They should have waited for us!

Call for art the 1st International Roaming Biennial of Tehran

2008-03-24T13:45:00.002+01:00

Urban Jealousy
the 1st International Roaming Biennial of Tehran
30th May - 6th July 2008
Curated by Serhat koksal and Amirali Ghasemi

Download the Application in WORD documents here (Choose Your Langugae)
Farsi, French, English and Turkish

Dead line: Monday 21st of April 2008

The theme of this biennial is URBAN JEALOUSY. A Jalousie * (“jealousy” in French) is a window that one can see through but not be seen; barriers that allow us to observe the world without being invited to the table. Iranian artists are given an understanding of what goes on in the world without being offered a single opportunity to communicate their thoughts—outside of our very own jalousie window: a rigid ethnic frame within an extremely politicized context.

Of all the huge urban areas around the world, Tehran stands out as a different kind of Megalopolis. It boasts one of the most dynamic art scenes in the Middle East even as the city itself deals with a rudimentary public transport system, an exploding population crisis, and an ever-increasing sprawl of mass housing; An unsightly city of experimental architecture that swallows entire villages and towns without offering them any sort of public services.

Despite its complicated urban situation—which according to experts has already spiraled out of control—artists’ societies in Tehran continue to hold numerous biennials in semi-tribal fashion. A great number of these events are government-sponsored projects whose outlook and also their premises can shift 180 degrees from one year to the next. Each community has its own set of ceremonies, as a result of which, any sense of solidarity among the artists is lost.

The Tehran Visual Arts Festival, The Calligraphy Biennial, The Sculpture Biennial, The Cartoon Biennial, The Painting Biennial of the Islamic World, The Graphic Design Biennial, The Children’s Books Illustration Biennial, The Painting Biennial, The Poster Biennial, The Poster Biennial of the Islamic World… the list is endless.

Although the legendary "TEHRAN BIENNIAL" goes back 50 years, not a single one of the above-mentioned events can be considered a biennial by prevailing and accepted international standards". An arts society recently published a call to boycott the upcoming Painting Biennial in order to demand a professionally curated exhibition, protesting the open call process and a “jury” they deemed unacceptable.

It seems impossible to have a proper Tehran biennial in Tehran, so our sprawling city and its elitist art scene remain excluded from the highly competitive art market in the region despite being surrounded from all sides by lucrative biennials and auctions. We may have great artists living and working in Iran, but we don’t have a chance to share the profits.

Tehran, as one may suppose, does not seem interested in presenting itself as a desirable destination for cultural tourism, by playing it ‘cool’ like other global cities, or scramble to be hip by coughing up the membership dues to be in the international art market.

So, to jumpstart the process, and after a long discussion with my friend, Serhat Koksal — a critic of the global biennialization process — we decided to curate a ‘mini’, on the move, Tehran biennial. To not only stop complaining about the current situation but to benefit from the advantages of it. An independent, low- budget, traveling exhibition which can be presented almost anywhere. We will travel like nomads, carrying artwork, objects, texts, and whatever, in a package no bigger than a medium-sized suitcase, preferably weighing less than 20 Kg., so it can be carried on any cheap flight.

Urban Jealousy will end its journey in May 2010,but Tehran’s Roaming Biennial will carry on.Feb 2008

I don't know what else to do with myself!*

2006-12-09T21:53:00.000+01:00

I don't know what else to do with myself!*
9. December. 2006
Saturday / AK28
Krukmakargatan 28, Stockholm

Program
Video Screening 20:00
Artist Talk: 21:00
After Party: 22:00

artists:
david blandy (uk),
selim birsel (Belgium),
amirali ghasemi (iran),
unni gjertsen (norway),
tsui kuang-yu (taiwan),
adnan yildiz(turkey)

Curated by esther lu and adnan yildiz

Esther Lu and Adnan Yildiz invite us to a discussion around the
role-position of artist today in reference to the changing structures
of contemporary art. Today, artists are traveling a lot due to
residencies, biennials, grandiose exhibitions and etc. And they do not
like to be involved into these processes as "tourists" but they are
also somehow tourists in this game… In relation to their research in
Stockholm, Yildiz and Lu select inspirational videos in order to
trigger a discussion around how artist
deconstruct-fictionalize
-establish-reproduce him/herself in/through
their works in this given traveling context. The curators introduce
the concept of 'universal traveler' and contextualize the issue around
the hot topics like ''new-internationalism", "mobile identities", "art
market-ing" and "globalization-alism".

AK28 is the venue of this show for its identity as being an artist-run space.
Supported by Cultural Division, Taipei Mission in Sweden

• a title of a song by white stripes is transformed.
• video screening is also the premiere of S.G.F.S. (survival guide for
stockholm), a research based curatorial project by Adnan Yildiz
Wednesday December 6, 2006 - 10:10am (PST) Edit | Delete | Permane

amirali and adnan in the same project, exociti at september in İstanbul!

2006-09-03T16:05:00.000+02:00

adnan yıldız / a very beautiful miracle

exociti

Any updates? Here are some!

2006-07-13T08:25:00.000+02:00

Does any one know anything about the project which Clio, Paz & Cristiana organized in Germany? If the answer is yes please share it with us in the blog!
the blog is collecting dust & I'm really sad about that, so I'm trying to break this silence with a friendly post which don't look like copy & pasting into a massage board!!

About a month ago I had a one week trip to Istanbul where I met our good friend Adnan which was a real pleasure & we talked about future collaborations & projects one of them is called exocity in early sepia 2006, which you can check it here.

You may all heard about my Deeper depression project its was on in Tehran in four different venues from June 23 to July 5, 2006. and yes It was so crazy! 247 participants, 4 openings, 2 weeks! & Cedric also gave us the pleasure of a contribution in Tehran university's art gallery. The exhibition had some other events including a press conference & some artist talks.
It was a real low budget exhibition, parkingallery spent 1200$ for all of the costs & fees from printing to transportation & etc. & both 2 sponsors also spend a little money; 300$ on printing the international participants' artworks & 200$ a small poem/flash fiction book.
I'll update the website of the exhibition very soon then I'll announce it here.

That's all for now

Visions after the Fall :: Budapest, June 8 -11, 2006

2006-06-05T06:46:00.000+02:00

Visions after the Fall: Museums, Archives, and Cinema in the reshaping of
popular perceptions of the socialist past

Open Society Archives Budapest :: June 8 - 11, 2006
Open Society Archives :: Central European University :: Budapest :: Hungary www.osa.ceu.hu

The workshop will analyze the use of audio-visual material - including
archival footage, documentary and feature films, exhibition catalogues,
memorials, and other traces of historical remembrance - in the process of
'reshaping' the memory of the socialist past in Eastern Europe. The aim of
the workshop is to contribute to the understanding of the ways in which
historical revisionism uses both familiar and recently discovered
audio-visual material - from popular cinematographic imagery to previously
classified information. The principles of exhibiting these materials and
other ways of making them available to the broad public will be in the focus
of the workshop discussions.

I. Museums: Between Terror and 'Normalization'

The presenters at the panel will analyze different cases of recent
historical exhibitions which addressed the socialist past, introduced new
archival documents, drew attention to the sites of political repression, and
challenged the established socialist historiographies.

Scope of issues:

* Sites of terror turned into museums and exhibitions
* Representations of everyday socialism
* Commemorations of the transition: the roles of state museums in
transitional justice
* Multi-media presentations and the role of video material in
representing history

II. Archives: the source of the unique and unknown

The presenters at the panel will analyze the use of archival (especially
audio-visual) footage in recent historical research as well as in works
intended for the wider public, such as documentary and fiction films. The
panel will discuss the consequences in terms of expanded access to the
footage as well as methodological issues of its presentation to audiences
with different degrees of historical and audio-visual expertise.

Scope of issues:

* Emergence of previously classified material in (re)shaping the past
* East, West, elsewhere - Unification of sources
* The emergence of new political borders and the division of previously
shared heritage
* Educational role of the audio-visual material,
* The change in reading the material depending on the context and
audiences' competence

III. Cinema: shaping the public

The panel will analyze recent works of fiction and non-fiction addressing
the image of the socialist past, discussing whether inter-country
comparisons are meaningful when speaking about the socialist past in the
region.

Scope of issues:

* Historical accounts presented to the mass audience: are there any
rules of the game?
* Private footage and home video in cinema: contrasting 'big' and
'small' histories
* Archival research in filmmaking and the role of experts
* Authenticity in creating historical accounts: modes and methods

http://www.osa.ceu.hu/2006/2006-06-08.shtml

SALA vs. BARNEY

2006-05-11T12:10:00.000+02:00

Sala as an antidote for Barney

The lines you are about to read are stones carefully laid down for you. In order to start sliding through the following paragraphs, my (quite rampant) request –with a Zizekian enfant terrible attitude- from the reader is for him to walk slowly on this stony road –with patience. Because both Matthew Barney and Sala demand this from us with their contents and claims. Those who want to do so, might go on and change the channel to continue with structuralist readings of Star Wars. Today in cinema our interest (at least my interest) centres on escape -break from the discourse rather than structure. All this is meaningful –again- within the language problematic. Finally, if language is a structure, we were doomed to be imprisoned here.

EPISODE I –The Fall of the Truth

In this worldliness that we are lost, we hold on to certain piece-islands that bring us together with light and meaning in inter-times. These pieces in a sense work as ‘representation tools of the world’ and show us how truth disappears from illusionary perspectives. Everything up to here is from Paul Virilio. Among the pieces that we hold on to, the phenomenon of Matthew Barney that has been bedazzling us for years has a distinctive place. If understanding today’s world / art is to approach art as a language, then it is essential to deal with the aesthetics that Barney offers. Barney’s ‘balance of horror’ can in a sense be understood with visual alphabets that create their own codes within and that are
provided with transitions between past, present and future. At this stage, when we evaluate editing in films, we realize the impossibility of solving Barney’s language without getting lost in his strategies. This is somewhat like not being able to beat Kasparov without playing chess. As Paul Virilio readers are
familiar with, the question of the aesthetics of extinction of reality in image empires and the acceleration of truth is very related to our situation. It is at this point that Barney’s works become meaningful. The basic area that the artist works to create a unique cinema combining two distinct traditions such as
sculpture and performance is the cultural metamorphosis that the body produces while becoming physical. In other words, the forms of meaning and culture that the body produces as a physical reality. At this point, Deleuze’s help is inevitable. The operation and form of the society of control and its fictitious nature and operation are created through ritual and the contemporality of that which becomes ritual. Barney produces films that can be read both with Virilio’s and Deleuze’s works and he screens them not only in galleries and museums but also movie theaters. His professionalism that also includes solving production and PR problems shows also how much he knows about the system. This is a
situation similar to Fight Club’s box office success.

EPISODE II – The Ressurection of Truth

Anri Sala, born in Tiran, is a young artist who lives in Berlin. In his works, mainly videos, we can see that movement slows down, the image approximates painting and there is almost no camera movement. Through the details that emerge as we watch and visual awarness, Sala follows the path of that which ‘appears.’ Anri Sala carries within his works the concept of existence that renders possible the confrontation of things in real sense –that a good Heidegger reader will remember as (Verlassenheit) or (Geworfenheit), and he insists on telling ‘the end’ without showing it. If we consider the forms of existence that emerge from within life and remind us of ‘finity’ which is the basis of Heidegger’s philosophy, Sala’s photograph, “no baragan! no cry!” (2002), becomes very meaningful. A white horse left on a metal cylinder is similar to an ordinary mythical scene, but very real at the same time. On a roof, in the blueness of the sky, it is both fiction and reality. Sala’s choice of editing and atmospheres are the areas where his works ‘twist.’ Sala is in a sense an antidote because he prefers the characters that clash with ‘the creature that is towards death’ in Heidegger’s sense. He awakens what Barney codes as plastic reality, the world that slides from a plane of science fiction to a plane of knowledge-fictional with ‘the reality of death.’ From the sleep of speed. This fracture is actually a darkness that cuts the dazzling light of Barney!

EPISODE III – Who wins?

Barney and Sala can be considered together with their works that feed on sculpture and performance and stratify through the nature of speed-movement of image. This exercise will give us many clues on the whereabouts of future cinema. The effect that Barney creates by using a dystopian montage which I call ‘New-Nightmare-ism’ clashes with Sala as its antidote while he plasticizes Barney and brings to world a form of abstraction through pleasure. Actually the car that moves from city A towards the one that moves from city B first clash, then are reborn in a Spinoza-like imagination of physicality. For the poison and its antidote, to go back to the source of desire, to flow, look for the next encounter as they domesticate language.

Finally, if cinema is to move beyond the non-linear and collage montage that it deals with for the last ten years, the resurrection of the story is a must for a new language of cinema. The condition of both of them to be obsessed with sculpture is the evidence; the cinematic element as an elevated object will always and inevitably win. The body lives, the language remembers.

Deep Depression deadline

2006-05-10T20:00:00.000+02:00

Deep Depression deadline Extended for international participants!
Deeper Deepression is a Group Contemporary Art Practice by parkingallery which will launch in Summer 2006.
History: In fall 2003 parkingallery published a call of entry for Deep Depression Project for the 1st time in these categories : Video installation, Audio installation, Performance, Photography & Typography; and 43 Iranian & international artists joined our project which was on view in Feb 2004 In Tehran in two galleries in Tehran. You can check the previous exhibition's website here: .
Click here to see the previous exhibition's website!
All artists from all over the world can participate in this project for free.This time we will have a selection committee to select the artworks for the upcoming exhibition in June 2006.The deadline for the applications is May 25, 2006.

Download the English Regulations/Enrty Form here: Microsoft word and PDF versions.
Curator: Amirali Ghasemi
Poster designer: Farhad Fozouni

I'm realy asking for your help to send this to all of your artists how may be interested in this project.
Thank you in advance
amirali

CLOSE CONNECTIONS: Amsterdam 2006

2006-04-29T01:34:00.000+02:00

Ellen de Bruijne PROJECTS
Rozengracht 207 A
1016 LZ Amsterdam
The Netherlands
http://www.edbprojects.nl/
edbprojects@compuserve.com

CLOSE CONNECTIONS
May 3-7, 2006
Ellen de Bruijne PROJECTS
Amsterdam

In May 2005 IZA Foundation organized the first ‘Close Connections Program’ for international curators and art critics. Ellen de Bruijne started this initiative to invite foreign guests for the period of the KunstRai, Amsterdam Art Fair for Contemporary Art, to give them a close look on the contemporary art scene in the Netherlands and the particularities of cultural Amsterdam through a special program. Close Connections has the goal to stimulate and develop (more) international collaboration and exchange.

Because of the enormous success of the last program the idea is to expand the contacts and create a new and diverse program with meetings with art professionals from the Netherlands and abroad, short lectures and special presentations. During Art Amsterdam/ KunstRai, the IZA foundation organizes in collaboration with various cultural institutes the program Close Connections 2006. Over 23 international curators and critics are invited to bring a special visit to the Dutch capital. During their stay they also provide a number of public discussions and debates, among which the debate in SMBA, Maison Descartes, SMCS at 11 and De Appel.

Beside the public part of the program, the invited guest curators will visit the Art Amsterdam/KunstRai, as well as De Ateliers, Rijksakademie, Montevideo, Mediamatic, W139, SMCS, selection of Amsterdam galleries at Lijnbaansgracht and Jordaan.

On initiative of IZA foundation, international support for the arts/Ellen de Bruijne Projects and Art Amsterdam/Kunstrai

For more information:
www.edbprojects.nl/
www.kunstrai.nl

ETHNIC MARKETING in Tehran

2006-04-10T11:21:00.000+02:00

ETHNIC MARKETING
Tracing the Limits of Artworld Internationalism
Contemporary Art Exhibition

Artspace: 13 Vanak Street & Azad Gallery, 41 Salmas Square
Conference and Screening: Shahid Avini Auditorium, University of TehranTehran, 14th – 27th of April 2006.

This project raises the question of what is expected or demanded of an artist who attempts to penetrate the “international art circuit”. What does the European market, in particular, wish to buy, and why does it wish to do so. It is now plain to see that the West is not a mere observer of globalized cultural flows, but a consumer playing a decisive role. Just as any other demanding client, it actively defines the supply. Which strategies might be useful when facing such hegemonic structures? This theme was addressed at curator Tirdad Zolghadr’s 2004 exhibition “Ethnic Marketing: Art, Globalization and Intercultural Supply and Demand” (curated with M. Anderfuhren), and is now revisited in Tehran.

The event includes:

April 14th, 4 PM: opening of group exhibition with seven artists at 13, Vanak Street: Shirin Aliabadi, Bilal Khbeiz, Farhad Moshiri, Erkan Özgen, Sener Özmen, Natascha Sadr-Haghighian
April 14th, 6 PM: opening of group exhibition with eleven artists at Azad Gallery: Atlas Group, Ursula Biemann, David Blandy, Jakup Ferri, Shahab Fotouhi, Jens Haaning, IRWIN, San Keller, Ahmet Ögüt, Sener Özmen, Michael Snow, Peter Stoffel
April 18th, 5:30 PM: film screening at Shahid Avini Auditorium, Tehran University, with films by: Fikret Atay, COM & COM, Dirk Herzog, Natascha Sadr Haghighian, Sener Özmen, Space Campaign, Hito Steyerl, Erik van Lieshout
April 19th, 4 PM: conference with Giovanni Carmine, San Keller, Farhad Moshiri, Natascha Sadr Hagighian, Solmaz Shahbazi & Tirdad Zolghadr.
a catalogue in Farsi and in English
student workshops (on invitation only)

Simultan

2006-04-08T14:45:00.000+02:00

Simultan02 - International video/sound experimental festivalwill take place between 18-20 th of May 2006, Timisoara , Romania .
100seconds
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The event is open to all artists (groups) who work with video image and not only. Those interested may apply, without any thematic restrictions, with a maximum number of 3 works (movies, animations, vj loop) each having a length that must not exceed 100 seconds
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[Technical details]- before the video there have to be recorded 5 blank seconds.- works must be sent in 720x576 Quicktime or Avi format with dv-pal compression and 48kh sound.- on CD/DVD (data) support or mini-dv tape.For each video separately, the participant must fill in an application form, (download pdf), which must contain a short description of the work, a CV and a photo of the artist. - 2-3 still images in jpg format must be sent from each video, 720x576 pixels dimension
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[Jury]All works will be watched and selected by a jury. Only those accepted will be a part of the programme.Members of the jury: Alina SERBAN - independent curator, Stefan TIRON - curator/artist, Sorin VREME - artist
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[Documentation]After the event, a catalogue with DVD will be published about the festival. A presentation will also be available on the site: http://www.simultan.org/Each of the admitted participants will receive a catalogue by the end of 2006
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[Policy]The organisers reserve the right to use the works into other presentations or partner events with the aim of promoting the Simultan Festival, but not for commercial purposes
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[Submission]Works will be submitted to the address below:Asociatia SimultanOP.1 - CP.532, Timisoara , Romania
Application forms will also be sent by e-mail: simultan(at)simultan.org
All deliveries must be marked with the phrase“no commercial value - for cultural purposes only”.
Please include a Stamped Self-addressed Envelope, if you want your examples of work returned. (Only for Romania)
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For additional information please contact:Levente Kozma – Festival directore-mail: mr_k(at)simultan.org
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The deadline for submission of works and applications is -April 20 th , 2006 (postmark)
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The festival entry is free of charge.
The Simultan festival is a platform for the audio-video concepts and intends to spread the new movements and trends of the contemporary culture, like the digital media, the video art and the experimental electronic music.
The event follows the ideologies of other well-known similar events and aims to establish new cultural bonds on the stage of Romanian art and between those of different countries.
The event wishes to keep up with and to stimulate the creative ways of the most modern visions of perceiving and recording the cultural realities in contemporary art of those who belong to the contemporary spirit, through presenting the current processes and the most innovating and revolutionary tendencies.
Being an annual event, the festival is able to highlight the present-day experimental directions of audio-visual art, identify them in the current context and link them to the emerging innovative elements.

OUR HOUSE IS A HOUSE THAT MOVES

2006-04-08T11:08:00.000+02:00

Received From Natasa Petresin

You are kindly invited to attend the opening of the exhibition on Saturday, April 8th at 4 p.m. at the Living Art Museum.

The exhibition was a part of the festival Steirischer Herbst 2003, Graz, Austria and was presented at the Pavelhaus in Laafeld, Austria, in October 2003, as well as in the Škuc Gallery in Ljubljana, in May 2004.

Artists:
Uršula Berlot (Ljubljana)
Ilana Halperin (Glasgow)
Edi Hila (Tirana)
Tim Knowles (London)
Aydan Murtezaoğlu (Istanbul)
The Otolith Group (Kodwo Eshun, Richard Couzins & Anjalika Sagar, London)
Tobias Putrih (New York/Ljubljana)
Steven Rand (New York)
Rubedo (Vesna Petrešin & Laurent-Paul Robert, London) & The Young Gods (Geneve)
Egill Sæbjörnsson (Berlin/Reykjavik)
Einar Thorsteinn (Berlin)
Sislej Xhafa (New York)

Curator: Nataša Petrešin

About the concept of the exhibition:

»When we think of space as being measurable, divisible, and composed of points plotting possible positions that objects may occupy, we are stopping the world in thought. Grids happen. The fact is that with every move, with every change, there is something new to the world, an added reality. The world is self-augmenting.« (Brian Massumi, Parables for the Virtual. Movement, Affect, Sensation, 2002)

»The field of human activities, within which we mortals usually inhabit, is in constant movement. These changing conditions correspond to the fluid opinions that humans have and that are succumbed to the same permanent change. A philosopher sets them in opposition to the divine truth which is in its nature permanent. « (Hannah Arendt, Lying in Politics: Reflections on the Pentagon Papers, 1971)

At the beginning of the 20th century, the uncertainty principle of Werner Heisenberg and the relativity theory opened up the universe of the quantum mechanics and weakened the reference points of the Cartesian-Newtonian system, the belief in the scientific knowledge and the superiority of the mind, through which we have been describing our reality for some centuries. The uncertainty principle has showed that at the subatomic and atomic level the events do not occur with certainty in at definite place and in definite times, but rather one can indicate the ‘tendencies to occur’. In contrast to the mechanistic Cartesian view of the world, the world in the modern physics turned out to be an interactive, organic, ecological and holistic phenomenon. Parallel to these scientific researches, new theories of our perception and the perception of the body, the ‘flesh’ as Merleau-Ponty defined it, emerged. Within them the proofs were made about the mutual interaction and influence between the observer and the observed matter, and the experience of the observer at describing the system has been included. Regarding these shifts in the science, contemporary physician John Wheeler calls for omitting the old word “observer” and use instead of it the new term “participator”. Thus the participatory reality consists of basic concepts of the movement, sensation and affects through which we experience space, realities, time and consciousness. Gilles Deleuze speaks of the “smooth” space, as opposed to the “striated” space. The smooth space is the one constructed by nomadic subjects that move along the trajectory in-between two points, not from one point to another. This subject is no longer a substance fixed between the mind and the body, but a process, a becoming that is being managed by constant shifts and negotiations between various material and semiotic conditions.

The only constant in today’s world is the change in the shape of a non-linear process. The political economy of such world tends to maintain the uncertainty- and fear-management that these changes cause. We can speak of a state of constant crisis. The changes within science throughout the 20th century have proved the relativity of truth in science and how its approximations defined the traditional concepts and theories. Because of the limitations, the rational mind can never provide a complete description of reality. Science and media thus do not deal with truth, but with approximated descriptions of reality. Or as Werner Heisenberg already put it: “Every word or concept, clear as it may seem to be, has only a limited range of applicability.“

The artists within the exhibition Our House Is A House That Moves deal with the continuity of the movement, the changing and impermanence of the phenomena in us as well as in nature. Within the frame of their production they expand and draw together the borders between the disciplines like art and science (The Otolith Group, Uršula Berlot, Steven Rand, Tim Knowles), or they comment on the esoteric sciences (Einar Thorsteinn). In their projects they invent utopias or visualise “science fiction of the present” (Ilana Halperin, The Otolith Group, Einar Thorsteinn, Tobias Putrih), and open up the field of metaphoric and literal confrontation with the reality as an always-evading entity with a simulation (Egill Sæbjörnsson), processual procedures (Steven Rand), manipulated view (Aydan Murtezaoğlu), documenting (Edi Hila), ironic relationship towards the reality and the symbolic (Sislej Xhafa), and with the computer animation and sound (Rubedo&The Young Gods).

(Title is taken from the lyrics by Franz Treichler, The Young Gods, Courtesy Pas Mal Publishing.)

Nataša Petrešin is a freelance curator, living and working in Paris and Ljubljana. In 2003, she was co-curator at Kunsthalle Fridericianum in Kassel at the exhibition In the Gorges of the Balkans, curated by René Block. Among the exhibitions she has curated are Participation: Nuisance or Necessity (Iaspis, Stockholm, 2005), Haunted by Detail (as part of the Curatorial Training Programme at De Appel Foundation, Amsterdam, 2002), You Are Not Alone (Pavelhaus, Laafeld, 2002), Sound in Art (Gallery Priestor, Bratislava, 2001), and the sound event series Re-lax (together with Projekt Atol, Ljubljana, 2001–2002). She was assistant curator for the Slovene Pavilion at the Venice Biennale in 2001. Since 1999, she has been regularly publishing essays in art magazines and catalogues. In April 2004 she conceptualised, together with Gregor Podnar, an international conference Public vs Private. Cultural Policies and Art Market in the Central and South-Eastern Europe, organized by the Škuc Gallery and hosted by Museum of Modern Art in Ljubljana. She is a contributing editor of an online magazine ArtMargins as well as correspondent of the magazine Contemporary. Currently she works within the curatorial assistance of the 4. berlin biennial of contemporary art and pursuits her master studies at the EHESS in Paris.

The exhibition is co-organized with the Škuc Gallery, Ljubljana, and supported by the Ministry of Foreign Affairs of the Republic of Slovenia; British Council, London and Ministerie van de Vlaamse Gemeenschap.

Special thanks to Joško Pajer, Škuc Gallery, Ljubljana; Josie Browne, Max Protetch Gallery, New York; Helena Drnovšek Zorko, Ministry of Foreign Affairs of the Republic of Slovenia; Pétur Arason, Safn, Reykjavik.

Another "They should have waited for us!" photo:

2006-04-04T11:31:00.000+02:00

Unfortunately not every body was present!
From Left to right Cedric,Galia,Anshuman,Nuno,Katarzyna, Cristiana,Richard,Ana,Clio,Amirali,Alina, Maha and Liao
Photo by hckbl.de

ART WORLDS: Ljubljana, April 6 - 7, 2006

2006-04-04T09:51:00.000+02:00

Slovenian Society of Aesthetics
Gosposka 13, 1000 Ljubljana, Slovenia
http://www.drustvo-za-estetiko.si
info@drustvo-za-estetiko.si

ART WORLDS
The 10th Spring Colloquium for Undergraduate and Postgraduate Students

Ljubljana, April 6–7, 2006
Museum of Modern Art, Tomsiceva ul. 14, Ljubljana, SLOVENIA
www.mg-lj.si

With the theme “Art Worlds” we wish to open a discussion about different worlds in which art appears and develops. Questions about the institution of art and the possibility of alternative forms of artistic production are often being raised, and are related to the formation of different conceptions and definitions of what art is in different societies, cultures, times, and ages. What impact on art do galleries, publishing houses, universities, art schools, ministries of culture, the economy, mass culture, etc. have? What influence do these existing frameworks have on contents and position of art in society and culture, how do they “create” art? Do institutions dictate what will be recognized as art, or has art also developed its own alternative strategies? Can we speak about the hierarchy of art worlds? We can also ask ourselves about the significance of the globalization or of the relation to the tradition and national identity. Can art worlds also be under the hegemony of one particular culture? Contemporary art often uses new media and high technologies. It often involves other, non-artistic disciplines, for example the natural sciences (biology, medicine, physics, etc.). How can these, in the past so divided worlds, be linked with each other? From a more narrow perspective the theme “Art Worlds” can be approached as a question about different worlds within a single artwork. Can we today still assume that an artwork is a self-contained and a self-sufficient form, or is an artwork becoming an open structure and a dynamic process?

The aim of the Spring Colloquia is to stimulate original theoretic reflection on art, culture and their position in the contemporary world. The colloquium is to enable an exchange of ideas, different views, and information about art – with the presentations of papers as well as with the discussions that will follow every paper. In their papers the participants will focus on one or more aspects of the given theme. They will be based on known philosophical and/or theoretical researches in the chosen field.

For additional information please write to e-mail worlds06@yahoo.com

bbforward

2006-04-01T13:18:00.000+02:00

Dear friends,

As we are supposed to reflect, in different ways, our experience from
Berlin, an idea came up to my mind: what do you think about starting a
common web-presentation of artists, projects, concepts, shows, etc,
that we find interesting and/or representative in a way, so we could
share these suggestions/proposals/selections on our blog? This could
preliminary be based upon the impressions originating from our stay in
Berlin, and not necessarily connected to the Biennial itself, but
rather to the general framework of our presence there, our visits,
meetings, talks, etc. I would suggest that we open a segment within
the blog (Amirali, please let us know if this would be possible,
technically speaking), so each and everyone of us could propose one
artist/work/project/institution/venue/structure/show/etc (experienced
in Berlin) that he/she finds personally very interesting or important
enough for a possible inclusion into some future
projects/programs/shows/etc. I would name this segment "bbforward", as
it should refer both to Berlin, the Berlin Biennial in general, and
our workshop Fast Forward, but you can always correct me and suggest
something else, of course.

These proposals/selections could be posted on our blog, in a very
clear, short form: a short text describing the matter, accompanied
maybe by one little image, with a reference to the source of
information. If each of us would contribute by one simple single
suggestion concerning the topic, we would already have enough
material not for an exhibition, but at least for the articulation of
our possible future project, or for the differentiation among various
personal professional attitudes that could help us define one or
several concepts for the future. What do you think? The only criteria
would be to start with this whole process by relying on our joint
experience from Berlin in March 2006.

I would thus like to propose a Canadian artist, the one that we had a
chance to meet at Kunstlerhaus Bethanien during our studio-visit
there. His name is Michel de Broin, I believe you all remember him and
his exhibition Reversed Enthropy. I am sending a small textual
reminder about this, which we could use on the blog (all the messages
posted for this specific reason should always start with a very clear
reference to what is being referred to, for example: "bbforward:
MICHEL DE BROIN - Reverse Enthropy @ Kunstlerhaus Bethanien" or
something like that).
The one submitting the proposal is always identified in the end of the
message, so after the completion of all our proposals, we will have a
clear image of our individual preferences, which gives us a nice
possibility for collective work in the future. I really believe this
could be helpful, though very modest, way to start experiencing our
real future work together.

Please let me know what you think, and I am looking forward to all
your opinions, suggestions, critiques and advices.

Best regards from sunny Belgrade
Marko

Summer School for Art Curators / July2006/ Yerevan, Armenia

2006-03-31T18:10:00.000+02:00

Summer School for Art Curators

July 4-17,2006 Yerevan, Armenia

The National Association of Art Critics (NAAC) in
Armenia invites art students, historians and other
interested parties to participate in the international
summer school for curators that will take place from
July 4-17, 2006 in Yerevan, Armenia. The two-week
summer school offers an exciting opportunity to attend
seminars, lectures and a workshop instructed by
experienced and well-known curators as well as highly
qualified professors of art history and theory from
different academic institutions.

The application deadline is April 30, 2006. For more
information as well as downloadable application form,
please, refer to our web site at www.naac.am

For further information you can contact
a.harutyunyan@iu-bremen.de or karoyan@netsys.am

My Pictorial Report for Parkingallery: 4. berlin biennale & Fast Forward workshop

2006-03-31T17:35:00.000+02:00

I'm a very lazy writer, if any of you guys want to share a short text with me I can publish them with pleasure right beside these photos!

Came back home late to hot clime

2006-03-31T16:04:00.000+02:00

Dear all
this is not only to recount how all your presence made life so joyous to me.
Indeed I do miss Berlin.
I am amazed at the fact that in such a short time how all of us got along so well.
This is fantastic that this blog is creatyed real fast.
We do need some pictures to carry the casual and serious moods and moments spent there.At least I do feel so.
This is the onset of the hot summer in India.
And i do have a lot left to be done.
Good bye till we talk next.
With best wishes, love and regards
Anshuman

After the artists' talks

2006-03-30T13:37:00.000+02:00

The Room at KW as we left it for the last time after the last artists' talk ended on Friday 24.03.2006. It was a very crowded room with almost a friendly atmposphere, ... by sending this photo, I'm asking you to share your experience of artists' talk with us & let us know how was your impressions about this room & the 6 sessions which we had together with the artists, as my personal opinion is these sessions were one of the greatest highlights of our workshop in Berlin. I've already sent you 56 photos to all of you by email.

News from rainy Sao Paulo

2006-03-29T20:58:00.000+02:00

Dear new friends,
I miss already the intensive programm and the smell and taste of Berlin. I would like to send gradually e-mail regarding individual contexts for each member of the group for a bigger document and a broader panorama of our differencies and familiarities. I am very curious about many topics.
Best wishes,
Cristiana

Just after

2006-03-29T18:30:00.000+02:00

It will be great to have here some images.

Thank you and warmest wishes from rainy Berlin

2006-03-29T17:53:00.000+02:00

My dear TSHWFU or Fast Forwarders or, simply, friends,

I hope that you have already arrived safely home and that those of you who are still satellite-ing around are having fun! Thank you for this wonderful week of experience and exchange, thank you for your great photos, Amirali, and I'll be sending you soon the emails of the speakers. It was very enriching and fruitful for me, although there were many mistakes and slippery floor throughout the programme, but as this model took shape for the first time I hope this offers some space for an excuse for the things that might have gone even better.

Much much love to everyone of you, am looking forward to meeting you soon in unexpected and predictable places :)
Yours
Natasa

Amirali's report from rainy Tehran

2006-03-29T17:13:00.000+02:00

Dear friends
I opened our group weblog as I promised, but as I'm [one of ] the youngest team member[s] [Katarzyna says she is the youngest! & she is right!] I really want to ask somebody else to start the Blog so we need an intro text explaining why we started this blog & the perhaps the story behind the name! I know that some of us haven't reached home yet while I'm writing this, Please check your email, read & follow the instruction which I've sent to you & please feel free to contact me if there is any question.
Please don't Forget to complete your profile including your name, so we can recognize eachother by the signature at the bottom one's post!
Amirali's report from rainy Tehran ends here!

They should have waited for us!

2006-03-29T11:46:00.000+02:00

This is Amirali from Tehran & This is our group weblog ...