Istanbul Biennale. International Istanbul Biennale
The 13th Istanbul Biennale opened. One of the most status and respectable Biennale of the world is in this year in difficult conditions: around the folk unrest, even at the beginning of the summer there were mass demonstrations, to this day there is a "creeping revolution", the rallies are going every day and every day the police accelerates them, even yours The correspondent succeeded in inappropriately bullshit a tear gas. The curator of Biennale Fulia Erdemchi, who had previously intended to focus on Public Art, prudently led Biennale under the roof: at Antrepo No. 3 exhibition hall, elementary school building in Galat, two artistic funds on Prospekt Ostiklal and one small gallery 5533 in the IMC shopping complex. The concept of Biennale also changed in the light of the political situation in Istanbul.
Source: http://istanbulbridgemagazine.com/
Biennale imagination
In the organization of the current Biennale there is an interesting point: a good half of the projects presented on it are surrogates themselves. Two years ago, Fulia Erdemchi offered to abandon the usual practice of Biennale in the form of exhibitions in the pavilions, and instead of turning the entire city to the exhibition site: according to her plan, art should have come to the streets, rethinking and transforming an urban environment. Therefore, most projects of the planned exhibition belonged to Public Art, and many were developed for specific points of Istanbul. However, this spring and at the beginning of the summer, when the works were already ordered and work on them was boiling, and before the opening of Biennale, few months remained, not projects came to the streets, but people. All known unrest, demonstrations, their acceleration, police, batons and tear gas began. Biennale and her curator also underwent pressure: protesters as nursing with the hands of a bloody regime, and the idea of \u200b\u200bher removal in the urban environment as a legitimizing it, the regime, crime: they say, we beat us on these streets and hurt gas, and here you show the pictures here, as if everything is fine. ("Arthyd").
As a result, Erdemchi took a volitional decision: no streets, Biennale will be held in the traditional exhibition format in the room. The works that were already ordered and are ready, I had to urgently reformat out of the "street" in the "Pavilion" format. Therefore, on Biennale, many projects in the literal sense of the word: drawings, layouts, reconstructions, some parts of failed installations, in general - strain imagination and imagine how it might be. From the project of the German "uninvited town planner", Christopher Shepher, who was supposed to replace the mosaic of the Istanbul metro on new, with social content, there was a pile of drawings; From the "Monument of Humanity" of the Dutch of Wauter Ostercholt and Eah Atetatus - "Forest of Hands" from gypsum castings of human palms growing from the ground - only photographs.
However, some works such reformatting, which cleaned them from binding to specific places with their specific semantic load, gave a new sound and even unintentionally improved them. The Amsterdam Group of Rietveld Landscape was preparing a project for the Ataturk cultural center on Taksim Square: it was assumed with the help of a powerful video project to pour all the building - a huge modern cube - uneven, anxiously pulsating light that symbolized social tensions and our troubled days. But after the days have become very restless (and it is the Taxim Square that has become the center of protests, and the center of Ataturk, together with the nearby Guest Park, which the government gathered to demolish, and the townspeople had to defend them - the main apple of discord between the authorities and Istanbuli), the project Reducked in gallery format, and now uneven lights alarmingly pulsates on a small piece of white wall in an absolutely dark hall, swinging the light path. Ataturk Center with his role the symbol of the westernization and modernization of Turkey, submitted now to threaten, is only meant, but in fact, instead of the suspected light summers, we have something more: not limited to the circumstances of the place and time meditative installation, emotional, clean and laconic, anxiety and anxiety and The fragility of human existence in general, from which the deceased Hydegger would be delighted.
From "Warshavianki" to rap
This "something is not glued", the feeling of the gap, the gap between different layers of reality will pursue you from work to work throughout Biennale: the gap and became its main plot. Biennale considers it as a very interesting thing: from it, from this commonly invisible gap between the way, and how it might be, the most unusual things are born, and become visible and real. Artists Biennale offer the choice of alternative strategies for residence and handling any things - from high policies to scrambled eggs for breakfast. Anything can be forced to work differently, unusual path - and David Moreno "gives a voice" the dead, admire the mouthpiece to the mouths in the photos of the posthumous masks of the great philosophers and writers, and Karl Philip exhibits old books in which, due to a long non-use, the text has become It is not important to anyone, but the main "writers" became elegant patterns eased by book worms.
And all this alternative can be pulled out and again to get to sound in the most direct, one-dimensional reality - it thinks the Turkish star Khalil Altyander, a closer exhibition in Antrepo Fire Rap, who fulfills difficult teens from the Istanbul Sulukul district. Slums Sulukul have recently been demolished, the inhabitants are evicted, protest against eviction and demolitions to the uprising - and here the artist has been following the video clips uprising, where local boys uroat bulldozers: "We said: do not bind to us!" In general, the protest's song begins and ends the largest exhibition of Biennale.
Protest: First, it's beautiful
"PROTEST IS BEATIFUL!" - Lays the slogan from sunny-yellow flowers FREEE. "PROTEST DRIVES HISTORY" - it warns a hefty banner at the entrance to Antrepo # 3. Where now on Biennale without protest, it's still as a lady to declare to the royal welcome without a hat.
Representing or not to represent a direct social protest on Biennale - this was probably the most painful question for Fulia. On the one hand, it is demonstrative to go around the attention of all massia, with which Turkey is firstly associated with the world and what is actively involved in the world, including Turkish artists, it would mean to declare their own solipsis, about the policies of the eye closing On a truly sharp and painful topic, about the concept of art as a tower of ivory, which for the progressive European curator is strict taboo. On the other hand, to give the Biennale to a political topic to give up to the will of the circumstances, and this would cause accusations of speculation on "fried" (not to mention, unfortunately, consistently low as the majority of work of socially engaged artists). With the third, the same protesters have repeatedly demanded from Erdemchi, by no means of their participation in Biennale - they didn't apply for this, and shifts of the whole concept of the representative of art on the funds of capital, merged with the hated government.
As a result, the decision was compromise. Erdemchi officially stated: "When planning the structure of Biennale to protests around the GEZI Park, I did not intend to include spontaneous protest performances and street performances: I believe that you do not need to" domesticate "and" taming "them, including in the institutional framework against which they Speakers. However, it seemed to me that if they already exist in this place, it would be possible to make them the topic of our work. " Social protest as a topic of art is present on Biennale on a par with other themes, but the social protest as MODUS Operandi art has been highlighted a small pound: the last floor of one of the locations of Biennale (Greek school in Galat). Here, a separate exposition "Platform Sulukule" and other artists "Okupytsy" were launched here: Group Mülksüzleştirme Ağları, Serkan Tajän and Volkan Aslan.
They made a qualitative sociological study of the most sick theme, which caused a Turkish wave of protests: the violent gentritation of Turkish cities and especially Istanbul, when the poor, but the curses are demolished, the inhabitants are evicted to anywhere, and the Earth is given to the deposit to developers. Undoubled schedules are awesome on the walls: how many Istanbul's "construction of the century", how many things are involved, whose interests are involved in which business and family bonds are connected by officials and merchants, promoting these construction sites. "Sulukul Platform" released a guide to demolished and intended to demolish areas. Special irritation caused by spent exorbitant budget money on the Olympic facilities (Istanbul was one of the applicants for the Olympics 2020, and in the Olympic facilities, as in a burst, magniated million sums), perfectly reflects the small luminous object of Volkan Aslana: here's about what we have To say your Olympiad.
Nevertheless, the question of "Art or Politics" remains open, as well as many other issues related to the involvement of the artist in social activities. Including the question of compromise between art as the activity of a certain kind of establishment and protest is not at all establishment. In the most remarkable, straight and naive form, it was formulated by Agniška Polish in the film about Polish hippies, where hairstyle who went to live according to the laws of good and beauty in a hippov commune in the forest, asks his girlfriend: "Listen, and if someone, like us , Bread soup from nettle, but not because it rejects bourgeois values, but because there is no money on meat - we still imagine them? ".
Break and glue
One of the most powerful works shown in Biennale has no relation to visual art. This is a documentary film French Jean Rusha "Madres Fouus" (Les Maitres Fouus), shot in Africa in 1955. He talks about the Khukka cult - the new pseudo-religion, which is obliged to the appearance of the colonization of Black Africa. Africans, on ordinary days, leading the usual life of workers on plantations and construction sites, selling on the market or serving in the guard, are going to the ritual on weekends, during which spirits should be seized. The ritual is absolutely brutal, with seizures, with foam from the mouth, with the sacrificial murder of a dog (obsessed immediately drink blood from the cut dog throat), but the main thing is the perfume that they are seized, these are not the usual perfume of natural forces or totem animals! These are the spirits of white: in someone, the "spirit of the Governor's General", in someone's "Spirit of the Colonel Guard", "The Spirit of the Railway Engineer" or "The Spirit of Wife of the Doctor". The circle formed by the distraught, beating in segregates of the blacks, represents the parade of the British army - it is she who are taken by the followers of "Haws" for, so to speak, the other sample.
The theme of colonialism is painful for Turkey, even though the course for the westernization taken by Ataturk, has already been a state doctrine, and Erdemchi still emphasized her by making entrance to the box where the film Rusch was shown, from the hall, in which the slogan stretches on the walls Nathana Kolya "We must cultivate your garden", allowing and completely colonialistic interpretation. The "White Human burden" became painful point from the moment the world became the "global village", and the film Rusch shows all his duality: on the one hand, the Dikar ritual in our opinion is terrible, on the other - he became psychotherapy, with which the people He is experiencing injury to colonization, survives in new circumstances.
That's about survival in circumstances, perhaps, there are most works on Biennale. If you allocate the main line in it, we will talk about squeaks and gluings, about conflicts and search for methods of their permission. In the installation of Dominio Argentines Martin Cordiano and Thomas Espina, you get into the usual apartment: kitchen, room, sofa, TV, cups on the table. Only looking around, you notice that every object in this room was broken, and then thoroughly glued. Cracks and chips are noticeable, but everything is put in order and works as it should.
In the video Frenchwoman Berlilla, the tank ordinary people are residents of a house designed to demolish, - rehearse the light symphony, which they standing on the balconies of their doomed home, are planning to fulfill with manual lanterns, thereby signaling that the house is still residential and alive. Australian Angelica Macy Creates a "County Orchestra": She consistently removes the street musician (he plays on Morinhura, the Mongolian string instrument), a taxi driver (in anticipation of customers, he is very beautifully having a guy), a guy who sings in the subway, and a girl that suits a whole in the pool A percussion concert, spanking palms on the water, and then drives their music together. Fernando Ortega, traveling at the Mexican border, finds a village, the inhabitants of which every day are shipped by a boat across the river on the banana plantation, where they work, and asks Brian to write music that they could listen during the crossing. It agrees, and in Antrepo №3 a disk with his music is put up, but we never hear music itself, it is intended only for these peasants. Self-organization in order to improve the world, let the most strange ways - this is what Furci Fulia decided to talk. The political protest is lost here in a huge features of action.
All Biennale, in essence, about self-organization and alternative outputs from problematic circumstances. Colonization, violent gentrification, poverty, just vital crises - all this requires searching for solutions that live on, and live better, and art is the most fruitful tool in order to create these solutions. Output options can be the most different: you can fight, you can try to get lost, you can find some alternative way of staying and responding. Fulia Erdemchi managed to start a conversation with concrete social problems, such as the destruction of residential neighborhoods, and raise it to the height of the conversation on the conflict of human being as such, when we have to look for an answer to the next challenge every day, which throws us the world. In the end, it is necessary to do something with this life, and the artist's mission is to show that there are many exits from any deadup, only they are not immediately visible.
13.04.2016 1888
Supported by
The 15th Stanbul Biennale announced curators
Danish duo Michael Elmgren and Ingar Dragset.
Michael Elmgren and Ingar Dragset. Courtesy Istanbul Biennale
The 15th Stanbul Biennale, which will be held from September 16 to November 12, 2017, announced curators. They became duet Duet Danish artists Mikhael Elmgren and Ingar Dragset. They have already made a special statement in which they called their appointment to "great honor". Earlier, the duet took part in the projects of the Istanbul Biennale three times: "In the light of the current global political situation, when we are experiencing a new rise of nationalism, it is very important for us to become curators of the exhibition based on cooperation and joint efforts. Cooperation is what is very natural for us, as we work as an art duet for more than twenty years. Biennale can become a platform for a dialogue, a format in which various opinions, perspectives and communities can coexist. " The Consultative Council of Biennale includes Adriano Pedrosa, Basak Saintov, Inching Eviner, Ivon Blazvik and Twee Meta Bauer. The conceptual platform of the 15th Biennale will be announced at a special press conference, which will be held in the fall of 2016.
International Istanbul Biennale, recognized as one of the solid international events in modern art, began on September 12. Stambul Biennale continues until November 8.
Istanbul has a fund organizing world-famous events and festivals. The Istanbul Culture and Art Fund was created in 1987. Istanbul Biennale, aims to organize in Istanbul a meeting of artists and lovers. 10 Biennal, who has passed so far in Istanbul, thanks to the Fund of Culture and Art, contributed to the creation of an international network of cooperation in the field of culture. International Istanbul Biennale Along with Biennale Sydney, Venice and Sao Paulo is considered one of the most prestigious.
As the most large-scale international exhibition of art, Bienalle gives artists from all over the world to offer their works of art lovers. Exhibitions, conferences, seminars held within the framework of the Bienalle, also provide the opportunity to follow the development of events in the world of art, in which its educational orientation is manifested.
The 11th International Istanbul Biennale takes place under the motto "What are people alive?". This is the name of the final song of the second Act "Trigroshova Opera", written by Bertolt Breht, along with Elizabeth Hauptmann and Composer Kurt Wille in 1928. Istanbul - Cultural capital of Europe 2010. Supports Biennale along with other festivals, which will be held by the Istanbul Culture and Art Foundation in 2009 and 2010.
At Biennale, this year will be presented 141 project of the 70s in the world of modern art artists and groups.
Among the famous guests of Istanbul, you can list the names to us Jun Piop, Sani Yewekovich, Danies Dakich and Rabi MROU. At the opening of Bienalle, about 3,000 guests were attended, among which were critics, leaders of museums and galleries and media representatives. The main topic on which the attention of Biennale participants was pointed: the expansion of the access of different circles of society to modern art and the role played in this process Istanbul Biennale. Interest, sprinkling to Biennale events, allows you to answer and the question "What are people alive?". The answer is simple: a person lives thanks to the work and the ability to produce.
The role of Isusity and culture is undeniable in the process of creating a world in which friendship and justice will reign. Cooperation in the field of art makes a contribution to the creation of this ideal world. Artists need to provide them with complete freedom. After all, art with her birth breaks the way, crushes the walls. Artists, just being free, can create valuable works of art. The activities of the Biennale organizers starting from 1987 are directed to the creation of such conditions for artists since 1987
The opening ceremony, held on September 12, began with the presentation of four actresses dedicated to the main topics of Biennale. The Minister of Culture and Tourism of Turkey Ertugrull Gunay stressed in his speech that cultural events held in Istanbul contribute to the development of art not only in Turkey, but in the world. Indeed, interest in Biennale grows every year. Within the framework of Biennale this year, programs for the formation of children are also held. From September 12 to November 8, programs will continue, designed to awaken the interest of children aged 6-14 years old to museums and exhibitions and to familiarize them with the basic concepts and directions of contemporary art. Biennale, uniting children and adults, young and old artists around art will continue in Istanbul until November 8.
(Egofugal - Fugue from Ego for the next Emergence)
(curatoric team)
and Jens Hoffmann
Participants Biennale
1st Istanbul Exhibition of Contemporary Art
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2nd Istanbul Biennale
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The trip to Istanbul Biennale was spontaneous and therefore at first looked like an equation with many unknown. This cultural event passes every odd year and every time in some new place. Sometimes the Biennale generally germinates art objects throughout Istanbul, turning into exhibition pavilions that the thousand-year temples like the Church of St. Irina, then abandoned tobacco warehouses on urban backyards.
Where the 12th will specifically occur, that is, the current Istanbul Biennale, to quickly find out through the Internet and failed. During the flight of Turkish Airlines, a logbook was found in the passenger chair, which described the upcoming cultural event, about the works and artists who will be presented on it. But there was not a word about where, in fact, all this will be demonstrated. It remained only to hope for the future and deal in place.
In place, too, not everything was smooth. Journalist of the Zaman newspaper, Ibrahim, who has been living in Istanbul for many years, and once he studied with me on one course at the university, the question about Biennale answered me the question "What is it?".
Familiar Girl Lena, Teacher of the Russian Center in Istanbul, on the same question I sincerely raised an eyebrow: "In Istanbul Biennale? Cool! And where is it? ". It has already seemed easy mocking.
Finally, on the second day of stay in the city I met the Usatny Antikvar, who acquired several rare movie in the 60s. Antiquarian boasted that his wife was an artist and even exhibited in the Istanbul Museum of Contemporary Art. "Maybe you know about Biennale?" I asked without any special hope. "Of course, he answered. - It is in the Baoglu district. Just next to the museum. " So our thorny path to high art gained a specific direction.
It turned out that Biennale was located on the very coast of Bosphorus in rebuilt port customs warehouses, as evidenced by the logo of the Turkish sea fleet on the gate.
Very near the Museum of Contemporary Art. The entrance to it is 20 TL (about 400 rubles), which is not suiced to local standards. But the most unpleasant thing is that the museum cannot be photographed. Nevertheless, go here is still worth it.
First, you may never have another opportunity to get acquainted with the Turkish art of the twentieth century. Secondly, there is a good bookstore, where art albums are sold.
Thirdly, from the windows of the museum cafe open a wonderful view of the strait.
And, fourth, at the entrance to the museum there is a shop of various original souvenirs, where you can buy solonk in the form of bones, "rubber" boots made from faience or designer jerseys and pillowcases issued by limited circulations.
At the ticket office, where tickets on Biennale are sold, even a small queue, speaking a variety of languages. We purchase tickets (the same 20 Tl), the plump catalog of Biennale (10 TL) and enter the territory of the first exhibition complex, from which we will come out in the evening. Presented works delay almost hypnotic.
The first attempts to hold Biennale were made by Turkey back in 1973. Then a series of exhibitions of contemporary art took place. However, the real Biennale was conducted only in 1987. And since then it takes every two years in Istanbul.
The curator of the first two exhibitions was heroic art criticism of Beran Madra. Her heroism was that it was precisely the person who was able to persuade the Turkish government and the business to spend such a large-scale event in Istanbul.
Then foreigners began to be invited as curators. For example, the 4th Biennale was headed by an outstanding art critic Rena Blok - a person with pleasant lovers of Russian literature in the surname and an indisputable reputation in the world of contemporary art. Then there was a Spanish and feminist Rosa Martinez, Italian Paolo Colombo, Japanese Yuko Hacegawa, American Dan Cameron.
As a result, Istanbul became an important geographical point for visiting many curators, art historians and simply people interested in contemporary art. Moreover, for us also, perhaps, the most affordable overseas point of art world. No need for visas nor long flights: a couple of hours and you are already in the stream of the last artistic trends. In addition, Biennale in Istanbul has no comparable flavor. Only here you can clearly light the cultural bridge, uniting Europe and Asia not only financially (for example, in the form of a Galat bridge over the Bosphorus), but also, as it is called, in the heads.
Looking at the installation, involuntarily pay attention to the young neighbor in Hijab and Kedah. It turns out that Muslims can also be interested in contemporary art, and even walk in the "conversions". Or through the noise attack of audio installations suddenly, you begin to distinguish between the outstanding singing of Muzzin, which is visiting the prayer to the Mosque Mosque located very close to the buildings, which two hundred years ago, erected Sultan Mahmoud in honor of his victory over the rebellious Yanychars.
As a result, such an amazing and contrasting East-West "Vinaigrette" is formed in the head, which can hardly be kneaded in some other city.
This feature of Istanbul felt many artists, exposed at different times on Biennale. In 1997, he played the fact that in Istanbul two stations - in the European and Asian parts of the city, - the Swedish artist Michael von Hausvolph gave out every Queen in the Asian railway station, that he is European and the opposite.
The 12th Stanbulskaya Biennale was formed under the general theme - "Study of the attitude of art and politics." Five group exhibitions, as well as about 50 solo expositions, pressed on many pain points of our globalized society: problems of national and personal self-identification, economic, political and migration issues, human relations with the state and the state with a person.
The starting point in the work of the curators, which this time was immediately two (Adriano Pedrose and Jens Hoffmann), served as the work of the Cuban-American artist Felix Gonzales Torres. Almost all the works of the artist did not have names and only sometimes accompanied by a subtitle-comment. As a result, all five group exhibition blocks received the common name of Untitled ("Untitled") and have only subtitles.
The block "Unnamed (abstraction)" is an attempt to study the world of politics through modernist abstraction.
The section "Untitled (Ross)", associated with the work of Felix Gonzales-Torres "Portrait of Ross in L.A.", unites reflection on gender identity, interpersonal relations and sexuality.
The exhibition "Unnamed (passport)" examines the problems of national identity, migration and cultural alienation.
"Untitled (history)" gives an alternative reading of history.
In the last project "Unnamed (death from a rifle shot)" the authors argue about the problems of wars and human aggression ...
In the following blog entries 16 Th Line, we will try to present the most interesting works by the 12th Istanbul Biennale.