|
| 首页 - 网站部分 - 展览档案 |
| 第十届伊斯坦布尔双年展 |
| admin + 2007/8/11 19:44 【论坛浏览】 |
第十届伊斯坦布尔双年展fwod fwodfwod fwod 主题：不仅可能而且必要 乐观主义在全球化战争时代fwod 时间：2007.9.8-11.4fwod 策展人：侯翰如fwod fwod fwod fwod 10th International Istanbul Biennialfwod fwod Not Only Possible But Also Neccesary:fwod Optimism In The Age Of Global Warfwod fwod Curator: Hou Hanrufwod  fwodfwod fwod fwod September 8 - November 4, 2007fwod Professional Preview: September 6 - 7, 2007fwod Press Conference: September 6, 2007fwod ist.biennial@iksv.orgfwod fwod http://www.iksv.org/bienalfwod fwod 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.fwod fwod More than 100 artists and artist groups from 35 different countries will exhibit more than 150 projects throughout the 10th International Istanbul Biennial.fwod fwod 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.fwod fwod "Burn It or Not?", Atatrk Cultural Centre, Taksimfwod fwod 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.fwod fwod "World Factory", Istanbul Textile Traders' Market, Unkapanifwod fwod 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.fwod fwod "Entre-polis" and "Dream House", Antrepo no.3, Tophanefwod fwod 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.fwod fwod Special Projectsfwod fwod Nightcomersfwod fwod 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.fwod fwod santralistanbulfwod fwod 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.fwod fwod 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.fwod fwod Kadik๖y Public Education Centre (KAHEM)fwod fwod 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.fwod fwod Artist Listfwod fwod Hamra Abbasfwod Adel Abdessemedfwod AES+Ffwod Vahram Aghasyanfwod Buthayna Alifwod Allora Calzadillafwod Sel็uk Artutfwod Kutlug Atamanfwod Fikret Atayfwod Jonathan Barnbrookfwod Ramazan Bayrakoglufwod Justin Bennettfwod Ege Berensel - Serhat H. Yal็inkaya - Banu Ornatfwod Ursula Biemannfwod Bik Van der Polfwod Cao Feifwod Banu Cennetoglufwod Lia Chaiafwod Paul Chanfwod Chen Hui-Chiaofwod Chen Chieh-Jenfwod Claire Fontainefwod Teddy Cruzfwod Nancy Davenportfwod Burak Delierfwod Democraciafwod Atom Egoyanfwod Idil Elveris - Zeren G๖ktanfwod Extrastrugglefwod Daniel Faustfwod Didier Fiuza Faustinofwod Christoph Finkfwod Nina Fischer - Maroan El Sanifwod Vicky Funari - Sergio de la Torrefwod Bodil Furu - Beate Petersenfwod Rainer Ganahlfwod Jean Baptiste Gannefwod Gimhongsokfwod Ren้e Greenfwod Ivan Grubanovfwod Ha Za Vu Zufwod Erdem Helvac?oglufwod Huang Yong Pingfwod Emre Hnerfwod Sanja Ivekovicfwod Eleni Kammafwod Kan Xuanfwod ึmer Ali Kazmafwod Ian Kiaerfwod Sora Kimfwod Taiyo Kimurafwod Gunilla Klinbergfwod Aleksander Komarovfwod Rem Koolhaas/AMOfwod Markus Krottendorferfwod Lee Bulfwod Minouk Limfwod Lu Chunshengfwod Cristina Lucasfwod Ken Lumfwod MAP Officefwod Ram๓n Mateosfwod Julio Cesar Moralesfwod Multiplicityfwod Els Opsomerfwod Ou Ningfwod Ferhat ึzgrfwod Peng Hung-Chihfwod Anu Pennanenfwod Alexandre P้rigotfwod Tadej Pogacarfwod Julien Pr้vieuxfwod Radek Communityfwod Michael Rakowitzfwod Raqs Media Collectivefwod Jewyo Rhiifwod fwod  fwodfwod fwod Porntaweesak Rimsakulfwod Lordy Rodriguezfwod Sam Samorefwod Fernando Sanchez Castillofwod Allan Sekulafwod Taro Shinodafwod Sophia Tabatadzefwod David Ter-Oganyanfwod Nasan Turfwod Katleen Vermeir - Ronny Heiremansfwod Wong Hoy-Cheongfwod Xu Zhenfwod Yan Pei Mingfwod Yan Leifwod Yang Jiechangfwod Tomoko Yonedafwod Young Hae Chang Heavy Industriesfwod Yushi Uehara / Berlage Institutefwod Zhou Hao - Ji Jianghongfwod Zhu Jiafwod fwod Special Projectsfwod fwod Nightcomers (curated by ึvl Durmusoglu, Marcus Graf, Borga Kantrk, Pelin Uran, Adnan Yildiz)fwod fwod Apartment Projectfwod Art Experience (Istanbul Bilgi University / Domus Academy)fwod Atelier bow-wowfwod Emergency Biennale in Chechnyafwod Fiji Biennale Pavilions by Mladen Bizumicfwod Floating Territories (Evens Foundation)fwod Hafriyatfwod Innocent Act (studioKAHEM)fwod Isola/OUTfwod Nico Dockx - Kris Delacourt (for Floating Territories)fwod K2fwod fwod Not Only Possible, But Also Necessary:Optimism in the Age of Global Warfwod Not Only Possible, But Also Necessary:Optimism in the Age of Global Warfwod Hou Hanrufwod 1fwod fwod We are living in a time of global wars.fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod 2fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod 3fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod BURN IT OR NOT?fwod Artists:fwod Vahram Aghasyanfwod Nancy Davenportfwod Daniel Faustfwod Didier Fiuza Faustinofwod Nina Fischer, Maroan el Sanifwod Erdem Helvacıoğlufwod Emre Hünerfwod Aleksander Komarovfwod Markus Krottendorferfwod Lee Bulfwod Els Opsomerfwod Katleen Vermeir, Ronny Heiremansfwod Xu Zhenfwod Tomoko Yonedafwod fwod fwod BURN IT OR NOT?fwod 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.fwod fwod 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.fwod fwod AKM, burn it or not? This is the question.fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod WORLD FACTORYfwod Artists:fwod Ramazan Bayrakoğlufwod Ege Berenselfwod Ursula Biemannfwod Cao Feifwod Chen Chieh-jenfwod Claire Fontainefwod Teddy Cruzfwod Nancy Davenportfwod Burak Delierfwod Vicky Funari, Sergio de la Torrefwod Jean-Baptiste Gannefwod Sanja Ivekovicfwod Ömer Ali Kazmafwod Sora Kimfwod Lu Chunshengfwod MAP Officefwod Julio Cesar Moralesfwod Ou Ning, Cao Feifwod Ferhat Özgürfwod Tadej Pogacarfwod Julien Prévieuxfwod Raqs Media Collectivefwod Lordy Rodriguezfwod Allan Sekulafwod Young Hae Chang Heavy Industriesfwod Yushi Uehara / Berlage Institutefwod Zhou Hao, Ji Jianghongfwod Zhu Jiafwod fwod WORLD FACTORYfwod 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.fwod fwod 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.fwod fwod 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�.fwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod İMÇ is a World Factory. The World Factory is bringing a new dimension to life at İMÇ.fwod fwod ENTRE-POLISfwod Artists:fwod Hamra Abbasfwod Adel Abdessemedfwod AES+Ffwod Allora Calzadillafwod Selçuk Artutfwod Fikret Atayfwod Jonathan Barnbrookfwod Ramazan Bayrakoğlufwod Cao Feifwod Banu Cennetoğlufwod Lia Chaiafwod Democraciafwod Atom Egoyanfwod Kutluğ Atamanfwod Extramücadelefwod Christoph Finkfwod Rainer Ganahlfwod Gimhongsokfwod Renée Greenfwod Ivan Grubanovfwod Hazavuzufwod Huang Yong Pingfwod Eleni Kammafwod Ian Kiaerfwod Rem Koolhaas / AMOfwod Minouk Limfwod Cristina Lucasfwod Ken Lumfwod Ramon Mateosfwod Multiplicityfwod Peng Hung-Chihfwod Alexandre Périgotfwod Radek Communityfwod Michael Rakowitzfwod Porntaweesak Rimsakulfwod Fernando Sanchez Castillofwod Sophia Tabatadzefwod David Ter-Oganyanfwod Nasan Turfwod Wong Hoy-Cheongfwod Yan Pei Mingfwod Yang Jiechangfwod fwod fwod ENTRE-POLISfwod 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�.fwod fwod 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.fwod fwod 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.fwod fwod It is a collective action to claim for the total dissolution of the borders between art and urban life.fwod fwod DREAM HOUSEfwod Artists:fwod Buthayna Alifwod Justin Bennettfwod Paul Chanfwod Chen Hui-Chiaofwod Emre Hünerfwod Kan Xuanfwod Taiyo Kimurafwod Gunilla Klingbergfwod Jewyo Rhiifwod Sam Samorefwod Taro Shinodafwod Yan Lei / Brain Failurefwod Young Hae Chang Heavy Industriesfwod fwod DREAM HOUSEfwod fwod 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.fwod fwod 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.fwod fwod 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.fwod fwod 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. |
| 当前无任何评论，或评论已被禁止显示 |