第十届伊斯坦布尔双年展

The 10th International Istanbul Biennial.jpg (29.72 KB)

2007-8-11 19:44

主题：不仅可能而且必要    乐观主义在全球化战争时代
时间：2007.9.8-11.4
策展人：侯翰如



10th International Istanbul Biennial

Not Only Possible But Also Neccesary:
Optimism In The Age Of Global War

Curator: Hou Hanru

hanru.jpg (7.27 KB)

2007-8-11 19:44

September 8 - November 4, 2007
Professional Preview: September 6 - 7, 2007
Press Conference: September 6, 2007
ist.biennial@iksv.org

http://www.iksv.org/bienal

Organised by the Istanbul Foundation for Culture and Arts, the 10th International Istanbul Biennial will not be a conventional thematic exhibition, rather; it will emphasise artistic production based on collective intelligence and the living process of negotiating with physical sites. The Biennial will focus on urban issues and architectural reality as a means of exposing different cultural contexts and artistic visions regarding the complex and diverse forms of modernity.

More than 100 artists and artist groups from 35 different countries will exhibit more than 150 projects throughout the 10th International Istanbul Biennial.

10th International Istanbul Biennial will explore the venues through titles implying the venues' role in Istanbul's political, economic and social aspects of its modernisation process.

"Burn It or Not?", Atatrk Cultural Centre, Taksim

A leading example of the Republican Period Architecture and a symbol of the Taksim Square, the heart of Istanbul, the AKM Building serves as a major element of the city's cultural and political memory. Obviously, this modernist edifice incarnates the ideological model of Turkey's modernization driven by its republican revolutionary project. However, today it is under the threat of being gentrified by global capitalism's expansion. Through using this building as an important venue for the Biennial with an exhibition focusing on the question of utopia and its fate all around the world; questions of social progress, modernization and democracy, etc. in the current conditions of globalization will be raised and debated.

"World Factory", Istanbul Textile Traders' Market, Unkapani

The Istanbul Textile Traders' Market, buit in the 60s consists of six blocks which accommodate approximately a thousand shops. This intelligently designed vernacular modernist building, explored by its users in an organic and self-organizational manner, shows an interesting and peculiar case of how local economic activities with a modern vision bring a vital element to contribute to the urban evolution. And it's a perfect site for the project "World Factory" that manifests the reality and strategies of the negotiation between developed and developing worlds in terms of different models of production, consumption and economic development in the age of globalization and geopolitical conflicts.

"Entre-polis" and "Dream House", Antrepo no.3, Tophane

Old customs warehouses located on the Bosporus near Tophane were used for the 4th, 8th and 9th Istanbul Biennials. This particular location, function and architectural identity allow a highly complex project to grow from within: two exhibitions will be realized in two overlapping structures. An "Entre-polis", dealing with issues of global trading, migration, border crossing and their impacts on urban life will be constructed in a labyrinth-like street-square-street micro-urban structure. Above this micro-city, there will be a series of high-rise platforms opening only in the evenings. They are "Dream Houses" that welcome people to stay and discover some most unexpected elements of the Biennial, and enjoy Istanbul by night from an unusual angle.

Special Projects

Nightcomers

nightcomers is one of the night programme projects of the 10th International Istanbul Biennial and is based on the concept of "dazibao", used by Hou Hanru in reference to wall-mounted posters of political criticism produced by the public during the Chinese Revolution. Videos will be shown throughout the night in the streets, and the target is to reach a bigger audience than the Istanbul Biennial does in the daytime. The video programs have been selected by five local curators from the pool of videos sent by general public upon the open call of the Biennial. They will be projected in different parts of the city on certain nights of the week via a specific mobile device. This will bring the Biennial project to different sectors of the city, especially those out of cultural centres.

santralistanbul

santralistanbul is a project led by Istanbul Bilgi University, involving the conversion of the first power station built in Istanbul during the Ottoman period -- Silahtaraga Power Plant -- into a Museum of Contemporary Arts, a Museum of Energy and a cultural and educational centre.

santralistanbul will be the one of the sites for special projects focused on self-organisation for the 10th International Istanbul Biennial and will serve as a space of education, workshop and laboratory. Events like international workshops, residency program, a conference and a film program are going to be realized in santralistanbul in collaboration with Istanbul Bilgi University.

Kadik๖y Public Education Centre (KAHEM)

KAHEM is situated at the heart of the Asian side of the city. Built as a popular cultural centre as a part of the republican social education and culture project in the 1930s, it is a significant Turkish modernist building undervalued for long time. Organising special projects for the Biennial not only provides a platform for urban and geopolitical emergency, it also offers an opportunity for the public to rediscover such a specific architectural and cultural edifice.

Artist List

Hamra Abbas
Adel Abdessemed
AES+F
Vahram Aghasyan
Buthayna Ali
Allora Calzadilla
Sel็uk Artut
Kutlug Ataman
Fikret Atay
Jonathan Barnbrook
Ramazan Bayrakoglu
Justin Bennett
Ege Berensel - Serhat H. Yal็inkaya - Banu Ornat
Ursula Biemann
Bik Van der Pol
Cao Fei
Banu Cennetoglu
Lia Chaia
Paul Chan
Chen Hui-Chiao
Chen Chieh-Jen
Claire Fontaine
Teddy Cruz
Nancy Davenport
Burak Delier
Democracia
Atom Egoyan
Idil Elveris - Zeren G๖ktan
Extrastruggle
Daniel Faust
Didier Fiuza Faustino
Christoph Fink
Nina Fischer - Maroan El Sani
Vicky Funari - Sergio de la Torre
Bodil Furu - Beate Petersen
Rainer Ganahl
Jean Baptiste Ganne
Gimhongsok
Ren้e Green
Ivan Grubanov
Ha Za Vu Zu
Erdem Helvac?oglu
Huang Yong Ping
Emre Hner
Sanja Ivekovic
Eleni Kamma
Kan Xuan
ึmer Ali Kazma
Ian Kiaer
Sora Kim
Taiyo Kimura
Gunilla Klinberg
Aleksander Komarov
Rem Koolhaas/AMO
Markus Krottendorfer
Lee Bul
Minouk Lim
Lu Chunsheng
Cristina Lucas
Ken Lum
MAP Office
Ram๓n Mateos
Julio Cesar Morales
Multiplicity
Els Opsomer
Ou Ning
Ferhat ึzgr
Peng Hung-Chih
Anu Pennanen
Alexandre P้rigot
Tadej Pogacar
Julien Pr้vieux
Radek Community
Michael Rakowitz
Raqs Media Collective
Jewyo Rhii

istanbul-panorama-3.jpg (31.83 KB)

2007-8-11 19:44

Porntaweesak Rimsakul
Lordy Rodriguez
Sam Samore
Fernando Sanchez Castillo
Allan Sekula
Taro Shinoda
Sophia Tabatadze
David Ter-Oganyan
Nasan Tur
Katleen Vermeir - Ronny Heiremans
Wong Hoy-Cheong
Xu Zhen
Yan Pei Ming
Yan Lei
Yang Jiechang
Tomoko Yoneda
Young Hae Chang Heavy Industries
Yushi Uehara / Berlage Institute
Zhou Hao - Ji Jianghong
Zhu Jia

Special Projects

Nightcomers (curated by ึvl Durmusoglu, Marcus Graf, Borga Kantrk, Pelin Uran, Adnan Yildiz)

Apartment Project
Art Experience (Istanbul Bilgi University / Domus Academy)
Atelier bow-wow
Emergency Biennale in Chechnya
Fiji Biennale Pavilions by Mladen Bizumic
Floating Territories (Evens Foundation)
Hafriyat
Innocent Act (studioKAHEM)
Isola/OUT
Nico Dockx - Kris Delacourt (for Floating Territories)
K2

Not Only Possible, But Also Necessary:Optimism in the Age of Global War
Hou Hanru
1

We are living in a time of global wars.

Most of these wars, conflicts and clashes take place in the developing world. The centre of the Empire has ruthlessly exported violence to other parts of the world. On the other hand, there is a difficulty faced by the developing world in enduring and suffering the challenging transition from decolonization, independence to modernization and globalization.

The Third World is a project by the non-western world to become independent after years of colonization, and to invent their own nation-states based on the principles of self-recognition, independence and equality. Modernization becomes the route towards such a goal, and multiple modernities provide the very ideological guidelines. Thus, the Third World is by definition a global project. To convince the masses of the importance of modernization as the only way for the Third World, the elite class has to resort to top-down models of imposing modernities and reforms that depend on the acceptance, cooperation and support of the �lower� classes, the military forces, and international aid. This imposition has often been violent and dictatorial, and people respond to the degeneration of their living conditions by protesting against the privileges of the dominant classes, reclaiming their social rights through mass mobilization and protestations against external and international agencies of liberal capitalist powers such as IMF and World Bank. These social mobilizations have also awakened some longtime �buried� conservative ideologies and values such as rightwing nationalism, ethnocentrism, racism and religious fundamentalism, and have allowed these groups to be �resurrected� and become popular within dramatic social vacuums.

The Third World is now facing a contradiction; it has become both a crisis and challenge to arrive at a �renaissance�. The key question is whether the non-western world can still reinvent effective models of modernization to face the challenges of globalization which are driven by liberal capitalism and dominated by Western powers.

Turkey, as one the of first non-western modern republics and a key player in the modernization of the developing world has proved to be one of the most radical, spectacular and influential cases in this direction. But, a fundamentally crucial problem is that the modernization model promoted by the Kemalist project was still a top-down imposition with some unsolvable contradictions and dilemmas inherent within the system: the quasi-military imposition of reforms, while necessary as a revolutionary tool, betrayed the principle of democracy; the nationalist ideology ran counter to its embracement of the universality of humanism, and the elite-led economic development generated social division. Populist political and religious forces have managed to recuperate and manipulate the claims from the �bottom� of the society and have used them to their own advantage.

In this age of global wars and globalization of liberal capitalism, it is not impossible but also necessary to revitalize the debate on modernization and modernity and put forward activist proposals to improve social progress. Today, modernization should be carried out in diverse models, relevant to local conditions and ideals, and in the negotiations between individual localities and the �global�. In other words, a bottom-up, truly democratic project of modernization and modernity that is based on the respect of individual rights and humanist values is necessary to bring Turkish society out of its contradiction. And this is also true of the global situation in transition.
2

Contemporary art has been a product of modernization and modernity. Along with globalization and the integration of many developing countries in the global system of production and communication, contemporary art is now being created and presented everywhere, far beyond the West.

Founded 20 years ago, the Istanbul Biennial should be understood as a part of the modernization project of Turkey in her search for both internal cultural development and international status. The Biennial has gained a certain maturity and is now facing the task of injecting new blood and reinventing itself as a forerunner in the creation of contemporary art.

In today�s geopolitical reality, it is necessary and urgent to deal with the question of modernization. Urbanization, or explosive urban expansion in the Istanbul fashion, is the most visible and significant sign of modernization. Exploring the urban and architectural conditions of Istanbul has hence become a starting point and a central reference to the conception of this Biennial. And contemporary art as an avant-garde in cultural experiments should engage with the city, and it is through this engagement that the biennial will acquire fresh energy and significance in a new reality. The biennial should become a laboratory for innovative projects and strategies, and a site for experiments and productions with different, multiple models of modernization.

To critically reexamine �the promise of modernity�, we have chosen some of the most significant modern edifices and venues including the AKM, İMÇ, Antrepo, santralistanbul and KAHEM. They symbolically and physically mirror the various facets and models of urban modernization in the city. In these sites, the utopian project of the republican revolution and modernization meets with the lively, ever-changing and �chaotic� reality, at once harmonious and conflicting. They are sites where the top-down vision of the modern city clashes with the bottom-up imaginations and actions promoting difference and hybridity.
3

In such a debate, artistic actions, including the Biennial itself, can certainly find their roles in prompting cultural and social changes through innovative forces of intervention -a form of the urban guerrilla. Facing this infinitely dynamic, complex and exciting reality of a metropolis, artists and other creators are highly inspired to mobilize their imaginations and creativities.

From the very beginning, the Biennial project has been clearly defined and structured beyond a conventional exhibition model. It embraced the rationale of merging it with the vibrancy of real urban life: from research to the development of the project; selection of venues and forms of actions and presentations in these sites; dialogues and collaborations among artists and other participants; spatial designs and their realizations through interventions and transformations of spaces; as well as defining communication strategies. It is a project of collective intelligence, reflecting perfectly the structure and function of the Multitude.

Spatially, the Biennial project will cover a wide range of urban zones, from theEuropean to the Asian sides, from the central areas to the peripheries. In terms of time, the project goes beyond a conventional �office-hour� presentation and takes on the reality of life in this sleepless city; it will function twenty-four hours a day continuously in different sites. With four major �exhibitions� and numerous special projects and parallel events, the Biennial is a dynamic complex system. It is an non-stop machine for production of new urban life. It is an endless urban maze.

Artists:
Vahram Aghasyan
Nancy Davenport
Daniel Faust
Didier Fiuza Faustino
Nina Fischer, Maroan el Sani
Erdem Helvacıoğlu
Emre Hüner
Aleksander Komarov
Markus Krottendorfer
Lee Bul
Els Opsomer
Katleen Vermeir, Ronny Heiremans
Xu Zhen
Tomoko Yoneda


BURN IT OR NOT?
Architecture has always been closely related to political projects. Public institutions are the most visible images of this relationship. This has not changed in the Modernist age, despite it being a more democratic period of history; instead, it has been enforced. But modernism is, in fact, idealist and utopian, and based on economic, political, socio-cultural and technological progress, solidarity, social justice and democracy. It envisions perfectly the ideal of a modern political utopia. Monumentality and the spectacular become the characteristic language to express such an utopian vision. Situated in Taksim Square, designed by Hayati Tabanlıoğlu and reconstructed in the early 1970s, AKM is İstanbul�s major public site of cultural and political ceremonial events and performances by the �high arts�. Its archetypal socio-modernist style makes it a perfect symbol of the utopian vision of the Turkish Republic: that of a secular, progressive and modern nation-state guided by Atatürk�s farsightedness and political power.

However, this highly interesting edifice is now facing a fatal crisis; it is now under the threat of being gentrified by the force of the neo-liberal economic power, hand in hand with the populist political power. A fancier, �post-modern�, probably corporate-like complex is being planned to replace it. Its demise and gentrification are now intensely debated. Its origin is full of irony. Newly constructed, the building was burnt down in 1970 during a performance. A few years later, after huge efforts in reconstruction and conservation, like a phoenix, the building rose from its ashes. AKM is now facing a second round of fire -this time, by the forces of globalization, a neo-liberal economy and political cynicism.

AKM, burn it or not? This is the question.

Indeed, this crisis is a part of a much larger, global tendency. With the end of the Cold War and the prevailing neo-liberal capitalism around the world, numerous buildings representing socialist or social-democratic modernization in various countries are facing the same fate of erasure and gentrification. Interestingly, most of the projects to replace these buildings are designed to erase the memory of certain periods in history -that of social Utopia- in order to validate the neo-conservative order imposed by global capital and populist politics. These �new� visions are systematically conservative, nostalgic and kitsch. This phenomenon can be seen in the demolition of the Palast der Republik in Berlin and Hotel Rossija in Moscow. They are all going to be replaced by �classical� styles: the former will hark back to its original castle-like state, and a Disneyland-like commercial centre will substitute the latter. This trend shows a general tendency to the privatization of public spaces in almost all cities. Further social divisions and conflicts are imminent. It demonstrates the real nature of the new urbanity and social order imposed by the currently dominant forces.

Obviously, a mobilization of social consciousness to resist such a global trend becomes an urgent task. And the art community, with its capacity of critique and envisioning, should be leading the battle. The city should be the battlefield to imagine, test and promote alternative urban and social projects to defend the public sphere and democratic values, namely the values of the Multitude. On the occasion of the 10th International İstanbul Biennial that seeks to engage contemporary art in urban reality, the destiny of the AKM is inevitably a central issue to be dealt with. Bringing artistic interventions and critical visions to the AKM can effectively reintroduce the building to the public, create dialogues and debates on the future of this edifice. This is a �natural� choice for the biennial.

More than 15 artists from different parts of the world are invited to present their works in the AKM. Some works are conceived specifically for the site, based on profound research by artists on the building�s history and reality, and these are linked to more �global� experiences expressed in works by other artists. A kind of concerto of diverse stories and strategies of negotiating with the global trend of urban gentrification and post-utopian reality is being conducted here. Using different languages and media, they inject new energy and vitality to building in crisis.

Artists:
Ramazan Bayrakoğlu
Ege Berensel
Ursula Biemann
Cao Fei
Chen Chieh-jen
Claire Fontaine
Teddy Cruz
Nancy Davenport
Burak Delier
Vicky Funari, Sergio de la Torre
Jean-Baptiste Ganne
Sanja Ivekovic
Ömer Ali Kazma
Sora Kim
Lu Chunsheng
MAP Office
Julio Cesar Morales
Ou Ning, Cao Fei
Ferhat Özgür
Tadej Pogacar
Julien Prévieux
Raqs Media Collective
Lordy Rodriguez
Allan Sekula
Young Hae Chang Heavy Industries
Yushi Uehara / Berlage Institute
Zhou Hao, Ji Jianghong
Zhu Jia

WORLD FACTORY
İMÇ is an outstanding masterpiece of Turkish modernist architecture. Designed by Doğan Tekeli and Sami Sisa in the late 1950s during the first wave of İstanbul�s urban modernization, this architectural project has intelligently combined a highly experimental �metabolism� with its design and references to the traditional İstanbul Bazaar. Remarkably, it was designed with an insightful understanding of the relationship between the building and the surrounding urban conditions, creating a lively and fluid bridge between the old city and new urban centre.

What is also particularly interesting is to observe the history of the building�s evolution since its inauguration. For more than four decades, the original function of the building with hundreds of shops that served as a textile traders� market has been diversified into different blocks with their own commercial sectors -textile, interior decoration, sewing machines, music, etc.- while the original rationale of carefully planned shop spaces and public areas are being constantly transformed and reorganized. With improvised and �post-planning� interventions by the users of the building that are informed by different models of production and trade, and diverse cultural traditions from different social classes and regions, this once rationally planned modern utopia has become a kind of dystopian urban chaos. However, it is exactly in this hybrid and chaotic �structure� that diversity and vitality of popular life can be preserved. Unfortunately, it is now probably facing a threat of being gentrified by capitalist forces. A new struggle of survival awaits the İMÇ population.

İMÇ is a microcosmic condensation of the structure of İstanbul, a mega-city in permanent expansion and mutation. Ultimately, it shows the true image of Turkey�s modernization process and the multiplicity of its modernity. The main driving force of Turkey�s modernization, like for many other developing countries, is its integration into the global economic system. In this process, many developing countries have gone through the transition from import-substitute industrialization (ISI) to export-oriented industrialization (OEI). The Third World, apart from being exporter of primary materials, has been transformed into production bases for the consumer goods of the First World�s market. The developing world has been turned into a huge �World Factory�.

Obviously, the transformation of the Third World into a �World Factory� has immense impacts on all aspects of social reality: industrialization, urbanization, material and cultural progress accompanied by urban gentrification, forced migration, insecurity of employment, environmental destruction, social conflicts, etc. On the one hand, the developing world has to adapt to the production system imposed by the �global economy� to stay in the �regular� system; but, on the other hand, more and more social mobilizations and resistance strategies have emerged, and alternative or �irregular� economic and production models are invented and put into practice in order to meet the need of the population. They not only generate diverse and dynamic local economies but also produce complex, hybrid and energetic urban spaces. This negotiation between different modes of production does not only render the developing world more creative and efficient but also deeply influences the order of the global economy.

This process also has huge impact on cultural production. More and more artists, architects, film makers, intellectuals and other cultural workers are exploring the challenges and opportunities provided by such a mutation and engage themselves in the production of creative visions and strategies to cope with today�s reality. They are actively witnessing and critically examining this reality. They come up with imaginative visions and strategies of resistance and dreams. Often they devote themselves directly in various forms of social activism with artistic projects open to public participation and collaboration. This has fundamentally changed the language and function of contemporary art. More importantly, they are producing a new order of global culture with diversity. In fact, the creation of artistic and cultural events in the Third World, such as İstanbul Biennial, is a part of this negotiation and production process.

It is not by accident that İMÇ, with its deeply inspiring history, has been chosen as venue of the 10th International İstanbul Biennial. While the Biennial aims to reengage contemporary art activities with the urban life, the issue of �World Factory� is an indispensable element in the whole project. The exhibition �World Factory� was initially conceived and presented in the Walter McBean Galleries of San Francisco Art Institute earlier this year as a test before the Biennial. Now, works by some 20 Turkish and international artists dealing with this issue are brought to İMÇ and exhibited in various shops and public areas. However, they are not simple displays of existing objects. Instead, they are organically integrated to the context. Many of the works are new projects produced specifically for the sites. The works are performative and continuously developing during the exhibition period. They create dialogues, exchanges and even collaborations with the people working in the building.

İMÇ is a World Factory. The World Factory is bringing a new dimension to life at İMÇ.

Artists:
Hamra Abbas
Adel Abdessemed
AES+F
Allora Calzadilla
Selçuk Artut
Fikret Atay
Jonathan Barnbrook
Ramazan Bayrakoğlu
Cao Fei
Banu Cennetoğlu
Lia Chaia
Democracia
Atom Egoyan
Kutluğ Ataman
Extramücadele
Christoph Fink
Rainer Ganahl
Gimhongsok
Renée Green
Ivan Grubanov
Hazavuzu
Huang Yong Ping
Eleni Kamma
Ian Kiaer
Rem Koolhaas / AMO
Minouk Lim
Cristina Lucas
Ken Lum
Ramon Mateos
Multiplicity
Peng Hung-Chih
Alexandre Périgot
Radek Community
Michael Rakowitz
Porntaweesak Rimsakul
Fernando Sanchez Castillo
Sophia Tabatadze
David Ter-Oganyan
Nasan Tur
Wong Hoy-Cheong
Yan Pei Ming
Yang Jiechang


ENTRE-POLIS
The contemporary world is being constantly redefined by the globalization of economy and geopolitical conflicts. Transnational trading, border crossing, migration, global communication and new technologies are transforming almost every aspect of our life. At the same time, every individual is struggling to negotiate with the deconstruction of cultural memory, identity and values prompted by these radical transformations. A metropolis like İstanbul; situated between Europe and Asia, with a long and rich history of negotiating between different cultural, religious and political influences from both the West and the East, and endlessly expanding; perfectly incarnates this dynamism. It is a city of the in-between, of hybridity and, ultimately, the Multitude. It is an �Entre-Polis�.

The site of the Antrepo is a part of the İstanbul harbour, one of the busiest points of material trading and human contact in the world. Its geographic position is extremely crucial: it sits in the middle of the most important zone of geopolitical control, facing both the Bosphorus and the Golden Horn. It is İstanbul�s gate towards both sides of the hemisphere.

To use Antrepo No.3 as a site for the 10th International İstanbul Biennial is inevitably to deal with its urban/geopolitical position and implication. The Antrepo is a condensed �Entre-Polis�. It is a site for artists to investigate and experiment with the intensity of today�s metropolitan life, always in-between and on the move. To function like a real city, the Antrepo space is designed as a kind of urban maze to reflect the labyrinth structure of İstanbul. It will host works by more than 50 artists from different parts of the world. Like the urban multitude, these artists are highly different personalities using different languages. They are committed to explore a wide range of issues decisive for the making of our condensed �Entre-Polis�: urban transformation, global communication, migration, border-crossing travels, geopolitical conflicts, cultural memory, ethnic and religious differences, urban rebellion, manifestations and actions for social solidarity and even, love. Their artistic visions and gestures are always dynamic, performative and open to the participation of the public. Together, they make the maze really urban. This urban maze, informed by the reality of the city outside, is envisioned and organized into a scenario of street life, growing and oscillating between the most intensive overlapping and mixture of light, darkness, images, sounds, actions, traffic and accidents. It unfolds in all directions -up and down, right and left, disorientates, chaotic, spectacular but is full of mysteries and surprises.

It is a collective action to claim for the total dissolution of the borders between art and urban life.

Artists:
Buthayna Ali
Justin Bennett
Paul Chan
Chen Hui-Chiao
Emre Hüner
Kan Xuan
Taiyo Kimura
Gunilla Klingberg
Jewyo Rhii
Sam Samore
Taro Shinoda
Yan Lei / Brain Failure
Young Hae Chang Heavy Industries

DREAM HOUSE

İstanbul never sleeps. There are always people and activities in all corners, even late at night; one necessarily falls asleep in a cacophony of all kinds of music, noise, and, of course, lights and shadows.

A biennial of contemporary art seeking to be engaged with the urban life of İstanbul also should not sleep. Instead, it should offer the public a space to spend their nights and to enjoy the beauty of the city.

Therefore, in the heart of the urban maze of the Antrepo, a double level structure with site-specific installations by more than 10 artists forms a �Dream House�. It provides a space for people to come to discover and contemplate the city by night from exceptional angles, a space where they can share their dreams and fantasies.

Such device implies a certain social and even political significance, particularly in a reality that pursues and even worships bureaucratic order, and in which art is increasingly consumed as an everyday commodity, this Dream House, functioning 24 hours a day and presenting some of the most �immaterial� and intimate expressions of artistic imagination and creation, can become an antidote to �normality�. Instead of promoting efficiency, people are invited to experience the effective, the spiritual, the sensitive. Contemplation, dream, fantasy and love are indispensable in a fully lived urban life.