Bucharest Biennale 5 - Opening Day

In memoriam Ioana Nemes
BUCHAREST BIENNALE 5
TACTICS FOR THE HERE AND NOW
25 May – 22 July 2012

Preview day for press and professionals: 24 May 2012

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 or indirect strategies that possess their own kind of power.

By its very nature, work that is investigative expresses a kind of resistance to both the speed and changing nature of things and the increasing sense of instability that pervades everyday life. Several projects in the Biennale involve a reworking of specific histories from the civic to the personal, producing a different kind of "knowledge" that is not always about nostalgia or narrative, but is rather a deliberately constructed perspective on the contemporary. For some, the act of researching, uncovering, and presenting things that are below the surface has been aided by the Internet, whereby obscure or otherwise concealed data may be sought out, enabling new combinations of imagery and meaning that are open-ended or associative in nature. Whether relating to symbols of former eras, or personal or collective memories, these images are complex representations of past and present—imaginative ‘spaces’ that are characterized by a degree of uncertainty that make them more challenging to decipher.

For other artists in the Biennale, tactics of subterfuge or infiltration are intrinsic to their practice, allowing them to 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. Often using techniques that rely on the art of seduction or manipulation, these works can still contain sharp social or political critique, merging aesthetics and political and cultural commentary in ways that initially mask underlying meanings.

The deployment of such informal approaches is particularly resonant in a city such as Bucharest, where the infrastructure and contexts for artistic practice are in the process of evolution. BB5’s projects take place in non-profit spaces and public venues and sites in the city, and act as statements and overtures of various kinds, from the critically engaged to the playful in nature. While many projects are situated within these venues which include Pavilion, the Political Research Institute, artist-run space Alert Studio, former factory space Make A Point, the local restaurant Nana, the cinema Union, some magazines and the House of the Free Press, some exist only in the public domain, using existing forms of distribution or presentation outside artistic venues to offer audiences different ways of engaging both with these works and the ideas within the Biennale.
(excerpt from "Tactics for the Here and Now" by Anne Barlow, published in PAVILION #16 - journal for politics and culture, edited for Bucharest Biennale 5)

PARTICIPANTS

Abbas Akhavan (IR/CA) / Marina Albu (RO)/ Haris Epaminonda (CY/DE)/ Klas Eriksson (SE)/ Ruth Ewan (UK) / Aurelien Froment (IE/FR)/ Ciprian Homorodean (RO/BE)/ Iman Issa (EG/USA) / Janice Kerbel (CA/UK) / Jill Magid (USA) / David Maljkovic (HR) / Marina Naprushkina (BY/DE) / Ahmet Ogut (TR/NL) / Vesna Pavlovic (RS) / Anahita Razmi (DE) / Wael Shawky (EG/FR) / Alexandre Singh (FR/USA) / Mounira Al Solh (LB/NL) & Bassam Ramlawi (LB) / Rinus van de Velde (BE)

CURATOR
Anne Barlow (born in Glasgow, Scotland) is Executive Director of Art in General, New York, a non-profit organization that supports artists through the commissioning of new work and an international residency exchange program. From 1999-2006, Barlow was Curator of Education and Media Programs at the New Museum, New York, where she oversaw its educational and public programs, conceived of and developed Museum as Hub (a global network initiative that connected the museum with art partners in Cairo, Eindhoven, Mexico City and Seoul), organized inter-disciplinary roundtables with leaders in the fields of the visual arts, architecture, and design, developed the museum’s Digital Culture Programs, and curated numerous exhibitions and performances.
Barlow received her M.A. in the History of Art from the University of Glasgow, Scotland. Prior to moving to New York, Barlow was Curator of Contemporary Art and Design at Glasgow Museums, where she managed its contemporary art collection, exhibitions, residencies and commissions programs. Independently, she collaborated on the exhibition Copy It, Steal It, Share It at Borusan Art Gallery, Istanbul, and guest-curated film and media projects for the International Film Festival Rotterdam, the Netherlands, and Threshold Artspace, Scotland. Barlow has published for organizations including: Liverpool University Press/Tate Gallery Liverpool; the Henry Moore Institute, Leeds, United Kingdom; the Edith Russ House for Media Art, Oldenburg; the New Museum; and Art in General. She recently co-organized Art in General’s international residency/exchange symposium "What Now?", and has participated in lectures and discussions at organizations including: the Royal College of Art, London; Centre for Contemporary Art, Warsaw; MUMOK, Vienna; The Cooper Union for the Advancement of Science and Art, New York; New York University; ARCOmadrid, for Latitudes’ Professional Encounters; Tate Modern, London; and the Sharjah Art Foundation. Barlow lives and works in New York.

LOCATIONS / VENUES

Each of the locations chosen for the BB5 are justified by their history, socio-political involvement, but also by the topographical location (details on www.bucharestbiennale.org):

. PAVILION - centre for contemporary art and culture (also the BB5 info-point)
. Institute for Political Research - University of Bucharest
. Make A Point - cultural center
. Alert Studio - artist-run space
. Casa Presei Libere - the former communist house for press
. Cinema Union - movie theatre
. Nana - local restaurant
. Tabu - women magazine
. Zeppelin - architecture magazine
. Vice - lifestyle magazine

PUBLICATIONS

PAVILION - journal for politics and culture will dedicate #16 to the biennale. PAVILION #16 will contain contributions by all the artists and texts by Anne Barlow, Eugen Radescu, Stephen Duncombe, Razvan Ion, Suzana Milevska, Sotirios Bahtsetzis, Tom Holert, Olive McKeon, Simon Sheikh, Stefan Voicu and Marius Stan.

A map/guide will be published to be a handy instrument for navigation through the biennale.

The journal and the guide can be ordered as a hard copy or downloaded for free as a PDF, soon, from pavilionjournal.org or bucharestbiennale.org. This can also can be directly purchased from the info-point of BUCHAREST BIENNALE 5.

PARALLEL EVENTS

The Parallel Events are collateral events taking place in the same period as BB5. Our program aims to present a broader view of different aspects of the local cultural scene to the regional, national and international public.
Parallel Events program offers a communication platform for individual artists and interdisciplinary cultural producers who live and work in the region, as well as for local institutions, art organisations and other cultural events. For details please see our website or Facebook page.

EDUCATION AND MEDIATION

Whatever your background or experience level with regard to contemporary art, heritage or art history, BB5 educational programs allows you to engage, participate in the dialogue and broaden your outlook. Join us, together with your friends, family or students, for one of our conversational tours and more.

If you are planning a visit to BB5 with your school, university, community organisation, company, museum association or any other group over 10 persons, then this is the place to be. Be sure to let us know in advance to organize for you a free guided tour. Based on your interests, age and background we will create a personalized program to fit your group.

If you are visiting BB5 by yourself or with a small group, please note that we have volunteers prepared to guide you in every venue. So just ask them for details.

Feel free to contact us for more information or with any requests.

PROGRAM OF THE OPENING DAYS

MAY 24, 2012
11.00 - 12.30
TACTICS FOR THE HERE AND NOW
Press conference for professionals and press
Participants: Anne Barlow - curator of BB5, team of BB5 & participating artists of BB5
Venue: Hotel Intercontinental - Rapsodia conference hall, 1st floor
Bd. Nicolae Bălcescu nr. 4
Metro: Piata Universitatii

13.00 - 19.00
BB5 PREVIEW
All venues will be open exclusively for press and professionals based on accreditation only

21.30 - 22.00
PERFORMANCE
“Com´on you Reds” by Klas Eriksson (SE)
Venue: Public place, in front of the entrance of Intercontinental Hotel,
Bd. Nicolae Bălcescu nr. 4
Klas Eriksson is a participating artist in BB5
Metro: Piata Universitatii

22.00 - 05.00
OPENING PARTY (invitation only)
Venue: Club Control
Str. Academiei 19, in Pasajul Victoriei
Metro: Piata Universitatii

Opening Party Program

22.30 CHINAWOMAN (invitation only)
LIVE CONCERT/MUSICAL PERFORMANCE
For the first time in Romania
chinawoman.ca

24.00 (invitation only)
Special DJ Stars Line Up: CLIZA vs LEO

MAY 25, 2012

19:00
PERFORMANCE
“Curva Viola” by Klas Eriksson (SE)
Venue: Make a Point, Str. Morarilor nr. 1, Bucharest (inside Postavaria Romana factory).
Metro: Costin Georgian

22.00
PARTY (open entrance)
Informal party to celebrate the artists, the curator of BB5 + our guests and the team of the biennale.
Venue: OTA (the most famous underground artsy place)
Str. Dr. Staicovici nr. 26, Bucharest (no sign on the entrance, enter the garden and in the back downstairs)
Good vibes provided by DJ Pericle
Metro: Eroilor

More details at:
www.bucharestbiennale.org
www.facebook.com/bucharestbiennial

Image: Rinus van de Velde, "untitled (The Lost Bishop)", charcoal on wall, 240 cm x 360 cm, 2012. Courtesy of the artist.

PAVILION, BUCHAREST BIENNALE and PAVILION CENTER are projects devised and founded by Razvan Ion and Eugen Radescu
Strategic Partner: UniCredit Tiriac Bank
Institutional Partners: Netherlands Embassy in Bucharest / Embassy of the United States in Bucharest / FSPUB - Faculty of Political Science / University of Bucharest / CNI Coresi / IASPIS
Alert Studio / Romanian Cultural Institute / Rumanska Kulturinstitutet Stockholm / Make A Point /
BAM - Flamish Institute for Visual, Audiovisual and Media Art / Nana - natural food / Cinema Union
Arhiva Nationala de Filme / White Night of the Galleries

Media Partners: RomaniaTV / Radio Romania Cultural / RFI Romania / BeWhere / Zeppelin / Vice / tabu / Alternativ / Arte & Meserii / Metropotam / Ginger Group / Port.ro / 24-Fun / Modernism / Hipmag / Tilllate / ArtClue / ArtAct / Urban Things Romania / Sub25.ro / Anti-Utopias.com / Afterall /
Radical Philosophy / Springerin / Cabinet / Mute / Open
Official Hotel: Intercontinental Hotel
Official coffee: Illy
Printing Partner: Evergreen Concept
Production Partner: Update Advertising
Official Club: Control
Official Restaurant: Shift

Interviu Urban 01 : Eugen Radescu

Pentru cei ce nu te cunosc inca, putini cred de altfel, ne poti spune cine este Eugen Radescu si ce face el?
Eugen Radescu este politolog (specializat în relativism moral si etica politica, manager cultural, curator si teoretician. A scris pentru diferite reviste si ziare. A fost, printre altele, curatorul Bucharest Biennale 1, cu tema "Identity Factories" si al expozitiei "How Innocent Is That?" la Pavilion Bucuresti. A publicat cartea "How innocent is that?"la REVOLVER BOOK, Berlin. Este co-editorul PAVILION - journal for politics and culture si co-directorul Bucharest Biennale (impreuna cu Răvan Ion) si presedinte al board-ului organizational al PAVILION UNICREDIT si Bucharest Biennale. Este profesor invitat la Universitatea Bucuresti si Universitatea Babes-Bolyai, Cluj Napoca.

Cum a inceput Pavilion Unicredit? cum a evoluat el si care este actuala sa pozitia in actualul univers artistic al Romaniei si, in principal, al Bucurestiului?
Pavilion Unicredit este evolutia fireasca a unui proiect cultural si artistic inceput in anul 1999. totul a inceput acum 12 ani, cu revista PAvilion care este cea ce a generat atat centrul pentru arta Pavilion UniCredit cat si Bienala Internationala de Arta Contemporana Bucuresti.

In 2005 ai fost primul curator si director al Bucharest Biennale, cum te-ai simtit in aceasta pozitie si care sunt amintirile tale referitoare la prima editie a BB?
intr-adevar am fost  primul curator al primei editii a Bucharet Biennale. Lista de artisti a fost una destul de interesanta: Annika Larsson, Tim White, John Goto, AES+F, Common Culture, Lev Manovich, Andrei Iancu, Cristian Stan, Critical Factor, cu nume mari pe care am reusit sa le aduc la Bucuresti iar conceptul a fost "identity_factories", text pornit de la Levinas. Imi amintesc cat de la inceput eram si oarecum stangaci insa lucrurile au evoluat iar acum ne bucuram de un prestigiu international foarte foarte bun.

Care a fost, pana in momentul de fata, cea mai reusita editie a Bienalei si de ce o consideri tu asa?
Imi este greu sa ma pronunt. Toate editiile de pana acum au fost foarte buna. Evenimentul a crescut foarte mult. Implicarea sa in spatiul social-politic a contat foarte mult si de aceea imi este greu sa ma pronunt pentru ca toate au pastrat conceptul de la care am pornit cand ne-am hotarat, eu si cu partenerul meu Razvan Ion, sa facem BB.
Anul viitor avem o noua editie a BB, care este conceptul si la ce sa se astepte vizitatorii pentru noua editie? Cat de mare va fi schimbarea de perspectiva fata de precedenta editie?
Editia a 5-a a BB o are drept curator pe Anne Barlow, director art-in-general New York, un nume important pe scena culturala americana, nascuta in Scotia.
În termeni de format, Bienala va fi dezvoltatăîn jurul unui numă de proiete comisionate, ce se vor desfasura în locatii identificate, precum Pavilion dar si în alte medii/locatii educationale, academice, si în mod ideal, locatii publice si spatii deschise, cum ar fi pietele publice, panourile publicitare, ecranele mass-media si vitrine. În timp ce artele vizuale formează miezul Bienalei, alte discipline precum literatura si filmul vor fi introduse în programul general oferind un format care presupune o "expozitie" la deschidere, dar care, de asemenea, se dezvoltă dinamic pe durata Bienalei.
Programul educational se va manifesta în BB5 prin crearea de "spatii de gandire" în modul în care atat expozitia cat si programele publice sunt puse împreună. Programul Bienalei va starni curiozitatea publicului si un angajament prin diferite mijloace: componente care evoluează în timp sau care se bazează pe ideea de repetitie; moduri de angajament care sunt atat formale cat si informale în structură conectivitate cu alte discipline; implicarea pe termen lung a artistilor prin intermediul unor relatii specifice cu institutiile partenere, alăuri de elementele de surpriză și joacă în plus față de evenimentele mai mult bazate pe teorie; și evenimente și proiecte publice.
Notiunea de informal se contureaza pe strategiile existente evidente în Bucuresti, și este o componentă clară a programului Free Academy desfășurat în Pavilion UniCredit.
Tema BB5 este "Tactici pentru aici si acum" cu un accent deosebit pe partea educationala.

Care este relatia Pavilion Unicredit si Ministerul Culturii? Si de ce exista aceasta lipsa de comunicare?
Relatia Pavilion cu Ministerul este ca a oricarei institutii culturale din Romania. Inexistenta. Aceeasi oameni in Minister, aceiasi incompetenti, un ministru preocupat mai degraba sa incalce Constitutia decat sa faca ceva in cultura romaneasca. Iar despre AFCN nu mai pot spune nimic, dupa aproape 3 ani directorul este tot ilegal in functie si atribuie fonduri discretionar. Noi semnalam aceste probleme insa, ca de obicei, nimeni nu face nimic.    
Dar relatia Pavilion Unicredit si MNAC?
Nici una.

Ce parere ai de noile galerii de arta contemporana - Art Yourself si Odeon?
Din nefericire, nu am ajuns pana acum sa le vizitez. Stiu despre proiectele si oamenii care sunt acolo.

Crezi ca acestea vor ajuta mai mult la promovarea artei contemporane si a tinerilor artisti in Bucuresti? Sau pur si simplu incearca sa fie o copie a Pavilionului?
Nu cred ca sunt o copie a Pavilion-ului. Ne dorim sa existe zeci de astfel de centre de arta contemporana in Bucuresti si in Romania, insa din pacate existam doar noi. Cand esti singur pe o piata ori esti cel mai bun, ori cel mai prost. Din cate stiu cele doua sunt galerii de arta, ceea ce e cu totul altceva. Noi nu suntem o galerie de arta contemporana, suntem un centru de arta cu o program foarte vast si diversificat.

Care sunt influentele tale artistice ?Nu sunt artist. Nu cred ca am influente artistice. Cred ca in puterea artei de a crea dispute, noi concepte, noi viziuni. si cred in artistii care pot face asta.

Care este artistul contemporan roman cu cea mai mare sansa de reusita in Occident?
Imi este greu sa spun. Avem artisti mari, care au facut "performanta" in strainatate si sunt expusi in marile muzee sau in cele mai importante bienale. Cred ca Ion Grigorescu este un nume important pentru scena artistica romaneasca si trebuie apreciata prezenta lui in marile expozitii din lume.

Ce parere ai despre revistele culturale ale momentului? Si, crezi ca, in momentul de fata, cultura este destul de bine promovata si are resursele necesare pentru a performa la nivel european?
Din cate stiu reviste culturale sunt din ce in ce mai putine. inclusiv majoritatea ziarelor au renuntat la pagina de cultura pentru una in plus la sectiunea "cancan".  Majoritatea revistelor culturale ori apartin unor oameni de afaceri - si atunci calitatea lor scade - ori sunt facute de neprofesionisti si tot felul de amatori. Nu cred ca exista vreo revista de cultura care sa faca performanta la nivel european. In ceea ce priveste zona conceptuala, "elitista" cumva, exista doua reviste: Pavilion si ideea de la Cluj.

Care crezi ca este profilul vizitatorului Pavilion Unicredit si BB?
Publicul care vine la Pavilion sau viziteaza BB este foarte eclectic, vine din zone dintre cele mai diverse si este un public matur, care are acces la cultura si caruia ii plac expozitiile de arta contemporane conceptuale. Stiu oameni care ne viziteaza si vin din varii domenii: stomatologie, arhitectura, medicina etc. la care se adauga, bineinteles, lumea artei si culturii.

Care crezi ca este profilul consumatorului de produse culturale in Bucurestiul actual?
As spune ca vorbim despre un fel de public monden amator de acte culturale. putini sunt cei care sunt si foarte implicati in zona sau care sunt profesionals.

Ce ar fi facut Eugen Radescu daca n-ar fi existat Pavilion Unicredit?
Ar fi predat, ar fi citit, s-ar fi uitat la filme si, impreuna cu Razvan Ion, ar fi facut un alt spatiu.

Sezonul 2011 de expozitii s-a deschis recent la Pavilion chiar cu o expozitie al carei curator esti tu, spune-ne putin despre aceasta expozitie.
Intre 22 septembrie si 4 decembrie avem la Pavilion o noua expozitie: presently i have nothing to show and i'm showing it! a carei curator sunt eu. expozitia are un concept central: mediatia, Mediatia este un concept ce vine din sociologie, exprimând la origini conexiunea ce se produce între diferitele aspecte ale vietii, între social și politică artă și politică social și economic etc. Variațiunile conotative ale sensurilor pot fi constituite sub forma unui ghem de conexiuni etimologice ce se pot produce la nivel perceptiv atunci când analiză termenul dat: mediație.  Conceptele de care uzez în abordarea acestui termen ar fi, pe de o parte, cele legate de stricta relaxare a termenului, conexiunile intrinseci și, pe de altă parte, argumentele etimologice, conceptuale ale termenului. Avem, așadar, o accepțiune laxă ușoară care ne permite să înțelegem că până la urmă acest termen, mediația, nu este altceva decât un sinonim al medierii, relaționarii degajate și, mai putem vorbi despre un palier convulsiv de interpretări academice, teoretice ale termenului.
În sens larg, mediația se deosebește de ceea ce poate fi numit mediatizare, și nici nu presupune mediatori/intermediari. În sensul lui Bruno Latour, mediator este cel ce poate perverti, umili, confisca informația ce trebuie "transportată pe când cel ce intermediază, lasă totul intact, neatins. Iar artistii pe care am ales sa-i expun sunt:
Rainer Werner Fassbinder, "Love is colder then death"
Isidore Isou, "Manifesto of letterist poetry"
Marina Albu, "Resolution" & "Ashes of My Seclusion"
Marina Naprushkina, Office-antipropaganda (www.office-antipropaganda.com) & "Belarus Today"
Alfred Jarry, "Suprafemeia"/"Messalina"  & "Superbarbatul"/"The Supermale"
Juan delGado, "The flickering darkness"
 
La ce sa ne asteptam in continuare de la Pavilion?
Abia am inceput programul de toamna. este unul foarte stufos si recomand www.pavilionunicredit.ro, un site nou, abia lansat pentru a vedea intreg programul.: expozitii, conferinte, lectures, dezbateri, un concert punk-indie etc etc.

Ce va face Eugen Radescu in urmatoarea perioada?
Va avea grija sa aibe grija de proiectele sale.

Bucharest Biennale - Tactics for the here and now

TACTICI PENTRU AICI SI ACUM

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.

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. Proiectele 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.

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.

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.

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.

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)

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)

Bucharest Biennale 5

COMUNICAT DE PRESA BUCHAREST BIENNALE 5
București, mai 2011

Anne Barlow, curatorul desemnat al BUCHAREST BIENNALE 5 (25 Mai - 22 iulie, 2012) va sustine o conferinta de presa Marti 31 mai 2011, ora 11.00.

Conferinta de presa va avea loc la sediul Pavilion UniCredit, din soseaua Nicolae Titulescu nr. 1 (Piata Victoriei).

In cadrul conferintei curatorul va dezvalui conceptul BUCHAREST BIENNALE  5.

Bienala Internationala de Arta Contemporana Bucuresti este considerat cel mai important eveniment de artă contemporană din România si unul dintre cele mai interesante din Europa, conform presei internationale.

Anne Barlow este Executive Director al Art in General, New York. Intre 1999-2006, a fost Curator of Education and Media Programs la New Museum in New York, intre 1994-1999, curator of Contemporary Art and Design la Glasgow Museums, iar intre 1989-1994, Curator of the Scottish Arts Council Collection in Edinburgh, Scotia. Barlow a fost lector in cadrul unor institutii precum Royal College of Art, London; Centre for Contemporary Art, Warsaw; MUMOK, Vienna; New  York University; si Tate Modern, London. A publicat texte pentru Liverpool University Press/Tate Gallery Liverpool; Henry Moore Institute, Leeds, Marea Britanie; Edith Russ House for Media Art, Oldenburg, Germany; New Museum, New York si Art in General.
Image: Bucharest, Piata Unirii. Photo: Tatiana Murzin.

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BUCHAREST BIENNALE
Bucharest International Biennial for Contemporary Art

proudly supported by PILSNER URQUELL

Sos. Nicolae Titulescu 1 (Piata Victoriei)

Bucharest  011131 Romania

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Bucharest Biennale appointed Anne Barlow as curator

BUCHAREST BIENNALE APPOINTS ANNE BARLOW AS CURATOR FOR 2012 EDITION

August 3rd, 2010 - The 5th BUCHAREST BIENNALE (Bucharest International Biennial for Contemporary Art), generated by PAVILION - journal for politics & culture - is set for 25 May - 22 July 2012, under the curatorship of Anne Barlow (UK/USA).

Anne Barlow, the Curator of BUCHAREST BIENNALE 5, will hold a press conference on the 21st of September 2010, at Art in General (79 Walker Street), New York, USA, at 6.00 PM.



Bucharest Biennale is interested in the link between creative practice and social development, and correspondences between local and global contexts.

Now in its fifth year, the Biennale is building a strong partnership between Bucharest—in itself, a symbol of how the political can be reflected in every aspect of life—and Western Europe. The Biennale connects to a universal problem that transcends specific geographical or historical contexts, that of “resistance” in daily life. The Biennale is a structure that is able to transform the city itself into a site of ongoing activity, as well a field of action.



Fundamentally, European culture has been the result of exchange, sometimes peaceful, other times violent, that has taken place between neighbouring societies and different social groups within a given state. These horizontal and vertical forms of cultural exchange occurred in many different manners: through imitation, assimilation, dissimulation, appropriation, through either mutual understanding or hegemonic dominance.

The Biennale aims to operate in a way that demonstrates sensitivity and competence in dealing with the "others" as the "alter" from different cultural backgrounds.
With BB4 being covered by more than 120 publications and seen by 58,000 visitors, the Biennale is now regarded as one of the most vital biennials in Europe.

 By appointing a European-American curator Bucharest Biennale will provide a link the between two cultures in a different way.



Anne Barlow (born in Glasgow, Scotland), the appointed Curator of BB5, is Executive Director of Art in General, New York. After receiving an M. A. in the History of Art at the University of Glasgow, Scotland, Barlow acted as Curator of the Scottish Arts Council Collection of contemporary art (1989-1994) and Curator of Contemporary Art and Design at Glasgow Museums (1994-1999), where she managed a temporary exhibitions program, contemporary art and design collection, artists’ residencies, and new commissions.  From 1999-2006, she was Curator of Education and Media Programs at the New Museum, New York, where she oversaw the scope of the museum’s educational and public programs; initiated and developed Museum as Hub, a global network initiative that connected the museum with international contemporary art partners in Cairo, Eindhoven, Mexico City and Seoul; organized inter-disciplinary roundtables with leaders in the fields of the visual arts, architecture, and design; and curated numerous exhibitions and performances. Independently, she also collaborated on the exhibition Copy It, Steal It, Share it at Borusan Art Gallery, Istanbul (2003), and guest-curated film and media projects for Threshold Artspace, Perth, Scotland (2007). Barlow has published for organizations including Liverpool University Press/Tate Gallery Liverpool; the Henry Moore Institute, Leeds, United Kingdom; the Edith Russ House for Media Art, Oldenburg; the New Museum, New York; and Art in General. She was also a lecturer/ guest critic for organizations including the Royal College of Art, London; Centre for Contemporary Art, Warsaw; MUMOK, Vienna; New York University; The Cooper Union for the Advancement of Science and Art, New York; and Tate Modern, London.



The Assistant Curator to Anne Barlow will be Romanian Simina Neagu (b. 1988). Since 2009 Neagu has been working as Assistant Director at Pavilion UniCredit center for contemporary art and culture, and the Pavilion journal for politics and culture and Bucharest Biennale. She studied art history, curating ,and art criticism at University of Bucharest and University of Arts, London. She collaborated with institutions such as the Romanian National Museum of Art, the Centre for Visual Introspection and Swedish Travelling Exhibitions. She is a regular contributor to the online platform sfere.ro, and is currently writing her thesis on Eastern European neo-avantgarde and preparing "Caution! Institutional Space!" exhibition.


The co-directors of Bucharest Biennale are Răzvan Ion & Eugen Rădescu.