Tagged with contemporary art

These considerations aside, however

txt: Manifesta 7 – Frieze Magazine

When Manifesta, the European Biennial of Contemporary Art, was first instituted in 1993, it was in the spirit of cultural exchange, globalization and European integration that followed the end of the Cold War. In being an itinerant entity, Manifesta had a double remit: first, to present a picture of a pan-European cultural field; and second, to reflect specifically on the often troubled border zones in which the biennial was sited.
[...]
The slightly uncertain focus of this year’s Manifesta reflects perhaps as much biennial fatigue as this more widespread move away from such key biennial assumptions. Indeed, spread out across four sites (in three cities and one abandoned fortress) in the affluent Italian region of Trentino–South Tyrol, the four shows that comprised Manifesta all faltered – and, interestingly, in different ways – in responding to the notion of the continent at large, or even the specific history of the locale.

These considerations aside, however, Manifesta brought together some very good work.

video: Extreme Mountain Bike Crash with 170 kph – kutlesch on youtube.com

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Architecture is not building

txt: OUT THERE – Venice Biennale Architecture 11th International Architecture Exhibition

The 11th International Architecture Exhibition entitled Out There: Architecture Beyond Building, directed by Aaron Betsky and organised by La Biennale di Venezia presided over by Paolo Baratta, will take place in Venice from Sunday, September 14th to Sunday, November 23rd 2008. The preview will be on September 11th, 12th and 13th.

Betsky goes on to point out “what should be an obvious fact: architecture is not building. Buildings are objects and the act of building leads to such objects, but architecture is something else. It is the way we think and talk about buildings, how we represent them, how we build them. This is architecture. More generally, architecture is a way of representing, shaping and perhaps even offering critical alternatives to the human-made environment. In fact, buildings are not enough. They are the tombs of architecture, the residue of the desire to make another world, a better world, and a world open to possibilities beyond the everyday. In a concrete sense, architecture is that which allows us to be at home in the world”.

“The challenge of the 11th – underlines Betsky – is to collect and encourage experimentation in architecture. Such experimentation can take the form of momentary constructions, visions of other worlds, or the building blocks of a better world. This Biennale does not want to present buildings that are already in existence and can be enjoyed in real life. It does not want to propose abstract solutions to social problems, but wants to see if architecture, by experimenting in and on the real world, can offer some concrete forms or seductive images”.

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In Venice, everybody is always lost so you don’t feel bad

via: The Blitheness of the Art World by Felix Salmon www.portfolio.com

txt: Seven Days in the Art World by Sarah Thornton – www.amazon.com

A couple of tables away, amid a scruffier entourage, sat John Baldessari. The sage L.A. artist was drinking a no-nonsense vodka on the rocks with his long legs stretched out in front of him. This year he was staying at the five-star Danieli…

“Now I receive a lot of invitations, but I usually say no,” he said with some satisfaction… Although he despairs of the social hierarchies and the “visual overload,” Baldessari has come to like Venice, in part because he has a bad sense of direction. “I’ll turn the wrong way coming out of the elevator every morning,” he said.

“In Venice, everybody is always lost, so you don’t feel bad when you pass someone you know sitting at a café for the third time in ten minutes.”

video: get lost – webglia on blip.tv

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The artist today is no longer a simple producer of metaphors

txt: L’arte di reti e relazioni, la net art e la condivisione (“Network art and relations, net art and sharing”) – Punto Informatico

[en] The artist today is no longer a simple producer of metaphors. His is not a mere symbolic function in society. It is vice versa an active partecipatore involved “directly” in production processes and social problems around them. It is this sensitivity to work cooperatively, to be able to perceive and interact with the processes social and anthropological, as well as technological, keeping firmly in front of where the beacon of ethical values-oriented common good, instead of profit, this is the sensitivity and the priority that the school must be able to convey to their students. The keywords of the School are terms like report, cooperation, interdisciplinareità, interaction, intercreatività or communication.
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[it] L’artista oggi non è più un semplice produttore di metafore. La sua non è una mera funzione simbolica all’interno della società. È viceversa un partecipatore attivo che interviene “direttamente” nei processi produttivi e sociali che lo circondano. È questa sensibilità al lavoro cooperativo, al saper intuire ed interagire con i processi sociali ed antropologici, oltre che tecnologici, mantenendo ben saldo di fronte a se il faro dei valori etici orientati al bene comune, anziché al profitto individuale, è questa la sensibilità e la priorità che la Scuola deve saper trasmettere ai propri studenti. Le parole chiave della Scuola sono termini come relazione, cooperazione, interdisciplinareità, interazione, intercreatività, oppure comunicazione.

video: “Face Gear” by Giuseppe Ragazzini

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