Jeremy Beaudry (Alexandria Contemporary Arts Forum)
Reckoning with Unknown Knowns:
a brief for Manifesta PLATFORM FOR (UN)SOLICITED RESEARCH AND ADVICE
The development of ACAF’s curatorial contribution to Manifesta 8 begins with a quest to identify the ‘unknown knowns’ of the contemporary art system. What do we believe, but don’t know we believe, about contemporary art and curating? And what about politics, human geographies or histories, and the communication of cultural difference through today’s culture infrastructure? What codification occurs along the points where the mundane details of everyday life meet with the industries of politics and culture?
Art appropriated as a tool for a social and political agenda has inhibited us in locating the deep beliefs and knowledge that we are not fully aware of, but which we harbour in our collective unconscious. It is time to begin understanding this collective unconscious of art and locate what might be the actual problems at hand, or even better, what could even offer some solutions.
The Theory of Applied Enigmatics is rooted in an analysis of the condition of art today, and from there looks to operate as a kind of cultural algorithm, leading us towards some resolutions for the questions above. Through its application, the theory should lead towards the emergence of a multi-layered and complex project that while remaining part of what we call the ‘art system’ makes a route to its goal without using most of the widely accepted or highly criticized paths to a ‘successful project’.
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Platform for (un)Solicited Research and Advice
(Lauren Alexander, Lado Darakhvelidze, Jimini Hignett, Anna Hoetjes, Jeroen Marttin, Eva Olthof, Julio Pastor and Patrícia Sousa)
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Erick Beltrán
Dear Friends,
Since we will meet next Wednesday and as a way of creating common ground between us, I would like to propose a very simple though intense game.
1- Could you make the biggest list of fundamental questions that you need to find an answer to?
Let me rephrase it (adding focus): Which are the questions that you really feel should be solved in order to reach a sense of wide contact with the world?
Another rephrasing: As participant of the world who is in a constant interchange within its particles, there are a lot of incomprehensible things, plenty of gaps, hundreds of misunderstandings, infinite false starts and mistakes, seems most of this communication is just guessing a going with the flow. Which are the doubts and questions that if solved would fill up that gap?
Eager to meet you,
Erick
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Plattform for (un)Solicited Research and Advice
Who are we?
1. Rousseau defines constitutional law as an “expression of a general will.” Whose general will is involved in this case? Who will establish the content of this constitution?
The participating artists establish the content. These artist are currently students at the Dutch Art Institute and the (soon to be ex-) members of the Platform for Unsolicited Research and Advise. FG will be available as a mediator, facilitating and initiating discussion, helping to distill a goal. Artists can ask FG, his role is not fixed or obligatory and he will not participate unless asked.
2. Are these people the artists and curators and invited advisors – during the preparatory phase of the exhibition?
Participating artists can invite advisors, but the invited advisors won’t be part of the constitution.
3. Do we also include other groups and individuals?
No.
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Boris Ondreička, tranzit.org
QUESTIONS ON THE CONSTITUTION FOR TEMPORARY DISPLAY
tranzit.org proposes creating THE CONSTITUTION FOR TEMPORARY DISPLAY to challenge all stereotypes that biennials (and exhibition formats in general) bring.
tranzit.org would like to submit the mechanisms of the biennial (and exhibition formats in general) to the critical consideration of the artists and advisors, with a desire to make the constitutional proclamation happen and to translate it into concrete steps for action.
Who are we?
1. Rousseau defines constitutional law as an “expression of a general will.” Whose general will is involved in this case? Who will establish the content of this constitution?
2. Are these people the artists and curators and invited advisors – during the preparatory phase of the exhibition?
3. Do we also include other groups and individuals?
How do we work?
5. What will be the principle for preparing the CTD?
6. What form and structure of discourse do we establish? And how will the on-site physical dialogue then be conducted during the installation and opening period, and then for the duration of the display? More »
Lado Darakhvelidze
Ideal Media, Biennale Cuvee 10
Global Biennial Association
The GLOBAL BIENNIAL ASSOCIATION was started in 2009, by a group of international exhibition makers and art-historians who have been involved in the growing global rise of the art biennial phenomenon. The GBA has it’s main headquarters in Amsterdam, the Netherlands, but is active all over the world. We take on a fresh, young and critical approach towards the global art world, creating new, ambitious and successful formats.
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Patrícia Sousa
“(…) From such formulated platforms we can relate to other spaces and spheres indicating that biennials are not predominantly to be seen as utopias, but rather as heterotopias, capable of maintaining several contradictory representations within a single space.”
Simon Sheikh
in ‘Marks of Distinction, Vectors of Possibility’
It is clear that biennials, triennials, art fairs, as art events are, undoubtedly, part of an
economic system dominated by structures of power that seek not only to brand a new
place or event but also to contribute for the legitimization of a particular art world and its
participants. More »
Julio Pastor
A few days ago, I sat in front of my laptop and placed my fingers over the keyboard with the intention of writing my opinion in relation to biennials. It was only then that I thought:
“How can I take a stand in relation to the biennial phenomenon taking into account that my personal experience on visiting these events comes down to… one?”
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Omar Koubaa
I agree with what sceptics bring forward: they have to many roots in city marketing and economical and political interest instead of artistic interests.
In the case of Manifesta however, I believe that the location, the history of occupation of Cartanega trough the people of Carthago and current events of immigration make it ideal for site- specific work.
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