastarea mental` personal`. |n toate aceste domenii o form` de dis-economie apare \n
prezent. Ca rezultat, popula]ia plute[te \n incertitudine, \n acela[i timp \n conexiune, dar [i deconecta]i de cel`lalt. Seria de filme propus`
prezint` trei domenii: descriere vizual`, nara]iune, expresie, reflexivitate.
Cinema Suitcase este un grup interna]ional de realizatori de film care folosesc documentarul social experimental ca modalitate de realizare a
proiectelor. Grupul este constituit din Mieke Bal, Zen Marie, Thomas Sykora, Gary Ward, Michelle Williams. Provenind din zone diferite ale
artelor vizuale, grupul caut` s` faciliteze auto-nara]iunea propriilor subiecte, dec\t s` construiasc` pove[ti. Abordarea de acest tip cre[te calitatea performativ` a crea]iei fimografice ca proces colectiv. Expozi]ia media nomad` aduce impreun` trei segmente-modalit`]i de lucru.
Supported by:
Opening: May 11, 2007, 19.00
+ Public debate moderated by R`zvan Ion (editor Pavilion) with: Dan Perjovschi (artist/journalist), Vasile Ernu (writer), Eugen R`descu (theoretician/curator),
Alexandru B`l`[escu (anthropologist), Cristian Crisb`[an (writer/journalist), Adriana Zaharia (theater director), Andreea Grecu (economist).
+ Launch of PAVILION no. 11 "What Was Socialism, and What Comes Next".
The art project HOLY DAMN IT has to be seen as an artistic intervention in the process of a political debate about social alternatives in the international protest and
resistance movements against the G-8 summit in Heiligendamm near Rostock in 2007.
Ten international artists and artist collectives from four continents have created one poster each.
The artistic contributions deal with the hegemonic conditions and current issues about social movements against capitalist globalization: privatization, exploitation of
human beings and resources, war, torture, escalating military mobilization from within as well as to the outside as a permanent state of exception, sexist violence
and patriarchal as well as racist models of dominance. Moreover, the project deals with the power of global image (re-)production within capitalism and the development of ideas about of an emancipative and solidarity-oriented culture and society.
Project will be presented in Berlin, Graz, Ljubljana, Berna, Zurich, Kiel, Hamburg, Rostock, Dusseldorf, Munchen, Viena, Bucuresti, Belgrade, Karlsruhe, Zagreb,
Maribor, Koln.
--------Bucuresti, 11 -25 mai 2007
Arti[ti: bankleer (D), open circle (Indien), Mansour Ciss/Laboratoire Déberlinisation (Senegal), Markus Dorfmüller (D), Petra Gerschner (D), Marina Grzinic (Slovenia),
Ibrahim Mozain/Artists Without Walls, (Israel/Palästina), Oliver Ressler (A), Walter Seidl (A), Allan Sekula (USA).
Deschiderea: 11 mai 2007, 19.00
Loca]ie: Desant, Bd. Ion Mihalache nr. 123
+ Dezbatere public` moderat` de R`zvan Ion (editor Pavilion) la care vor participa: Dan Perjovschi (artist/jurnalist), Vasile Ernu (scriitor/editorialist), Eugen R`descu
(politolog/curator), Alexandru B`l`[escu (antropolog), Cristian Crisb`[an (scriitor/jurnalist), Adriana Zaharia (regizor), Andreea Grecu (economist).
+ Lansarea revistei PAVILION no. 11 "What Was Socialism, and What Comes Next".
Proiectul artistic HOLY DAMN IT trebuie v`zut ca o interven]ie artistic` \n procesul dezbaterii politice asupra alternativelor sociale \n cadrul mi[c`rii interna]ionale
de protest [i rezisten]` \mpotriva summitului G8 ce va avea loc la Heiligendamm, l\ng` Rostock, \n 2007.
Zece arti[ti [i grupuri artistice de pe patru continente au creat, fiecare, c\te un poster.
Contribu]iile artistice ]in de condi]iile hegemonice [i subiectele actuale legate de mi[c`rile sociale \ndreptate \mpotriva globaliz`rii capitaliste: privatizare,
exploatarea resurselor [i a fiintelor umane, r`zboi, tortura, re\nt`rirea mobiliz`rilor militare \ntr-o permanent` stare de exce]ie, violen]a ce inso]e[te discriminarea
sexual`, modelele patriarhale [i rasiste de domina]ie. Mai mult, proiectul discut` imaginea global` a (re)produc]iei \n capitalism [i cu dezvoltarea ideilor despre o cultur` [i o societate orientate c`tre emancipare [i solidaritate.
Proiectul este prezentat \n Berlin, Graz, Ljubljana, Berna, Zurich, Kiel, Hamburg, Rostock, Dusseldorf, Munchen, Viena, Bucure[ti, Belgrade, Karlsruhe, Zagreb,
Maribor, Koln.
For more details/Pentru mai multe detalii: www.holy-damn-it.or
Supported by:
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Media Partners:
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Networking /Lectures /Debates /Research
PAVILION MEETING PLACE
Performance
FLYING KITE WITH LOCALS / |N~L}|ND ZMEE CU LOCALNICII
YOSHINORI NIWA (Japan)
August 07, 2007 -- 11.00 hours
Bucure[ti, Pia]a Universit`]ii (in front of National Theatre)
Friday, May 18, 2007
20.00 Second launch of PAVILION magazine no. 10- 11 on the topic “What Was Socialism, and What Comes Next” with the exhibition “Holy Damn
It”. Public debate with the editors of PAVILION.
Saturday, May 19, 2007
10.00 Informal meetings
17.00 Breakfast At Pavilion
“The Magazine As Temporary Structure”, a lecture by Felix Vogel
Desant. Bd. Ion Mihalache nr. 123
18.30 Breakfast At Pavilion
“Political Esthetics”, a lecture by Cosmin Marian
Desant. Bd. Ion Mihalache nr. 123
Sunday, May 20, 2007
10.00 Informal meetings
17.00 Breakfast At Pavilion
“Informalities”
Artist talk by Maria Lantz.
“Being Here. Mapping the Contemporary”
Public debate with Jan-Erik Lundstrom & Johan Sjostrom, the curators of Bucharest Biennale 3.
Desant. Bd. Ion Mihalache nr. 123
Supported by:
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In Japan, for the cellebration of the New Year in early january, people traditionally fly kites. Usually made out of paper, taking mythical forms
such as Octopus, Demon, Animals, etc. My project in Bucharest is to fly kites made out of garbage collected from the streets of the city, i.e.
Plastic bags and/or cardboards. This action-art project is a way to collaborate with the people from Bucharest for the making of the kites, and
in parallel it constitutes a communicating mixture of Japanese and Romanian culture. Local and global categories are under the scrutiny through
this aesthetic action. Trash is part of the culture of any city, and in the garbage one may find the vestiges of international corporations, such as
Fast Food chains, mixed with packaging from local producers. The kite will mix them reconstituting the microcosmos of Bucharest. This kite will
be the material expression of commodity distribution system, a witness of contemporary global capitalism, and a commentary on the consumer
society in Bucharest. The flying kite is untouchable, but it touches us and will make us rethink our socio-political context. The experience of collectively working on a kite with local people may remain in the memory of Bucharest cityscape.
Yoshinori Niwa is a physical performance artist who often incorporates animals, plants, and the environment into his work. Niwa’s aim is to
explore how to live with others, especially those of other cultures and social classes. Niwa has performed works in Britain, Canada, Germany,
Hungary, Japan, Montenegro, Poland, Serbia, and Slovakia. In addition to his performance work, Niwa is curator and festival organizer. Niwa is
currently coordinating an international art festival titled "Artist as Activist" in Tokyo.
--------------------------La fiecare \nceput de ianuarie \n Japonia, cu ocazia Noului An, oamenii \nal]` zmee. De obicei f`cute din h\rtie, acestea cap`t` forme inspirate
din mitologia local`: Caracati]e, Demoni, Animale, etc. Proiectul lui Niwa \n Bucure[ti este de a \n`l]a, \mpreun` cu locuitorii ora[ului, un zmeu
realizat din gunoaiele adunate de pe str`zile capitalei: pungi din plastic, sticle din plastic, ambalaje din carton, etc. Acest proiect de art` \n
ac]iune este o modalitate de a colabora cu locuitorii din Bucure[ti, constituind \n paralel o mixtiune comunicativ` \ntre cultura japonez` si cea
român`. Categoriile de local si global sunt analizate prin aceast` ac]iune estetic`. Gunoiul este parte din cultura fiec`rui ora[, iar \n gunoi oricine
poate g`si vestigiile corpora]iilor interna]ionale amestecate cu ambalajele produc`torilor locali. Zmeul le va amesteca, reconstruind astfel
microcosmosul Bucure[tiului. Acest zmeu va fi expresia material` a sistemului de distribu]ie a m`rfii, un martor al capitalismului global contemporan, [i un comentariu asupra societ`]ii de consum din Bucuresti. Zmeul \n zbor este de neatins, \ns` el ne atinge pe noi, [i ne face s` reg\ndim
contextul socio-politic \n care tr`im. Experien]a lucrului colectiv cu bucure[tenii va r`m\ne \n memoria peisajului citadin al Bucure[tiului.
Yoshinori Niwa este physical performance artist care incorporeaz` \n opera sa animale, plante, mediul inconjur`tor. Scopul declarat al lui Niwa
este s` exploreze cum tr`iesc ceilalti, \n special cei din alte culturi [i clase sociale. El a performat \n Marea Britanie, Canada, Germania, Ungaria,
Japonia, Muntenegru, Serbia, Polonia, Slovacia. Pe l\ng` activitatea sa de artist, Niwa este curator [i organizator al festivalului interna]onal
"Artist as Activist" din Tokyo.
www.niwa-staff.org
Supported by:
Media Partners:
Partner:
[173]
Lecture
Poster Campaign
Ben Seymour and Anthony Iles
LAND OF HUMAN RIGHTS
< ROTOR > (GRAZ, AUSTRIA)
Tadej Pogačar, “Attention! Migrants, Distrust Abusive Regimes!”, 2006
ART, SPORT, AND SHOPPING – FROM
MODERNIST UTOPIA TO NEOLIBERAL DYSTOPIA
May 23 - June 21, 2008
INFO POINT BB3, București (PAVILION UNICREDIT - center for contemporary art & culture, Șos. N. Titulescu nr. 1)
Artists of the 1st and 2nd poster campaign: h.arta group (Timişoara), Sanja Iveković (Zagreb), Aydan Murtezaoğlu (Istanbul), Isa
Rosenberger (Vienna); bankleer (Berlin), Miklós Erhardt & Dominic Hislop (Budapest), Alexandros Georgiou and Jennifer Nelson, in collaboration with ITYS, Institute for Contemporary Art and Thought, Athens and Konate Mamadou and Théophile Yerbanga (Athens), Tadej
Pogačar (Ljubljana).
“Land of Human Rights” is a project dealing with the status quo of the human rights in Europe seen from the perspective of visual art, which
will also work on the issue in an analytical and visionary manner. Over a period of three years the discourse on human rights in Europe
will be disseminated in the general public with the means of art. The discussion shall purposely be based on issues “in front of oneʼs own
door” or “inside oneʼs own house”.
May 24, 2008 -- 18.00 hours
București, National Center for Dance (Piaţa Universităţii, National Theatre, floor 4)
The 2012 Olympics and the Frieze Art Fair, twin poles of the UK's financialised economy, seem to confirm that art has converged with
sport as an instrument of capital's economic and spatial restructuring. But if both high art and popular culture partake of a decadent
capitalism's ongoing self-cannibalisation, what remains of the revolutionary potential of modernist art, sport and politics today?
Ben Seymour and Anthony Iles of London-based culture/politics magazine Mute [http://metamute.org], present their respective takes
on this question.
-----------------------Olimpiada din 2012 și Frieze Art Fair, cei doi poli ai economiei financiare din Marea Britanie, par sa confirme ca arta converge cu
sportul ca instrument al capitalului economic și restructurării spaţiale. Dar, dacă arta de înaltă clasă și cultura populară se implică în
permanenta auto-canibalizare a capitalismului decadent, ce mai ramîne din potenţialul revoluţionar al artei moderne, sportului și
politicii?
Ben Seymour și Anthony Iles de la revista londoneză de cultură/politică Mute [http://metamute.org], prezintă poziţiile lor în acestă
chestiune.
The project is co-organized by art institutions from six countries: < rotor > association for contemporary art, Graz; Galerija ŠKUC, Ljubljana;
g-mk / galerija miroslav kraljevic, Zagreb; Trafó House of Contemporary Arts, Budapest; Faculty of Art and Design - JEPU, Ústí nad Labem;
riesa efau / Motorenhalle, Dresden.
One integral part of the long-term project “Land of Human Rights” is a poster campaign. Starting in September 2007, a set of 4 posters will
be printed every half a year. The front side of the posters will present works of artists and on the back side there will be short texts of theorists or human rights activists who will thematize current human rights issues. In Bucharest a series of posters will be distributed in
Bucharest Biennale 3 as parallel event.
--------------------------“Teritoriul Drepturilor Omului” este un proiect care crează status quo-ul drepturilor omului în Europa, privite din perspectiva artelor vizuale,
și analizează tema într-o manieră analitică şi vizionară. De-a lungul a trei ani discursul despre drepturile omului în Europa va fi diseminat
publicului prin intermediul artei. Dezbaterea va fi bazată în mod premeditat pe teme precum “în faţa proprie-i uşi” şi “în interiorul proprie-i
case”.
Proiectul este co-organizat de către institute de artă din şase ţări: Asociaţia “Rotor” pentru Artă Contemporană, Graz; Galeria ŠKUC,
Ljubljana; g-mk / Galeria Miroslav Kraljevic, Zagreb; Casa Trafó de Arte Contemporane, Budapesta; Facultatea de Arte si Design – JEPU,
Ústí nad Labem; riesa efau / Motorenhalle, Dresden.
O parte integrală a proiectului pe termen lung “Teritoriul Drepturilor Omului” este o campanie de afi[e. Începând cu sepembrie 2007, un set
de patru afişe va fi imprimat o dată la şase luni. Pe partea din faţă vor fi prezentate lucrări ale artiştilor şi pe cea din spate vor fi scurte
texte ale teoreticienilor sau activiştior drepturilor omului ce vor avea ca temă probleme actuale ale drepturilor omului. |n București o serie
de afișe vor fi distribuite în cadrul Bucharest Biennale 3, ca eveniment paralel.
Supported by:
Media Partner:
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[175]
Film
Directed by Sophie Fiennes and presented by Slavoj Žižek
THE PERVERT'S GUIDE TO CINEMA
Performance - Dance
YOU COME TO SEE THE SHOW AND
YOU’LL GET AN EXTRA BURGER!
May 23, 2008 -- 20.00 hours
CNDB - National Center for Dance (Bd. Nicolae Bălcescu, nr. 2 - TNB, 4th Floor, Ronda Hall)
Concept, text şi coregrafie: Mihai Mihalcea & Solitude Project
Interpreţi: Mihai Mihalcea & Mihaela Sîrbu
Colaj muzical din: Eartha Kitt, Josef Haydn, Kurt Dahle, Jérôme Soudan
Produs de: Solitude Project
(reprezentaţie în limba engleză, durata aproximativă: 35 min)
Concept, text and choreography: Mihai Mihalcea & Solitude Project
Performance: Mihai Mihalcea, Mihaela Sirbu
Music (collage): Eartha Kitt, Josef Haydn, Kurt Dahle, Adolphe Adam, Jérôme Soudan
Production: Solitude Project
(performed in English, duration about 35 min)
In this piece, presented in premiere in DieTheater Vienna in 1999 and since reworked, Mihai Mihalcea attempts to demonstrate that choreographic research is a difficult exercise. In a derisive approach to the subject, he displays to the public his discontent as an artist at not being able to
satisfy the audience, constantly challenging his concepts his art and his private life. Here, and indeed throughout his work, Mihai Mihalcea ceaselessly questions the artist’s position, bringing home to the audience the difference between an artistic idea and its execution.
June 03, 2008 -- 17.00 hours
Bucure[ti, Elvira Popescu Cinema (French Cultural Institute, Bd. Dacia nr. 77)
IThe film takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Žižek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Žižek delves into the
hidden language of cinema, uncovering what movies can tell us about ourselves.
Mihai Mihalcea works and lives in Bucharest as independent choreographer & performer. He was working Comic Opera in Berlin and „Christian
Trouillas” company in Paris. He was teaching at Choreography High School “Floria Capsali”, “Dinu Lipatti” Music High School, Theater Academy
in Iai, Theatre International de la Cité Universitaire din Paris, Centre Chorégraphique National de Franche-Comte, Belfort, La Manufacture,
Atelier du Rhin - Centre dramatique regional, Colmar. He created several works presented in well known festivals in Italy, Poland, France, Austria,
Germany, USA, Hungary, Bulgaria, Ukraine, Belgium, Portugal, Holland, Ukraine and Slovenia. Since 2006 Mihai Mihalcea took over the direction
of The National Centre of Dance in Bucharest.
----------------------------
--------------------Filmul transpune vizitatorul într-o incursiune vioaie în lumea celor mai cunoscute filme relizate de-a lungul timpului. Prezentatorul şi totodată
ghidul acestei călătorii este carismaticul filosof şi psihanalist slovenian Slavoj Zizek. Felul său specific de a aborda procesul cognitiv prin prisma pathosului l-a determinat să decodifice limbajul ascuns al cinematografiei, imaginând filmul ca pe o oglindă în care fiecare din noi se poate
privi.
[176]
„You come to see the show and you’ll get an extra burger!” este un anti-spectacol. Este o lucrare în perpetuă transformare, diferită de la o
reprezentaţie la alta, care lasă impresia unei repetiţii desfăşurată în faţa publicului. Autorul creează un remix pemanent al conţinutului,
amestecă fără reţineri planuri temporale şi sentimente de ultimă oră, şi încearcă să creeze un spaţiu propice pentru întrebări. „Spectacolul”
pune în centrul atenţiei confesiunea publică a autorului său, care se poziţionează critic faţă de problemele pe care le are în societatea în care
trăieşte şi, mai cu seamă, în domeniul în care activează. Autorul ridică semne de întrebare în legătură cu arta dansului, balansînd permanent
între dans şi ceea ce se află în spatele acestuia. Nu fără o notă de ironie, autorul se lasă purtat de subiectivismul său extrem, încalcă regulile şi
convenţiile scenice, şi îi dezvăluie publicului amănunte despre culisele creării spectacolului şi despre evenimentele care i-au marcat formarea
ca dansator.
Mihai Mihalcea este coregraf si dansator. Timp de doi ani a fost dansator al Operei Comice din Berlin si a colaborat ulterior cu Compania
„Christian Trouillas” din Paris. A dansat si a creat spectacole si lucrări coregrafice prezentate în: Franta, Germania, Italia, Austria, S.U.A.,
Bulgaria, Ukraina, Portugalia, Polonia, Ungaria, Olanda, Belgia si Slovenia. A predat cursuri permanente de dans contemporan la Liceul de
Coregrafie “Floria Capsali” si a tinut cursuri si ateliere punctuale la Liceul de Muzică “Dinu Lipatti”, la Academia de Teatru din Iasi, Opera din
Chisinau, la Theatre International de la Cité Universitaire din Paris, Centre Chorégraphique National de Franche-Comte din Belfort, La
Manufacture, Atelier du Rhin - Centre dramatique regional, Colmar. Din 2006 este director al Centrului National al Dansului din Bucuresti.
[177]
PCAP at Akbild, Vienna, 2007. Photo: Gerhard Gleich
SAFE MAPPING AKA THEY ARE WATCHING!
LOADING OPEN LAB AKA MAGDALENA & BOGDAN PELMUS, BUCHAREST, ROMANIA
ULYSSES CASTELLANOS, FAISAL ANWAR, THEO PELMUS, OTTAWA & TORONTO, CANADA
May 25, 200 8 -- 17.00 hours
Bucure[t i, National Cente r for Dance (Pia] a Unive rsit `]ii, Na tiona l T heat re , floor 4)
June 13 - 15, 2008 -- 22.00- 24.00
Bucure[ti, Loading Open LAB, str. Elie Radu , nr.1 (near Bucharest City Hall)
Real time webcam stream Romania / Canada
Retro projection on 2 windows -- 1st floor / the side of the building situated on Splaiul Independen
ei
This project has performative aspects that involves surveillance cameras taking footage from Canada and live feeding them to the base, Loading
Open LAB in Romania.
The footage is presented in analogy along with and mixed with live footage taken from Bucharest, Romania with The People’s House and
Dambovita River as a background.
The resultant visuals are video-projected onto the two windows of the building where Loading Open LAB is located, from inside the building (
retro projection ) and can be seen outside, in the street, by the public. The public becomes a voyeur watching the most intimate shadows playing through the windows of a private home.
The two urban landscapes presented, you would be very surprised, dear voyeur, are not so different! Or you will discover depressing corners of
Ottawa or Toronto streets without having to be there to give a dollar to a rundown homeless guy and smell Listerine. Or you can see the beauty of a maple tree waving its branches in the Canadian sky. Or you can found yourself projected into the daily Bucharest’s reality onto the
People’s House’s background ignored by the traffic.
The project tries to map through images the realities of two countries as are seen by five artists through the lens of surveillance cameras. These
two images / countries cohabitate inside the same house, as in an experiment’s laboratory in which territories are difficult to define.
--------------------------Transmisie webcam in timpi reali România - Canada
Retroproiec
ie pe 2 ferestre - etaj 1 / fa
ada clădirii dinspre Splaiul Independen
ei
Loading Open Lab are plăcerea de a ini
ia proiectul Safe Mapping AKA They Are Watching!, care aduce împreună artiti din Bucureti, România
i Ottawa & Toronto, Canada.
Proiectul are un aspect performativ implicând camere de supraveghere care captează imagini/secven
e din Canada i le transmite live către
bază – Loading Open LAB, Bucureti, RO. Această transmisie este prezentată în analogie cu o transmisie live din Bucureti pe fundalul Casei
Poporului i râului Dambovi
a.
Rezultatul vizual este video proiec
ia pe 2 ferestre ale clădirii unde este situat Loading Open LAB dinspre interior (retroproiec
ie) i poate fi
văzut din exterior (strada) .
Publicul devine un voaior privind prin ferestrele unei case private jocul celor mai intime umbre.
Cele 2 peisaje urbane prezentate, vei fi foarte surprins, dragă voaiorule, nu sunt foarte diferite! Ori vei descoperi col
uri deprimante ale străzilor
din Ottawa sau Toronto, fără a fi nevoit să fii acolo sa dai 1$ decăzutilor fără adăpost i să miroi Listerine. Sau po
i vedea frumuse
ea unui ar
ar
legănându-i crengile pe cerul canadian. Sau te vei putea regăsi, în acelasi timp, proiectat în realitatea cotidiană a Bucuretiului pe fundalul Casei
Poporului ignorată de traficul din jurul ei.
Proiectul încearcă să cartografieze în imagini realită
ile a două ări, asa cum sunt ele văzute de 5 artiti prin lentilele camerelor de supraveghere. Aceste 2 imagini/
ări coabitează în aceeai casă ca într-un experiment de laborator în care teritoriile sunt greu de definit.
[178]
BB3 invited students of the Post Conceptual Art Practices (PCAP) class at The Academy of Fine Arts in Vienna/ Prof. Marina Gržinić to propose a
parallel event as part of the Bucharest Biennale.
The result is a book project with the title “Are you talking to me?”. Discussions on knowledge production, gender politics and feminist strategies,
edited by feminist group h.arta (Maria Crista, Anca Gyemant, Rodica Tache) from Romania and Katharina Morawek (PCAP student). After an intensive editorial process the book presents PCAP students positions on questions of knowledge, EU and feminism. These positions are presented
together with invited international writers and artists. The book is published by Löcker Verlag, Vienna, and financially supported by The Academy
of Fine Arts in Vienna/Post Conceptual Art Practices and BB3.
Book contributions are by Carolina Agredo, Anna Artaker, Elke Auer, Zanny Begg, Petja Dimitrova, Lina Dokuzović, Veronika Eberhart, Eva
Egermann, Eva Cruells, Marina Gržinić, Simina Guga, Alex Hache, h.arta, Ana Hoffner, Reni Hofmüller, Maja-Lena Johansson, Ivan Jurica, Vida
Knežević, Katharina Koch, Lisbeth Kovačič, Ladyfest Romania collective, Lovekills, Roxana Marin, Ivana Marjanović, Julia Mitterbauer, Emil Moise,
Katharina Morawek, Crina Morteanu, Lilo Nein, Gerhild Perl, Alina Po[irc\, Rosa Reitsamer, Joanne Richardson, Ana Sala, Karin Schneider, Sabine
Sölkner, Esther Straganz, Andi Tennis, Lisa Torell, Nuria Verges, Julia Wieger, Veronika Wöhrer, Regina Wuzella, Vina Yun.
Students from PCAP will as well travel to BB3. The goal is to deepen the intensity of collaboration with different spaces, and to learn from productive antagonisms in different situations and institutions. Taking part in the travel research project to BB3 from PCAP, Akbild are: Carolina Agredo,
Lina Dokuzović, Kevin Dooley, Veronika Eberhart, Juana Gonzalez, Can Gülcü, Muzaffer Hasaltay, Peter Haselmayer, Ivan Jurica, Johannes
Klemen, Christoph Kolar, Katharina Morawek, Adnan Popović, Lilo Reissert, Jasmin Schienegger, Christina Trachta, Ruth Weismann, Regina
Wuzella and Petja Dimitrova, Prof. Assist., Eduard Freudmann, Prof. Assist., Marina Gržinić, Prof. Dr.
In Bucharest will take place a live meeting of the participants of the project and public.
---------------------------
BB3 a invitat studenţii Clasei de Artă Post Conceptuală (PCAP) din cadrul Academiei de Arte din Viena, clasa Prof. Marina Gržinić
să propună un eveniment paralel.
Rezultatul este un proiect-carte cu titlul “Are you talking to me?”. Publicaţia cuprinde discuţii despre pruducţia cunoașterii, politici
de gen și strategii feministe fiind editată de grupul feminist h.arta (Maria Crista, Anca Gyemant, Rodica Tache) din Romania și Katharina Morawek
(studentă a PCAP). După un efort editorial intens cartea prezintă poziţiile studenţilor PCAP referitoare la cunoaștere, UE și feminism. aceste poziţii sînt prezentate împreună cu artiști și teoreticieni internaţionali invitaţi să își expună punctele de vedere. Cartea este publicată de Löcker Verlag,
Vienna și finanţată de The Academy of Fine Arts in Vienna/Post Conceptual Art Practices și BB3.
La realizarea publicaţiei au contribuit: Carolina Agredo, Anna Artaker, Elke Auer, Zanny Begg, Petja Dimitrova, Lina Dokuzović,
Veronika Eberhart, Eva Egermann, Eva Cruells, Marina Gržinić, Simina Guga, Alex Hache, h.arta, Ana Hoffner, Reni Hofmüller, Maja-Lena
Johansson, Ivan Jurica, Vida Knežević, Katharina Koch, Lisbeth Kovačič, Ladyfest Romania collective, Lovekills, Roxana Marin, Ivana Marjanović,
Julia Mitterbauer, Emil Moise, Katharina Morawek, Crina Morteanu, Lilo Nein, Gerhild Perl, Alina Po[irc\, Rosa Reitsamer, Joanne Richardson, Ana
Sala, Karin Schneider, Sabine Sölkner, Esther Straganz, Andi Tennis, Lisa Torell, Nuria Verges, Julia Wieger, Veronika Wöhrer, Regina Wuzella,
Vina Yun.
Studenţii PCAP vor fi prezenţi la București cu scopul de a intensifica colaborarea cu diferite spaţii și a experimenta antagonismele
din diferite situaţii și instituţii. La călătoria de cercetare în cadrul BB3 vor participa: Carolina Agredo, Lina Dokuzović, Kevin Dooley, Veronika
Eberhart, Juana Gonzalez, Can Gülcü, Muzaffer Hasaltay, Peter Haselmayer, Ivan Jurica, Johannes Klemen, Christoph Kolar, Katharina Morawek,
Adnan Popović, Lilo Reissert, Jasmin Schienegger, Christina Trachta, Ruth Weismann, Regina Wuzella and Petja Dimitrova, Prof. Assist., Eduard
Freudmann, Prof. Assist., Marina Gržinić, Prof. Dr.
În București va avea loc o întîlnire live între participanţii la proiect și public.
Supported by:
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Lecture
EMOTIONAL GEOGRAPHIES - URBAN MYTHS/ GEOGRAFII EMO}IONALE - MITURI
URBANE
EMANUEL DANESCH AND DAVID RYCH
UTOPIA TRAVEL
ADRIAN MAJURU
May 24 - June 21, 2008
Opening: May 24, 21 .00 hours
Bucure[ti, Mora, Str. Grigore Mora nr. 39 - last floor (near Pia
a Charles de Gaulle)
The project Utopia Travel took place from March to July 2002, following two years of preparation phase, on a pre-planned route between Egypt
and Austria.
The basic outline of the project Utopia Travel was the transport of a comprehensive selection of VHS videotapes from Cairo to Vienna following
the transition from the upper part of the African continent over the Middle East towards central Europe.
A Cairo taxi limousine equipped with video monitors served as a mobile unit transmitting the contents of the video archive on the distances between
the capitol cities of the respective countries.
November 21, 2007 -- 18.30 hours
Bucure[ti, National Center for Dance (National Theatre, 4th Floor -- Ronda Hall)
History also maps apparently imperceptible dimensions. These are difficult to detect, deviate and calatogue, since they easily traverse different historical periods, however, once they have penetrated the imperceptible, answers to secular questions may be unveiled. How come we
often forget where we started from? How come doing good has a negative connotation? How come "the asses never forigive one of their
kind for having risen above media"? (Stefan Zeletin, "From the land of asses"). The emotional geographies are cartogaphies, whose historical fluctuation traverses many epochs and social hierarchies. They are the most sensitive sensors, through which nature strives for or forces
an adaptation in a history of its own!
The lecture of Adrian Majuru deals with an emotional cartography of Bucharest, which in a way anticipates the theme of next year's
BUCHAREST BIENNALE 3: "Being here. Mapping the Contemporary".
Adrian Majuru (born 1968, Bucharest) coordinates Folk Art Museum "Dr. Nicolae Minovici" and is one of the initiators behind the founding of
the Museum of Urban Anthropology. He is the author of several publications, such as Bucharest of the outskirts or the periphery as a mode
of existence (Compania 2003) and Childhood according to romanians (Compania, 2006).
--------------------------Istoria cartografiaz` [i dimensiuni aparent insesizabile. Sunt dificil de surprins, decalat [i catalogat deoarece traverseaz` cu mare u[urin]`
perioade istorice variate, \ns` odat` penetrat insesizabilul, pot fi descoperite raspunsuri la intreb`ri seculare.
De ce uit`m adesea de unde am plecat? De ce a face bine are conota]ie negativ`? De ce „m`garii nu iart` niciodata unuia dintr-ai lor faptul de
a se fi ridicat deasupra mediei”? (Stefan Zeletin, "Din ]ara m`garilor")
Geografiile emo]ionale s\nt cartografieri a c`ror fluctua]ie istoric` traverseaz` multe epoci [i multe ierarhii sociale. Ele sunt cei mai sensibili senzori prin care natura uman` \ncearc` sau for]eaz` o adaptare \n propria-i istorie!
Prelegerea lui Adrian Majuru se dore[te o cartografiere emo]ional` a Bucurestiului anticip\nd \ntr-o m`sur` tema BUCHAREST BIENNALE 3.
Adrian Majuru (n.1968, Bucure[ti) coordoneaz` Muzeul de art` popular` dr.Nicolae Minovici [i este unul dintre ini]iatorii înfiin]`rii Muzeului de
antropologie urban`. Este autorul mai multor c`r]i între care amintim selectiv: “Bucure[tii mahalalelor sau periferia ca mod de existen]`”
(Compania 2003) [i “Copil`ria la români” (Compania, 2006).
Supported by:
Partner:
Media Partners:
The archive contained pre-selected video material produced by artists and filmmakers originating from and in most cases living in one of the countries on the route. The 123 video works were compiled through a research within established networks followed by direct interaction with artistic
communities and collaborations with regional institutions, including universities, media-labs and art centres.
National and cultural limitations, given by geographical borderlines and the assumption of different habitat with certain historical influences, produce specific diversities in the visual coding of information. From this point the requested visual material was chosen under consideration of notions
of cultural, social and political reality found in the fragment of the particular society of origin.
In a following step the Archive was shown in the taxi as a mobile video installation, during a tour over four months through the cities Cairo, Beirut,
Istanbul, Sofia, Belgrade, Sarajevo, Zagreb, Ljubljana, Graz and Vienna.
The presentations took place to a large extent in public space, as well as ʻdockingʼ to different institutions for art and culture.
During the travel the spaces of presentation, including the taxi and alternative structures, opened the opportunity to take part in a polylogue on
issues, considering the complexity of singular societies as well as the construct of political territories.
In that sense the project understood itself as a temporary non-institutional platform focusing on the matter of translation and transmissibility of local
cultural codes as different aspects of interrelated parts of history. www.utopia-travel.org
-------------------------
Proiectul Utopia Travel s-a ţinut din martie până în iulie 2002, ca urmare a unui proces de pregăire de doi ani, pe o rută plănuită anterior între Egipt
şi Austria.
Ideea de bază al proiectului Utopia Travel a fost transportul unei selecţii cuprinzătoare de casete VHS din Cairo în Viena urmărind tranziţia din
nordul continentului african către Orientul Mijlociu şi până în Europa Centrală.
Un taxi limuzină din Cairo echipat cu monitoare video serveşte ca unitate mobilă ce transmite conţinutul arhivei video pe distanţele dintre capitalele ţărilor respective.
Arhiva conţinea material video selectat anterior şi produs de către artişti şi producători provenind şi (în majoritatea cazurilor) locuind în una din
ţările de pe itinerariu. Cele 123 de lucrări video au fost reunite într-un studio de reţele, urmate de interacţiunea directă cu comunitaţile artstice şi
colaborări cu instituţiile din regiune, incluzând universitaţi, laboratoare media şi centre artistice.
Limitări de natura culturală şi naţională date de graniţele geografice şi de ipoteza unui habitat diferit cu influenţe istorice precise, produc diversităţi
specifice în codarea vizuală a informaţiei. Din acest punct materialul vizual solicitat a fost ales considerând noţiuni de realitate culturală, socială
şi politică regăsite în fragmentul societăţii de origine respectivă.
Într-un următor pas Arhiva a fost prezentată în taxi ca o instalaţie video mobilă, în timpul unui tur de patru luni prin oraşele Cairo, Beirut, Istanbul,
Sofia, Belgrad, Sarajevo, Zagreb, Ljubljana, Graz şi Viena.
Prezentările au luat loc ţn mare parte în spaţii publice, dar şi în diferite instituţii pentru artă şi cultură.
În timpul călătoriei spaţiile de expunere, incluzând taxiul şi structurile alternative, au deschis oportunitatea de a lua parte la un polilog de teme,
considerând complexitatea unor societăţi singulare, precum şi construcţia unor teritorii politice.
În acest sens proiectul s-a dorit înţeles precum o platformă temporară non-instituţională ce se concentrează pe problema translaţiei şi transmisibilităţii codurilor cultural locale ca diferite aspecte alte fragmentelor de istorie ce relaţionează între ele. www.utopia-travel.org
Supported by:
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FRECKEFFECT
Lecture
ANCA IONI}~
Physical-emotional Map of the Capital City
O hart` fiziologic-emo]ional` a ora[ului capital`
May 27 - June 21, 2008
Opening: May 26, 19.00
Sibiu, *.artlabs // CT3, Aleea Geniştilor
Concept: Liviana Dan & Anca Mihuleţ
Artists: Sebastian Moldovan, Ursula Oberhauser, Angela Stauber, Silvia Wienefoet.
What if maps didnʼt show main roads anymore? What if they showed only secret places or the traces of that places? Would they still be called
maps? When artists deal with secret spaces, their entire visual perspective is focused on a peculiar object, an object that would finally become the
trace of an intimate history.
In the video entitled ʼDoorsʼ, Sebastian Moldovan deals with the luxury of consciously or even randomly flipping stages around himself. He reveals
the nomadic structure of the contemporary artist that has to push aside memories, feelings and permanence.
Ursula Oberhauser fragmentizes the space of the former heating plant with copper stripes, following imaginary lines of perspective created between
the columns and the horizontal sides of the windows. The artist extracts transparent cubic structures, invisible to the untamed eye, the copper
stripes being the only marks of entering a different dimension.
The paintings of Angela Stauber demonstrate that nothing is separable from its surroundings / she sees, chooses and registers the susceptible
changes by discovering absolute spaces around the private space of her painting.
While interviewing some of the saxons that remained in Transylvania after the fall of communism, Silvia Wienefoet conceived a working-diary on
one of the exterior walls of *.artlabs. Starting from the idea of waiting, she transposed in writing the emotions and perceptions of the people she
got in contact with. Three succesive layers appear on the wall, each describing a different status of the artist, of the analitical space she has created and of the neighbourhood as well.
After facing the dilemma of transparency imposed by the four artistic interventions, you start wondering if that space really exists…
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Cum ar fi dacă hărţile nu ar mai indica rutele principale? Cum ar fi dacă s-ar trasa doar locuri secrete sau urmele acelor locuri? S-ar mai numi în
continuare hărţi? Atunci când artiştii se preocupă de spaţiile secrete, întreaga lor perspectivă vizuală se orientează spre un obiect anume, un obiect
care în final va deveni urma unei istorii intime.
În video-ul intitulat ‚Uşiʼ, Sebastian Moldovan se confruntă cu luxul de a modifica, conştient sau la întâmplare, etapele şi stările pe care el însuşi le
generează. Imaginile dezvăluie structura nomadică a artistului contemporan, care trebuie să lase în urmă amintirile, sentimentele şi permanenţa.
Ursula Oberhauser fragmentează spaţiul fostei centrale termice cu benzi de cupru, urmând linii de perspectivă imaginare, create de coloane şi de
laturile orizontale ale geamurilor. Artista extrage structuri cubice permanente, invizibile pentru ochiul îmblânzit, benzile de cupru fiind singurele
determinante ale pătrunderii într-o dimensiune diferită.
Picturile Angelei Stauber demonstrează că nimic nu poate fi separat de context / artista vede, selectează şi înregistrează schimbările susceptibile
descoperind spaţiile absolute din jurul spaţiului privat al picturii ei.
În timp ce intervieva câţiva etnici germani rămaşi în Transilvania după căderea comunismului, Silvia Wienefoet a conceput un ‚jurnal de lucruʼ pe
unul dintre pereţii exteriori de la *.artlabs. Pornind de la conceptul de aşteptare, a transpus în scris emoţiile şi percepţiile persoanelor cu care a
intrat în contact. Pe perete, apar trei straturi succesive, fiecare descriind o stare diferită a artistei, a spaţiului analitic pe care ea însăşi l-a creat şi
a cartierului.
După ce se depăşeşte dilema transparenţei impusă de cele patru intervenţii artistice, te poţi întreba dacă acel spaţiu există cu adevărat…
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June 10, 2008 -- 18.00 hours
București, Museum of Geology (Șos. Kiseleff nr. 2)
There is a byzantine Bucharest as there also is an 80's Bucharest and another one of the inter-war period, all of them living well together
over the past two decades.These three follow the line to the bedroom districts over which it's been added an under siege Bucharest,
caught under the construction fever. It's a town center and a hurried people's one, as it is a Bucharest of districts where the time goes by
so slowly in coffee shops and in the diversity of pizza shops hidden on the ground floor of the minimalist flats. There's a kitsch Bucharest
that you may encounter everywhere, from the crowded downtown to the peripheral districts and you can also discover a Bucharest on disappearance, victim of the hideous transformations that encompassed it from the beginning of this century.
Anca Ionita, journalist and chief-editor at TimeOut magazine presents an analysis of physical-emotional map of overlapped towns that
make up/ create the contemporary/ nowadays Bucharest.
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Există un Bucureşti bizantin, după cum există un Bucureşti al anilor ʻ80 şi unul interbelic, ce convieţuiesc în bună unitate de mai bine de
douăzeci de ani. Toate trei se continuă cu oraşul comunist al cartierelor dormitor, peste care s-a adăugat un Bucureşti în stare de asediu,
cuprins de frebra construcţiilor. Există un Bucureşti al centrului şi al oamenilor grăbiţi, după cum există un Bucureşti al cartierelor, unde
timpul se scurge mai încet, în cafenele şi pizzerii colorate, aflate la parterul blocurilor. Există un Bucureşti kitsch, pe care îl găseşti pretutindeni, de la centrul aglomerat până la cartierele mărginaşe, după cum există şi un Bucureşti pe cale de dispariţie, victimă transformarilor hidoase ce a cuprins oraşul la începutul secolului în care trăim.
Anca Ioniţă, jurnalist și redactor-șef al revistei TimeOut București, prezintă o analiză a amprentei / harţii fiziologic-emoţionale a oraşelor
suprapuse ce alcătuiesc Bucureştiul contemporan.
[183]
Strategic Partner:
Partners:
Supported by:
[184]
[185]
Media Partners:
Printing Partner:
Production Partner:
Official Cafe:
Audio-Visual Partner:
[186]
[187]
Special thanks (in alphabetical order):
Mulţumiri speciale (în ordine alfabetică):
Oana Ailenei
Dana Altman
Cătălin Avramescu
Irina Abaza
Horia Barna
Mioara Bolozan
Mihaela Borceanu
Ana Buarque
Veronica Burlacu
Monica Brândușescu
Magda Cârneci
Alina Comănescu
Ștefan Constantinescu
Eva Csog
Liviana Dan
Andra Dănăilă
Cristian Drăgan
Octavian Evghenide
Nuno Faria
Krishan George
Sorin Gherguţ
Andreea Grecu
Marina Gržinić
Jon Hendricks
Jan Homburg
Bogdan Iacob
Dan Iacob
Irina Ionescu
Adina Ionescu
Anca Ioniţă
Sergiu Istrate
[188]
Mădălina Ionescu
Anca Iuzic
Ingrid Klenner
Anders Lind
Catrin Lundqvist
H.E. Roland Lohkamp
Cosmin Marian
Virgil Mihaiu
Mihai Mihalcea
Anca Milu
Cristian Moanţă
Didier Montagne
Femke Mulier
Răzvan Murgeanu
Virpi Näsänen
Sina Najafi
Manuela Nevaci
Adrian Oianu
Lois Olmstead
Mihaela Pandele
Lorand Papp
Maria Pascu
Horia Roman Patapievici
Ioana Păun
Mihaela Păun
Rodica Palade
Valentin Panduru
Dan Perjovschi
Aneta Pleșa
Johan Pohrib
Adrian Popescu
Adriana Popescu
Anna-Maria Post
Răsvan Radu
Henni Rahikainen
Ioana Roescu
Mara Raţiu
Noemi Revnic
Călin Ricman
Niculae Saramandu
Alex Săndulescu
Andrei Sârbu
Antoaneta Seghedi
Marketta Seppälä
Anca Severin
Dan Shafran
Amarjit Sitfu
Mirela Cărăbaș
Constantin Stan
Robert Stasinski
Dumitru Șerban
Vava Ștefănescu
Louise Taylor
Christoph Tannert
Silvia Tinca
Mirela Văleanu
Cristiana Vlad
Bianca Vlaston
Thomas Weithöner
Giorgiana Zachia
THIS IS A SPECIAL ISSUE IN TWO VOLUMES DEDICATED TO
BUCHAREST BIENNALE | BUCHAREST INTERNATIONAL BIENNIAL FOR CONTEMPORARY ART
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