III International Contemporary Art Festival "Street as a museum - a museum as a street"


04.02 - 12.03.2013, 10:00-23:00

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Program: [Regions]

Curators: [Nelya Korzhova ], Roman Korzhov

III International Contemporary Art Festival "Street as a museum - a museum as a street"

Open call of applications for participation in the III Festival "Street as a museum - a museum as a street" from February 5 to March 11, 2013

The basis of the project is the exhibition of contemporary art on advert sources of municipal transport stops of Samara.

"Industrial cyclone" is the theme of 2013

For participation in this exhibition will be selected 30 art works.
Art works will be printed as posters of 120 x 180 cm size and installed at the bus stops in Samara in April, June and July of 2013. Printing field for art work will no more than 120Х150 cm.

Works are accepted out in 2 stages

A completed application form (download here) and preview image files (no more than 1 MB) will receive till March 11. Files of art works included in the exhibition, are sent from 10 to 20 March (resolution not less than 20 MB)

Volga branch of the National Centre for Contemporary Arts,
Samara Regional Public Charitable Fund "Center for Contemporary Art"
At the support:

Curators of the project:
Nelya Korzhova, Roman Korzhov.

"Industrial cyclone"

Industrial cyclone freezes over the past and future.
It mutates, forcing us to accept its rules, to forget that we have created it.
The inhabitants of big cities have a sense of impending doom connected with disbelief in what you can influence all these conflicts of our time: the demolition of habitual seats, construction of some unconsidered and incomprehensible.
It feels most acutely near roads: traffic circles, highways, jamming.
For example, in Samara, men who stand at the bus stop, chained to this tiny safe zone, hardly correlate a chaos of today with the memory about "reserve capital", which in Soviet times was called our city, the achievements of space technology, metallurgical plants, mechanical engineering.
Yesterday's Demiurges, who created all this, their children and grandchildren are packaged as a product of over-production.
Important for people to remember that it is they have started this dialogue with the technological reality and that life rotates around them.
In this historical context, the artists play a special role.
Art of the 20th century took upon itself the role of a connecting between machine and man, is endowed with a soul that connection, to invent new ways of thinking and existence.
But even then, and even before have appeared images of waste industrial zones as the presentiment of collapse of world-consumption, where "stalkers" are looking for a meeting with the otherguess.
All the ruins are similar to each other.
Emptinesses of palaces and factories are the cradles of a new life. Perhaps there will be detected a niche where there is something more than just growth and saturation.

Today when globalization has pushed aside productions to virtual area, basic creative energy still remained among the people.
The artists went to the streets, taking over the functions of social lightning rod.
In this unpredictable situation, the experience of artists, their intuitive vision can identify new horizons.

History of the project

The festival generalizes and develops the experience of several projects on exposure of contemporary art in an urban environment.
The project “Ecology of Perception” was implemented on a competitive base in 1998 by Samara regional public charitable fund “Center for Contemporary Art” and is considered to be the framework of the festival. Thus, it was the first large contemporary art exhibition at bus stops in Russia. The project was a great success, had been lasted for 2 years and a lot of people, not visiting the museums, learnt the artists’ names right at the bus stops.
This new form of communication in the social sphere was developed by the project “Ecology of Perception-2” in 2008-2009 and “ARTNEWS OUTDOOR” in 2010-2011 in the cities of Volga Region branch.
Moreover, the posters of the exhibition were put on display in the museums and exhibition halls of Samara, Togliatti, Nizhnekamsk, Kirov, Saint-Petersburg, Stuttgart (Germany), Kalmar (Sweden).
All in all, more than 70 pieces of works of artists from Russia, Germany, France, Great Britain, Switzerland, Italy, Sweden, the USA, Estonia, Belorussia and Kazakhstan were put on display in the process of the projects’ implementation. The approximate number of spectaculars in 2010 in Samara and Kazan was 525 000 people. According to statistic data, one poster is viewed by 5000 per month. In such a respect, active educational orientation of the project should be stressed, which influences on the new concept formation of an open-type relationship between an individual and present cultural initiatives.

The festival presupposes simultaneous exposure of contemporary art pieces on public bus stops and exhibition halls, the main task of which is to define a border between the field of “culture and art” and street space. The citizen of a modern megalopolis has to identify visual “messages”, in most part of utilitarian character, that incite him to take part in the communication according to the scheme “customer-seller”. Quite often this person doesn’t associate art and culture with street space, an acquaintance with which demands some effort as visiting a museum, for example. The project aims at introducing into such a standard situation something of extraordinary character. For instance, a man, waiting for a bus, suddenly faces some an unusual thing. Hereby, he reads the message directed to memory and experience, non-operating in everyday life; the message that appeals to contemplation, but not consumption.
From the other point, it is believed to be extremely important for an artist to express himself in new conditions, within the borders of traditional exhibition space; since it makes the spectator think that he would see a “Piece of Art”, the “high sense” of which is guaranteed by authority of cultural industry and entrance fee. At the bus stop the communication of a spectator and a piece of art is implemented directly without mediation of regulating attachment to art institutions and rituals.
The main issue of the festival: “Can the phenomenon of “continuous” cultural space take place or not?”

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