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<em>May 31st, 2011 - The 5th BUCHAREST BIENNALE (Bucharest International Biennial for Contemporary Art), generated by PAVILION - journal for politics & culture - set for 25 May - 22 July 2012, under the curatorship of Anne Barlow (UK/USA), revealed the concept in a press conference held in Bucharest.<br />
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TACTICS FOR THE HERE AND NOW <br />
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Within the current context of the shifting nature of politics, economics, and culture—conditions that are increasingly referred to as “precarious” times--artists often have to negotiate risky positions, contested territories, or situations in which cultural activity interacts with, or provides a counterpoint to, conditions of flux. Bucharest Biennale 5 profiles the work of artists whose agency lies less in overt statements, but rather in investigative, indirect, or informal strategies that possess their own kind of power.<br />
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By nature, work that is investigative is slow in the making, expressing a kind of resistance to both the speed and changing nature of things and the increasing sense of instability that pervades everyday life. The act of researching, uncovering, and presenting things that are below the surface—an activity that has been aided by the Internet, whereby global networks enable artists to seek out obscure or otherwise concealed data—defines the way in which many artists work today. Their work may contain elements of rumor, secrets being revealed through seduction or manipulation, or ideas that are altered through a process of editing. This process can involve a reworking of certain histories, from the civic to the personal, producing a different kind of “knowledge” that is not always about nostalgia or narrative, but is sometimes a deliberately constructed perspective on the contemporary. For BB5, artists’ projects for specific contex
ts in Bucharest will draw on a variety of sources and sites as a way of re-imagining existing situations or proposing new ones. <br />
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Often, artists also circumvent or negotiate existing systems that they find questionable or challenging. Their methodology reflects a practice that is evolving, dynamic and responsive, something that is essential for situations that change quickly or are not yet fully understood. For some artists this means working together, for others, it means developing tactics that are distinctly individual and informal. The deployment of informal approaches is resonant in a city such as Bucharest, among others, where more formal structures do not necessarily appear to support the most experimental art practice.<br />
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BB5 will be developed around a number of core commissioned projects that will take place in non-profit or independent spaces, universities, and public venues and sites in the city. Incorporating film screenings and educational programs, BB5 will have a format that involves an ‘exhibition’ at the opening but that also develops dynamically over the duration of the biennale. <br />
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The education program will manifest itself in the biennale through programs that encourage both formal and informal types of engagement. From the outset, it is intended that the Biennale becomes a form of agency within the city, such that successive events will arouse the interest of particular audiences. BB5 considers the way in which the Bienniale can be experienced in Bucharest through a series of propositions that act as invitations, statements, proposals, or overtures. To create a more sustained local dimension to the program, these propositions will unfold during the run of the Biennale in various ways, including connectivity to other disciplines, longer-term involvement by artists through specific relationships with educational partner institutions and sites, and elements of surprise and playfulness in addition to critical debates.<br />
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The notion of the informal within the education program builds on the existing philosophy of Pavilion’s Free Academy: “What makes the difference between the formal system proposed by the official state power network through the ministry and informal education, proposed by the Free Academy project, is the creation of what appears in the educational discourse as an “active citizen”- that type of citizen that participates in the social debate, that is an agent of change, that proposes the terms of development, that has the attitude, resources and competences to get involved.” (Eugen Radescu) <br />
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In terms of the relationship of the visual arts to this, see, among other references: Hal Foster’s article “Precarious: Hal Foster on the art of the decade”, Artforum International Magazine, December 2009; Open 17, A Precarious Existence. Vulnerability in the Public Domain, SKOR | Foundation for Art and Public Domain, Amsterdam, The Netherlands, 2009; Human Condition: Empathy and Emancipation in Precarious Times, Kunsthaus Graz, Universalmuseum Joanneum, Graz, Austria, June-September 2010.<br />
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TACTICI PENTRU AICI SI ACUM<br />
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In contextul actual al naturii schimbatoare a economiei, societatii si culturii—situatii care sunt adesea numite “vremuri precare” — artistii trebuie sa isi negocieze adesea pozitii riscante, teritorii contestate, ori situatii in care activitatea culturala interactioneaza sau ofera un contrapunct la conditii de flux. in cadrul acestui context, Bucharest Biennale 5 reliefeaza creatia unor artisti al caror portofoliu nu consta neaparat in situatii evidente, ci mai degraba in strategii investigative, indirecte sau informale, care poseda propria lor forma de putere.<br />
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Prin natura sa, lucrarea analitica este lenta in creare, exprimand rezistenta atat vitezei si caracterului schimbator al lucrurilor cat si sentimentului de instabilitate care invadeaza traiul cotidian. Actiunea de cautare, dezvaluire si prezentare a lucrurilor aflate aparent/la suprafata – o activitate care a fost sustinuta de Internet ca un spatiu in care artistii pot cauta mai activ informatia care «lipseste sau este ascunsa» - defineste maniera in care multi artisti lucreaza astazi. Pe de-o parte, aceasta poate fi o zvonistica, secretele fiind dezvaluite prin seductie ori manipulare, sau ideile care sunt comunicate sau alterate de vreun fel prin transmitere; pe de alta parte, poate fi privita drept slefuirea unor istorii specifice, de la civic la personal, care produce un tip de «cunoastere» aparte, care nu este neaparat despre nostalgie si nici narativa, ci mai degraba despre prezentarea unei perspective complexe si contemporane a vietii. Pro
iectele artistilor pentru spatii si contexte din Bucuresti vor atinge o varietate de surse si locatii, ca o maniera de reimprospatare a dialogului in jurul subiectelor mai vechi, re-imaginarea unor narari specifice, sau pot sugera unele noi.<br />
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Adesea, artistii se sustrag sistemelor existente ca o modalitate de a raspunde contextelor sociale si politice care sunt mai putin previzibile. Modul lor de a lucra reflecta o practica care este mai «evolutionista, dinamica si receptiva, greu de definit, esentiala pentru situatii care se schimba rapid sau nu sunt inca pe deplin intelese». Pentru unii artisti, lucrul cu structuri informale inseamna munca impreuna, pentru altii, inseamna dezvoltarea de abordari ce sunt distinct personale si individuale. Implementarea strategiilor informale este ceva de rezonanta intr-un oras precum Bucurestiul, printre altele, unde sisteme mai formale nu par sa sustina neaparat practica de arta experimentala.<br />
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In termeni de format, Bienala va fi dezvoltata in jurul unui numar de proiecte comisionate, ce se vor desfasura in locatii identificate, precum Pavilion dar si in alte medii/locatii educationale, academice, si in mod ideal, locatii publice si spatii deschise, cum ar fi pietele publice, panourile publicitare, ecranele mass-media si vitrine. in timp ce artele vizuale formeaza miezul Bienalei, alte discipline precum literatura si filmul vor fi introduse in programul general oferind un format care presupune o "expozitie" la deschidere, dar care, de asemenea, se dezvolta dinamic pe durata bienalei.<br />
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Programul educational se va manifesta in BB5 prin crearea de "spatii de gandire" in modul in care atat expozitia cat si programele publice sunt puse impreuna. Programul Bienalei va starni curiozitatea publicului si un angajament prin diferite mijloace: componente care evolueaza in timp sau care se bazeaza pe ideea de repetitie; moduri de angajament care sunt atat formale cat si informale in structura; conectivitate cu alte discipline; implicarea pe termen lung a artistilor prin intermediul unor relatii specifice cu institutiile partenere, alaturi de elementele de surpriza si joaca, in plus fata de evenimentele mai mult bazate pe teorie; si evenimente si proiecte publice.<br />
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Notiunea de informal se contureaza pe strategiile existente evidente in Bucuresti, si este o componenta clara a programului Free Academy desfasurat in Pavilion UniCredit: ”Ceea ce face diferenta intre sistemul formal propus de reteaua oficiala a puterii de stat prin minister si educatia informala, propusa de proiectul Free Academy, este crearea a ceea ce apare in discursul educational ca un «cetatean activ» - acel tip de cetatean care participa in dezbaterea sociala, care este un agent al schimbarii, care propune termenii de dezvoltare, care are atitudinea, resursele si competentele pentru a se implica. » (Eugen Radescu)<br />
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Privitor la relatia artei contemporane cu tema de mai sus, pot fi consultate diverse referinte, printre care: textul lui Hal Foster, “Precarious: Hal Foster on the art of the decade”, Artforum International Magazine, December 2009; Open 17, A Precarious Existence. Vulnerability in the Public Domain, SKOR | Foundation for Art and Public Domain, Amsterdam, The Netherlands, 2009; Human Condition: Empathy and Emancipation in Precarious Times, Kunsthaus Graz, Universalmuseum Joanneum, Graz, Austria, June-September 2010. (Anne Barlow)</font><strong><br />
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<div><font size="3" face="Arial"><strong> </strong>BUCHAREST BIENNALE<br />
Bucharest International Biennial for Contemporary Art<br />
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Sos. Nicolae Titulescu 1 (Piata Victoriei) </font></div>
<div><font size="3" face="Arial"> Bucharest 011131 Romania </font></div>
<div><font size="3" face="Arial"> T: + 4 031 103 4131 </font></div>
<div><font size="3" face="Arial"> E: <a class="moz-txt-link-abbreviated" href="mailto:pavilion@pavilionmagazine.org">pavilion@pavilionmagazine.org</a></font></div>
<div><font size="3" face="Arial"><a class="moz-txt-link-abbreviated" href="http://www.bucharestbiennale.org/">www.bucharestbiennale.org</a></font></div>
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This is a project by PAVILION - journal for politics and culture. <br />
<a href="http://www.pavilionjournal.org">www.pavilionjournal.org</a><br />
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<div><font size="3" face="Arial"> PAVILION, BUCHAREST BIENNALE and PAVILION UNICREDIT are projects devised and founded by Razvan Ion and Eugen Radescu<br />
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<em>Strategic partner:</em> UniCredit Tiriac Bank<br />
<em>Supported by: </em>Austrian Cultural Forum, British Council, Danish Arts Council, dgARTES, French Cultural Institute, French Embassy, FRAME Finland, Fundacao Calouste Gulbenkian, FSPUB (Faculty of Political Science, Bucharest University), National Geology Museum, IASPIS, IFA Germany, laBOMBA, Ministerio da Cultura, Mondriaan Foundation, Netherlands Embassy in Bucharest, OCA Norway, Polish Institute, Romanian Cultural Institute, Romanian Cultural Institute New York, Romanian Institute of Geology, Rumanska Kulturinstitutet Stockholm, Seacex, UNArte (National University of Arts, Bucharest), FRAME - Finnish Fund for Art Exchange.<br />
<em>Media partners: </em>Afterall, Alternativ, Cabinet, Cura Magazine, Euromedia, Framework, Kaleidoscope, Metropotam, Modernism, Mute, Oops Media, Open, Radical Philosophy, Springerin, TillLate.com, VeiozaArte, Vice, Vicious Vitamins, Zile si Nopti, Zeppelin.
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<em>Official coffee:</em> Illy
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<em>Official hotel: </em>Intercontinental Bucharest<br />
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</em></font><font size="3" face="Arial"><em>Printing partner:</em> First Advertising
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<font size="3" face="Arial"><em>Official club: </em>Control
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<em>Production partner:</em> UpDate Advertising
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<em>Official city guide:</em> City Compass</font><font size="2" face="Arial"></font></div>
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