STRATEGIC PROJECTS OF 4TH MOSCOW INTERNATIONAL BIENNALE FOR YOUNG ART

25.06 - 10.08.2014

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Included in: [4TH MOSCOW INTERNATIONAL BIENNALE FOR YOUNG ART]

The Biennale program includes several Strategic Projects that will be on view at three exhibition venues. These are the exhibition halls of the Biennale organizers – National Centre for Contemporary Arts (NCCA) and Moscow Museum of Modern Art (MMOMA), as well as a new spot on the Moscow map of contemporary art – Tsvetnoy Central Market. Seven Strategic Projects were selected
by the curatorial group of the Biennale out of 67 applications received for the international competition of curatorial projects.

Members of the Biennale curatorial group: Andrey Egorov, Irina Gorlova, Karina Karaeva, Nadezhda Mindlin, Alexey Novoselov, Daria Pyrkina, Elena Yaichnikova.

 

Venues of Strategic Projects:
National Centre for Contemporary Arts (NCCA): 13 build. 2, Zoologicheskaya Street
Moscow Museum of Modern Art (MMOMA): 17 Ermolaevsky Lane
Tsvetnoy Central Market: 15 build. 1, Tsvetnoy Boulevard, 4th floor


Strategic Project of the Biennale for Young Art at NCCA:

Dreaming Machines

Curator: Sasha Burkhanova (Russia – UK)
Artists: Alex Anikina (Russia – UK), Louise Beer (New Zealand – UK), Patrick Goddard (UK), Sang Jin Kim (South Korea), Rubi Kwon (South Korea – USA), Gareth Owen Lloyd (UK)

Dreaming Machines is a project inspired by the human dream of creating artificial intelligence. We will not be looking at the machines designed to mimic human mind, or the machines as brain enhancements, fast-connected to the collective memory of Internet. Our focal point is the sentient machine itself, its logic, behaviour, imagination, appearance and psyche.

However diverse and complex our systems of language are, there are no words to describe the radical otherness of the sentient machine directly or indirectly, as anything that could relate to human experience is inapplicable to it. The exhibition explores the ‘terra incognita’ of conscious machines through artistic metaphors, allegories and allusions.

The practices of six emerging artists explore what happens if we put the possibility of free will, love, logic and independent judgment in a familiar equation of a calculating mechanism. Will this twilight zone, never fully grounded either in human laws or in machine reality, produce at least a hint of what an artificial mind would be like?

 

Strategic Projects of the Biennale for Young Art at MMOMA:

 

ASTAR

Organizer: YARAT Contemporary Art Space (Azerbaijan)
Curator: Nailya Allakhverdieva (Russia)
Artists (Azerbaijan): Agil Abdullayev, Tahmina Ali, Farkhad Farzaliyev, Lala Gasim, Sitara Ibrahimova, Elturan Mammadov, Nazrin Mammadova, Samir Salakhov, Fidan Seidova, Zamir Suleymanov and Emin Azizbeyli

The title of the exhibition seems to refer to the space and heroism, and sounds as an echo of per aspera ad astra. However, astar means ‘lining’ in Azerbaijani – this notion is rarely used in the critique and theory of contemporary art. ‘Lining’ (the same title is given to one of the works on display) seems the most appropriate word to comprehend the creation of the new generation of artists from Baku. It is exactly the lining, the basis that these artists are searching for, reflecting upon the surrounding reality and its underlying cultural contexts. An interest in the essence, the lining of the events gives rise to the semantic versatility and intimacy of most part of the works by this generation. The artists participating in the exhibition are visionaries and eyewitnesses. They don’t judge but eagerly study the world they are in. They care less about the issues of national identity or close integration with European culture (which are so important for Azerbaijani artists of the previous generation) than their personal freedom and possibility of speaking out, unbound by the requirements of ‘corporate ethics’ or ‘political correctness.’ It is through this prism of freedom that they assess everyday communal life, Soviet legacy, traditional culture, and the long and fascinating history of their country – in all of this they are looking for hidden meanings, reasons, and the ‘lining’ of things. This is why the works by these artists are at once analytical and dreamy – imagination helps better than deduction in penetrating beyond the ‘lining of reality.’

 

A Brief History of Memory

Curator: Lauren Reid (Australia – Germany)
Artists (Thailand): Nontawat Numbenchapol, Tulapop Saenjaroen, Chulyarnnon Siriphol

A Brief History of Memory draws together four Thai experimental filmmakers who use spirituality and metaphor to deal with the complexity of personal, historical and political ordeals on the people of Thailand. They speak of personal loss, civil unrest and a conflicting sense of national identity. Their films blur the distinctions between fiction and fact, crossing time and defying physics to grapple with emotions and events beyond easy articulation. Tulapop Saenjaroen brings the dead back to life, with the artist speaking from the perspective of his deceased father. Nontawat Numbenchapol contrasts hallucinatory visuals with an ancient Thai tale to convey how national identity and belief can be easily manipulated by context. In Chulyarnnon Siriphol’s emotionally moving short, from which the title of the exhibition is taken, a mother narrates the story of her son’s death in the political protests of April 2009. In his most recent piece, Myth of Modernity, Siriphol draws parallels between religious worship and political reverie.

 

Exploitation of the Imaginary

Curators: Sergei Klimko, Lesya Kulchinskaya (Visual Culture Research Centre, Kiev, Ukraine)
Artists (Ukraine): Dana Kosmina, Igor Okuniev, Yevgeny Samborsky, Vladimir Vorotniov, Zigendemonic

In postindustrial societies, exploitation through consuming fantasies is an axiom of social being. In the light of latest developments we can see how the metastasis of the post-bipolar political imaginary are grown into the media network, an effective instrument of control in the era of consuming and producing images. Exploitation of the Imaginary, the project proposed by the Visual Culture Research Centre in Kiev, focuses on our speculative future, and the ‘imaginary’ of the masses in the world where it can be technically reproduced, where the main tension lies between the virtualized post-politics and utopian practice.

 

Pasture Still Green?

Curator: Hajra Haider (Pakistan)
Artists (Pakistan): Sajjad Ahmed, Aamir Habib, Fazal Rizvi, Muzzumil Ruheel

Dreams tainted with disillusionment. Ideals intruded upon and disturbed by reality. Greener pastures – do they exist? Where do they exist?

The prevailing unrest of the existing times is mirrored in the mounting restlessness and frustration in the youth of the world. Media domination has further aggravated the situation, creating disparity and confusion, blurring the borders between fantasy and reality. As a result, the sense of confinement felt especially by those living in war-torn and inflation stricken developing countries has heightened.

Recognizing, questioning and tackling, four artists respond to their perception of truth.


Peripheral Vision

Curator: Václav Janoščík (Czech Republic)
Artists (Czech Republic): Jan Chlup, Lucia Kotvanová (Slovakia) and Lucie Kordačová; Lucie Doležalová, Jan Lesák, Richard Nikl, Ondřej Roubík, Roman Štětina, Mirka Večeřová and Pavel Příkaský, Viktor Vejvoda

By means of peripheral vision we cannot acquire bright and sharp images, but more likely a horizon of possibilities, view of the whole, borders and edges of the visible. Precisely this is the way the exhibition intends to present contemporary possibilities of imagination – in a certain external perspective. The visuality of arts is not opened directly – by display, creation, nor painting – but by way of explicit work with the limits of the medium, material or the gallery environment itself.

Curatorial project Peripheral Vision aims at presenting the youngest generation of Czech artists that are on a long-term scale connecting post-conceptual or post-medial art with certain renewed interest in visual quality. Particular artists are in a way resigning on the creation of images; rather they are being generated in the process of reflection upon the medium or material, in order to engage us in an unseen yet touching experience.


 

Strategic Project of the Biennale for Young Art at Tsvetnoy Central Market:

Error Message

Curators: Dasha Birukova, Elvira Zhagun (Russia)
Artists: Adrienne Crossman (Canada), Rosa Menkman (Netherlands), Dmitry ::vtol:: Morozov (Russia), Elena Romenkova (Russia), Katherine Sultan Erminy (Venezuela), Protey Temen (Russia), Anna Titovets (Russia), Daniel Voicu (Romania), Elvira Zhagun (Russia)

Error Message project presents a new direction in contemporary art that still hasn’t received much critique in the studies of old and new media. Glitch art is a new occurrence that reflects the authentic beauty of digital and analogue machines. Errors, bugs, system malfunctions are the ghosts that are so hard to explain or analyze and so often spoken of by Isaac Asimov. Artists working with software, simple or high-end analogue and digital technologies see great potential in glitches. That potential is not for art only, but a means of criticism of society with its constant strive to improvement of technology, as well as criticism of the power-wielding business machines that create new and, at times, mutually exclusive applications and harshly limit the usage of various programs and devices. By bringing aesthetics into errors, the artists prove that machines are able to express themselves, and resist the imposed strict limitations, algorithms and programs. The artists criticize the pressurized systems in technology and in society.

The project is supported by Tsvetnoy Central Market.

 

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Air Purifier
Sang Jin Kim, 2011
Air purifier, live flowers, water, glass frame
160 100 80 m
© Sang Jin Kim

2014
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