pavilion€¦ · translations: radu pavel gheo web: alexandru enăchioaie pavilion is the producer...

PAVILIONcontemporary art & culture magazine #12

BEING HERE. MAPPING THE CONTEMPORARY. READER OF BUCHAREST BIENNALE 3. VOL. 2: DOCUMENTED BB3

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PAVILION #12 VOL. 2BEING HERE. MAPPING THE CONTEMPORARY. READER OF BUCHAREST BIENNALE 3 | 23 MAY - 21 JUNE 2008VOL. 1: TEXT BOOK | VOL.2 DOCUMENTED BB3www.pavilionmagazine.org / www.bucharestbiennale.org

BUCHAREST BIENNALE 3

Curators: Jan-Erik Lundström & Johan SjöströmParticipants: Kristoffer Ardeña, Lauri Astala, Milena Bonilla, Bureau DʼÉtudes, Renaud Auguste-Dormeuil,Lukas Einsele, Buckminster Fuller, Atlas Linguarum Europae, Eduard Freudmann & Can Gülcü & LorenzAggermann, Lucia Ganieva, Frances Goodman, hackitectura.net, Mona Hatoum, Brian Holmes, Ashley Hunt,Karlo-Andrei Ibarra, Johan Jarnestad, Emma Kay, Maria Lantz, Cezar Lăzărescu, Philippe Rekacewicz/LeMonde Diplomatique, Dinu Li, Armin Linke, Mikael Lundberg, Bertien van Manen, Adrian Matei, ChristinaMcPhee, Randa Mirza, Oliver Musovik, Karina Nimmerfall, Josh On, Yoko Ono, Lia Perjovschi, Arno Peters,Sabine Réthoré, Arjen Van Susteren, Jan Svenungsson, Adriana Varejão.

Directors: Răzvan Ion & Eugen RădescuAssistant Curator: Felix VogelDesign: Håkan GustafsonAssistants of the Directors: Vlad Panait & Davina ByeEducational Program & Parallel Events Coordinator: Andreea GrigoreInstallation Team Coordinator: Alexandru Stamo-BugnariuVolunteers: George Călugăru, Andrei Crăciun, Mihaela Iacob, Ioana Iliescu, Roxana Iordache, RaduLesevschi, Ioana Niţu, Soline Pillet, Adinda Putri, Raluca Pop, Silvia Vasilescu, Elisa Tosoni.

PAVILION

Editors: Răzvan Ion & Eugen RădescuAdvisory Board: Dan Perjovschi, Marina Gržinić, Lia Perjovschi, Dana Altman, Johan Sjöström, Felix Vogel,Alexandra Jivan. Contributors: Jan-Erik Lundström, Johan Sjöström, Anne Alexander, Irina Aristarkhova, Marina Gržinić,Alexandra Jidvan, Brian Holmes, Cosmin Marian, Achille Mbembe, Gunalan Nadarajan, Sina Najafi, GunnarOlsson, Kristin ScheucherPhoto: Răzvan Ion, Jan-Erik Lundström, Johan Sjöström, Eugen RădescuTranslations: Radu Pavel GheoWeb: Alexandru Enăchioaie

PAVILION is the producer of BUCHAREST BIENNALEwww.bucharestbiennale.orgPublished by: Artphoto Asc.Chairman: Eugen Rădescu

Email: [email protected]/Fax: +4 031 103 4131Postal Address: P.O. Box 26-0390, Bucharest, RomaniaSubscriptions: 1 year subscription 32€ [all countries by PayPal on website] Printed at: Herris Print Printed and bound in Romania® PAVILION & BUCHAREST BIENNALE are a registered marks of Artphoto asc.© 2000-2008 PAVILION & the authors. All rights rezerved in all countries. No part of this publication may be reproduced or used in any form without prior written permission from the editor. The viewexpressed in the magazine are not necessarily those of the publishers.

This publication is printed with the support of

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Proudly sponsored by:

4 Museum of Geology

6 Lia Perjovschi10 Dinu Li14 Christina McPhee18 Mikael Lundberg22 Lauri Astala26 hackitectura.net

30 Pavilion Unicredit

32 Karina Nimmerfall 36 Cezar L\z\rescu40 Mona Hatoum44 Yoko Ono48 Frances Goodman 52 Oliver Musovik56 Arjen Van Susteren60 Josh On 64 Buckminster Fuller 66 Kristoffer Ardeña

70 TC

72 Philippe Rekacewicz/Le MondeDiplomatique76 Bertien van Manen80 Adriana Varejão84 Karlo-Andrei Ibarra 86 Ashley Hunt

90 Simeza

92 Maria Lantz 96 Milena Bonilla 100 Arno Peters 102 Bureau D’Études 106 Sabine Réthoré110 Lukas Einsele114 Adrian Matei118 Brian Holmes122 Emma Kay

126 Orizont

128 Renaud Auguste-Dormeuil132 Atlas Linguarum Europae 136 Eduard Freudmann & Can Gülcü &Lorenz Aggermann140 Lucia Ganieva144 Johan Jarnestad146 Armin Linke 150 Randa Mirza154 Jan Svenungsson

158 Biographies/Biografii

168 Parallel events/projects of Bucharest

Biennale 3

EXTENTPARTICIPANTS AND VENUES OF BUCHAREST BIENALE 3

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Set up in the historical building of theRomanian Geological Institute (1906), theNational Geological Museum was openedfor public in 1990. The interesting aspectsof this space range from both, the per-spective of the originality of the collectionssetting and from the perspective of thepublic that enters the museum and thehistorical-emotional charged atmosphere.

Storing a patrimony of over 80 000 sam-ples of minerals, rocks and fossils, themuseum is organized as a book, illustrat-ing the main domains of geology.

Carol the Ist, prince of German originbrought to rule Romania through the deci-sion of the Parliament in 1866, is consid-ered founder of modern Romania, is alsothe founder of the Geological Museum.The regulation signed by the monarchforesaw: “mineral and rock collections ofour country will be organized, which, withthe approval of the director, will be visitedand consulted by the public”.

The current building, finished in 1908, fol-lowing the project of the famous architectVictor Stefanescu, in a neo-brancovenescstyle, was declared an architectonicalmonument. It is situated on the mainartery of Bucharest, Sos. Kiseleff nr. 2,continuing itself in Victoriei Boulevard,which is today the major boulevard ofRomania‘s capital city.

The boulevard on which the NationalGeological Museum is located, is thearea for promenades and relaxation ofBucharest, continuing itself in VictorieiBoulevard, shopping area, representativefor the radical capitalism that modified theaspect of Bucharest.

Amenajat în clădirea istorică aInstitutului Geologic al României (1906),Muzeul Naţional de Geologie a fostdeschis publicului în anul 1990.

Spaţiul este interesant din per-spectiva unicităţii asamblării colecţiei, apublicului care trece pragul muzeului, darşi din perspectiva incarcăturii istorico-emoionale.

Depozitarul unui patrimoniu depeste 80.000 de eşantioane de minerale,roci şi fosile, muzeul este organizat ca ocarte, ce ilustrează domeniile principaleale geologiei.

Carol I, principe de origine ger-mană adus la putere în România prindecizia Parlamentului la 1866, consideratfondatorul României moderne, este şifondatorul Muzeului de Geologie.Regulamentul semnat de monarhprevedea: "se vor alcătui coleciuni deroci şi minerale din ţară care, cu învoireadirectorului vor putea fi vizitate şi consul-tate de public".

Imobilul actual, terminat în anul1908, după proiectul renumitului arhitectVictor Ştefănescu, într-un stil neobran-covenesc, a fost declarat monument arhi-tectonic. Muzeul de Geologie este situatpe artera principală a Bucureştiului, Sos.Kiseleff nr. 2 prelungită în Calea Victoriei,astăzi axă principală a CapitaleiRomâniei.

�oseaua pe care se află Muzeulde Geologie este locul de plimbare şiloasir al Bucureştiului, fiind prelungită înCalea Victoriei, loc de shopping şi expo-nentă a capitalismului radical ce a modifi-cat faţa Bucureştiului.

Museum of GeologyMuzeul de GeologieSos. Kiseleff nr.2,

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Over fifteen hundred objects, in the shape of,or imprinted with , the image of the planet.From a knowledge tool to a minimized object.(L.P.)

Peste 1500 de obiecte, în formă sau imprimatecu imaginea planetei. De la un instrument decunoaștere la un obiect minimizat. (L.P.)

Lia Perjovschi, Globe Collection, installation of different objects imprinted with globes, dimen-sions variable, 1990-today. Courtesy the artist.

Photo: Alexandra Mihalcea.

Globe Endless Collection, 1990 - todayGloburi Colectie Nelimitată, 1990 - astăzi

Lia Perjovschi

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Lia Perjovschi, Globe Collection, installation of different objects imprinted with globes, dimen-sions variable, 1990-today. Courtesy the artist.

Photo: Alexandra Mihalcea.

Lia Perjovschi

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The Mother of All Journeys by Dinu Li, takesitʼs inspiration from the memories of the artistʼsown mother. Originally told as bed-time sto-ries, his motherʼs memories have sincebecome Liʼs memories. In 2001, Li worked incollaboration with her, using each otherʼs rec-ollections as starting points. Embarking onmany journeys together, they have attemptedto exact the sites of her history. Comparing theactual with figments of their imagination.Liʼs colour photographs teases out fragmentedmoments in time, charting rural traditions in a1920ʼs China and of communist ideologiesduring the late 1940ʼs. Spanning two decadesfrom the mid 50ʼs, Li turns his attention to aHong Kong, morphing from fishing villages intothe beginnings of an urban metropolis. Andfinally, Li focuses on Britain, from a familyresettlement in the 70ʼs era of strikes and de-industrialisation, through to the start of the mil-lennium, of multiculturalism and globalisation.(DL)

The Mother of All Journeys („Mama tuturorc\l\toriilor”) de Dinu Li este o lucrare inspirat\de amintirile personale ale mamei artistului.Amintirile mamei sale, care erau ini]ial ni[tepove[ti spuse artistului înainte de culcare, audevenit de atunci amintirile lui Li. În anul 2001Li a lucrat în colaborare cu ea, folosindu-sereciproc unul de amintirile celuilalt ca punctede pornire. Cei doi au f\cut o mul]ime dec\l\torii împreun\, încercînd s\ g\seasc\locurile exacte ale relat\rilor ei, [i au comparatrealitatea actual\ cu închipuirile imagina]iei lor.Fotografiile color ale lui Li reu[esc s\ smulg\momente disparate ale vremii, cartografiindtradi]iile rurale din China anilor 1920 [i din ceaa ideologiilor comuniste a anilor 1940. Apoi Liî[i îndreapt\ aten]ia asupra Hong Kong-ului,unde acoper\ o perioad\ de dou\ decenii,începînd de la mijlocul anilor 1950, [i ilus-treaz\ transformarea satelor de pescari înînceputurile acelei metropole urbane. Într-unfinal Li î[i îndreapt\ aten]ia spre Britania,pornind de la sosirea [i integrarea în acel loc aunei familii în anii 1970, epoc\ a grevelor [i adez-industrializ\rii, [i ajungînd pîn\ laînceputul mileniului, în anii multiculturalismului[i ai globaliz\rii. (D.L.)

Dinu Li, The mother of all journeys, slide projection installation, dimensions variable, 2007.Courtesy the artist.

The Mother of All JourneysMama călătoriilor

Dinu Li

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Dinu Li, The mother of all journeys, slide projection installation, dimensions variable, 2007. Courtesy the artist.

Dinu Li

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Carrizo Topologies concerns a sustainedencounter with Carrizo Plain, where the mostprominent seismic feature in California, theSan Andreas Fault, is visible northwest of LosAngeles. I went to Carrizo to perform a heal-ing, through an experiment of duration, turningon a spatial analogy: traumatized synapses inthe brain are to a performance of mappings, asseismicity is to the generation (by humans ornature) of geomorphic data. Displacing scien-tific visualization into new registers, seismicdata score the ʻscarring ̓of neural pathways asa topology. Video animation and large formatphotomontage store traces of field drawings,remote performance, landscape photography,geomorphologic maps of post-tremor surfaceactivity, and graphs of seismic activity at depthfrom online geophysical research sites. Theimages assay a cybernetic terrain of seismicmemory. (C.M.)http://christinamcphee.net

Topologiile Carrizo au ca subiect un proiectprelungit desf\[urat în cîmpia Carizzo, loculunde poate fi v\zut\ cea mai remarcabil\ car-acteristic\ seismic\ din California, Falia SanAndreas, plasat\ la nord-vest de Los Angeles.Am mers la Carizzo pentru a realiza o vinde-care prin intermediul unui experiment dedurat\, fundamentat pe o analogie spa]ial\:sinapsele traumatizate ale creierului reprezint\pentru un performance de tip cartografic ceeace reprezint\ seismicitatea pentru producerea(de c\tre oameni sau de c\tre natur\) a unorinforma]ii geomorfice. Prin transferul vizual-iz\rii [tiin]ifice în registre diferite, datele seis-mice înregistreaz\ „r\nirea” traseelor neuraleîntr-o form\ topologic\. Anima]ia video [ifotomontajul în format mare adun\ laolalt\urme ale desenelor de pe teren, scene de per-formance la distan]\, fotografie peisagistic\,h\r]i geomorfologice ale activit\]ii post-trepi-da]ie de la suprafa]\ [i grafice cu activitateaseismic\ din adîncuri, preluate de pe site-urilede cercetare geografic\ online. Imaginilesupun analizei un teritoriu cibernetic al memo-riei seismice.(C.M.)http://christinamcphee.net

Carrizo Topologies Topologiile Carizzo

Christina McPhee

Christina McPhee, Carrizoprime, 2006, HD video original / SD downsample to PAL, 13'.Courtesy the artist.

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Christina McPhee

Christina McPhee, Slip City, 2005-2008, chromogenic print / lightjet, 223 x 121 cm.Courtesy the artist.

Christina McPhee, Aftershock Eventcloud, 2005-2008, chromogenic print / lightjet, 223 x 121 cm.Courtesy the artist.

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During the period 2002-07-22 – 2003-12-12Mikael Lundberg logged his position with aGPS receiver, which gave him the informationof longitude, latitude, scale, time, date andspeed.

- Length of project: 506 days- Logged days: 304 days- The GPS logged 1 time / 10 sec.- Logged positions: 313 627- Medium speed: 26.6 km/hour- Covered length: 38 920 km

The raw material of the logged GPS data isthen converted into a map, where the meansof representation become critical for ourunderstanding and interpretation. A map cannever mirror reality since its producers priori-ties, choice of perspective and scale governthe information conveyed by it.It does not seem far-fetched to see Lundbergʼsinvestigation as a self-portrait of a year of hislife: Through his movements a personal mapand line of his life is drawn, a Lifeline.(Shortened version of a text by PiaKristoffersson)

În perioada cuprins\ între 22 iulie 2002 [i 12decembrie 2007 Mikael Lundberg [i-a înregis-trat pozi]ia geografic\, folosindu-se de un sis-tem de tip GPS, care i-a furnizat informa]iilegate de longitudine, latitudine, scal\,moment temporal, dat\ [i vitez\.- durata proiectului: 506 zile- perioad\ de cuplare: 304 zile- ritmicitatea de cuplare pe GPS: o dat\ / 10secunde- pozi]ii geografice pe parcursul cuplajului:313.627- viteza medie: 26,6 km / or\- distan]a acoperit\: 38.920 kmMaterialul brut rezultat din datele ob]inute prinGPS este ulterior convertit într-o hart\, în caremijloacele de reprezentare au un rol funda-mental pentru în]elegerea [i interpretareaacestor date. O hart\ nu poate reflecta nicio-dat\ realitatea, deoarece informa]iile trans-mise de ea sînt influen]ate în mod decisiv depriorit\]ile creatorilor ei, de perspectiva selec-tat\ [i de scala utilizat\.Nu exager\m deloc dac\ vedem în studiul luiLundberg un autoportret al unui an din via]asa: prin intermediul deplas\rilor acestuia, s-aajuns la trasarea unei h\r]i personale [i a uneilinii urmate în via]\, o linie a vie]ii.(Versiune prescurtat\ a unui text de PiaKristoffersson)

Lifeline, 2003 - 2004Linia vietii

Mikael Lundberg

Mikael Lundberg, Lifeline, 2003 - 2004, 80 min DVD, Book, 1 page / day. Courtesy the artist.

,

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Mikael Lundberg

Mikael Lundberg, Lifeline, 2003 - 2004, 80 min DVD, Book, 1 page / day. Courtesy the artist.

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Urban space is on a general level a place forarrivals and departures, a flow of non-return-able moments. The notion of the eternal city alltoo easily creates an image of a static, evenmassive and heavy, permanent place. In thiswork Rome appears light and unattainable,changing and amorphous. It is a city passingby and streaming around you, its fixed pointsforever growing dim. (L.A.)

La un nivel general, spa]iul urban este un local sosirilor [i plec\rilor, un flux de momentenereturnabile. Conceptul de ora[ eterncreeaz\ mult prea u[or imaginea unui loc per-manent [i static, ba chiar masiv [i greoi. Înaceast\ lucrare Roma apare ca un ora[ intan-gibil [i u[or, proteic [i amorf. E un ora[ cu carete întîlne[ti, un ora[ care te înv\luie, în timp cepunctele lui fixe se estompeaz\ permanent.(L.A.)

Rome dériveProvenienta Romei

Lauri Astala

Lauri Astala, Rome dérive I, 2006, silentinstallation version: hard drive (DV/H.264), 2’05”. Courtesy the artist.

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Lauri Astala, Rome dérive I, 2006, silentinstallation version: hard drive (DV/H.264), 2’05”. Courtesy the artist.

Lauri Astala

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hackitectura.net is a group of architects andprogrammers developing projects and theoret-ical research in the intersecting field of space,electronic flows and social networks. hackitec-tura.net stresses the use of real time commu-nication, free software, collaborative work andthe emancipatory use of technologies.Their work has dealt with the creation of con-nected, participatory public spaces and infra-structures, including projects such asIndymedia Estrecho (2003-present; in collabo-ration with a wide network of social move-ments in Southern Spain and Northern Africa),La Multitud Conectada (Huelva 2003), Fadaiat(a transborder medialab and event betweenTarifa and Tangier, 2004 & 2005), Wikiplaza -Plaza de las Libertades (Sevilla, 2005)Geografías Emergentes (Extremadura, 2007)and GISS (Global Independent StreamSupport in collaboration with a wide network offree software activists).

hackitectura.net este un grup de arhitec]i [iprogramatori ce elaboreaz\ proiecte [i studiiteoretice într-o zona de interes în care se inter-secteaz\ spa]iul, fluxurile electronice [i re]elelesociale. hackitectura.net pune accent pe uti-lizarea comunic\rii în timp real, pe gratuitateaprogramelor informatice (free software), pemunca în echip\ [i pe utilizarea tehnologiilorca mijloc de emancipare.Activitatea lor este legat\ de crearea unorspa]ii [i infrastructuri publice conectate, de tipparticipativ, printre care se num\r\ proiecte caIndymedia Estrecho (2003-prezent, în colabo-rare cu o vast\ re]ea de grup\ri sociale dinsudul Spaniei [i din Africa de Nord), LaMultitud Conectada (Huelva, 2003), Fadaiat(un laborator media transfrontalier [i o mani-festare comun\, desf\[urat\ între Tarifa [iTanger – 2004-2005), Wikiplaza - Plaza de lasLibertades (Sevilla, 2005) GeografíasEmergentes (Extremadura, 2007) [i GISS(Global Independent Stream Support, încolaborare cu o ampl\ re]ea de sus]in\tori aigratuit\]ii programelor informatice).

hackitectura.nethackitectura.net

hackitectura.net

hackitectura.net, tactical cartography of the strait of gibraltar, online project.

Courtesy of the artist.

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hackitectura.net, fadaiat. Courtesy of the artist.

hackitectura.net, tactical cartography of the strait of gibraltar, online project.


hackitectura.net

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Most of the 140 million inhabitants of Russialive in communist block of flats, in apartmentsthey call hruschiovi (“hruschiovs”), namedafter the former communist leader from theʼ60s, the period when they were built. But theinitiator of the project was actually Stalin. Heimagined them and he also turn the projectinto reality. As a country dominated by Russiafor 45 years, Romania may pride itself on thesame type of habitat. Hruschiovi have somesmall kitchenettes, but at least they have them,and this was a big step forward, as comparedto the so-called communalki. Kommunalki hadcommon kitchens, common bathrooms and,sometimes, common bedrooms. The idea ofthe New Man (or “New Soviet Man”), who hasnothing to hide, went into the background. Thecomfort becomes now the major instrument ofthe propaganda.PAVILION UNICREDIT, the center of contem-porary art and culture, is located in VictoriaSquare, being placed at the ground floor ofsuch a building. The aforementioned spacebecame a banking center in 1993 and it hasstayed like this for the last 15 years. The actu-al building of the block started in the years ofthe communist regime and it was concludedfive years after the fall of the communism. Thehruschiovi from the center of Bucharest havewitnessed the changes of a Stalinist societyinto a capitalist society, with strong social andpolitical marks. BB3 uses this space for theimplicit messages it conveys, for its location(right across the center of the executive power– the Romanian Government building) and,moreover, for its history, so easily forgotten. Itis a space for the knowledge and interest insociety, city and community.PAVILION UNICREDIT is a work-in-progressindependent space (with its official openingscheduled for October 2008), a space for theproduction and research in the fields of audio-visual, discursive and performative. It is aspace of the critical thinking, and it promotesan artistic perspective implying the social andpolitical involvement of the art and of the cul-tural institutions. Nevertheless, the basic function of the spacewill remain the concretisation.

Majoritatea celor 140 de milioane de locuitoriai Rusiei tr\iesc `n blocuri comuniste, `napartamente pe care le numesc "Hrusciovchi",dup\ numele fostului lider comunist `n vremeac\ruia au fost construite, `n anii '60. Totul apornit `ns\ de la Stalin. El le-a g`ndit si le-a pus`n practic\. }ar\ dominat\ timp de 45 de ani dec\tre Rusia, Rom=nia se poate m`ndri cuacela[i timp de habitat. "Hrusciovchi" au ni[tebuc\t\rii minuscule, ceea ce reprezint\ unmare pas `nainte fata de a[a-numitele "kom-munalki" (acestea aveau buc\t\riile, b\ile [iuneori chiar [i dormitoarele la comun). Ideeaomului nou, care nu are nimic de ascuns, a tre-cut in plan secund. Ast\zi, confortul devinearma principal\ a propagandei.A[ezat `n Pia]a Victoriei, PAVILION UNI-CREDIT, centrul de art\ [i cultur\ contempo-ran\, se afl\ la parterul unui astfel de bloc,spa]iu devenit sediu de banc\ `n 1993, [ir\mas la fel timp de 15 ani. Construc]ia blocu-lui a `nceput `n timpul regimului comunist [i afost finalizat\ la 5 ani dup\ c\derea acestuia."Hrusciovchi" din centrul Bucurestilor estemartorul transform\rilor unei societ\]i stalinistec\tre o societate captalist\ puternic marcat\politic [i social. BB3 foloseste acest spa]iupentru mesajele sale, pentru pozi]ionare (viza-vi de cl\direa puterii executive - GuvernuluiRom=niei) c`t [i pentru istoria sa, brusc uitat\.Un spa]iu f\r\ o istorie special\, al istoriei`ntrerupte, al `nt`rzierilor revolu]ionare. Unspa]iu al cunoa[terii [i al interesului `n soci-etate, ora[ [i comunitate.PAVILION UNICREDIT este un spa]iu inde-pendent work-in-progress (ce va fi deschis ofi-cial in octombrie 2008), un spa]iu de produc]ie[i cercetare a vizualului, a discursivului [i aperformativului. Este un spa]iu al g`ndirii critice[i care promoveaz\ o `n]elegere implicat\socio-politc a artei [i a institu]iilor culturale.

Func]ia vital\ a spa]iul va ram`ne, `ns\, con-cretizarea.

PAVILION UNICREDITCentrul pentru cultură si artă contemporanăCenter for Contemporary Art & Culture

Sos. Nicolae Titulescu nr. 1,

,

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In relating to architectural space, as well asstrategies for their representation in Hollywoodlevel productions, Cinematic Maps depictsresearched images based on the US hit TVdrama Law and Order: a show filmed with NewYork locations and alledgedly precise address-es (instead of establishing shots) edited intothe plot. Starting from these inserts, the projectdocuments the actual real locations (mostly“in-between” or “non spaces”) using the formalaesthetics of an establishing shot. In combina-tion with the texts – as they appear on theshow – the project exists as a form of docu-mentary, not one whose aim is to portray asupposed “truth” in reality, but instead a workthat intends to highlight the possibilities of afictional space, an area each day claimed tobe almost more real than reality itself. (K.N.)

F\cînd conexiunea cu spa]iul arhitectural, dar[i cu strategiile utilizate pentru reprezentarealor în produc]iile de nivel hollywoodian,Cinematic Maps („H\r�ile cinematice”) prezint\un studiu în imagini bazat pe serialul americande mare succes Law and Order („Lege [iordine”), un spectacol de televiziune filmat îndiverse locuri din New York [i despre care seafirm\ c\ are inserate în subiect adrese exacte(în loc de decoruri). Pornind de la respectiveleinserturi, proiectul prezint\ locurile reale de fil-mare (majoritatea fiind spa]ii intermediare saunon-spa]ii), utilizînd estetica clasic\ specific\unui decor. Combinat cu textele – a[a cumapar ele în serial –, proiectul apare ca un doc-umentar, îns\ nu unul al c\rui ]el e acela de ailustra un presupus „adev\r” al realit\]ii, ci olucrare care urm\re[te s\ eviden]ieze posi-bilit\]ile oferite de spa]iul fic]ional, un teritoriuce se pretinde a fi tot mai mult unul chiar maireal decît realitatea îns\[i. (K.N.)

Karina Nimmerfall, Cinematic Maps, series of photography, 2004-2006, 35 x 55 cm. Courtesy the artist.

Cinematic MapsHărti cinematice

Karina Nimmerfall

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Karina Nimmerfall, Cinematic Maps, series of photography, 2004-2006, 35 x 55 cm. Courtesy the artist.Installation shot courtesy of BB3.

Karina Nimmerfall, Cinematic Maps, series of photography, 2004-2006, 35 x 55 cm. Courtesy the artist.

Karina Nimmerfall

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The project “WALK ON THE GRASS!” propos-es the discovery, in city Bucharest, of certaingrassy spaces where people can relax in theneighborhood of some great institutions. Whatis emphasized is the issue of a false concernfor nature as expressed through the well-known expression “DO NOT WALK ON THEGRASS!” and of its psychological influence.The project argues for the promotion of a cul-ture of relaxation in the centre of town, to bestrictly related to a culture of cleanliness -expressed by means of the clean place youleave behind you. (C.L.)

Proiectul „CĂLCAŢI PE IARBĂ!” propunedescoperirea, în orasul Bucureşti, a unor spaţiicu iarbă pe care oamenii pot să se recreeze învecinătatea unor mari instituţii. Se ridică prob-lema falsei griji faţă de natură prin deja cele-bra „NU CĂLCAŢI PE IARBĂ!” şi a influenţeisale mentale. Proiectul susţine promovareaunei culturi a recreerii în inima oraşului strânslegate de o cultură a curăţeniei, prin loculcurat care-l laşi după tine.(C.L.)

Walk on the Grass!Călcati pe iarbă!

Cezar Lăzărescu

,

Cezar Lăzărescu, Walk on the Grass!, intervention in public space, metal boards manuallyimprinted, 2008, 25 x 35 cm. Courtesy the artist.

Photo: Alexandra Mihalcea

[36]

[38] [39]

Cezar Lăzărescu

Cezar Lăzărescu, Walk on the Grass!, intervention in public space, metal boards manuallyimprinted, 2008, 25 x 35 cm. Courtesy the artist.


[40] [41]

Hatoumʼs work, Bukhara (maroon), 2007 is aPersian carpet similar to one that furnished herchildhood home. The carpet looks as if it is dis-integrating as patches of the weave appear tohave been moth-eaten or somehow worn-outto form a recessed world map. The world isdepicted using the ʻPeters ̓projection, an egal-itarian representation of landmass in true pro-portion as opposed to the more usual visuali-sation of the map from a dominant northerlyperspective. (Kristy )

Lucrarea lui Hatoum, Bukhara (maroon) din2007 este un covor persian identic cu cel pecare îl avea în copil\rie la ea acas\. Covorularat\ ca [i cum s-ar dezintegra, ca [i cumbuc\]i întregi din ]es\tur\ ar fi fost mîncate demolii sau roase într-un fel sau altul, formîndastfel pe fundal o hart\ a lumii. Lumea estereprezentat\ cu ajutorul proiec]iei „Peters”, oreprezentare egalitarist\ a masei planetare cupropor]iile sale reale, în opozi]ie cu modelulvizual mult mai familiar, cel al h\r]ii planeteiprezentate dintr-o perspectiv\ predominantnordic\. (F.V.)

Bukhara (maroon)Bukhara (maron)

Mona Hatoum

Mona Hatoum, Bukhara (maroon), 2008, carpet, 148 x 261 cm. Photo: Alexandra Mihalcea

[42] [43]

Mona Hatoum

Mona Hatoum, Bukhara (maroon), 2008, carpet, 148 x 261 cm. Courtesy the artist.


[44] [45]

Film No.5 (smile) develops the format of Ono'sfirst two Fluxus films (no.42). Film No.5records the face of John Lennon for fifty-oneminutes, in two single continuous shots; yet itdiffers from the earlier Fluxus films in severalimportant respects. The high-speed cameraused is slower, filming at 333 frames per sec-ond instead of the 2,000 frames per second ofMaciunaʼs scientific camera; the film is incolour rather than black and white; and it isshot outdoors instead of indoors, all of whichsuggests the everyday rather than theabstract. In a statement Ono described FilmNo.5 and the accompanying film Two Virgins,made the same afternoon in the their Englishgarden, as being made “in the spirit of homemovie we were mainly concerned about thevibrations of the films send out—the kind thatwere between us.”Film No.5 could be described as a distillationof Onoʼs earlier “ultimate” goal, stated in 1967,to “make a film which includes a smiling facesnap of every single human being in theworld”. Her statement had a political edge:“We can also arrange it with a television net-work so that whenever you want to see facesof a particular location in the world, all youhave to do is press a button and there it is.This way, if Johnson wants to see what sort ofpeople he killed in Vietnam that day, he onlyhas to turn the channel.”(This is a shorten ver-sion of the text written by Chrissie Iles, pub-lished Yes Yoko Ono, New York: JapanSociety and Harry N. Abrams, 2000)

Filmul nr. 5 („Zîmbet”) dezvolt\ formatul dinprimele dou\ filme Fluxus ale lui Ono (nr. 42).În Filmul nr. 5 chipul lui John Lennon este fil-mat vreme de cincizeci [i unu de minute, îndoar dou\ cadre continue. Totu[i el sedeosebe[te de filmele Fluxus mai vechi princîteva aspecte importante. Aparatul de filmatde mare vitez\ utilizat aici este mai lent [iînregistreaz\ doar 333 de fotograme pesecund\, în loc de 2.000 de fotograme pesecund\, ca în cazul aparatului de filmat[tiin]ific al lui Maciunas. Apoi filmul este color,nu alb-negru, [i este filmat în exterior, nu îninterior, iar toate aceste elemente sugereaz\mai degrab\ cotidianul decît abstractul. Într-ocomunicare Ono a spus despre Filmul nr. 5 [idespre Dou\ virgine, realizat în aceea[i dup\-amiaz\ în gr\dina lor englezeasc\, c\ sîntf\cute „în spiritul peliculelor de familie. Am fostinteresa]i în primul rînd de vibra]iile pe care letransmit filmele – vibra]ii de genul celor careexist\ între noi”.Filmul nr. 5 poate fi descris drept un fel de dis-tilare a scopului „fundamental” enun]at anteri-or, în 1967, de Ono – acela de „a realiza unfilm care s\ includ\ un instantaneu cu chipulzîmbitor al fiec\rei fiin]e umane de pe planet\”.Declara]ia ei are [i o conota]ie politic\: “Deasemenea, am putea s\ colabor\m cu uncanal de televiziune, astfel încît ori de cîte oriave]i chef s\ vede]i chipuri dintr-un loc anumede pe glob, s\ nu trebuiasc\ decît s\ ap\sa]ipe un buton [i s\ le vede]i instantaneu. Astfel,în caz c\ Johnson vrea s\ vad\ ce fel deoameni a ucis în Vietnam la vremea aceea, ede ajuns s\ comute pe acel canal.” (acestaeste o versiune prescurtat\ a tectului scris deChrissie Iles, pulicat ca “Yes Yoko Ono”, NewYork: Japan Society and Harry N. Abrams,2000).

Film No. 5 SmileFilm nr. 5 Zîmbet

Yoko Ono

Yoko Ono, Film No. 5 Smile, 52', color, 16 mm film, 1968. © Yoko Ono. Courtesy of the artist and Lenono Archives.

[46] [47]

Yoko Ono

Yoko Ono, Film No. 5 Smile, 52', color, 16 mm film, 1968. © Yoko Ono. Courtesy of the artist and Lenono Archives.

[48] [49]

You and You II (2003) are two large dark cir-cular photographic portraits of a man andwoman, accompanied by audio monologues.As you stare into the dark orb of the portrait,you lose yourself in a poetic string of nakedconfessions: ʻYou make me believe I am lostwithout you. You make me greedy for yourattention. You make me want to consume youridentity. You make my heart sink deeper intothe abyss every time I go to bed alone…ʼThe female lover details the stream of obses-sive thoughts that grip her being in a state ofpathological love. The seductiveness of thevoice and the dark sexiness of the image inviteyou to feel the weak-kneed surrender ofdesire. But at the same time the words awak-en logic and disturbing phrases provoke aninterrogation of powerlessness, puncturing thespell of romance. (Alex Dodd)

You [i You II („Tu” [i „Tu II”) sînt dou\ masiveportrete circulare [i întunecate ce reprezint\un b\rbat [i o femeie, înso]ite de monologuriaudio. Privitorul fixeaz\ conturul circular [iîntunecat al portretului [i, concomitent, se las\furat de curgerea poetic\ a confesiunilorcrude: „Tu m\ faci s\ cred c\ f\r\ tine sînt pier-dut(\). Tu m\ faci s\ tînjesc dup\ aten]ia ta. Tum\ faci s\-mi doresc s\-]i nimicesc identitatea.Tu faci ca inima mea s\ se afunde tot maiadînc în h\u ori de cîte ori m\ vîr în pat sin-gur(\)...”Femeia îndr\gostit\ disec\ fluxul de gînduriobsesive care o men]in într-o stare de iubirepatologic\. Vraja seduc\toare a vocii ei [i ero-tismul întunecat al imaginii invit\ spectatorul s\simt\ cum voin]a cedeaz\ [i genunchii seînmoaie în fa]a dorin]ei. În acela[i timp îns\cuvintele stîrnesc logica, iar propozi]iile[ocante declan[eaz\ un proces de interoga]ieasupra lipsei de putere, risipind farmeculpove[tii de dragoste. (Alex Dodd)

YouTu

Frances Goodman

Frances Goodman, you, photograph 70 x 70 cm, audio tracks, walkman, headphone, 2003.Courtesy of the artist .

[50] [51]

Frances Goodman, you, photograph 70 x 70 cm, audio tracks, walkman, headphone, 2003.Courtesy of the artist .

Frances Goodman

[52] [53]

Flags as functional objects have specific polit-ical significance built on the allegorical mean-ings of the used colours and symbols. By alter-ing these elements on real national flags andreplacing them with others, widely associatedwith the Islam, like the crescent moon or thegreen colour, sometimes totally arbitrary, whilesometimes taking into consideration very spe-cific historic or political circumstances of thenations in question, I am playing on the card ofthe growing Islamophobia, and with extremeexaggeration, hopefully point to its irrationality.(O.M.)

Ca obiecte func]ionale, drapelele au o semnifi-ca]ie politic\ specific\, cl\dit\ pe în]elesurilealegorice ale culorilor [i simbolurilor utilizate.Prin modificarea respectivelor elemente pedrapele na]ionale autentice [i înlocuirea lor cualtele, asociate în general cu Islamul, cum ar fisemiluna sau culoarea verde – înlocuire une-ori complet arbitrar\, îns\ alteori determinat\de anumite circumstan]e foarte concrete, deordin istoric sau politic, legate de na]iuneaimplicat\ –, încerc s\ atrag aten]ia asuprafenomenului islamofobiei [i, prin intermediulexager\rii radicale, sper s\ îi scot în eviden]\caracterul ira]ional. (O.M.)

FlagsSteaguri

Oliver Musovik

Oliver Musovik, Flags, digital sketch, 2008.Courtesy of the artist .

[54] [55]

Oliver Musovik

Oliver Musovik, Flags, installation view, 2008.Courtesy of the artist.


[56] [57]

The Metropolitan World Atlas enables you tocompare at a glance such statistics as popula-tion density, use of the underground, data traf-fic, average speed on motorways and theaverage temperature in July in metropolitanareas such as Beijing, Lagos, London, LosAngeles, Rio de Janeiro and Tokyo.Despite the burgeoning interest in metropolis-es and global networks, this is the first timethey have been charted along such lines. Theatlas illustrates 101 metropolitan areas usingthe same means, ranging from the largest interms of population and networks of air andsea travel and communications to otherswhose reputation alone requires that they beincluded. (A. v S.)

Metropolitan World Atlas („Atlasul lumii metro-politane”) ne ofer\ posibilitatea s\ compar\mdintr-o singur\ ochire statistici cum sînt densi-tatea popula]iei, utilizarea metroului, traficul pe[osele, viteza medie pe autostr\zi [itemepratura medie din animite zone metropol-itane, cum sînt Beijingul, Lagos, Londra, LosAngeles, Rio de Janeiro [i Tokyo.În ciuda gradului de interes tot mai accentuatpentru re]elele metropolitane [i cele globale,ele au fost cartografiate aici pentru prima dat\pe direc]iile de cercetare amintite. Atlasulprezint\ 101 zone metropolitane, utilizînd ace-lea[i mijloace, [i porne[te de la cele maiextinse – ca num\r de popula]ie, re]ele detransport aerian [i maritim [i re]ele de comuni-care –, ca s\ ajung\ pîn\ la cele a c\ror repu-ta]ie impunea inevitabil includerea lor înatlas.(A. v S.)

Metropolitan World Atlas Atlas Metropolitan Mondial

Arjen Van Susteren

Arjen van Susteren, Metropolitan World Atlas (Tokyo), book, 312 pages, 21 x 16,8 cm, 2004. Courtesy Arjen van Susteren and 010 publishers, Rotterdam.

[58] [59]

Arjen van Susteren, Metropolitan World Atlas (Commuting time), book, 312 pages, 21 x 16,8 cm, 2004.

Courtesy Arjen van Susteren and 010 publishers, Rotterdam.

Arjen van Susteren, Metropolitan World Atlas (Crime), book, 312 pages, 21 x 16,8 cm, 2004. Courtesy Arjen van Susteren and 010 publishers, Rotterdam.

Arjen Van Susteren

[60] [61]

They Rule aims to provide a glimpse of someof the relationships of the US ruling class. Ittakes as its focus the boards of some of themost powerful U.S. companies, which sharemany of the same directors. Some individualssit on 5, 6 or 7 of the top 500 companies. Itallows users to browse through these inter-locking directories and run searches on theboards and companies. A user can save a mapof connections complete with their annotationsand email links to these maps to others. TheyRule is a starting point for research aboutthese powerful individuals and corpora-tions.(J.O.)

They Rule („Ei st\pînesc”) urm\re[te s\ ofereo imagine a cîtorva tipuri de rela]ii existente însînul clasei conduc\toare din Statele Unite.Proiectul se concentreaz\ pe consiliile deadministra]ie ale unora dintre cele mai puter-nice companii din S.U.A., care au de multe oriaceea[i membri în structurile lor de conducere.Unii indivizi sînt membri în conducerea a cîte5, 6 sau 7 dintre primele 500 de companii ale]\rii. Utilizatorii pot s\ treac\ în revist\ toateaceste structuri de conducere interconectate [is\ caute nume concrete în interiorul consiliilor[i al companiilor. Utilizatorul mai poate s\ î[isalveze o hart\ cu conexiuni, completat\ cuadnot\rile asociate fiec\reia, sau le poateexpedia [i altor persoane link-uri spre h\r]ilerespective. They Rule este un punct de ple-care pentru o analiz\ aprofundat\ a acestorcorpora]ii [i indivizi puternici. (J.O.)

TheyRule.netTheyRule.net

Josh On

Josh On, TheyRule.net (loaded map: 'People on 5+ boards'), website, ongoing project since 2001. Courtesy the artist.

[63][62]

Josh On

Josh On, TheyRule.net (loaded map: 'Bush - Clinton - Haliburton'), website, ongoing project since 2001. Courtesy the artist.

Josh On, TheyRule.net (loaded map: 'Two media giants linked'), website, ongoing project.since 2001. Courtesy the artist.

[64] [65]

The Dymaxion map of the Earth is a projectionof a global map onto the surface of a polyhe-dron, which can then be unfolded to a net inmany different ways and flattened to form atwo-dimensional map which retains most ofthe relative proportional integrity of the globemap. It was created by Buckminster Fuller, andpatented by him in 1946, the patent applicationshowing a projection onto a cuboctahedron.The 1954 version published by Fuller underthe title The AirOcean World Map used aslightly modified but mostly regular icosahe-dron as the base for the projection, and this isthe version most commonly referred to today.Unlike most other projections, the Dymaxion isintended purely for representations of theentire globe. Each face of the polyhedron is agnomonic projection, so zooming in on onesuch face renders the Dymaxion equivalent tosuch a projection.http://en.wikipedia.org/wiki/Dymaxion_map

Harta Dymaxion a P\mîntului este o proiec]iea h\r]ii globului p\mîntesc pe suprafa]a unuipoliedru, ce poate fi ulterior desf\cut într-ore]ea în cele mai diverse moduri [i din care sepoate forma o hart\ bidimensional\, cep\streaz\ în cea mai mare parte integritateapropor]ional\ relativ\ a h\r]ii globului. Ea a fostcreat\ de Buckminster Fuller, care a ob]inutpatentul în 1946 cu o aplica]ie în care proiec]iaera f\cut\ pe un cub octaedru. Varianta publi-cat\ de Fuller în 1954 sub titlul The AirOceanWorld Map („Harta globului Aer-Ocean)folose[te ca baz\ a proiec]iei h\r]ii un icoase-dru u[or modificat, dar în esen]\ regulat,aceasta fiind [i versiunea la care se face deobicei referire azi.Spre deosebire de majoritatea celorlalteproiec]ii, Dymaxion urm\re[te exclusiv produc-erea de reprezent\ri ale întregului globp\mîntesc. Fiecare fa]et\ a poliedrului consti-tuie o proiec]ie gnomonic\, astfel c\ prinfocalizarea pe una din fa]ete se ob]ine echiva-lentul Dymaxion al proiec]iei respective.http://en.wikipedia.org/wiki/Dymaxion_map

Dymaxion Air-Ocean World MapHarta Dymaxion aer-ocean a lumii

Buckminster Fuller

Map of the world with an unfolded Fuller projection, also known as Dymaxion Air-Ocean World

map. 1954 final version for an icosahedron, with folding lines. Courtesy Wikipedia.

[66] [67]

In Erased Diary in Rome, Ardeña documentshis life in Rome, a city caught up in its past.The legacy of the events and places,themonths, days and moments become vulnera-ble to the tension created between the dicoto-my of rememberance and forgetfulness. Doesthe diary ceases to function as memorabiliaand becomes another secondhand objectdeprived of its original purpose? The artist onlyleaves us with unrecognizable texts. (K.A.)

În „Jurnalul [ters din Roma” Ardeña î[i prezint\via]a sa în Roma, un ora[ r\mas prizonier altrecutului s\u. Mo[tenirea evenimentelor [i alocurilor, lunile, zilele [i clipele devin vulnera-bile în fa]a tensiunii create de dihotomia întrerememorare [i uitare. Oare jurnalul înceteaz\s\ mai fie un mijloc de rememorare, ca s\devin\ un nou obiect la mîna a doua, v\duvitde scopul s\u original? Artistul se mul]ume[tes\ ne lase în fa]a textelor irecognoscibile.(K.A.)

Erased Diary: RomeJurnal de călătorie sters: Roma

Kristoffer Ardeña

,

Kristoffer Ardeña, Erased Travel Log, 21 x 13 x 1,5 cm, paper bound in black leather, 108pages, 2006. Courtesy the artist.

[69][68]

Kristoffer Ardeña, Erased Travel Log, 21 x 13 x 1,5 cm, paper bound in black leather, 108pages, 2006. Courtesy the artist.

Kristoffer Ardeña

[71][70]

TC is surrounded by famous monuments of theBucharest, such as Curtea Sticlarilor (“TheGlassblowersʼ Court”), Hanul lui Manuc(“Manucʼs Inn”), Curtea Domneasc\ (“TheVoivodal Court”) or the National Bank building,creating altogether a an attractive mediaevalatmosphere in the vicinity. Close to it one canfind Lipscani Street, the street after which theentire quarter was named and which, in its turn,was named after the merchant who used to sellhere the merchandise brought from “Lipsca”(Leipzig).Hanul cu Tei (“Linden Inn”) is a small passage-way between two central streets fromBucharest. It houses TC and it is probably themost famous place from the Romanian capitalcity. Its memory is connected with a great com-mercial tradition, but also with a period ofintense criminal activity, that started once thecity of Bucharest had been forcibly taken overby the Red Army. The criminal groups haveinvaded the city. That was a time when prosti-tution, black market and bootlegging were theorders of the day. Hanul cu Tei was positionedamidst this criminal reality.Hanul cu Tei was built in 1834 by two mer-chants and it moved along in the history togeth-er with the city. Until the construction of the biggeneral stores, following the Parisian fashion,Hanul cu Tei was the most active commercialcenter. There are books written about thisplace. Today, right here, on a traditionaliststreet, among paints, religious and classicpaintings from bygone days, BB3 interveneswith the contemporary artists, contrasting withthe space.As a space of the Biennale, TC Art Gallery willbe “a case apart”. Thus, the famous streetreaches to be a revitalized, renewed, enrichedspace.

TC este înconjurată de monumente celebre alecapitalei cum ar fi Curtea Sticlarilor, Hanul luiManuc, Curtea Domnească, clădirea BănciiNaţionale, care imprimă zonei o atmosferă deev mediu, atrăgătoare şi se învecinează cuLipscani, stradă care dă numele întreguluicartier ce şi-a luat denumirea de la negustoriicare vindeau aici mărfuri aduse de la “Lipsca”(Leipzig). "Hanul cu Tei", un mic pasaj aflat între douăstrăzi în mijlocul Bucurștiului ce gzduiște TC,este probabil cea mai celebră zonă dinCapitala României. De amintirea lui se leagă –pe lîngă marea sa tradiţie comercială – și operioadă de intensă criminalitate, declanșatăodată cu ocuparea Bucureștiului de cătreArmata Roșie. Lumea interlopă a invadatorașul. A fost epoca în care prostituţia, bursaneagră, contrabanda făceau legea. “Hanul cutei” se găsea în mijlocul acestei realităţiinfracţionale. Ridicat la 1834, de doi negustori,hanul a traversat istoria orașului. Pînă la ridi-carea marilor magazine universale, după modaParisului, “Hanul cu tei” a fost vadul comercialcel mai activ. Despre “Hanul cu tei” s-au scriscărţi. Astăzi, aici, pe o stradă tradiţionalistă, întreicoane, vopseluri şi picturi clasice din vremuride mult apuse, BB3 intervine cu artişti contem-porani care fac notă opusă spaţiului. TC, ca spaţiu al Bienalei, va fi "aparte". Celebrastradă devine astfel, un spaţiu revitalizat, reîn-noit, adăugat.

TCStr. Lipscani 63-65

[73]

The Le Monde Diplomatique Atlas, publishedby the newspaper with the same title and pri-marily designed by French cartograph-er/geographer Philippe Rakecewicz,is a col-lection of maps that focus on geo- and socio-political issues. Map titles including: Legaltrade in light weapons, The dirty-money archi-pelago, World poverty Use of UN right of vetosince the end of the second world war, Oilroutes, The coveted riches of the DemocraticRepublic of Congo, The changing shape ofYugoslavia (1815-1999), Environmental catas-trophe and strategic interests in Europeʼs, TheKurds a people divided, Palestinian territoryfragmented, Indians and guerrillas in Chiapasand Major drug routes in Latin America.(P.R./L.M.D.)

Le Monde Diplomatique Atlas, publicat derevista cu acelasi nume [i realizat `n prim\ faz\de cartograful francez Philippe Rakecewicz,este o colec]ie de h\r]i axate pe probleme geo[i socio-politice. H\r]ile abordeaz\ subiectediverse despre evolutiile si tendintele lumiicontemporane, in economie, politica, ideolo-gie, cultura, religie, in domeniul fortelor mil-itare, al mediului inconjurator cu tiluri de tipulRute majore ale drogurilor in Amrica latin\,Forma schimb\toare a Iugoslaviei,Arhipeleagul banilor murdari etc.(P.R./L.M.D.)

Le Monde Diplomatique AtlasAtlasul Le Monde Diplomatique

Philippe Rekacewicz/Le Monde Diplomatique

Le Monde Diplomatique Atlas, paperback, 44 pages. Courtesy Philippe Rekacewicz/Le Monde Diplomatique

[72]

[75][74]

Le Monde Diplomatique Atlas, paperback, 44 pages. Courtesy Philippe Rekacewicz/Le Monde Diplomatique

Philippe Rekacewicz/Le Monde Diplomatique

[76] [77]

In 2002 I started photographing photographsin parts of private interiors in Europe.An interior is a metaphore for the inner being,showing in an unemphatical way the history,feelings, ideas and hopes of the inhabitants .The interior is a cocoon or a shell, that peoplebuild to keep their dreams in. I find marks of war, suppression, happinessand sadness over a period of sometimes morethan a hundred years. I find differences in his-tory, atmosphere, religion, culture as well ascorrespondence in human ideas about love,friendship, family, birth and death. World histo-ry is somewhere in the backround.The alterations of political situations, the rest-lessness caused by the current threats andchanges, war, migration, terrorism but alsoconsumption, TV, Internet, the speed of life, allthese things make people forget who they are.And they make them cherish their family-pho-tos. (B. v M.)

În anul 2002 am început s\ realizez fotografiiîn unele p\r]i ale unor interioare private dinEuropa. Interiorul reprezint\ o metafor\ pentrusinele interior [i eviden]iaz\ într-un modneostentativ istoria, sentimentele, ideile [isperan]ele locatarilor acestora. Interiorul esteo gogoa[\ sau o cochilie pe care oamenii [i-ocl\desc ca s\-[i închid\ visele în ea.Am descoperit urme ale r\zboiului, ale reful\rii,ale fericirii [i ale triste]ii pe o perioad\ de pesteun secol. Am descoperit diferen]e legate deistorie, atmosfer\, religie [i cultur\, precum [isimilitudini în concep]iile oamenilor despreiubire, prietenie, familie, na[tere [i moarte.Istoria lumii r\mîne cumva pe planul secund.Degradarea situa]iilor politice, îngrijorareaprovocat\ de amenin]\rile [i schimb\rilecurente, r\zboiul, imigra]ia, terorismul, dar [iconsumismul, televiziunea, internetul [i curg-erea accelerat\ a vie]ii – iat\ lucruri care îi facpe oameni s\ uite ceea ce sînt. {i lucruri careîi determin\ s\ î[i pre]uiasc\ fotografiile defamilie. (B. v M.)

Give Me Your Image Dă-mi imaginea ta

Bertien van Manen

Bertien van Manen, Give Me Your Image (Prague), chromogenic color print, 40 x 50 cm, 2002-2005. Courtesy the artist.

[78] [79]

Bertien van Manen, Give Me Your Image (Madrid), chromogenic color print, 40 x 50 cm, 2002-2005. Courtesy the artist.

Bertien van Manen

Bertien van Manen, Give Me Your Image (Rome), chromogenic color print, 40 x 50 cm, 2002-2005. Courtesy the artist.

[81][80]

Adriana Varejão has always been interestedinto creating “historic fictions,“ re-writing it insuch a way that she becomes an agent of his-tory rather than a passive spectator. Her workevokes a sense of continuous passage, a jour-ney among divergent images, cultures, timesand spaces. It alludes to the notion of a uni-verse in constant expansion and transforma-tion, of an imagery infinitely projected onto “theother.” In a certain way her maps are like drawings ofa personal cartography. They donʼt have anyscientific role, but incorporate myths, poetry,and personal traveling experiences. (AnaBuarque)

Adriana Varejão a fost mereu interesat\ decrearea unor „fic]iuni istorice”, de rescriereaistoriei în a[a fel încît autoarea s\ devin\ unactant al istoriei [i nu un spectator pasiv.Opera ei stîrnesc senza]ia unei treceri perma-nente, a unei c\l\torii printre imagini, culturi,epoci [i spa]ii divergente. Ea trimite la ideea deunivers în expansiune [i transformare con-stant\, a unei imagistici proiectate la infinitasupra „celuilalt”.Într-un anumit fel, h\r]ile ei sînt ca un fel dereprezent\ri grafice ale unei cartografii person-ale. Ele nu au nici o func]ie [tiin]ific\, ci incor-poreaz\ mituri, poezie [i experien]e dec\l\torie personale. (Ana Buarque)

ContingenteContingente

Adriana Varejão

Adriana Varejão, Contingente, photography, 28x40,5 cm, 1998-2000, Courtesy the artist and Lehmann Maupin gallery, New York.

[83][82]

Adriana Varejão, Contingente Yanomami, photography, 28x40,5 cm, 1998-2000, Courtesy the artist and Lehmann Maupin gallery, New York.

Adriana Varejão

[85][84]

The flesh map illustrates the continent ofAmerica specifically, because most countriesin Latin America today suffer from the post-colonial condition. This has always contributedto political, social and above all economicproblems. NAFTA or the North American FreeTrade Agreement is one of the systems thatimplement large corporations and whose out-come alter the economic foundations of ourcountries, making our continent a totally rottenone, just like "cannon fodder". I'm interested inengaging in a reflection on the processes ofidentity that are affected by the economic andsocial politics implanted by others.From my perspective, Puerto Rico still has acolonial political system that makes it a part ofLatin America, but on the other hand is placedas a part of what is referred to as America, asin United States of America. The question is:where do I live? America the country orAmerica the continent? (K.-A. I.)

Harta c\rnii ilustreaz\ în mod concret conti-nentul american, deoarece majoritatea ]\rilordin America Latin\ sufer\ ast\zi de maladiapostcolonialismului. E un fapt care a contribuitpermanent la problemele politice, sociale [imai ales economice din zon\. NAFTA sauNorth American Free Trade Agreement(Acordul Nord-American de Comer] Liber) esteunul dintre sistemele care sus]in marile corpo-ra]ii [i al c\ror efect afecteaz\ temeliile eco-nomice ale ]\rilor noastre, distrugîndu-ne com-plet continentul [i transformîndu-l în „carne detun”. Eu sînt interesat de implicarea într-oanaliz\ a proceselor identitare afectate depoliticile ecomonice [i sociale ce au fostimplantate de al]ii.Din perspectiva mea, Puerto Rico are în con-tinuare un sistem politic colonial, care face dinel o parte component\ a Americii Latine, dar,pe de alt\ parte, este amplasat într-o zon\care este numit\ America, fiind asociat cuStatele Unite ale Americii. Problema care sepune este: eu unde locuiesc? În ]ara Americasau în continentul America? (K.-A. I.)

Flesh MapHarta din carne

Karlo-Andrei Ibarra

Karlo-Andrei Ibarra, Flesh Map, photography, 100x70 cm, 2007.Courtesy of the artist.

[87][86]

“Prison Maps” trace out the role of the contem-porary prison in society, one map asking,“What is the Prison Industrial Complex?”, andthe other asking, “What is its Context?”The first map theorizes the relationshipbetween a range of interests who, in differentways, profit from a growing prison system,forming a complex of government and busi-ness interests that encourage criminalization,increased dependency upon prisons, andthus, growth to the system.The second suggests an historical shift inmodels of governance, from a welfare-basedmodel to one predicated upon forms of securi-ty, replacing the stateʼs social functions withinstitutions and practices of force, apprehen-sion and detention.Claiming to be maps but refusing to offer aconcrete spatial representation, they proposeprocesses and tendencies that are malleable,moveable, repeatable and vulnerable. (A. H.)

“Prison Maps” („H\r]i ale închisorii”) urm\re[terolul jucat de închisoarea contemporan\ însocietate. Una din h\r]i lanseaz\ întrebarea„Ce este complexul industrial al închisorii?”, iarcea de-a doua propune o alt\ interoga]ie:„Care este contextul s\u?”Prima hart\ conceptualizeaz\ tipul de rela]iiexistente între o serie de grupuri de interesecare beneficiaz\ în diverse moduri de dez-voltarea sistemului carceral, formînd o combi-na]ie complex\ între guverne [i interesele deafaceri, ce încurajeaz\ incriminarea, spore[tedependen]a de închisori [i contribuie astfel ladezvoltarea sistemului.A doua hart\ sugereaz\ o deplasare istoric\ amodelelor de guvernare de la un model bazatpe statul asisten]ial la unul fundamentat peforme de securitate, care înlocuie[te func]iilesociale ale statului cu institu]ii [i practici înte-meiate pe constrîngere, team\ [i deten]ie.De[i sînt prezentate drept h\r]i, ele refuz\ s\ofere o reprezentare spa]ial\ concret\ [i neprezint\ anumite procese [i tendin]emaleabile, perisabile, repetabile [i vulnerabile.(A. H.)

Prison MapsHarta inchisorilor

Ashley Hunt

Ashley Hunt, Prison Maps, 2003, print, 1500 take away copies, 60 x 45 cm. Courtesy the artist.

[89]88]

Ashley Hunt, Prison Maps, 2003, print, 1500 take away copies, 60 x 45 cm. Courtesy the artist.

Ashley Hunt

[90] [91]

Simeza and Orizont are two of the mostwell-known exhibition spaces for classi-cal art in Bucharest. Situated on the mainboulevard of Bucharest (GheorgheMagheru) they enjoy an extraordinarybypass traffic. The galleries belong to theUnion of Plastic Artists and have beenestablished in the 1960s, having dis-played communist art for many years.

The galleries that have become symbolsfor classical art in Romania will be ‘occu-pied‘ by Bucharest Biennale through theintervention of contemporary art works,thus creating a parallel between theinvolved art from the 60’s and theinvolved art from more recent years - orto make good for something that havebeen missed.

The insertion of spaces that haven’t dis-played contemporary art for 50 yearsserves the Biennales purposes of trans-forming Bucharest in a field of artisticaction and remodeling the agitatedspeech of generations of Romanianartists in a coherent and rational dia-logue.


Simeza şi Orizont sînt cele mai cunos-cute spaţii de expunere ale artei clasicedin Bucureşti. Find plasate pe principalulbulevard al Bucureştiului (GheorgheMagheru) beneficiază de un trafic extra-ordinar. Galeriile aparţin Uniunii ArtiştilorPlatici şi datează din anii '60, fiind popu-late cu artă de tip comunist pentru foartemulţi ani.

Cele două galerii, devenite un simbol alartei clasice din România, vor fi "ocupate"de Bucharest Biennale, inserţia lucrărilorde artă contemporană facînd în acest felo paralelă între arta implicată din anii '60şi arta implicată din anii recenti, încercîndsă recupereze ceea ce a lipsit.

Inserarea în spaţii ce nu au conţinut de50 ani artă contemporană serveşte scop-urilor bienalei de a transformaBucureştiul în cîmp de acţiune artistică şide a remodela discursul agitat al gener-aţiilor de artişti români într-un dialogcoerent şi raţional.

SIMEZABd. Gh. Magheru nr. 20

[93][92]

As urbanization accelerates, informaleconomies are also booming. Informal eco-nomic structures can often lie at the very cen-tre of global economic systems and can beseen as fuel in tiger economies. As manufac-tures look for cheaper and cheaper ways tocreate our luxury goods, all of us are intimate-ly linked to those who make our cheap, fash-ionable, 'must-have' products. Production hasbound together individuals across nations.The generic architecture of slums, favelas andshanty towns are today the fastest growinghousing solution of contemporary urban life.Informal infrastructures are developing all overthe globe, but they are also centuries old – asmany old cities, today regarded as hot-spotsfor tourism.However, in-formalization is not only a ques-tion about economy and architecure. Withininformal life, there is self sustained structures,negotiations, power-plays and grass-rootsorgansisations. Local democracy, innovationsfor sustaining life without support from thestate, care for one another and communalprojects develop in informal areas all aroundthe globe.Within these informalities, the future is creat-ed. (Jonatan Habib Enquist)

Pe m\sur\ ce procesul de urbanizare se accel-ereaz\, economiile informale iau [i ele un avîntformidabil. Structurile economice informale potsta adesea la baza sistemelor economiceglobale [i pot fi considerate un fel de com-bustibil al economiilor emergente. Pe m\sur\ce produc\torii de bunuri caut\ metode tot maiieftine de manufacturare a produselor lor delux, sîntem cu to]ii lega]i tot mai strîns de cre-atorii produselor noastre ieftine, elegante [iirezistibile. Produc]ia a creat leg\turi între indi-vizi apar]inînd diverselor na]iuni.Arhitectura obi[nuit\ din ghetouri, favele [ibidonviluri reprezint\ ast\zi cea mai rapid\solu]ie pentru dezvoltarea imobiliar\ a vie]iiurbane contemporane. Pe tot întinsul globuluise creeaz\ infrastructuri informale, numai c\ele nu au o vechime mai mare de cîteva sec-ole – ca [i multe din ora[ele vechi, considerateast\zi importante atrac]ii turistice.Numai c\ in-formalizarea nu e doar o problem\de economie [i arhitectur\. În cadrul traiuluiinformal exist\ structuri autonome, negocieri,jocuri de putere [i organiza]ii non-guverna-mentale. Democra]ia local\, utilizareainova]iilor pentru asigurarea traiului f\r\ sprijin-ul statului, grija fa]\ de cel\lalt [i proiectelecomune sînt lucruri care se transform\ în real-itate în toate zonele informale de pe fa]aP\mîntului.În interiorul acestor in-formalit\]i viitorul a fostdeja creat. (Jonatan Habib Enquist)

Informalities Informalităti

Maria Lantz

Maria Lantz,Informalities (Informal architecture in Rio), photography, 200 x 300 cm, 2007.

.Courtesy of the artist.

,

[95][94]

Maria Lantz

Maria Lantz, Informalities (Informal negotiations in UAE), photography, 100 x 150 cm, 2007.


Maria Lantz, Informalities (Informal architecture in Rio), detail, photography, 200 x 300 cm, 2007. Courtesy of the artist.

[97][96]

The piece depicts a dislocated map ofAmerica, playing with two concepts or ways tosee; one vertical (cartography) and the otherhorizontal (landscape). The geograpical acci-dents of the diferent maps are used in thiswork to make one single horizon line, eliminat-ing the normal historical – ideological limitsbetween them, and relocating the main citiesof each country as a node, with the objective tomaintain the traces of the maps. Therefore,the normal, hierarchical view is yuxtaposedwith the idea of contemplation of naturethrough the landscapes.(M.B.)

Lucrarea prezint\ o hart\ dislocat\ a Americii[i propune un joc cu dou\ concepte sau mod-uri de a vedea: unul vertical (cartografia), iarcel\lalt orizontal (peisajul). În lucrarea de fa]\accidentele geografice din diferite h\r]i sînt uti-lizate pentru a crea o unic\ linie a orizontului,eliminînd obi[nuitele limite istorico-ideologiceexistente între ele [i schimbînd amplasamen-tul principalelor ora[e din fiecare stat, v\zut caun nod, obiectivul urm\rit fiind acela de amen]ine contururile h\r]ilor. În consecin]\, per-spectivei normale, de tip ierarhic, îi este supra-pus\ ideea de contemplare a naturii prin inter-mediul peisajelor.(M.B.)

Variations over an HomogeneousLandscapeVariatiile unui peisaj omogen

Milena Bonilla

Milena Bonilla, Variations over an Homogeneous Landscape / América, 27 digital drawingsprinted on photographic paper, 28 x 21,6 cm each, 2006.

Courtesy the artist

,

[][98]

Milena Bonilla

Milena Bonilla, Variations over an Homogeneous Landscape / América, 27 digital drawingsprinted on photographic paper, 28 x 21,6 cm each, 2006.

Courtesy the artist

[101][100]

In contrast to the Mercator projection thePeters projection, published in 1974, is anequal area map projection. Instead of inflatingthe sizes of regions according to their distancefrom the equator and therefore having distort-ed sizes as a result (e.g. a representation ofGreenland that is larger than Africa, whereasin reality Greenland is 13 times smaller), thePeters projection is a distance and area accu-rate map, i.e. using the same scale for everysquare meter on the map.The same standard is used for his 1989-pub-lished Atlas. All maps in the atlas have thesame scale and each continent would there-fore show its “real dimension” as well as thisproject has to be understood as “an antago-nism to an eurocentric way of thinking”(Peters).With the same enthusiasm and the desire foran equal world, Peters produced theSynchronoptic World History already 18 yearsbefore his world map in 1952. It could beclaimed that the basic principle of this worldhistory was then translated as a cartographicpractice: The book is structured as a his-togram, each year taking up the same space(100 years per double-page). Structured incontent, the book is divided into the sections:economy (technology, science, discoveries,communal life), mental life (art, poetry, philos-ophy, law, urban development), religion, poli-tics (political system, social order), wars, revo-lutions (revolts, civil wars).(Felix Vogel)

Spre deosebire de proiec]ia Mercator, proiec]iaPeters, prezentat\ public în anul 1974, este oproiec]ie cartografic\ propor]ional\. În loc s\extind\ dimensiunile regiunilor în func]ie dedistan]a lor fa]\ de Ecuator – avînd ca rezultattot soiul de dimensiuni deformate (cum ar fireprezentarea Groenlandei, care apare maimare ca Africa, de[i în realitate Groenlandaeste de 13 ori mai mic\) –, proiec]ia Petersofer\ o reprezentare cartografic\ exact\ a dis-tan]elor [i a zonelor de pe planet\, id est uti-lizeaz\ aceea[i scal\ pentru fiecare metrup\trat de pe hart\.Acela[i model este folosit [i pentru Atlasul pub-licat de Peters în 1989. Toate h\r]ile din atlasau aceea[i scal\, astfel c\ fiecare continent î[iarat\ „adev\rata dimensiune”, iar proiectulamintit trebuie în]eles ca „o form\ de opozi]iela modul de gîndire eurocentric” (Peters).Cu acela[i entuziasm [i animat de aceea[idorin]\ de a vedea o lume echitabil\, Peters arealizat o Synchronoptic World History („Istoriesincronoptic\ a lumii”) cu 18 ani înainte deharta lumii f\cut\ de el în 1952. S-ar puteaspune c\ principiul care a stat la baza amintiteiistorii a lumii a fost ulterior transpus ca princip-iu cartografic. Cartea este organizat\ subforma unei histograme, unde fiecare an ocup\acela[i spa]iu (o sut\ de ani pentru o pagin\dubl\). Cu un con]inut bine structurat, ea esteîmp\r]it\ în mai multe sec]iuni; economie(tehnologie, [tiin]\, descoperiri [tiin]ifice, via]\comunitar\), via]\ spiritual\ (arte, poezie,filosofie, drept, dezvoltare urban\), religie,politic\ (sisteme politice, ordine social\),r\zboaie [i revolu]ii (revolte [i r\zboaie civile).(Felix Vogel)

Peters projectionProiectia Peters

Arno Peters

Map of the World, Peters projection, 1974. Here the map published by New Internationlist in 2008.

Courtesy New Internationalist.

,

[103][102]

With the maps of social organization, there areno latitudes or longitudes or techniques likethose of topography. There is no North Pole,no social magnetic field, and therefore no com-pass. A "compass-image" of a social organiza-tion is based on symbolic or quasi-symbolicelements such as information, conventions,rules or laws that govern social relations. Itconstitutes the invisible objects of social rela-tions and powers, by means of legal, institu-tional, financial, sociological, anthropological,psychological and historical knowledge. It con-stitutes identities or units of information (state,firm, individual...). It works in advance viaselection, classification, data refinement, andthen finally symbolization, positioning, assem-blage, interlinkage. Thus it produces a feelingof totality through the construction of land-marks, the construction of a system of dynam-ic coordinates that allow you to put some orderinto social reality. For all these reasons, themap of social organization seeks to be a toolallowing us to perceive, to orient ourselves, toact on social space, like a general or a rat whoactivates affects, representations, perceptions,beliefs and rules. (B.dʼe.)

În cazul h\r]ilor organiz\rii sociale nu exist\nici latitudini, nici longitudini [i nici tehnici pre-cum cele din topografie. Nu exist\ nici un PolNord, nici un cîmp magnetic social [i, în con-secin]\, nici vreo busol\. O „imagine-busol\” aorganiz\rii sociale se bazeaz\ pe elementesimbolice sau cvasi-simbolice cum sînt infor-ma]iile, conven]iile, regulile sau legile ceguverneaz\ rela]iile sociale. Ea instituieobiectele invizibile ale rela]iilor sociale cu aju-torul cuno[tin]elor de ordin legal, institu]ional,financiar, sociologic, antropologic, psihologic[i istoric. Ea instituie identit\]i sau unit\]i deinforma]ie (statul, firma, individul...). Eaac]ioneaz\ în avans prin intermediul selec]iei,clasific\rii, interpret\rii informa]iilor [i apoi, lafinal, prin simbolizare, pozi]ionare, asamblare[i interrela]ionare. Astfel, prin elaborarea unorpuncte de reper [i prin construirea unui sistemde coordonate dinamice, care îi permite indi-vidului s\ ordoneze întrucîtva realitateasocial\, ea d\ na[tere unui sentiment al total-it\]ii. Din motivele sus-men]ionate, harta orga-niz\rii sociale încearc\ s\ devin\ un instrumentcare s\ ne permit\ s\ percepem spa]iul social,s\ ne orient\m în el [i s\ ac]ion\m în cadrul lui,asemeni unui general sau unui [obolan careî[i pun la lucru afectele, reprezent\rile, per-cep]iile, convingerile [i regulile lor. (B.d’e.)

The Ring / World GovernmentCercul / Guvernul mondial

Bureau D’Études

Bureau D'Études, extract from the publication “The Ring”, 2006.

Courtesy the artist.

[105][104]

Bureau D’Études

Bureau D'Études, extract from the publication “World Government”, 2005. Courtesy the artist.

Bureau D'Études, “W

orld Government”, detail, 2005. Courtesy the artist.

[107][106]

When I used to paint, I painted on large can-vases, often representing friends in symbolicor theatrical surroundings, the main subjectbeing of little importance. Today I feel that I amstill playing the role of the producer. NowadaysI create meaningful environments for peoplewho are complete strangers. A map is a scenery that is always presented inthe same fashion. Roughly speaking, theNorth at the top. I decided to orientate my worktowards the West, where the sun goes down.The same image in a distorting mirror.Meaning, which is the right image ? The imagereflected in the mirror, or the idea of oneʼsSELF before the distortion took place ? It couldbe said that anchorage in the West is properlyspeaking a westernization, but my representa-tions of the world spring from an essentiallyartistic background.The symbolic ideology that these images pro-duce cannot be denied, but they donʼt containthe same implicit hierarchy as the North-Southorientated images. (S.R.)

În vremurile cînd obi[nuiam s\ pictez, pictampe pînze mari [i adesea îmi reprezentam pri-etenii în decoruri simbolice sau teatrale, undesubiectul central avea mai pu]in\ importan]\.Ast\zi simt c\ joc în continuare rolul de pro-duc\tor. În perioada actual\ creez medii [idecoruri înc\rcate de semnifica]ii pentru per-soane complet necunoscute.O hart\ este un decor prezentat întotdeauna înaceea[i manier\. Pur [i simplu nordul e plasatsus. Eu am hot\rît s\ îmi orientez lucrareaspre vest, locul unde apune soarele. Aceea[iimagine, dar într-o oglind\ distorsionant\.Ceea ce vrea s\ spun\: care e imagineacorect\? Imaginea reflectat\ în oglind\ sauideea din mintea CUIVA înainte s\ aib\ loc dis-torsiunea? S-ar putea spune [i c\ orientareaînspre vest este în mod clar o occidentalizare,îns\ reprezent\rile lumii create de mine î[i aur\d\cinile într-un mediu fundamental artistic.Ideologia simbolic\ produs\ de imaginile defa]\ nu poate fi contestat\, numai c\ ele nucon]in aceea[i ierarhie implicit\ existent\ înimaginile orientate pe direc]ia nord-sud. (S.R.)

Lovely Romania/ Sao Tomé Globe/ East-West MapÎncîntătoarea Românie/ Globul Sao Tomé/ Harta Est-Vest

Sabine Réthoré

Sabine Réthoré, Tribute to Sao Tomé, 1999, globe, 100x86x140 cm. Courtesy the artist.

[109][108]

Sabine Réthoré

Sabine Réthoré, Lovely Romania, 2008, color print, 135x135 cm. Courtesy the artist.Sabine Réthoré, East-West Map, 2005, color print. Courtesy the artist.

[111][110]

ONE STEP BEYOND – The Mine Revisited(OSB) is an artistic project which reports onlandmines, in the world's four most heavily-mined countries: Angola, Afghanistan, Bosniaand Combodia, and their victims by bringingthem into a visible and traceable relationship.Whoever accepts One Step Beyond – whetheras viewer or active collaborator – alsobecomes involved in this relationship, and in aborder dance between art and politics.In OSB, people injured by a mine recall theevents leading up to the accident. Some makea rough sketch of the incident's location. In apublic forum, the victims' stories, drawings andportraits are set against documentation of thelandmine possibly responsible for their acci-dent. Other themes relevant to OSB are pho-tographed and presented, such as mine clear-ance, mine education, and rehabilitation proj-ects. (L.E.)www.one-step-beyond.de

UN PAS ÎN SPATE – Întoarcerea la mine(engl. One Step Beyond – OSB) este unproiect care se concentreaz\ asupra minelorantipersonal din ]\rile cu cele mai multe zoneminate din lume – Angola, Afghanistan, Bosnia[i Cambodgia – [i asupra victimelor lor,sco]înd la iveal\ tipurile de rela]ii demonstra-bile [i vizibile ce exist\ între el. Oricine accept\s\ fac\ UN PAS ÎN SPATE – fie ca spectator,fie în chip de colaborator activ –, se implic\automat în aceast\ rela]ie [i în dansul de lafrontiera dintre art\ [i politic\.În UN PAS ÎN SPATE persoanele r\nite deminele antipersonal î[i reamintesc eveni-mentele ce au dus la accident. Unii fac oscurt\ prezentare a locului incidentului.Pove[tile, desenele [i portretele victimelor sîntcontrapuse într-un spa]iu public documentelordespre minele ce ar putea fi responsabile pen-tru accident. Mai sînt fotografiate [i prezentate[i alte teme relevante pentru UN PAS ÎNSPATE: deminarea, educa]ia de tip genistic [iproiectele de reabilitare. (L.E.)www.one-step-beyond.de

One Step BeyondUn pas în spate

Lukas Einsele

Lukas Einsele, One Step Beyond, texts, images, and multimedia formats, 2005. Courtesy the artist

[113][112]

Lukas Einsele, One Step Beyond, texts, images, and multimedia formats, 2005. Courtesy the artist

Lukas Einsele

[115][114]

What does it mean for an object to be hygien-ic and what does it mean for a well definedsocial space to be hygienic? In the socialsphere we could talk about a “social hygiene”.The term “social hygiene” refers to an ensem-ble of rules and practiced measures which arefollowed by somebody who wants to maintainhis/her social health. Even though these rulesand measures are deformed so healthiness isactually illness, the hygiene is a must .

Romanians among Europeans have the low-est rate of trust in themselves and trust in theircountry. This is the subject of much debateand the overall opinions are mostly negative.In spite of this it is better to conform. You havethe right to accommodate to the image gener-ated by the negative opinions. Expressionslike “thereʼs nowhere like here”(in the negativeway) are extremely eloquent being the motiva-tion to all problems, representing the perfectexample of resigning in the face of the facts.(A.M.)

Ce înseamnă pentru un obiect a fi igienic şi ceînseamnă pentru un spaţiu social bine-definit afi igienic? Raportat la sfera socialului am puteavorbi despre o “igienă socială”. Această noţi-une de “igienă socială” se poate descrie ca unansamblu de reguli şi de măsuri practicate, pecare cineva le respectă pentru a-şi păstrasănătatea sociala. Ori, chiar dacă aceste reg-uli şi măsuri sunt deformate, iar sănătateaeste de fapt boală, igiena este totuşi obligato-rie. Românii au poate cea mai mică rată deîncredere în ei şi în ţara lor, din Europa. Sevorbeşte mult despre asta si parerile sunt îngeneral negative. Asta nu-i împiedică înschimb pe români să se conformeze. Dacăimaginea este negativă ai dreptul să te împacicu ideea. Expresiile de genul “la noi ca lanimeni” sunt extrem de evocatoare ca răspunsla probleme, reprezentând exemplul perfectde resemnare. (A.M.)

HygienicIgienic

Adrian Matei

Adrian Matei, Hygienic, toilet paper manual printed, metal and ceramic support, 15,5 x 11 x 7 cm, 2008.


[117][116]

Adrian Matei

Adrian Matei, Hygienic, toilet paper manual printed, metal and ceramic support, 15,5 x 11 x 7 cm, 2008.


[119][118]

In the past few years I've been working on geopoliticsand geopoetics, for a seminar called "ContinentalDrift," with the 16 Beaver Group. This is an open-ended research project with sketch maps andunknown destinations. As I come up with texts, I'm going to post them herein unfinished form. When they're done I'll publish abook, and move on to some other project. In themeantime the whole thing will get more interesting ifyou ask some questions, propose some ideas, starta conversation. I'm also gonna put up some rants,insights, snapshots, news items, whatever... (B.H., from brianholmes.wordpress.com)

În ultimii ani am lucrat in geopolitică și geopoeticăpentru un seminar numit "Drift continental" cu grupulBeaver 16. Este un proiect imbunătăţit al hărţilor șidestinaţiilor necunoscute. Am scris aceste texte șivreau să le public aici așa cum sunt ele, într-o formănefinisată. Cînd aceste texte vor fi gata voi publica ocarte și am să merg mai departe către alte proiecte.Între timp insă toate aceste lucruri vor deveni maiinteresante dacă vei începe să pui întrebări, săpropui cîteva idei, să începi o conversaţie. Eu voiretoriza, voi pune gînduri, imagini, lucruri noi, orice... (B.H. de pe brianholmes.wordpress.com)

Continental DriftDrift Continental

Brian Holmes

Brian Holmes, Continental Drift, blog, intervention in public space, 2008. Courtesy of the artist.

[121][120]

Brian Holmes

Brian Holmes, Continental Drift, blog, intervention in public space, 2008. Courtesy of the artist.

[123][122]

The World From Memory is the fourth of aseries of maps of the world, drawn from mem-ory. These drawings are unique pencil draw-ings, progressive attempts to produce a mapof the world without recourse to any referencematerials, even once they are finished (thepoint at which no more can be recalled). Themaps describe a specific subjectivity but alsofunction as autobiography, since they includeplaces known and visited, desired destinationsand places known through cultural consump-tion. The World From Memory can be said to be ameditation on the awareness of knowledgethat investigates the way in which the subjec-tive is objectified and collective meaning islocked in place. It references both the tradi-tions of medieval cartography and the idea ofthe cognitive map. (E.K.)

The World From Memory (�Lumea dinamintire”) este a patra serie de h\r]i ale lumiidesenate din memorie. E vorba de ni[tedesene unicat f\cute în creion, ni[te încerc\riprogresive de a realiza o hart\ a planetei f\r\a recurge la orice fel de materiale informativenici m\car atunci cînd h\r]ile sînt încheiate(adic\ în momentul cînd nu se mai poaterememora nimic). H\r]ile ilustreaz\ o subiectiv-itate specific\, dar au în acela[i timp [i ofunc]ie autobiografic\, deoarece ele includlocuri vizitate [i familiare, destina]ii dorite [ilocuri cunoscute prin consum cultural.The World From Memory poate fi considerat omedita]ie asupra con[tiin]ei de]inute decunoa[tere [i analizeaz\ modul în care subiec-tivul este reificat, iar semnifica]ia colectiv\ esteadecvat\ la realitatea spa]iului. Lucrarea facetrimitere atît la tradi]iile cartografiei medievale,cît [i la ideea de hart\ cognitiv\.(E.K.)

The World From MemoryLumea din amintire

Emma Kay

Emma Kay, The World From Memory IV (detail), 2003, digital print, 109 x 159 cm, edition of10. Courtesy the artist.

[125][124]

Emma Kay

Emma Kay, The World From Memory IV, 2003, digital print, 109 x 159 cm, edition of 10.


[127][126]

Simeza and Orizont are two of the mostwell-known exhibition spaces for classicalart in Bucharest. Situated on the mainboulevard of Bucharest (GheorgheMagheru) they enjoy an extraordinarybypass traffic. The galleries belong to theUnion of Plastic Artists and have beenestablished in the 1960s, having dis-played communist art for many years.

The galleries that have become symbolsfor classical art in Romania will be ‘occu-pied‘ by Bucharest Biennale through theintervention of contemporary art works,thus creating a parallel between theinvolved art from the 60’s and theinvolved art from more recent years - or tomake good for something that have beenmissed.

The insertion of spaces that haven’t dis-played contemporary art for 50 yearsserves the Biennales purposes of trans-forming Bucharest in a field of artisticaction and remodeling the agitatedspeech of generations of Romanianartists in a coherent and rational dialogue.


Simeza şi Orizont sînt cele maicunoscute spaţii de expunere ale arteiclasice din Bucureşti. Find plasate peprincipalul bulevard al Bucureştiului(Gheorghe Magheru) beneficiază de untrafic extraordinar. Galeriile aparţinUniunii Artiştilor Platici şi datează din anii'60, fiind populate cu artă de tip comunistpentru foarte mulţi ani.

Cele două galerii, devenite un simbol alartei clasice din România, vor fi "ocupate"de Bucharest Biennale, inserţia lucrărilorde artă contemporană facînd în acest felo paralelă între arta implicată din anii '60şi arta implicată din anii recenti, încercîndsă recupereze ceea ce a lipsit.

Inserarea în spaţii ce nu au conţinut de50 ani artă contemporană serveşte scop-urilor bienalei de a transformaBucureştiul în cîmp de acţiune artistică şide a remodela discursul agitat al gener-aţiilor de artişti români într-un dialogcoerent şi raţional.

ORIZONTBd. N. Bălcescu nr. 23A

[129][128]

In antique Greece, the planetariums into differ-ent were used for the training of the future cap-tains ship. One drew in planeterium a sky mapwith different candles size. The student was toknow (by the positioning of the candles), theexact position where it was on the surface ofthe earth sphere. Powerful software allowstoday to display on your computer the sky mapfor one date on one point of the surface of theearth. Some of this software propose a cata-logue of more than 2500 stars, It is possible forthem to display the sky map for a given date,but also to see the positions of the Saturn andJupiter satellites or to visualize the phases ofthe moon...The day before_Star system photographicproject proposes to realize the day before skymap of a military bombing. These photographsrepresent the arch of heaven that it could beseen on place the day before of the bombing.(R. A.-D.)

În Grecia antic\ planetariile de diverse felurierau folosite pentru instruirea viitorilor c\pitanide cor\bii. În planetariu era conturat\ o hart\ acerului cu ajutorul unor lumîn\ri de dimensiunidiferite. Dup\ felul cum era plasate lumîn\rile,înv\]\celul trebuia s\-[i dea seama de exact\în care se afla pe suprafa]a sferei planetare.Azi programele informatice existente ne permits\ vedem pe ecranul computerului harta ceru-lui la o anumit\ dat\ [i în orice loc de pesuprafa]a p\mîntului. Unele din acestepograme ofer\ un catalog cu peste 2.500 destele. Ele sînt capabile nu numai s\ prezinteharta cerului la un anumit moment în timp, ci [ipozi]iile sateli]ilor lui Saturn [i Jupiter, sau pots\ vizualizeze fazele Lunii...Proiectul fotografic The day before_Star sys-tem (Ziua de dinainte – Sistemul stelar) î[ipropune s\ prezinte o hart\ cereasc\ din ziuade dinaintea unui bombardament militar.Fotografiile de aici reprezint\ bolta cereasc\a[a cum putea fi ea v\zut\ în acel loc cu o ziînainte de bombardament. (R. A.-D.)

The Day Before Ziua de dinainte

Renaud Auguste-Dormeuil

Renaud Auguste-Dormeuil, The Day Before (Guernica), photography, 150 x 170 cm, 2004.Courtesy the artist and inSITU gallery, Paris.

[131][130]

Renaud Auguste-Dormeuil

Renaud Auguste-Dormeuil, The Day Before (Hiroshima), detail, photography, 150 x 170 cm, 2004. Courtesy the artist and inSITU gallery, Paris.

Renaud Auguste-Dormeuil, The Day Before (Hiroshima), photography, 150 x 170 cm, 2004.Courtesy the artist and inSITU gallery, Paris.

[133][132]

On the basis of onomasiological and motiva-tional maps, ALE offers a rigorous typology oflanguages and dialects spoken in Europe.From the point of view of the maps included(semasiological, onomasiological and motiva-tional maps, among which the latest give theatlas a note of originality), ALE represents acomplex data basis for different linguisticresearch and at the same time it offers rele-vant information regarding Europeʼs culturalhistory. ALE is the first continental linguistic atlas,whose frontiers are neither political nor linguis-tic, but mere geographical. There exist six fam-ilies of languages on the European territory:Altaic, Basque, Indo-European, Caucasian,Semitic and Uralic. Within these languagefamilies there exist 22 language groups whichin their turn consist of 90 languages and indi-vidual dialects. (ALE)

Pe baza h\r]ilor onomasiologice [i moti-va]ionale, ALE ofer\ o tipologie riguroas\ alimbilor [i dialectelor vorbite în Europa. Dinperspectiva h\r]ilor incluse aici (h\r]i semasio-logice, onomasiologice [i motiva]ionale –ultimele conferindu-i atlasului [i o not\ de orig-inalitate), ALE reprezint\ o baz\ de date com-plex\, rezultat al diverselor studii [i cercet\rilingvistice, [i, concomitent, ofer\ informa]ii rel-evante despre istoria cultural\ a Europei.ALE este cel dintîi atlas lingvistic continental,frontierele sale nefiind nici politice, nici lingvis-tice, di pur [i simplu geografice. Pe teritoriuleuropean exist\ [ase familii de limbi: altaice,basce, indo-europene, caucaziane, semitice [iuralice. În interiorul acestor familii de limbi seg\sesc 22 de grupuri de limbi, care, la rîndullor, includ 90 de limbi [i dialecte individualediferite.(ALE)

Atlas Linguarum Europae


Atlas Linguarum Europae, ongoing project since 1970, details. Courtesy the ALE Bucharest office,

prof. dr. Niculae Saramandu, dr. Manuela Nevaci.

[135][134]


Atlas Linguarum Europae, ongoing project since 1970, details. Courtesy the ALE Bucharest office,

prof. dr. Niculae Saramandu, dr. Manuela Nevaci.

[137][136]

Although there are a great many slumsthroughout Europe, hardly anyone ever askshow they come into being, how life within themtranspires, and what impact such a locationhas on the day to day life of its residents. Oneparticularly striking example of such a settle-ment lies under the highway bridge Gazela inBelgrade: tens of thousands pass it daily; nev-ertheless there is hardly any reliable informa-tion about the settlement and the people – thevast majority of whom are Roma – who areforced to live there.The travel guide focuses attention on a placewhich is paradigmatic for the recent history ofRoma in Southeastern Europe. It providesessential information about the social and eco-nomic structures of a slum, about the inhabi-tants and their daily lives and exposes thecomplex mechanisms of marginalization anddiscrimination against Roma. (L.A., E.F., C.G.)

Cu toate c\ în întreaga Europ\ exist\ un num\rextraordinar de mare de ghetouri, aproapenimeni nu se întreab\ vreodat\ cum apar ele,ce fel de via]\ exist\ acolo [i ce impact are unastfel de spa]iu asupra vie]ii cotidiene alocuitorilor din el. Un exemplu [ocant [i concretde astfel de a[ezare este ghetoul de sub podulGazela, pe autostrada din Belgrad: zeci de miide oameni trec zilnic peste el [i, cu toate aces-tea, nu avem aproape nici o f\rîm\ de infor-ma]ie credibil\ despre a[ezarea respectiv\ [ioamenii ce tr\iesc în ea, în afar\ de faptul c\marea lor majoritate sînt ]igani.Ghidul nostru de c\l\torie î[i concentreaz\aten]ia asupra unui loc devenit paradigmaticpentru istoria recent\ a ]iganilor din Europa deSud-Est. El furnizeaz\ informa]ii esen]ialedespre structurile economice [i sociale dintr-un ghetou, despre locuitorii lui, despre traiulcotidian de acolo, dezv\luind mecanismelecomplexe de marginalizare [i discriminare a]iganilor.(L.A., E.F., C.G.)

Gazela BeogradGazela Belgrad

Eduard Freudmann & Can Gülcü & Lorenz Aggermann

Can Gülcü, Eduard Freudman, Lorenz Aggermann, Beograd Gazela, 2008, book, 224 color pages.Courtesy the artists.

[139][138]

Can Gülcü, Eduard Freudman, Lorenz Aggermann, Beograd Gazela, 2008, book, 224 color pages.Courtesy the artists..

Eduard Freudmann & Can Gülcü & Lorenz Aggermann

[141][140]

This series of photographs is made in a retire-ment home for stage artists in St.Petersburg. Itcontains 22 portraits of inhabitants of the homeand also photographs of the interiors of theirprivate rooms, where they keep their souvenirsof their active life and career, and images ofthe common spaces of the home.The home was founded 112 years ago and issituated on a beautiful place, one of theislands forming St.Petersburg. It consists of acomplex of three buildings in a big park.Especially the main building is impressive in itsstyle and architecture, richly decorated andfurnished with antiques.At this moment there are 87 retired artists liv-ing in the complex, of which the youngest is 62years old and the oldest 99 years old. (L.G.)

Seria aceasta de fotografii este realizat\ la ocas\ de b\trîni pentru actori din SanktPetersburg. Ea include 22 de portrete ale ocu-pan]ilor casei respective, precum [i fotografiicu interioarele camerelor personale, loculunde actorii î[i p\streaz\ amintirile din timpulvie]ii [i carierei lor, laolalt\ cu imagini alespa]iilor comune din casa de b\trîni.A[ez\mîntul a fost înfiin]at în urm\ cu 112 ani[i este amplasat într-un loc superb, pe una dininsulele ce formeaz\ ora[ul Sankt Petersburg.E format dintr-un complex de trei cl\diri, toateaflate într-un parc spa]ios. Cl\direa principal\este [i cea mai impresionant\ prin stilul [i arhi-tectura sa, fiind generos decorat\ [i mobilat\cu obiecte de epoc\.La ora actual\ în complexul amintit tr\iesc 87de arti[ti pensionari, dintre care cel mai tîn\rare 62 de ani, iar cel mai vîrstnic 99 de ani.(L.G.)

Sunset Of FameApus de glorie

Lucia Ganieva

Lucia Ganieva, Sunset Of Fame (Stepanova), photography, 70 x 50 cm, 2004. Courtesy the artist.

[143][142]

Lucia Ganieva

Lucia Ganieva: Sunset Of Fame (Sonina), photography, 70 x 50 cm, 2004.Courtesy the artist.

Lucia Ganieva, Sunset Of Fame (Shumskaya), photography, 70 x 50 cm, 2004.Courtesy the artist.

[145][144]

I work as a news graphic artist. Among otherthings I draw maps and diagrams. I believe we must learn to decode diagramsand maps and question them in the same waywe question other things. The truthful lan-guage of a map could be a devastatingweapon in the hands of a minister of propa-ganda. A manipulated diagram could sell tonsof worthless washing powder. It could also bea wonderful tool for irony. It is a bearer of truth only as long as youbelieve in it. Working with news graphics at anewspaper is interesting work. You learnthings about the world as you try to break itdown into explainable pieces. Occasionallyyou may also make a difference to someone. Making maps is something we all do, from timeto time. As children we draw them on burnt pieces of paper to rememberwhere we buried the treasure. Then much later, we draw them inside ourheads, trying to remember where we got lost. (J.J.)

Eu lucrez ca grafician la departamentul de [tiri.Printre alte lucruri pe care le fac, desenez h\r]i[i diagrame. Convingerea mea este c\oamenii trebuie s\ înve]e cum s\ decodificediagramele [i h\r]ile [i s\ le pun\ sub intero-ga]ie în acela[i fel în care pun sub interoga]ie[i alte lucruri. Limbajul onest al unei h\r]i poatedeveni o arm\ nimicitoare dac\ ajunge înmîinile unui minister al propagandei. O dia-gram\ manipulat\ poate vinde tone de deter-gent lipsit de valoare. Dar ea poate fi [i ounealt\ minunat\ pentru ironie.O diagram\ ilustreaz\ un adev\r doar atîtatimp cît crezi în ea. Munca de grafician de [tirila un ziar este interesant\. Înve]i multe desprelume în timp ce te str\duie[ti s\ o separi înbuc\]i intelegibile. Iar uneori reu[e[ti chiar s\ob]ii un impact pozitiv asupra cuiva.Trasarea h\r]ilor e o chestie pe care o facemcu to]ii din cînd în cînd. Atunci cînd sîntemcopii, le desen\m pe buc\]i de hîrtie arse pe lacol]uri, ca s\ ne amintim unde am îngropatcomoara. Apoi, mult mai tîrziu, le desen\m înmintea noastr\, încercînd s\ ne amintim undene-am pierdut direc]ia. (J.J.)

ValuesValori

Johan Jarnestad

Johan Jarnestad, Values, 2007, print, 70 x 70 cm.Courtesy the artist & Dagens Nyheter.

TRANSLATION OF THE TEXT IN THE GRAPH:

This map reflects the fact that a large number of basic values are closely correlated; they can be depicted in just major two dimensions of cross-culturalvariation.

The World Values Surveys were designed to provide a comprehensive measurement of all major areas of human concern, from religion to politics toeconomic and social life and two dimensions dominate the picture: (1) Traditional/ Secular-rational and (2) Survival/Self-expression values. These twodimensions explain more than 70 percent of the cross-national variance in a factor analysis of ten indicators-and each of these dimensions is stronglycorrelated with scores of other important orientations. -------------------------------------- Ex-Communist Confucian Protestant Europe English speaking Latin America Africa South Asia Catholic Europe ---------------------------------------------- Överlevnadsstyrda värderingar <--> Självförverkligande värderingar Traditionella värderingar <--> Sekulariserade/förnuftsstyrda värderingar = Survival values <--> Self Expression values Traditional values <--> Secular-Rational values

[147][146]

Armin Linke took around 10.000 photographsat different places during the last few years.The single image seems to vanish behind themass of this enormous amount of images, butfor his practice the single image is as importantas the mass, i.e. the connections betweeneach single image. He is always trying to doc-ument – or even better: to map – a very con-temporary condition having in mind that noth-ing will be the same after his shot. (FelixVogel)

~n ultimii ani Armin Like a realizat aproape10.000 de fotografii `n locuri diferite. Imagineaunic\ peare sa dispar\ sub enormitatea can-tit\]ii imagistice, dar pentru practica sa artistic\imaginea unic\ este la fel de important\ caimaginea cantitativ\ i.e. conxiunile dintre imag-ini. ~ntotdeauna Linke `ncearc\ s\ docu-menteze - sau [i mai spus s\ cartografieze -condi]ia contemporan\ av`nd tot timpul `nminte c\ nimic nu va mai fi la fel dup\ ce a pro-dus imaginea. (Felix Vogel)

GlobalizationGlobalizare

Armin Linke

Armin Linke, Globalisation (installation, part of his digital archive), 2008, print, 100x200 cm.

Courtesy the artist and Klosterfelde Gallery.

[149][148]

Armin Linke

Armin Linke, Computer dump, Guiyu China, 2005, print, 50 x 40 cm. Courtesy the artist and Klosterfelde Gallery.

Armin Linke, Computer dump, Guiyu China, 2005, print, 50 x 40 cm. Courtesy the artist and Klosterfelde Gallery.

[151][150]

Abandoned Rooms is a photography seriesabout fragmented lives, lives that are stuckbetween the reality of the changeover and thehaunting ghost of the war.During what is commonly known as the yearsof the civil war in Lebanon (1975-1990), wavesof civilian migrants fleeing their devastatedregions sheltered in various blocks of flats,rubble, abandoned apartments and chalets,luxurious villas, hotels and summer houses.The various Lebanese militias and the foreignarmies also took over these constructions andturned them into housings or headquarters.Since the ʻcivil war ̓ ended in 1990, and untilthe foreign armies recently withdrew from theLebanese territories, most of these placeswere gradually being returned to their originalowners. They form the remains and traces ofthe war: scattered holes in the collective mem-ory. (R.M.)

Abandoned Rooms („Înc\peri p\r\site”)prezint\ o serie de fotografii despre ni[te vie]ifragmentate, vie]i blocate între realitateaschimb\rii [i fantoma st\ruitoare a r\zboiului.Pe parcursul perioadei cunoscute drept aniir\zboiului civil din Liban (1975-1990) valuri deemigran]i civili [i-au p\r\sit regiunile devastatede lupte [i s-au ad\postit în diverse blocuri delocuin]e, în apartamente d\rîmate [i abando-nate, în castele, în vile luxoase [i în case devacan]\. Diversele mili]ii libaneze [i armatelestr\ine au preluat [i ele acest gen de locuin]e[i le-au transformat în ad\posturi sau coman-damente militare. Odat\ cu încheierea„r\zboiului civil”, în anul 1990, [i concomitentcu retragerea armatelor str\ine din teritoriilelibaneze, început\ de curînd, majoritatealocurilor respective au fost înapoiate treptatproprietarilor lor ini]iali. Ele constituier\m\[i]ele [i urmele r\zboiului: g\uri r\spînditepretutindeni în memoria colectiv\. (R.M.)

Abandoned RoomsCamere abandonate

Randa Mirza

Randa Mirza, Abandoned Rooms (Black Room), photography, 100 x 150 cm, 2005-2006.Courtesy the artist and Sfeir-Semler gallery.

[153][152]

Randa Mirza

Randa Mirza, Abandoned Rooms (#4), photography, 100 x 150 cm, 2005-2006. Courtesy the artist and Sfeir-Semler gallery.

Randa Mirza, Abandoned Rooms (Censorship), photography, 100 x 150 cm, 2005-2006.Courtesy the artist and Sfeir-Semler gallery.

[155][154]

In a map every line is linked to reality. I usemaps and produce new reality as a result, in agroup of serial works called "Psycho-Mappings". Having traced the first map image,I then copy it by hand, trying to be as exact aspossible. I imagine being a machine, a humanscanner. I am patient and my copy comes outwell. Examined close-up, however, there arelittle mistakes to be found everywhere.Once my copy is finished, it changes status:what was mistakes becomes new reality. Thefirst map is hidden away; my third image is tobe another careful copy; a copy of the copy. The procedure is repeated a number of times.I have to focus solely on the mechanicalprocess. Avoid any input. A new (vision of a) geo-political reality thusdevelops itself, in conflict with my efforts — ifnot with my underlying intention. The work'ssuccess is relative to my ability to separateconceptual agenda from physical effort; toachieve maximum robotic precision whileaware that all value is created in the glitchesthat mar and betray the robot. No one knowsin advance the vision at the end of the line.(J.S.)

Pe o hart\ fiecare linie este legat\ de realitate.Eu utilizez h\r]ile [i ob]in drept rezultat o reali-tate nou\ în cadrul unei serii de lucr\ri intitulatePsycho-Mappings („Psiho-cartografieri”). Dup\ce am trasat prima hart\, am copiat-o de mîn\,încercînd s\ o fac cu cît mai mult\ precizie. Mi-am imaginat c\ sînt o ma[in\, un scanneruman. Cum am mult\ r\bdare, copia mea aie[it bine. Totu[i, studiat\ mai îndeaproape,dezv\luie ni[te mici gre[eli care apar peste tot.Dup\ ce am terminat de f\cut copia, ea [i-aschimbat statutul: gre[elile au devenit nouarealitate. Prima hart\ a r\mas ascuns\, iar atreia imagine avea s\ fie o nou\ copie minu]iosexecutat\: o copie a copiei.Procedura a fost reluat\ de mai multe ori. Atrebuit s\ m\ concentrez exclusiv pe procesulmecanic. S\ evit orice fel de influen]\ exte-rioar\.Astfel o nou\ (viziune referitoare la o) realitategeopolitic\ s-a dezvoltat de la sine, în opozi]iecu eforturile mele – chiar dac\ nu [i cu inten]iamea ini]ial\. Reu[ita lucr\rii a depins de abili-tatea mea de a-mi separa proiectul conceptu-al de efortul fizic, de a atinge un grad maximde precizie robotic\, fiind concomitentcon[tient de faptul c\ întreaga ei valoare estedat\ de erorile care o deformeaz\ [i caretr\deaz\ precizia robotic\. Nimeni nu [tiedinainte imaginea de la cap\tul [irului. (J.S.)

Psycho-Mapping ScandinaviaPsiho-topografia Scandinaviei

Jan Svenungsson

Jan Svenungsson, Psycho-Mapping Scandinavia (23), faksimiled drawing, 42 x 29 cm, 1996.Courtesy the artist.

[157][156]

Jan Svenungsson



[159][158]

CURATORS

Jan-Erik Lundström

Born 1958, is the director of BildMuseet, UmeåUniversity, Umeå, Sweden, a museum of contem-porary art and visual culture. He is equallyinvolved in curating, organizing, lecturing andwriting. Among his latest exhibitions are "Politicsof Place", "Killing Me Softly" (Tirana Biennial),"Projects for a Revolution" (Mois de la Photo,Montreal), "Double Vision" (Prague Biennale),"Same, Same, but Different" and "After the Fact",a major survey towards documentary practices incontemporary art. He is the author of numerousbooks, including "Nordic Landscapes", "Tankarom fotografi (Thoughts on Photography)", "IrvingPenn and Horizons: Towards a Global Africa". Heis a guest professor at HISK, Antwerp, Belgiumand at the Kunstakademie, Oslo, Norway.Lundström is a prolific international lecturer andwriter, contributor to symposia internationally andto cultural magazines such as Glänta, EuropeanPhotography, Paletten and tema celeste.

Johan Sjöström

Born 1975, has been a curator at BildMuseet inUmeå,Sweden since 1998. In fall 2005 he did acuratorial course at The University of Fine Arts inHanoi, Vietnam. Has contributed to magazinessuch as Pavilion, Paletten and many more, and isalso the editor of several publications including"Lara Baladi: Kai'ro"; "The Politics of Place";"Mats Hjelm: Trilogy"; "Mirror's Edge", and "HeadNorth - Views from the Permanent Collection ofThe South African National Gallery". Sjöströmcurated for BildMusset shows like "Veli Granö &Tuovi Hippeläinen - Rien/Is that all?", "Jane &Louise Wilson - A Free and AnonymousMonument" or "Adrian Paci -Albanska berättelser".During 2007-2008 Johan Sjöström is working ascurator at Göteborgs Konsthall, Sweden.

PARTICIPANTS BB3

Kristoffer Ardeña (ES/PH)

Born 1976 in Dumaguete, Philippines, lives andworks in Madrid, Spain.He has worked with projects or shown at theNational Cultural Center (Manila/Philippines),Apexart (NY/USA), Ssamzie Space (Seoul/SouthKorea), Academia de España en Roma (Italy),Museo Universitario del Chopo (Mexico D.F.),Gatov and Merlino Galleries, California StateUniversity in Long Beach (USA), MuseoUniversidad de Alicante (Spain), Espacio Abisal(Bilbao/Spain), Pipeline (Vienna/Austria) andother venues.

Lauri Astala (FI)

Born 1958 in Valkeakoski, lives and works inHelsinki, Finland.Solo Exhibitions2008 Institut finlandais, Paris, France2005 Forum Box Gallery, Helsinki, Finland1999 Tallinn Art Hall, Tallinn, EstoniaCentrum Rzezbypolskiej, Oronsko, Poland1998 Uppsala Konstmuseum, Uppsala, Sweden1997 Bildmuseet, Umeå, SwedenGroup exhibitions2007 V TRIENNALE OF FINNISH ART,HELSINKI ART HALL, HELSINKI, FINLAND2006 DRAWING LUST, KUNSTHALLE LOPHEM,BRÜGGE, BELGIUM2005 NEW MEDIA ART FROM FINLAND -EXHI-BITION, BOSTON CYBERARTS FESTIVAL, USA2004 VOIDS, PADS & PLACES, KUNSTHALLELOPHEM, BRÜGGE, BELGIUM2002 Myth, Helsinki City Art Museum, Helsinki,Finland

Atlas Linguarum Europae (EUR)

The Atlas Linguarum Europae is the first conti-nental linguistic atlas, whose frontiers are neitherpolitical nor linguistic, but mere geographical. Thechoice of the continent derives from the fact thatthe linguistic situation in Europe is a complex one.There exist six families of languages on theEuropean territory: Altaic, Basque, Indo-European, Caucasian, Semitic and Uralic. Withinthese language families there exist 22 languagegroups (such as Romance, Germanic or Celtic),which in their turn consist of 90 languages and

individual dialects. The heterogeneous materialwas collected in 2631 localities from Iceland tothe Ural Mountains. The ALE members belong tothe 47 national committees, to which 4 commit-tees for the minority languages have been added.

Milena Bonilla (CO)

Born 1975 in Bogotá, Colombia, lives and workesin Bogotá.Solo Exhibitions2006 Limítrofe, Valenzuela Klenner Gallery,BogotáDonʼt say you love me, Valenzuela KlennerGallery, Bogotá2004 Common Places (Sketches for a Garden)Alianza Colombo Francesa, BogotáGroup Exhibitions2008 Revolución Industrial / Industrial Revolution,Muca Roma Universidad Autónoma de 2007México UNAM, Mexico-CityOnce More With Feeling, A season of ColombianPhotography, Impressions Gallery, Bradford, UKDisplaced, Glynn Vivian Gallery, Swansea Wales,UKFotográfica Bogotá, Contemporary internationalphotography, K proyects, BogotáNuestra Hospitalidad, Espai dʼart contemporanide Castelló EAAC, Castellón, Spain2006 Bokaktig, Pastor Bonus Gallery, Oslo,Norway2003 X Salón Regional de Artistas, Museum ofModern Art of Bogotá

Bureau DʼEtudes (FR)

The Paris-based artists Léonore Bonaccini andXavier Fourt form the artist-duo Bureau d´Etudes.For the last several years, the French Group hasbeen producing cartographies of contemporarypolitical, social and economic systems. The visu-al analysis of transnational capitalism is based onextensive researches and usually is presented inthe form of richly detailed maps.

Renaud Auguste-Dormeuil (FR)

Born 1968 in France, lives and works in Paris,France.Solo Exhibitions2008 Birdʼs Eye View, in SITU-fabienne leclerc,Paris, France2006 The Day Before_Star System, Palais de

Tokyo, Paris, France2005 The Day Before_Star System, SalaMontcada, Fondation Caixa, Barcelone, Spam2004 The Day Before_Star System, Swiss insti-tute – Contemporary Art, New York, USABroadcast Hotels, Photoespana04, Madrid, Spain2001 Excuse de provocation, Espace dʼart huitnovembre, Paris, FranceFin de représentation 2, Galerie du Haidouc,Bourges, FranceGroup Exhibitions2007 Medio dia - media noche, Centro culturalRecoleta de Buenos Aires, ArgentinaFictions Cartographiques, Les imagiques, 8èmerencontres photographiques en sud Gironde,Langon,FranceChateau de Tokyo, en collaboration avec le Palaisde Tokyo, Paris, Centre international dʼart et dupaysage, Ile de Vassivière, FranceThe Stability of Truth, SMART Project Space,Amsterdam, Netherlands2006 Conflicts, Photobiennal 2006, New ManezhMoscow State Exhibition Hall, Mocow, Russia2005 Home Works III, Ashkal Alwan, Beyrouth,LibanVom Verschwinden: Weltverluste undWeltfluchten, Hartware Medien Kunst Verein,Dortmund, GermanyDas neue Europa. Kultur des Vermischens undPolitik der Repräsentation, Generali FoundationVienna, Austria2004 Junge Akademie, Akademie der Künste,Berlin, Germany2003 Gestes, Printemps de septembre, Toulouse,FranceDie offene Stadt, Kokerei Zollverein, Essen,Germany

Lukas Einsele (DE)

Born 1963 in Essen, Germany, lives and works inDarmstadt, Germany.Solo Exhibitions2005 Lukas Einsele: One Step Beyond Goethe-Institut New YorkLukas Einsele: One Step Beyond, Witte de With,RotterdamGroup Exhibitions2007 1st Thessaloniki Biennale of ContemporaryArt State Museum of Contemporary Art -Thessaloniki2006 Einsele / Ezawa / Schellow Akademie

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Schloss Solitude, Stuttgartbeton wurst und andere teamgeister, after thebutcher, Berlin2005 Berlin Photography Festival 2005 BerlinPhotography FestivalHuis Clos, IG Bildende Kunst, Wienopen house - wg/3zi/k/bar, WG im Malkasten,Düsseldorf2003 Work in Transit, Witte de With, Rotterdam2000 Lautlose Gegenwart, Kunstverein Bielefeld

Buckminster Fuller (USA)

born 1895 in Milton, USA, died in 1983.Fuller was an architect, author, designer, inventor,poet, visionary and an early environmental acti-vist. He is famous for his geodesic dome buil-dings, such as the American pavilion for theMontreal 67ʻs Expo, as well as for his DymaxionMap.

Eduard Freudmann & Can Gülcü & LorenzAggermann (A)

Eduard Freudmann, born 1979 in Vienna.Researches on and intervenes in the intersec-tions of art and politics, power relations and socialcontexts, theirstory/ourstory and media mecha-nisms. Since 2004 continuous collaboration withCan Gülcü, with whom he founded Kraja, aVienna based association for art, culture andcommunication. He lives and works in Vienna andBelgrade and teaches at the Academy of FineArts Vienna.

Can Gülcü, born 1976 in Bursa/Turkey, lives andworks as an artist in Vienna. Focuses of his for-mal varying work are political and social issues,contemporary history and urbanism.

Lorenz Aggermann, born 1977 in Graz, works fornumerous theatres and festivals, writes regularlyreviews, essays and scientific articles. Currentlyhe is working at the University of Bern.

Lucia Ganieva (RU/NL)Born 1968 in Russia, lives and workes in theNetherlands since 1993.Solo exhibitions2008 National Centre for Photography,St.Petersburg, Russia2007 Gallery Foto21 Bredevoort, Bredevoort,Netherlands

Group exhibitions2007 Graduates Foto Academie, Amsterdam,NetherlandsLes Rencontres dʼArles 2007, FrancePhoto Folio Gallery in Arles, FranceNoorderlicht, Gallery Pictura, Groningen,NetherlandsNominees Photo Academy Awards, Amsterdam,NetherlandsIPA Best of Show, Splashlight Studios New York,USABest of Arles, Farmani Gallery Los Angeles, USA2006 Exhibition PANL Award 2006, Post CS,Amsterdam, Netherlands2004 Gallery Fotogram, Foto Academy,Amsterdam, Netherlands

Frances Goodman (ZA)

Born 1975 in South Africa, lives and works inJohannesburg.Solo Exhibitions2007 Frances Goodman, The Goodman Gallery,JohannesburgLift off II, Goodman Gallery Cape, Cape Town,South Africa2005 Petite Mort, The Goodman Gallery,Johannesburg 2004 Wanting, KULAK, University of Kortrijk,BelguimGroup Exhibitions2007 Rare Essence, AEROPLASTICS contempo-rary, Brussels, BelgiumCompulsions, Galleri Specta, Copenhagen,Denmark2006 Women: Photography & New Media:Imaging the Self and Body throughPortraiture, Goodman Gallery Booth, Art Basel,Miami, USA Farrago, Bernier/Eliades Gallery, Athens, GreeceNie Meer, Der Warande, Turnhout, Belgium.2005 Threat Zone, TPS - Triangle Project Space,San Antonio, USA[Prologue] New Feminism/New Europe,Cornerhouse, Manchester, EnglandDouble Check Camera Austria, Graz , AustriaArt Out of Place, Norwich Museum and ArtGallery, Norwich, England2004 Double Check Re-Framing Space inPhotography: The Other Space, ParallelHistories, Gallery ofContemporary Art, Celje, Slovenia2003 Something about Love, Casino Luxembourg

-Forum d'art contemporain, LuxembourgDistance of Memory, Nairs, House of Culture inVulpera Tarasp, Nairs, Switzerland.2002 Viper, Basel New Media Festival, Basel,SwizerlandSensing Sculpture, Wolverhampton Art Gallery,Wolverhampton, UK2000 EAST International, Norwich School of Artand Design, Norwich, UK.

hackitectura.net (ES)

hackitectura.net consist of Pablo de Soto, SergioMoreno and José Pérez de Lama. hackitec-tura.net is a collaborative network that undertakespractical and theoretical research into the emerg-ing territories of information and communicationtechnologies, new social networks and the tradi-tional physical space. hackitectura.net has pro-duced such events as La multitud conectada andFadaiat (Tarifa - Tangiers).

Mona Hatoum (PS/GB)

Palestinian, born 1952 in Beirut, Lebanon. Livesand works in London and Berlin.Solo Exhibitions2006 Mona Hatoum: Hot Spot, White Cube,London 2004 Mona Hatoum, Hamburger Kunsthalle,Hamburg; Kunstmuseum Bonn; Magasin 3Stockholm Konsthall; Museum of ContemporaryArt, Sydney 2001 Mona Hatoum: Domestic Disturbance,MASS MoCA, North Adams, MA 2000 Mona Hatoum, SITE Santa Fe, NM Mona Hatoum, The Entire World as a ForeignLand, Tate Britain, London 1998 Mona Hatoum, Kunsthalle Basel 1997-98 Mona Hatoum, Museum ofContemporary Art, Chicago; The New Museum ofContemporary Art, New York; Museum of ModernArt, Oxford; Scottish National Gallery of ModernArt, EdinburghGroup Exhibitions2007-08 Neue Heimat – Berlin Contemporary,Berlinische Galerie, Berlin2007 Sharjah Biennial, Sharjah, United ArabEmirates 3rd Auckland Triennial, Auckland, New Zealand 2006-07 Into Me/ Out of Me, P.S.1 Center forContemporary Art, Long Island City, NY; Kunst- Werke Berlin; Museo dʼArte Contemporanea

Roma 2006 Out of Time: A Contemporary View, Museumof Modern Art, New York 2002 Documenta 11, Kassel1997 Sensation: Young British Artists from TheSaatchi Collection, Royal Acadamy of Arts,London

Brian Holmes (GB)

Brian Holmes is a cultural critic, living in Paris andChicago. He publishes in the journals Multitudes,Brumaria, Springerin and the web-journalTransform, he is the author of the essay collecti-ons Hieroglyphs of the Future_(Zagreb: WHW,2002) and Unleashing the Collective Phantoms:Essays in Reverse Imagineering (New York:Autonomedia, forthcoming). He is currently enga-ged in the book project and seminar ContinentalDrift.

Ashley Hunt (USA)

Lives and works in New York City, USA.Group Exhibitions2007 Documenta 12, Kassel, GermanyAn Atlas of Radical Cartography, curated by LizeMogel and Alexis BhagatMoMA, Documentary Fortnight, New YorkLeft Forum, New York, Screening program byJesal Kapadia and Susan JohadaPrinceton Human Rights Film Festival, Princeton,New Jersey 3rd Annual Prisoners' Justice Film Festival,University of Toronto 2006 Headquarters, Contemporary Museum,BaltimoreWhen the Artist Says ʻWeʼ, Artistʼs Space, NewYork, NYCapital: It Fails Us Now, Tallinn, EstoniaFree Speech TV, Public BroadcastPrison Nation, Center for the Study of PoliticalGraphics, Watts Towers Art Center2005 I Beg Your Pardon, or, the Reestablishing ofCordial Relations, Vera List Center for Art &Politics, New YorkPatriot, The Contemporary Museum, Baltimore,MDAmnesty International Firefly Film Festival,Brooklyn, NY2004 Identify! Studies in the Political Subject,Vera List Center for Art & Politics, New York2003 Territories, Kust-Werke Institute for

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Contemporary Art, Berlin, curated by AnselmFrankeCritical Resistance Southern RegionalConference, New Orleans, LACommunity Screening, The Refuge CommunityCenter, St. Petersburg, FL

Karlo-Andrei Ibarra (PR/USA)

Born 1982 in San Juan, Puerto Rico, lives andworks in San Juan, Puerto Rico.Solo Exhibitions2007 Each city can be Another, Museum ofContemporary Art of Puerto Rico.Walking towards the sun, The Storehouse Group,San Juan, P.RGroup Exhibitions2008 Landings 8, Taipei Fine Arts Museum,Taiwan.2007 Landings 7, Casa Las Americas, LaHabana, Cuba.Art of Uncertainity, with Art Museum of ElSalvador, San Salvador.Landings 5, Art Museum of Americas, WashingtonD.C.Re-mapping the Caribbean, Museum of CasasReales, Santo Domingo.

Johan Jarnestad (SE)

Graphical designer, living and working inStockholm, Sweden.

Emma Kay (GB)

Born 1961 in London, living and working inLondon.Solo Exhibitions2008 Emma Kay, Toni Tapies, Barcelona2006 Emma Kay, Marres, Centrum voorContemporaine Cultuur, Maastricht2005 Emma Kay, Galerie Toni Tapies, Barcelona 2004 Emma Kay, The Power Plant, Toronto2003 The Story of Art, Tate ContemporaryIntervention, Tate Modern, London The Story ofArt, Tate Britain, London2001 Emma Kay, Hammer Projects, ArmandHammer Museum, Los Angeles, USAThe Future From Memory, Chisenhale Gallery,London, EnglandGroup Exhibitions2007 Fragments géographiques, Victoria andAlbert Museum, London, England

2006 FRAGMENTS GÉOGRAPHIQUES,Lehmann Maupin Gallery, New York City, USA2005 Et maintenant - What now, Crac Alsace,Altkirch, FranceMove Your Past, Signal, Malmö, SweedenGeneral Ideas - Rethinking Conceptual Art1987–2005, CCA Wattis Institute forContemporary Arts, San Francisco, USARomance, Cristina Guerra Contemporary Art,Lisbon, Spain The Lisson Gallery Summer Show, LissonGallery, London, England Still Life - Naturaleza muerta arte contemporáneobritánico y peruano, Museo de Arte de Lima,Lima, Peru2003 Micro/Macro British Art 1996-2002Műcsarnok Kunsthalle, Budapest, Hungary2002 13th Biennale of Sydney- The World May Be(Fantastic), Museum of Contemporary ArtSydney2001 ARS 01, Kiasma, Helsinki, Finland2000 The British Art Show 5, Hayward Gallery,London1999 Istanbul Biennale, Istanbul

Maria Lantz (SE)

Born 1962 in Lund, Sweden, lives and works inStockholm.Employed as adjunkt at Royal University Collegeof Fine Arts, Stockholm Sweden Runs th post-graduate program Art&Architecture; Editor Motiv:a magazine on contemporary photography; mem-ber of the board for the Swedish Arts and Grantscommittee.Group Exhibitions2007 Liljevalchs Kunsthalle, Stockholm2007 Gothenburg Kunsthalle2006 Vancouver World Social Forum, groupshow2003 Cairo TownHouse Gallery,.,,and they gotsand..”On Location” groupshow2002 Umeå, ”Politics of Place”, UmeåBildmuseum

Cezar Lăzărescu (RO)

Born 1969 in Iași, Romania, lives and works inIași.Group exhibitions2007 Back to the future / Cu spatele la viitor, NouăGallery, BucharestVisual Eurobarometer, Neiborhood – Daily

practice of social values, MNAC Gallery 'Etaj ¾' -National Theatre, Bucharest2006 Festutopia 2006, Timișoara2005 Staging Idioms. A documentary installation,Stadtturmgalerie, Innsbruck'Click-a-Cliché', Reiner Tisch Gallery, Berlin,'On Difference #1. Local Contexts – HybridSpaces', Württembergischer KunstvereinStuttgart, Stuttgart2004 The Way the World is, Turkish Bath, Iaşi2002 Public Art Transeuropa, Project 3, Focus onRomania", A9 forum transeuropa,MuseumsQuartier, Vienna,2001 Periferic Biennial, Iași

Philippe Rekacewicz (FR) / Le MondeDiplomatique

Born in 1960 in Paris, is a geographer and carto-grapher.After completing his studies of Geography at theUniversité de Paris I (Panthéon-Sorbonne), he joi-ned the staff of the international French monthlynewspaper Le Monde diplomatique, for whom heregularly produces maps (above all on prominentgeopolitical themes and environmental concerns— conflicts, migrations and important social andeconomic problems). He is interested in the rela-tionships between cartography and art, scienceand politics, but he is also particularly interestedin exploring the role that art plays in the creationof maps and what effect it has as a means of pro-paganda when a map is used for political ends(manipulation).

Dinu Li (GB/HN)

Born 1965 in Hong Kong, lives and works inManchester, UK.Solo Exhibitions2007 The Mother of All Journeys, 42 NewBriggate, LeedsChronicle of a Dream Foretold, The BiggerPicture, Manchester2005 Age of Transition, BCA Gallery, Bedford As If I Were A River, Waterside Art Gallery,Manchester2004 Outside Are Our Dreams, Chapman Gallery,Salford2001 Treasured Island, An Tobar, Isle of Mull Group Exhibitions2007 Central Asian Project, Tashkent Biennale,

UzbekistanCentral Asian Project, Underground Hall, Bishkek,KyrgyzstanCentral Asian Project, Tengri-Umay Gallery,Almaty, KazakhstanLondon Is The Place For Me, Rivington Place,London2006 3 UK Artists in Central Asia, Exhibition Hall,Almaty, KazakhstanIn Exposed Areas, Kulturbunker, CologneLiminal Britain, University of Texas at San AntonioArt Gallery2005 The Mother of All Journeys, Victoria andAlbert Museum

Armin Linke (IT)

Born 1966 in Milan, Italy, lives and works in Milan.Solo Exhibitions2007 Armin Linke, Klosterfelde, Berlin2006 Galleria Massimo De Carlo, Milano2005 Prospectif Cinéma, Centre Pompidou, Paris2004 Structures For Art and Architecture, NewYorkVitamin Creative Space, GuangzhouGroup Exhibitions2007 Yo_User, ZKM Karlsruhe1st Thessaloniki Biennale of Contemporary Art,State Museum of Contemporary Art, ThessalonikiThe Second Moscow Biennale of ContemporaryArt, Museum of Modern Art at Petrovka, MoscowThis Place is My Place, Kunstverein, Hamburg2006 The Maghreb Connection TownhouseGallery CairoIn den Alpen Kunsthaus ZurichSpectacular City NAI, Rotterdam2005 La Dolce Crisi Villa Manin, Codroipo (Udine)The Second Guangzhou Triennial, GuangzhouInSite_05. Art Practices in the Public Domain,Tijuana (San Diego)2003 Territories, Witte de With, RotterdamGeography and the Politics of Mobility, GeneraliFoundation, Vienna2002 25th Bienal de São Paulo, Sao Paulo1999 Cities on the Move, Hayward Gallery,London Laboratorium, Antwerpen1998 Berlin Biennale, Berlin

Mikael Lundberg (S)

Born 1952 in Lövö, Sweden, lives and works inStockholm.

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Solo Exhibitions2007 Nedslag i tiden 1937-2007, Statens kon-stråds galleri2005 Klaipeda Art Hall, Lituania Skövde konstmuseum2000 Galleri Charlotte Lund, Stockholm1997 Galerie Alexandre de Folin, New YorkGroup Exhibitions

2007 On the road, House Of Sweden,Washington2006 Trettiosju", med Magnus William Olsson,SR, P1, radioteatern Konsthallen Vitehall med Palle Dahlstedt,Kungsbacka2005 Nationalmuseum, StockholmMilliken Gallery, StockholmTirana Biennale, Tirana

Bertien van Manen (NL)

Born 1952 in the Netherlands, lives and works inAmsterdam.Solo Exhibitions2008 Museum für Gestaltung Zürich SwitzerlandfYancey Richardson Gallery New YorkMuseum Ludwig Budapest HungaryFotohof Salzburg Austria2007 Central European House of PhotographyBratislava Slovakia2006 'Mois européen de la photographie' CNALuxembourg2005 MoMA New YorkWalter Gropius Bau Berlin, Berlin Photofest “Afterthe Fact” GermanyGroup Exhibitions2007 Howard Gilman Gallery, ʻHidden in PlainSightʼ Contemporary Photographs from theCollection of the Metropolitan Museum of Art New YorkʻScènes and Tracesʼ Collection Stedelijk MuseumAmsterdam2006 ʻOp het tweede gezichtʼ Frans Hals MuseumHaarlemʻDutch Insight” Kumho Museum of Art SeoulʻL'esprit du Nordʼ Maison Européene de laPhotographie ParisʻFrames revisitedʼ De Hallen . Frans HalsMuseum HaarlemʻStories, Historiesʼ- from the Collection of theFotomuseum Winterthur, SuissePalais des Beaux Arts BruxellesʻRécits dʼune Mondialisationʼ Palais des NationsGenève

Adrian Matei (RO)

Born in 1980 Galati, Romania, lives and works inBucharest and Cluj-Napoca.Group exhibitions2004 Assez Loin, Espace Cosmopolis, Nantes.Shoe Polish, Atas Gallery, Cluj-Napoca.

Christina McPhee (USA)

Born 1954 in Los Angeles, USA, lives and worksin CaliforniaSolo Exhibitions2007 Christina McPhee, Katzen Arts Center,Washington2005 Christina McPhee, Bild Museet, UmeaGroup Exhibitions2007 Lyon Biennial, Lyon, France2007 International Festival of New Film and NewMedia, Split

Randa Mirza (LB)

Born 1978 in Beirut, lives and works in Lebanon.Solo Exhibitions2007 The Nahr el Bared relief campaign, Bourjel Barajneh, Lebanon2007 The finnish museum of photography,Helsinki, Finland 2006 La Stanza delle biciclette gallery(Vincenzo Cottinelli), Brescia, Italy1999 Beirut theatre, Beirut, LebanonGroup Exhibitions2007 FIAC, Grand-Palais, Paris, France Sites of imagination, Center cultural La mercé,Girona, Spain The representation of evil, The finnish museum ofphotography, Helsinki, FinlandMoving Walls, Espace SD, Beirut, Lebanon2006 Welcome, The Leibling Center for Film,Photo and Video Hampshire College, USANafas Beirut, Espace SD, Beirut, LebanonStomping ground, Le Florence Gallery, LosAngeles, USALes rencontres photographiques dʼArles, Arles,FranceChou tabkha ya marra, Art Lounge, Beirut,Lebanon French Cultural Center, Torino, Italy2005 5th francophone games, National museumof modern art, Niamey, Niger 2004 8th international festival of photography,Aleppo, Syria

2nd international photography meetings of GharEl-Melh, Tunisia

Oliver Musovik (MK)

Born 1971 in Skopje, Macedonia, lives and worksin Skopje.Solo Exhbitions2007 Skopje, Macedonia, Museum ofContemporary Art2006 Skopje, Macedonia, Driving, ContemporaryArt Center, Kurshumli An Gallery2004 Adelaide, Australia, friends, neighbours andothers, Experimental Art Foundation2003 Belgrade, Serbia & Montenegro, MamaLoves Teleshop, Remont GalleryGroup Exhibitions2007 Thessaloniki, Greece, 1st Biennale ofContemporary Art “Heterotopias”, State Museumof Contemporary Art2006 Belgrade, Serbia, 47. October Salon "Art,Life & Confussion"2005 Diyarbakir, Turkey, A Consumption ofJustice, Diyarbakir Art CenterVienna, Austria, REALITÄTEN I - MachtfaktorWirtschaft, Fotogalerie Wien2004 Cetinje, Serbia & Montenegro, 5th Biennaleof Cetinje "Love it or Leave It"Rome, Italy, Mediterraneo, MACRO al Mattatoio2003 Kassel, Germany, In the Gorges of theBalkans, Kunsthalle Fridericianium KasselLeipzig, Germany, Writing Identities.Autobiography in Art., Gallery for ContemporaryArtKarlsruhe, Germany, Para > Sites / Who is mov-ing the global city?, Badischer Kunstverein 2002 Frankfurt am Main, Germany, Manifesta 4 –European Biennial of Contemporary Art1999 Istanbul, Turkey, 6th International IstanbulBiennial

Karina Nimmerfall (A)

Born 1971 in Deggendorf, Germany, lives andworks in Berlin.Solo Exhibitions2007 Power Play, Landesgalerie Linz2006 Double Location, Bucket Rider Gallery,Chicago2005 New Talents, Art Cologne SponsorshipProgram, CologneSecond Unit, Galerie Grita Insam, ViennaGroup Exhibitions

2007 You are here, Camera Austria, GrazHistoryteller, Lautom Contemporary, Oslo2006 Location Uncertain, NIU Art MuseumDeKalb2003 “8th Havana Bienale”, Havana2002 MAK Center for Art and Architecture, LosAngeles

Josh On: TheyRule.net (USA)

They Rule aims to provide a glimpse of some ofthe relationships of the US ruling class. It takes asits focus the boards of some of the most powerfulU.S. companies, which share many of the samedirectors. Some individuals sit on 5, 6 or 7 of thetop 500 companies. It allows users to browsethrough these interlocking directories and runsearches on the boards and companies. A usercan save a map of connections complete withtheir annotations and email links to these maps toothers. They Rule is a starting point for researchabout these powerful individuals and corpora-tions.

Yoko Ono (USA)

Born in 1933 Tokyo, Japan, lives and works in theUSA.

Solo Exhibitions2008 Yoko Ono. Between the Sky and My Head,Kunsthalle Bielefeld, Germany2007 Yoko Ono, Kunsthalle Bremen, Germany2006 Yoko Ono: Grapefruit, Berkeley ArtMuseum, USA2004 Yoko Ono - Odyssey of a Cockroach ICALondon2003 50. Biennale Venedig 2003 BiennaleVenedigYoko Ono - WOMEN´S ROOM Musée d´ArtModerne de la Ville de ParisYoko Ono NGBK Berlin

Group Exhibitions2007 PERFORMA07 PERFORMA, New York,USARomantischer Konzeptualismus BAWAGFoundation, Vienna, AustriaKISS KISS BANG BANG., Museo de Bellas Artes,Bilbao, SpainVertigo, MAMbo, Bologna, ItalyCentre of the Creative Universe, Tate Liverpool,

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Great Britain2006 Concept. Action. Language. MUMOK,Vienna, AustriaAltered, Stitched & Gathered, P.S.1 MoMA, NewYork, USALooking at Words Andrea Rosen Gallery, NewYork2005 The Artistʼs Body. Then and Now, Mamco,Geneve, SwissWAR IS OVER Galleria d´Arte Moderna,Bergamo, Italy8. Biennale de Lyon 2005, Biennale Lyon, France2004 Taipei Biennial 2004, TaiwanUtopia Station, Haus der Kunst, Munich,Germany5. Shanghai Biennale 2004, Shanghai BiennaleLiverpool Biennial 2004 Liverpool Biennale

Lia Perjovschi (RO)

Born 1961 in Romania, living and working inBucharest.Solo Exhibitions2006 Lia Perjovschi, Kunstraum InnsbruckGroup Exhibitions2007 Dada East? The Romanians of CabaretVoltaire Färgfabriken, StockholmLearn to Read, Tate Modern, LondonAuszeit. Kunstmuseum Liechtenstein, VaduzLE NUAGE MAGELLAN, Centre Pompidou, Paris2006 Every Day..., Kunstverein SalzburgDada East?, Cabaret Voltaire Dadahaus, ZürichACADEMY. Learning from Art, Museum vanHedendaagse Kunst, Antwerpen10 Jahre Kulturförderungsgesetz, NÖLandesmuseum, St. PöltenCheck-in, Europe Europäisches Patentamt,MünchenPeriferic 7, Biennale Periferic, IasiAGAIN FOR TOMORROW, Royal College of Art,LondonInterrupted Histories, Moderna Galerija Ljubljana2005 On Difference #1, WürttembergischerKunstverein, StuttgartDas Neue Europa, Generali Foundation, Wien2004 Who if not we...?, BAK UtrechtPublish and be Damned, CUBITT Gallery andStudios, LondonArteast 2000+, Moderna Galerija Ljubljana2003 Lia Perjovschi & Dan Perjovschi, KunsthalleGöppingenBalkan Konsulat proudly presents: Budapest,rotor Graz

Periferic 6, Biennale Periferic, Iasi

Arno Peters (DE)

Born 1916 in Berlin, Germany, died in 2002. ArnoPeters developed the Peters world map, basedon the Gall-Peters projection. Born in Berlin,Germany, he began his career as a filmmakerwho studied American techniques of filmmakingduring the late 1930s, and helped to revolutionizefilm production in Germany at the time. In 1942,Arno Peters received his doctorate at theUniversity of Berlin, writing his dissertation onpolitical propaganda. This interest pushed Petersinto studying Synchronoptic World History, whichfocuses on giving all people of the world equalvoice, by making a timeline with each year gettingequal space on a page. This project culminated inPeters' development of the Peters world map in1974.Sabine Réhoré (FR)

Born 1963 in France, living and working inMarseille. In 1999, she decided to remake the world andsince that time, it became her job.Because map ofthe worldʼs industrial making has set the picturingof our planet, she wants to give back the expres-sive power of this topic to dream and fantasy.Analysing symbols, physical realities and mentalmodels that leads our vision, she creates her ownplanets Earth. Facing these works, the onlookergets puzzled and considers cartography withbrand new eyes.

Arjen van Susteren (NL)

Arjen van Susteren is designer and researcher.Besides frequently lecturing, he recently pub-lished the Metropolitan World Atlas.

Jan Svenungsson (SE)

Born 1961 in Lund, Sweden. Lives in Berlin.Solo Exhibitions2007 A Place on Earth & Tracking, RMIT FacultyGallery, Melbourne, Australia (with Katrin vonMaltzahn) 2006 Sprachverschmelzende Mitteilungen,Brandenburgischer Kunstverein, Potsdam,

Germany2005 Schornsteinarbeit, Buxtehude Museum,Buxtehude, Germany 2004 Chimney Works, Galleri Flach, StockholmTest Paintings, Galerie Werner Klein, Cologne,Germany2003 Psycho-Mapping the Current Crisis,Moderna Museet, Stockholm2002 Schornsteinarbeit, Galerie Werner Klein,Cologne, Germany Liverpool Project, Open Eye Gallery, Liverpool,Great-Britain Group Exhibitions2007 20th Anniversary Exhibition, The WanåsFoundation, Knislinge, SwedenDen moderna staden – det offentliga rummetsestetik, Uppsala Konstmuseum, Sweden2006 Skissutställning Halmstad 700", NyaStadsgalleriet, Halmstad, Sweden Artist Migration Berlin, Heidelberg Kunstverein,Heidelberg, Germany2005 A Whiter Shade of Pale – Scandinavian Artalong the Lower Elbe (Buxtehude, Germany)XL, la collection photographique dʼArles, MuséeRéattu, Arles, FranceSvensk Konst Nu, Kalmar Konstmuseum, Kalmar,Sweden2004 The Pontus Hulten Collection..., ModernaMuseet, StockholmBerlin North, Nationalgalerie im HamburgerBahnhof, Berlin2003 handlungsanweisungen - instruction,Kunsthalle Wien project spaceContemporary Art From Sweden, EuropeanCentral Bank, Frankfurt, GermanyInsert - Aspekte Schwedischer Kunst”,Kulturabteilung Bayer, Leverkusen, Germany2002 Zeichen > < Sprache, Galerie Grita Insam,ViennaTransvisit Fort Masnedø, Masnedø, Denmark Mare Balticum, National Museum, Copenhagen

Adriana Varejao (BR)

Born 1964 in Rio de Janeiro, Brazil, lives andworks in Rio de Janeiro.Solo Exhibitions2007 Adriana Varejao, Hara Museum ofContemporary Art, Tokyo, Japan2005 Adriana Varejão | Câmara de Ecos, CentroCultural de Belém - CCB, Lisbon, PortugalAdriana Varejão. Galeria Fortes Vilaça, SãoPaulo, Brasil

DA2 - Domus Artium 2002, Salamanca, SpainAdriana Varejão - Echo Chamber. FondationCartier pour lart contemporain, Paris2004 Adriana Varejão. Victoria Miro Gallery,London, England 2003 Adriana Varejão. Lehmann Maupin Gallery,New York City, USA2002 Adriana Varejão - Secos e Molhados GaleriaFortes Vilaça, São Paulo, BrazilAdriana Varejão. Victoria Miro Gallery, LondonEnglandGroup Shows2007 Coleções 8, Galeria Luisa Strina, SãoPaulo, BrazilDa Visualidade a o Conceito 80-90 ModernosPosmodernos etc. Instituto Tomie Ohtake, SãoPaulo, BrazilIVAM - Institut Valencià dArt Modern, Valencia,SpainGlobal Feminisms. Brooklyn Museum of Art,Brooklyn, USA2006 Busy Going Crazy. The Sylvio Perlstein col-lection, La Maison Rouge, Paris, FranceLiverpool Biennial 2006, Liverpool Biennial ofContemporary Art, Liverpool, England20 Desarreglos - Arte Contemporáneo de Brasil.Museo de Artes Visuales, Santiago, spain.Collection of the Fondation Cartier pour lart con-temporain, Museum of Contemporary Art Tokyo,Tokyo, JapanARS 06, Kiasma - Museum of Contemporary Art,Helsinki, Finland2005 Leilao Beneficente Galeria Luisa Strina, SãoPaulo, Brazil2004 Leilao de Parede Galeria Luisa Strina, SãoPaulo, BrazilSITE Santa Fes Fifth International BiennialInternational Biennial Exhibition Site Santa Fe,Santa Fe, USA

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PARALLEL EVENTS/PROJECTS OF BUCHAREST BIENNALE 3Authors: C`t`lin Avramescu (filosopher), Eugen R`descu (politologyst), Alexandru B`l`[escu (anthropologist), Felix Vogel (theoretician), R`zvanIon (political activist), Pavilion (magazine).

CE ESTE BREAKFAST?

Micul dejun este masa cea mai important` a zilei \n timpul c`ruia citim presa. Dac` mai mult decit informa]ie am primi [i comentarii personalesubiective, am putea reac]iona [i am g`si modalit`]i noi de interferen]`, altele dec\t cele obi[nuite?“BREAKFAST” caut` sa transcead` tradi]ionalele grani]e \ntre cercetare, educa]ie [i expunere [i caut` noi forme de exprimare [i comunicarediscursiv` \ncerc\nd s` ofere r`spunsuri noi la \ntreb`ri vechi legate de politic`, estetic`, form`, fond, con]inut [i s` reevalueze conven]iile cotid-ianului. “BREAKFAST” este un punct de propuneri, dezbateri, analize asupra scenei artei contemporane [i contextul interna]ional \n care aceastaac]ioneaz`. Este un proiect-baz` de discu]ii pentru problemele contemporane, ca un dublet analitic-(re)productiv aproape foucaultian.

WHAT IS BREAKFAST?

The breakfast is the most important meal of the day. Breakfast means reading the newspapers. What if we could get not just mere informationbut also reactions to those events, could we react ourselves and would we have the opportunity to find new means of interference-different tothe usual ones?“BREAKFAST” seeks to transcend the traditional borders between research, education and presentation and looks for new ways of expressionand communication trying to find new answers to some old questions related to politics, aesthetics and content and to reevaluate the conven-tions of everyday life.“BREAKFAST” is a platform of debates on contemporary issues that involves proposals, debates, analyses of the contemporary art scene andthe international context in which it operates, almost like analytic-(re)productive foucaultian dublet.

http://blogs.pavilionmagazine.org/

Supported by:

Blog Performance

BBRREEAAKKFFAASSTT AATT PPAAVVIILLIIOONN

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CINEMA SUITCASE / Amsterdam, The NetherlandsArtists: Mieke Bal, Zen Marie, Thomas Sykora, Gary Ward and Michelle Williams Curator: Marko Stamenkovic, art-e-conomy / Belgrade, Serbia

June 21 – 25, 2007Desant, 123 Ion Mihalache Bd., Bucharest, Romania

Opening: Tuesday, June 21, 1 9.00 / Followed by Public Debate, 20.00

Debate with: Andreea Grecu (economist), Eugen Radescu (politologist), Razvan Ion (editor of Pavilion), Alex Balasescu (antropologist), CristianCrisbasan (journalist), Catalin Avramescu (political analist). Moderator: Marko Stamenkovic (curator).

The concept of dis-economy of life is meant to suggest the tight connections between the various areas in which the economic, in the sense oforganization of life, affects people: public space, private life, individual mental well-being. In all these domains, a form of dis-economy occurs atthe present time. As a result, people float in uncertainty, at the same time economically connected to and yet, disconnected from one another.The proposed series of films present these domains, by means of visual description, narrative, encounters, and reflexivity

Cinema Suitcase is an international group of filmmakers pursuing projects of experimental social documentary. The group consists of: MiekeBal, Zen Marie, Thomas Sykora, Gary Ward, and Michelle Williams. Coming from a diversity of fields in the visual arts, they seek to facilitate theself-narration of their subjects, always encountered on the basis of a great intimacy, rather than constructing their stories for them. Thisapproach enhances the performative quality of filmmaking as a collective process. The travelling media exhibition brings together three sepa-rate yet complementary work-segments (video installation Nothing is Missing; Colony; Mille et un jours & Access Denied). -------------------------------Conceptul dis-economiei vie]ii este menit a sugera str\nse conexiuni \ntre zone variate unde economicul, \n sens de organizare a vie]ii,afecteaz` popula]ia: spa]iul public, via]a privat`, bunastarea mental` personal`. |n toate aceste domenii o form` de dis-economie apare \nprezent. Ca rezultat, popula]ia plute[te \n incertitudine, \n acela[i timp \n conexiune, dar [i deconecta]i de cel`lalt. Seria de filme propus`prezint` trei domenii: descriere vizual`, nara]iune, expresie, reflexivitate.

Cinema Suitcase este un grup interna]ional de realizatori de film care folosesc documentarul social experimental ca modalitate de realizare aproiectelor. Grupul este constituit din Mieke Bal, Zen Marie, Thomas Sykora, Gary Ward, Michelle Williams. Provenind din zone diferite aleartelor vizuale, grupul caut` s` faciliteze auto-nara]iunea propriilor subiecte, dec\t s` construiasc` pove[ti. Abordarea de acest tip cre[te cali-tatea performativ` a crea]iei fimografice ca proces colectiv. Expozi]ia media nomad` aduce impreun` trei segmente-modalit`]i de lucru.

Supported by:

Exhibition / Travelling Video Installation | Expozi]ie / Instala]ie Video Nomad`

DDIISS--EECCOONNOOMMYY OOFF LLIIFFEE // DDIISS--EECCOONNOOMMIIAA VVIIEE}}IIII Migratory Aesthetics, Travelling Concepts & Organization of Economic Life Estetica migra]iei, concepte de c`l`torie & organizarea vie]ii economice

Bucuresti, May 11 -25, 2007Venue: Desant, Bd. Ion Mihalache nr. 123

Artists: bankleer (D), open circle (Indien), Mansour Ciss/Laboratoire Déberlinisation (Senegal), Markus Dorfmüller (D), Petra Gerschner (D), Marina Grzinic (Slovenia),Ibrahim Mozain/Artists Without Walls, (Israel/Palästina), Oliver Ressler (A), Walter Seidl (A), Allan Sekula (USA).

Opening: May 11, 2007, 19.00

+ Public debate moderated by R`zvan Ion (editor Pavilion) with: Dan Perjovschi (artist/journalist), Vasile Ernu (writer), Eugen R`descu (theoretician/curator),Alexandru B`l`[escu (anthropologist), Cristian Crisb`[an (writer/journalist), Adriana Zaharia (theater director), Andreea Grecu (economist).+ Launch of PAVILION no. 11 "What Was Socialism, and What Comes Next".

The art project HOLY DAMN IT has to be seen as an artistic intervention in the process of a political debate about social alternatives in the international protest andresistance movements against the G-8 summit in Heiligendamm near Rostock in 2007.Ten international artists and artist collectives from four continents have created one poster each.The artistic contributions deal with the hegemonic conditions and current issues about social movements against capitalist globalization: privatization, exploitation ofhuman beings and resources, war, torture, escalating military mobilization from within as well as to the outside as a permanent state of exception, sexist violenceand patriarchal as well as racist models of dominance. Moreover, the project deals with the power of global image (re-)production within capitalism and the develop-ment of ideas about of an emancipative and solidarity-oriented culture and society.Project will be presented in Berlin, Graz, Ljubljana, Berna, Zurich, Kiel, Hamburg, Rostock, Dusseldorf, Munchen, Viena, Bucuresti, Belgrade, Karlsruhe, Zagreb,Maribor, Koln.

---------Bucuresti, 11 -25 mai 2007

Arti[ti: bankleer (D), open circle (Indien), Mansour Ciss/Laboratoire Déberlinisation (Senegal), Markus Dorfmüller (D), Petra Gerschner (D), Marina Grzinic (Slovenia),Ibrahim Mozain/Artists Without Walls, (Israel/Palästina), Oliver Ressler (A), Walter Seidl (A), Allan Sekula (USA).

Deschiderea: 11 mai 2007, 19.00Loca]ie: Desant, Bd. Ion Mihalache nr. 123

+ Dezbatere public` moderat` de R`zvan Ion (editor Pavilion) la care vor participa: Dan Perjovschi (artist/jurnalist), Vasile Ernu (scriitor/editorialist), Eugen R`descu(politolog/curator), Alexandru B`l`[escu (antropolog), Cristian Crisb`[an (scriitor/jurnalist), Adriana Zaharia (regizor), Andreea Grecu (economist).

+ Lansarea revistei PAVILION no. 11 "What Was Socialism, and What Comes Next".

Proiectul artistic HOLY DAMN IT trebuie v`zut ca o interven]ie artistic` \n procesul dezbaterii politice asupra alternativelor sociale \n cadrul mi[c`rii interna]ionalede protest [i rezisten]` \mpotriva summitului G8 ce va avea loc la Heiligendamm, l\ng` Rostock, \n 2007.Zece arti[ti [i grupuri artistice de pe patru continente au creat, fiecare, c\te un poster.Contribu]iile artistice ]in de condi]iile hegemonice [i subiectele actuale legate de mi[c`rile sociale \ndreptate \mpotriva globaliz`rii capitaliste: privatizare,exploatarea resurselor [i a fiintelor umane, r`zboi, tortura, re\nt`rirea mobiliz`rilor militare \ntr-o permanent` stare de exce]ie, violen]a ce inso]e[te discriminareasexual`, modelele patriarhale [i rasiste de domina]ie. Mai mult, proiectul discut` imaginea global` a (re)produc]iei \n capitalism [i cu dezvoltarea ideilor despre o cul-tur` [i o societate orientate c`tre emancipare [i solidaritate.Proiectul este prezentat \n Berlin, Graz, Ljubljana, Berna, Zurich, Kiel, Hamburg, Rostock, Dusseldorf, Munchen, Viena, Bucure[ti, Belgrade, Karlsruhe, Zagreb,Maribor, Koln.

For more details/Pentru mai multe detalii: www.holy-damn-it.or

Supported by: Media Partners:

Exhibition+Debate/Expozi]ie+Dezbatere

HHOOLLYY DDAAMMNN IITT50 000 posters against G8 – on the urgent need for radical answersDespre necesitatea unor r`spunsuri radicale. 50.000 de afi[e \mpotriva summitului G8

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Friday, May 18, 2007

20.00 Second launch of PAVILION magazine no. 10- 11 on the topic “What Was Socialism, and What Comes Next” with the exhibition “Holy DamnIt”. Public debate with the editors of PAVILION.

Saturday, May 19, 2007

10.00 Informal meetings

17.00 Breakfast At Pavilion “The Magazine As Temporary Structure”, a lecture by Felix VogelDesant. Bd. Ion Mihalache nr. 123

18.30 Breakfast At Pavilion “Political Esthetics”, a lecture by Cosmin MarianDesant. Bd. Ion Mihalache nr. 123

Sunday, May 20, 2007

10.00 Informal meetings

17.00 Breakfast At Pavilion

“Informalities”Artist talk by Maria Lantz.

“Being Here. Mapping the Contemporary”Public debate with Jan-Erik Lundstrom & Johan Sjostrom, the curators of Bucharest Biennale 3.Desant. Bd. Ion Mihalache nr. 123

Supported by:

Networking /Lectures /Debates /Research

PPAAVVIILLIIOONN MMEEEETTIINNGG PPLLAACCEE

August 07, 2007 -- 11.00 hoursBucure[ti, Pia]a Universit`]ii (in front of National Theatre)

In Japan, for the cellebration of the New Year in early january, people traditionally fly kites. Usually made out of paper, taking mythical formssuch as Octopus, Demon, Animals, etc. My project in Bucharest is to fly kites made out of garbage collected from the streets of the city, i.e.Plastic bags and/or cardboards. This action-art project is a way to collaborate with the people from Bucharest for the making of the kites, andin parallel it constitutes a communicating mixture of Japanese and Romanian culture. Local and global categories are under the scrutiny throughthis aesthetic action. Trash is part of the culture of any city, and in the garbage one may find the vestiges of international corporations, such asFast Food chains, mixed with packaging from local producers. The kite will mix them reconstituting the microcosmos of Bucharest. This kite willbe the material expression of commodity distribution system, a witness of contemporary global capitalism, and a commentary on the consumersociety in Bucharest. The flying kite is untouchable, but it touches us and will make us rethink our socio-political context. The experience of col-lectively working on a kite with local people may remain in the memory of Bucharest cityscape.

Yoshinori Niwa is a physical performance artist who often incorporates animals, plants, and the environment into his work. Niwa’s aim is toexplore how to live with others, especially those of other cultures and social classes. Niwa has performed works in Britain, Canada, Germany,Hungary, Japan, Montenegro, Poland, Serbia, and Slovakia. In addition to his performance work, Niwa is curator and festival organizer. Niwa iscurrently coordinating an international art festival titled "Artist as Activist" in Tokyo.---------------------------La fiecare \nceput de ianuarie \n Japonia, cu ocazia Noului An, oamenii \nal]` zmee. De obicei f`cute din h\rtie, acestea cap`t` forme inspiratedin mitologia local`: Caracati]e, Demoni, Animale, etc. Proiectul lui Niwa \n Bucure[ti este de a \n`l]a, \mpreun` cu locuitorii ora[ului, un zmeurealizat din gunoaiele adunate de pe str`zile capitalei: pungi din plastic, sticle din plastic, ambalaje din carton, etc. Acest proiect de art` \nac]iune este o modalitate de a colabora cu locuitorii din Bucure[ti, constituind \n paralel o mixtiune comunicativ` \ntre cultura japonez` si cearomân`. Categoriile de local si global sunt analizate prin aceast` ac]iune estetic`. Gunoiul este parte din cultura fiec`rui ora[, iar \n gunoi oricinepoate g`si vestigiile corpora]iilor interna]ionale amestecate cu ambalajele produc`torilor locali. Zmeul le va amesteca, reconstruind astfelmicrocosmosul Bucure[tiului. Acest zmeu va fi expresia material` a sistemului de distribu]ie a m`rfii, un martor al capitalismului global contem-poran, [i un comentariu asupra societ`]ii de consum din Bucuresti. Zmeul \n zbor este de neatins, \ns` el ne atinge pe noi, [i ne face s` reg\ndimcontextul socio-politic \n care tr`im. Experien]a lucrului colectiv cu bucure[tenii va r`m\ne \n memoria peisajului citadin al Bucure[tiului.

Yoshinori Niwa este physical performance artist care incorporeaz` \n opera sa animale, plante, mediul inconjur`tor. Scopul declarat al lui Niwaeste s` exploreze cum tr`iesc ceilalti, \n special cei din alte culturi [i clase sociale. El a performat \n Marea Britanie, Canada, Germania, Ungaria,Japonia, Muntenegru, Serbia, Polonia, Slovacia. Pe l\ng` activitatea sa de artist, Niwa este curator [i organizator al festivalului interna]onal"Artist as Activist" din Tokyo. www.niwa-staff.org

Supported by:

Media Partners:

Partner:

PerformanceFLYING KITE WITH LOCALS / |N~L}|ND ZMEE CU LOCALNICII

YYOOSSHHIINNOORRII NNIIWWAA (Japan)

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May 23 - June 21, 2008INFO POINT BB3, București (PAVILION UNICREDIT - center for contemporary art & culture, Șos. N. Titulescu nr. 1)

Artists of the 1st and 2nd poster campaign: h.arta group (Timişoara), Sanja Iveković (Zagreb), Aydan Murtezaoğlu (Istanbul), IsaRosenberger (Vienna); bankleer (Berlin), Miklós Erhardt & Dominic Hislop (Budapest), Alexandros Georgiou and Jennifer Nelson, in col-laboration with ITYS, Institute for Contemporary Art and Thought, Athens and Konate Mamadou and Théophile Yerbanga (Athens), TadejPogačar (Ljubljana).

“Land of Human Rights” is a project dealing with the status quo of the human rights in Europe seen from the perspective of visual art, whichwill also work on the issue in an analytical and visionary manner. Over a period of three years the discourse on human rights in Europewill be disseminated in the general public with the means of art. The discussion shall purposely be based on issues “in front of oneʼs owndoor” or “inside oneʼs own house”.

The project is co-organized by art institutions from six countries: < rotor > association for contemporary art, Graz; Galerija ŠKUC, Ljubljana;g-mk / galerija miroslav kraljevic, Zagreb; Trafó House of Contemporary Arts, Budapest; Faculty of Art and Design - JEPU, Ústí nad Labem;riesa efau / Motorenhalle, Dresden.

One integral part of the long-term project “Land of Human Rights” is a poster campaign. Starting in September 2007, a set of 4 posters willbe printed every half a year. The front side of the posters will present works of artists and on the back side there will be short texts of the-orists or human rights activists who will thematize current human rights issues. In Bucharest a series of posters will be distributed inBucharest Biennale 3 as parallel event.---------------------------“Teritoriul Drepturilor Omului” este un proiect care crează status quo-ul drepturilor omului în Europa, privite din perspectiva artelor vizuale,și analizează tema într-o manieră analitică şi vizionară. De-a lungul a trei ani discursul despre drepturile omului în Europa va fi diseminatpublicului prin intermediul artei. Dezbaterea va fi bazată în mod premeditat pe teme precum “în faţa proprie-i uşi” şi “în interiorul proprie-icase”.

Proiectul este co-organizat de către institute de artă din şase ţări: Asociaţia “Rotor” pentru Artă Contemporană, Graz; Galeria ŠKUC,Ljubljana; g-mk / Galeria Miroslav Kraljevic, Zagreb; Casa Trafó de Arte Contemporane, Budapesta; Facultatea de Arte si Design – JEPU, Ústí nad Labem; riesa efau / Motorenhalle, Dresden.

O parte integrală a proiectului pe termen lung “Teritoriul Drepturilor Omului” este o campanie de afi[e. Începând cu sepembrie 2007, un setde patru afişe va fi imprimat o dată la şase luni. Pe partea din faţă vor fi prezentate lucrări ale artiştilor şi pe cea din spate vor fi scurtetexte ale teoreticienilor sau activiştior drepturilor omului ce vor avea ca temă probleme actuale ale drepturilor omului. |n București o seriede afișe vor fi distribuite în cadrul Bucharest Biennale 3, ca eveniment paralel.

Supported by:

Media Partner:

Poster Campaign

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May 24, 2008 -- 18.00 hoursBucurești, National Center for Dance (Piaţa Universităţii, National Theatre, floor 4)

The 2012 Olympics and the Frieze Art Fair, twin poles of the UK's financialised economy, seem to confirm that art has converged withsport as an instrument of capital's economic and spatial restructuring. But if both high art and popular culture partake of a decadentcapitalism's ongoing self-cannibalisation, what remains of the revolutionary potential of modernist art, sport and politics today? Ben Seymour and Anthony Iles of London-based culture/politics magazine Mute [http://metamute.org], present their respective takeson this question.

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Olimpiada din 2012 și Frieze Art Fair, cei doi poli ai economiei financiare din Marea Britanie, par sa confirme ca arta converge cusportul ca instrument al capitalului economic și restructurării spaţiale. Dar, dacă arta de înaltă clasă și cultura populară se implică înpermanenta auto-canibalizare a capitalismului decadent, ce mai ramîne din potenţialul revoluţionar al artei moderne, sportului șipoliticii?Ben Seymour și Anthony Iles de la revista londoneză de cultură/politică Mute [http://metamute.org], prezintă poziţiile lor în acestăchestiune.

Lecture

Ben Seymour and Anthony Iles

AARRTT,, SSPPOORRTT,, AANNDD SSHHOOPPPPIINNGG –– FFRROOMM MMOODDEERRNNIISSTT UUTTOOPPIIAA TTOO NNEEOOLLIIBBEERRAALL DDYYSSTTOOPPIIAA

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May 23, 2008 -- 20.00 hoursCNDB - National Center for Dance (Bd. Nicolae Bălcescu, nr. 2 - TNB, 4th Floor, Ronda Hall)

Concept, text şi coregrafie: Mihai Mihalcea & Solitude ProjectInterpreţi: Mihai Mihalcea & Mihaela SîrbuColaj muzical din: Eartha Kitt, Josef Haydn, Kurt Dahle, Jérôme SoudanProdus de: Solitude Project(reprezentaţie în limba engleză, durata aproximativă: 35 min)

Concept, text and choreography: Mihai Mihalcea & Solitude ProjectPerformance: Mihai Mihalcea, Mihaela SirbuMusic (collage): Eartha Kitt, Josef Haydn, Kurt Dahle, Adolphe Adam, Jérôme SoudanProduction: Solitude Project(performed in English, duration about 35 min)

In this piece, presented in premiere in DieTheater Vienna in 1999 and since reworked, Mihai Mihalcea attempts to demonstrate that choreograph-ic research is a difficult exercise. In a derisive approach to the subject, he displays to the public his discontent as an artist at not being able tosatisfy the audience, constantly challenging his concepts his art and his private life. Here, and indeed throughout his work, Mihai Mihalcea cease-lessly questions the artist’s position, bringing home to the audience the difference between an artistic idea and its execution.

Mihai Mihalcea works and lives in Bucharest as independent choreographer & performer. He was working Comic Opera in Berlin and „ChristianTrouillas” company in Paris. He was teaching at Choreography High School “Floria Capsali”, “Dinu Lipatti” Music High School, Theater Academyin Iai, Theatre International de la Cité Universitaire din Paris, Centre Chorégraphique National de Franche-Comte, Belfort, La Manufacture,Atelier du Rhin - Centre dramatique regional, Colmar. He created several works presented in well known festivals in Italy, Poland, France, Austria,Germany, USA, Hungary, Bulgaria, Ukraine, Belgium, Portugal, Holland, Ukraine and Slovenia. Since 2006 Mihai Mihalcea took over the directionof The National Centre of Dance in Bucharest.

----------------------------

„You come to see the show and you’ll get an extra burger!” este un anti-spectacol. Este o lucrare în perpetuă transformare, diferită de la oreprezentaţie la alta, care lasă impresia unei repetiţii desfăşurată în faţa publicului. Autorul creează un remix pemanent al conţinutului,amestecă fără reţineri planuri temporale şi sentimente de ultimă oră, şi încearcă să creeze un spaţiu propice pentru întrebări. „Spectacolul”pune în centrul atenţiei confesiunea publică a autorului său, care se poziţionează critic faţă de problemele pe care le are în societatea în caretrăieşte şi, mai cu seamă, în domeniul în care activează. Autorul ridică semne de întrebare în legătură cu arta dansului, balansînd permanentîntre dans şi ceea ce se află în spatele acestuia. Nu fără o notă de ironie, autorul se lasă purtat de subiectivismul său extrem, încalcă regulile şiconvenţiile scenice, şi îi dezvăluie publicului amănunte despre culisele creării spectacolului şi despre evenimentele care i-au marcat formareaca dansator.

Mihai Mihalcea este coregraf si dansator. Timp de doi ani a fost dansator al Operei Comice din Berlin si a colaborat ulterior cu Compania„Christian Trouillas” din Paris. A dansat si a creat spectacole si lucrări coregrafice prezentate în: Franta, Germania, Italia, Austria, S.U.A.,Bulgaria, Ukraina, Portugalia, Polonia, Ungaria, Olanda, Belgia si Slovenia. A predat cursuri permanente de dans contemporan la Liceul deCoregrafie “Floria Capsali” si a tinut cursuri si ateliere punctuale la Liceul de Muzică “Dinu Lipatti”, la Academia de Teatru din Iasi, Opera dinChisinau, la Theatre International de la Cité Universitaire din Paris, Centre Chorégraphique National de Franche-Comte din Belfort, LaManufacture, Atelier du Rhin - Centre dramatique regional, Colmar. Din 2006 este director al Centrului National al Dansului din Bucuresti.

Performance - Dance

YOU COME TO SEE THE SHOW AND YOU’LL GET AN EXTRA BURGER!

June 03, 2008 -- 17.00 hoursBucure[ti, Elvira Popescu Cinema (French Cultural Institute, Bd. Dacia nr. 77)

IThe film takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charis-matic Slavoj Žižek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Žižek delves into thehidden language of cinema, uncovering what movies can tell us about ourselves.

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Filmul transpune vizitatorul într-o incursiune vioaie în lumea celor mai cunoscute filme relizate de-a lungul timpului. Prezentatorul şi totodatăghidul acestei călătorii este carismaticul filosof şi psihanalist slovenian Slavoj Zizek. Felul său specific de a aborda procesul cognitiv prin pris-ma pathosului l-a determinat să decodifice limbajul ascuns al cinematografiei, imaginând filmul ca pe o oglindă în care fiecare din noi se poateprivi.

Film

Directed by Sophie Fiennes and presented by Slavoj Žižek

TTHHEE PPEERRVVEERRTT''SS GGUUIIDDEE TTOO CCIINNEEMMAA

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MMaayy 2255,, 22000088 ---- 1177..0000 hhoouurrssBBuuccuurree[[ttii,, NNaattiioonnaall CCeenntteerr ffoorr DDaannccee ((PPiiaa]]aa UUnniivveerrssiitt`̀]]iiii,, NNaattiioonnaall TThheeaattrree,, fflloooorr 44))

BB3 invited students of the Post Conceptual Art Practices (PCAP) class at The Academy of Fine Arts in Vienna/ Prof. Marina Gržinić to propose aparallel event as part of the Bucharest Biennale. The result is a book project with the title “Are you talking to me?”. Discussions on knowledge production, gender politics and feminist strategies,edited by feminist group h.arta (Maria Crista, Anca Gyemant, Rodica Tache) from Romania and Katharina Morawek (PCAP student). After an inten-sive editorial process the book presents PCAP students positions on questions of knowledge, EU and feminism. These positions are presentedtogether with invited international writers and artists. The book is published by Löcker Verlag, Vienna, and financially supported by The Academyof Fine Arts in Vienna/Post Conceptual Art Practices and BB3.Book contributions are by Carolina Agredo, Anna Artaker, Elke Auer, Zanny Begg, Petja Dimitrova, Lina Dokuzović, Veronika Eberhart, EvaEgermann, Eva Cruells, Marina Gržinić, Simina Guga, Alex Hache, h.arta, Ana Hoffner, Reni Hofmüller, Maja-Lena Johansson, Ivan Jurica, VidaKnežević, Katharina Koch, Lisbeth Kovačič, Ladyfest Romania collective, Lovekills, Roxana Marin, Ivana Marjanović, Julia Mitterbauer, Emil Moise,Katharina Morawek, Crina Morteanu, Lilo Nein, Gerhild Perl, Alina Po[irc\, Rosa Reitsamer, Joanne Richardson, Ana Sala, Karin Schneider, SabineSölkner, Esther Straganz, Andi Tennis, Lisa Torell, Nuria Verges, Julia Wieger, Veronika Wöhrer, Regina Wuzella, Vina Yun.Students from PCAP will as well travel to BB3. The goal is to deepen the intensity of collaboration with different spaces, and to learn from produc-tive antagonisms in different situations and institutions. Taking part in the travel research project to BB3 from PCAP, Akbild are: Carolina Agredo,Lina Dokuzović, Kevin Dooley, Veronika Eberhart, Juana Gonzalez, Can Gülcü, Muzaffer Hasaltay, Peter Haselmayer, Ivan Jurica, JohannesKlemen, Christoph Kolar, Katharina Morawek, Adnan Popović, Lilo Reissert, Jasmin Schienegger, Christina Trachta, Ruth Weismann, ReginaWuzella and Petja Dimitrova, Prof. Assist., Eduard Freudmann, Prof. Assist., Marina Gržinić, Prof. Dr.In Bucharest will take place a live meeting of the participants of the project and public.

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BB3 a invitat studenţii Clasei de Artă Post Conceptuală (PCAP) din cadrul Academiei de Arte din Viena, clasa Prof. Marina Gržinićsă propună un eveniment paralel.

Rezultatul este un proiect-carte cu titlul “Are you talking to me?”. Publicaţia cuprinde discuţii despre pruducţia cunoașterii, politicide gen și strategii feministe fiind editată de grupul feminist h.arta (Maria Crista, Anca Gyemant, Rodica Tache) din Romania și Katharina Morawek(studentă a PCAP). După un efort editorial intens cartea prezintă poziţiile studenţilor PCAP referitoare la cunoaștere, UE și feminism. aceste poz-iţii sînt prezentate împreună cu artiști și teoreticieni internaţionali invitaţi să își expună punctele de vedere. Cartea este publicată de Löcker Verlag,Vienna și finanţată de The Academy of Fine Arts in Vienna/Post Conceptual Art Practices și BB3.

La realizarea publicaţiei au contribuit: Carolina Agredo, Anna Artaker, Elke Auer, Zanny Begg, Petja Dimitrova, Lina Dokuzović,Veronika Eberhart, Eva Egermann, Eva Cruells, Marina Gržinić, Simina Guga, Alex Hache, h.arta, Ana Hoffner, Reni Hofmüller, Maja-LenaJohansson, Ivan Jurica, Vida Knežević, Katharina Koch, Lisbeth Kovačič, Ladyfest Romania collective, Lovekills, Roxana Marin, Ivana Marjanović,Julia Mitterbauer, Emil Moise, Katharina Morawek, Crina Morteanu, Lilo Nein, Gerhild Perl, Alina Po[irc\, Rosa Reitsamer, Joanne Richardson, AnaSala, Karin Schneider, Sabine Sölkner, Esther Straganz, Andi Tennis, Lisa Torell, Nuria Verges, Julia Wieger, Veronika Wöhrer, Regina Wuzella,Vina Yun.

Studenţii PCAP vor fi prezenţi la București cu scopul de a intensifica colaborarea cu diferite spaţii și a experimenta antagonismeledin diferite situaţii și instituţii. La călătoria de cercetare în cadrul BB3 vor participa: Carolina Agredo, Lina Dokuzović, Kevin Dooley, VeronikaEberhart, Juana Gonzalez, Can Gülcü, Muzaffer Hasaltay, Peter Haselmayer, Ivan Jurica, Johannes Klemen, Christoph Kolar, Katharina Morawek,Adnan Popović, Lilo Reissert, Jasmin Schienegger, Christina Trachta, Ruth Weismann, Regina Wuzella and Petja Dimitrova, Prof. Assist., EduardFreudmann, Prof. Assist., Marina Gržinić, Prof. Dr.

În București va avea loc o întîlnire live între participanţii la proiect și public.

Supported by:

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June 13 - 15, 2008 -- 22.00- 24.00

Bucure[ti, Loading Open LAB, str. Elie Radu , nr.1 (near Bucharest City Hall)Real time webcam stream Romania / CanadaRetro projection on 2 windows -- 1st floor / the side of the building situated on Splaiul Independenei

This project has performative aspects that involves surveillance cameras taking footage from Canada and live feeding them to the base, LoadingOpen LAB in Romania.The footage is presented in analogy along with and mixed with live footage taken from Bucharest, Romania with The People’s House andDambovita River as a background. The resultant visuals are video-projected onto the two windows of the building where Loading Open LAB is located, from inside the building (retro projection ) and can be seen outside, in the street, by the public. The public becomes a voyeur watching the most intimate shadows play-ing through the windows of a private home.The two urban landscapes presented, you would be very surprised, dear voyeur, are not so different! Or you will discover depressing corners ofOttawa or Toronto streets without having to be there to give a dollar to a rundown homeless guy and smell Listerine. Or you can see the beau-ty of a maple tree waving its branches in the Canadian sky. Or you can found yourself projected into the daily Bucharest’s reality onto thePeople’s House’s background ignored by the traffic. The project tries to map through images the realities of two countries as are seen by five artists through the lens of surveillance cameras. Thesetwo images / countries cohabitate inside the same house, as in an experiment’s laboratory in which territories are difficult to define.

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Transmisie webcam in timpi reali România - CanadaRetroproiecie pe 2 ferestre - etaj 1 / faada clădirii dinspre Splaiul Independenei

Loading Open Lab are plăcerea de a iniia proiectul Safe Mapping AKA They Are Watching!, care aduce împreună artiti din Bucureti, Româniai Ottawa & Toronto, Canada.Proiectul are un aspect performativ implicând camere de supraveghere care captează imagini/secvene din Canada i le transmite live cătrebază – Loading Open LAB, Bucureti, RO. Această transmisie este prezentată în analogie cu o transmisie live din Bucureti pe fundalul CaseiPoporului i râului Dambovia.Rezultatul vizual este video proiecia pe 2 ferestre ale clădirii unde este situat Loading Open LAB dinspre interior (retroproiecie) i poate fivăzut din exterior (strada) .Publicul devine un voaior privind prin ferestrele unei case private jocul celor mai intime umbre. Cele 2 peisaje urbane prezentate, vei fi foarte surprins, dragă voaiorule, nu sunt foarte diferite! Ori vei descoperi coluri deprimante ale străzilordin Ottawa sau Toronto, fără a fi nevoit să fii acolo sa dai 1$ decăzutilor fără adăpost i sămiroi Listerine. Sau poi vedea frumuseea unui ararlegănându-i crengile pe cerul canadian. Sau te vei putea regăsi, în acelasi timp, proiectat în realitatea cotidiană a Bucuretiului pe fundalul CaseiPoporului ignorată de traficul din jurul ei.Proiectul încearcă să cartografieze în imagini realităile a două ări, asa cum sunt ele văzute de 5 artiti prin lentilele camerelor de supraveg-here. Aceste 2 imagini/ări coabitează în aceeai casă ca într-un experiment de laborator în care teritoriile sunt greu de definit.

SAFE MAPPING AKA THEY ARE WATCHING!LOADING OPEN LAB AKA MAGDALENA & BOGDAN PELMUS, BUCHAREST, ROMANIA

ULYSSES CASTELLANOS, FAISAL ANWAR, THEO PELMUS, OTTAWA & TORONTO, CANADA

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November 21, 2007 -- 18.30 hoursBucure[ti, National Center for Dance (National Theatre, 4th Floor -- Ronda Hall)

History also maps apparently imperceptible dimensions. These are difficult to detect, deviate and calatogue, since they easily traverse dif-ferent historical periods, however, once they have penetrated the imperceptible, answers to secular questions may be unveiled. How come weoften forget where we started from? How come doing good has a negative connotation? How come "the asses never forigive one of theirkind for having risen above media"? (Stefan Zeletin, "From the land of asses"). The emotional geographies are cartogaphies, whose histori-cal fluctuation traverses many epochs and social hierarchies. They are the most sensitive sensors, through which nature strives for or forcesan adaptation in a history of its own!The lecture of Adrian Majuru deals with an emotional cartography of Bucharest, which in a way anticipates the theme of next year'sBUCHAREST BIENNALE 3: "Being here. Mapping the Contemporary".

Adrian Majuru (born 1968, Bucharest) coordinates Folk Art Museum "Dr. Nicolae Minovici" and is one of the initiators behind the founding ofthe Museum of Urban Anthropology. He is the author of several publications, such as Bucharest of the outskirts or the periphery as a modeof existence (Compania 2003) and Childhood according to romanians (Compania, 2006).

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Istoria cartografiaz` [i dimensiuni aparent insesizabile. Sunt dificil de surprins, decalat [i catalogat deoarece traverseaz` cu mare u[urin]`perioade istorice variate, \ns` odat` penetrat insesizabilul, pot fi descoperite raspunsuri la intreb`ri seculare.De ce uit`m adesea de unde am plecat? De ce a face bine are conota]ie negativ`? De ce „m`garii nu iart` niciodata unuia dintr-ai lor faptul dea se fi ridicat deasupra mediei”? (Stefan Zeletin, "Din ]ara m`garilor")Geografiile emo]ionale s\nt cartografieri a c`ror fluctua]ie istoric` traverseaz` multe epoci [i multe ierarhii sociale. Ele sunt cei mai sensibili sen-zori prin care natura uman` \ncearc` sau for]eaz` o adaptare \n propria-i istorie!Prelegerea lui Adrian Majuru se dore[te o cartografiere emo]ional` a Bucurestiului anticip\nd \ntr-o m`sur` tema BUCHAREST BIENNALE 3.

Adrian Majuru (n.1968, Bucure[ti) coordoneaz` Muzeul de art` popular` dr.Nicolae Minovici [i este unul dintre ini]iatorii înfiin]`rii Muzeului deantropologie urban`. Este autorul mai multor c`r]i între care amintim selectiv: “Bucure[tii mahalalelor sau periferia ca mod de existen]`”(Compania 2003) [i “Copil`ria la români” (Compania, 2006).

Supported by: Media Partners:Partner:

LectureEMOTIONAL GEOGRAPHIES - URBAN MYTHS/ GEOGRAFII EMO}IONALE - MITURIURBANE

AADDRRIIAANN MMAAJJUURRUU

May 24 - June 21, 2008Opening: May 24, 21 .00 hoursBucure[ti, Mora, Str. Grigore Mora nr. 39 - last floor (near Piaa Charles de Gaulle)

The project Utopia Travel took place from March to July 2002, following two years of preparation phase, on a pre-planned route between Egyptand Austria. The basic outline of the project Utopia Travel was the transport of a comprehensive selection of VHS videotapes from Cairo to Vienna followingthe transition from the upper part of the African continent over the Middle East towards central Europe.A Cairo taxi limousine equipped with video monitors served as a mobile unit transmitting the contents of the video archive on the distances betweenthe capitol cities of the respective countries.

The archive contained pre-selected video material produced by artists and filmmakers originating from and in most cases living in one of the coun-tries on the route. The 123 video works were compiled through a research within established networks followed by direct interaction with artisticcommunities and collaborations with regional institutions, including universities, media-labs and art centres.

National and cultural limitations, given by geographical borderlines and the assumption of different habitat with certain historical influences, pro-duce specific diversities in the visual coding of information. From this point the requested visual material was chosen under consideration of notionsof cultural, social and political reality found in the fragment of the particular society of origin.

In a following step the Archive was shown in the taxi as a mobile video installation, during a tour over four months through the cities Cairo, Beirut,Istanbul, Sofia, Belgrade, Sarajevo, Zagreb, Ljubljana, Graz and Vienna. The presentations took place to a large extent in public space, as well as ʻdockingʼ to different institutions for art and culture.

During the travel the spaces of presentation, including the taxi and alternative structures, opened the opportunity to take part in a polylogue onissues, considering the complexity of singular societies as well as the construct of political territories.In that sense the project understood itself as a temporary non-institutional platform focusing on the matter of translation and transmissibility of localcultural codes as different aspects of interrelated parts of history. www.utopia-travel.org

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Proiectul Utopia Travel s-a ţinut din martie până în iulie 2002, ca urmare a unui proces de pregăire de doi ani, pe o rută plănuită anterior între Egiptşi Austria. Ideea de bază al proiectului Utopia Travel a fost transportul unei selecţii cuprinzătoare de casete VHS din Cairo în Viena urmărind tranziţia dinnordul continentului african către Orientul Mijlociu şi până în Europa Centrală.Un taxi limuzină din Cairo echipat cu monitoare video serveşte ca unitate mobilă ce transmite conţinutul arhivei video pe distanţele dintre capi-talele ţărilor respective.Arhiva conţinea material video selectat anterior şi produs de către artişti şi producători provenind şi (în majoritatea cazurilor) locuind în una dinţările de pe itinerariu. Cele 123 de lucrări video au fost reunite într-un studio de reţele, urmate de interacţiunea directă cu comunitaţile artstice şicolaborări cu instituţiile din regiune, incluzând universitaţi, laboratoare media şi centre artistice.Limitări de natura culturală şi naţională date de graniţele geografice şi de ipoteza unui habitat diferit cu influenţe istorice precise, produc diversităţispecifice în codarea vizuală a informaţiei. Din acest punct materialul vizual solicitat a fost ales considerând noţiuni de realitate culturală, socialăşi politică regăsite în fragmentul societăţii de origine respectivă.Într-un următor pas Arhiva a fost prezentată în taxi ca o instalaţie video mobilă, în timpul unui tur de patru luni prin oraşele Cairo, Beirut, Istanbul,Sofia, Belgrad, Sarajevo, Zagreb, Ljubljana, Graz şi Viena. Prezentările au luat loc ţn mare parte în spaţii publice, dar şi în diferite instituţii pentru artă şi cultură.În timpul călătoriei spaţiile de expunere, incluzând taxiul şi structurile alternative, au deschis oportunitatea de a lua parte la un polilog de teme,considerând complexitatea unor societăţi singulare, precum şi construcţia unor teritorii politice. În acest sens proiectul s-a dorit înţeles precum o platformă temporară non-instituţională ce se concentrează pe problema translaţiei şi transmisi-bilităţii codurilor cultural locale ca diferite aspecte alte fragmentelor de istorie ce relaţionează între ele. www.utopia-travel.org

Supported by:

EMANUEL DANESCH AND DAVID RYCH

UUTTOOPPIIAA TTRRAAVVEELL

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May 27 - June 21, 2008Opening: May 26, 19.00Sibiu, *.artlabs // CT3, Aleea Geniştilor

Concept: Liviana Dan & Anca MihuleţArtists: Sebastian Moldovan, Ursula Oberhauser, Angela Stauber, Silvia Wienefoet.

What if maps didnʼt show main roads anymore? What if they showed only secret places or the traces of that places? Would they still be calledmaps? When artists deal with secret spaces, their entire visual perspective is focused on a peculiar object, an object that would finally become thetrace of an intimate history.In the video entitled ʼDoorsʼ, Sebastian Moldovan deals with the luxury of consciously or even randomly flipping stages around himself. He revealsthe nomadic structure of the contemporary artist that has to push aside memories, feelings and permanence.Ursula Oberhauser fragmentizes the space of the former heating plant with copper stripes, following imaginary lines of perspective created betweenthe columns and the horizontal sides of the windows. The artist extracts transparent cubic structures, invisible to the untamed eye, the copperstripes being the only marks of entering a different dimension. The paintings of Angela Stauber demonstrate that nothing is separable from its surroundings / she sees, chooses and registers the susceptiblechanges by discovering absolute spaces around the private space of her painting.While interviewing some of the saxons that remained in Transylvania after the fall of communism, Silvia Wienefoet conceived a working-diary onone of the exterior walls of *.artlabs. Starting from the idea of waiting, she transposed in writing the emotions and perceptions of the people shegot in contact with. Three succesive layers appear on the wall, each describing a different status of the artist, of the analitical space she has cre-ated and of the neighbourhood as well.After facing the dilemma of transparency imposed by the four artistic interventions, you start wondering if that space really exists…

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Cum ar fi dacă hărţile nu ar mai indica rutele principale? Cum ar fi dacă s-ar trasa doar locuri secrete sau urmele acelor locuri? S-ar mai numi încontinuare hărţi? Atunci când artiştii se preocupă de spaţiile secrete, întreaga lor perspectivă vizuală se orientează spre un obiect anume, un obiectcare în final va deveni urma unei istorii intime. În video-ul intitulat ‚Uşiʼ, Sebastian Moldovan se confruntă cu luxul de a modifica, conştient sau la întâmplare, etapele şi stările pe care el însuşi legenerează. Imaginile dezvăluie structura nomadică a artistului contemporan, care trebuie să lase în urmă amintirile, sentimentele şi permanenţa. Ursula Oberhauser fragmentează spaţiul fostei centrale termice cu benzi de cupru, urmând linii de perspectivă imaginare, create de coloane şi delaturile orizontale ale geamurilor. Artista extrage structuri cubice permanente, invizibile pentru ochiul îmblânzit, benzile de cupru fiind singureledeterminante ale pătrunderii într-o dimensiune diferită.Picturile Angelei Stauber demonstrează că nimic nu poate fi separat de context / artista vede, selectează şi înregistrează schimbările susceptibiledescoperind spaţiile absolute din jurul spaţiului privat al picturii ei. În timp ce intervieva câţiva etnici germani rămaşi în Transilvania după căderea comunismului, Silvia Wienefoet a conceput un ‚jurnal de lucruʼ peunul dintre pereţii exteriori de la *.artlabs. Pornind de la conceptul de aşteptare, a transpus în scris emoţiile şi percepţiile persoanelor cu care aintrat în contact. Pe perete, apar trei straturi succesive, fiecare descriind o stare diferită a artistei, a spaţiului analitic pe care ea însăşi l-a creat şia cartierului. După ce se depăşeşte dilema transparenţei impusă de cele patru intervenţii artistice, te poţi întreba dacă acel spaţiu există cu adevărat…

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June 10, 2008 -- 18.00 hoursBucurești, Museum of Geology (Șos. Kiseleff nr. 2)

There is a byzantine Bucharest as there also is an 80's Bucharest and another one of the inter-war period, all of them living well togetherover the past two decades.These three follow the line to the bedroom districts over which it's been added an under siege Bucharest,caught under the construction fever. It's a town center and a hurried people's one, as it is a Bucharest of districts where the time goes byso slowly in coffee shops and in the diversity of pizza shops hidden on the ground floor of the minimalist flats. There's a kitsch Bucharestthat you may encounter everywhere, from the crowded downtown to the peripheral districts and you can also discover a Bucharest on dis-appearance, victim of the hideous transformations that encompassed it from the beginning of this century.

Anca Ionita, journalist and chief-editor at TimeOut magazine presents an analysis of physical-emotional map of overlapped towns thatmake up/ create the contemporary/ nowadays Bucharest.

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Există un Bucureşti bizantin, după cum există un Bucureşti al anilor ʻ80 şi unul interbelic, ce convieţuiesc în bună unitate de mai bine dedouăzeci de ani. Toate trei se continuă cu oraşul comunist al cartierelor dormitor, peste care s-a adăugat un Bucureşti în stare de asediu,cuprins de frebra construcţiilor. Există un Bucureşti al centrului şi al oamenilor grăbiţi, după cum există un Bucureşti al cartierelor, undetimpul se scurge mai încet, în cafenele şi pizzerii colorate, aflate la parterul blocurilor. Există un Bucureşti kitsch, pe care îl găseşti pre-tutindeni, de la centrul aglomerat până la cartierele mărginaşe, după cum există şi un Bucureşti pe cale de dispariţie, victimă transformar-ilor hidoase ce a cuprins oraşul la începutul secolului în care trăim.

Anca Ioniţă, jurnalist și redactor-șef al revistei TimeOut București, prezintă o analiză a amprentei / harţii fiziologic-emoţionale a oraşelorsuprapuse ce alcătuiesc Bucureştiul contemporan.

Lecture

ANCA IONI}~

PPhhyyssiiccaall--eemmoottiioonnaall MMaapp ooff tthhee CCaappiittaall CCiittyy OO hhaarrtt`̀ ffiizziioollooggiicc--eemmoo]]iioonnaall`̀ aa oorraa[[uulluuii ccaappiittaall`̀

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Strategic Partner:

Supported by:

Partners:

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Media Partners:

Official Cafe:

Production Partner:

Audio-Visual Partner:

Printing Partner:

[188]

Special thanks (in alphabetical order):Mulţumiri speciale (în ordine alfabetică):

Oana AileneiDana AltmanCătălin AvramescuIrina AbazaHoria BarnaMioara BolozanMihaela BorceanuAna BuarqueVeronica BurlacuMonica BrândușescuMagda CârneciAlina ComănescuȘtefan ConstantinescuEva CsogLiviana DanAndra DănăilăCristian DrăganOctavian EvghenideNuno FariaKrishan GeorgeSorin GherguţAndreea GrecuMarina GržinićJon HendricksJan HomburgBogdan IacobDan IacobIrina IonescuAdina IonescuAnca IoniţăSergiu Istrate

Mădălina IonescuAnca IuzicIngrid KlennerAnders LindCatrin LundqvistH.E. Roland LohkampCosmin MarianVirgil MihaiuMihai MihalceaAnca MiluCristian MoanţăDidier MontagneFemke MulierRăzvan MurgeanuVirpi NäsänenSina NajafiManuela NevaciAdrian OianuLois OlmsteadMihaela PandeleLorand PappMaria PascuHoria Roman PatapieviciIoana PăunMihaela PăunRodica PaladeValentin PanduruDan PerjovschiAneta PleșaJohan PohribAdrian Popescu

Adriana PopescuAnna-Maria PostRăsvan RaduHenni RahikainenIoana RoescuMara RaţiuNoemi RevnicCălin RicmanNiculae SaramanduAlex SăndulescuAndrei SârbuAntoaneta SeghediMarketta SeppäläAnca SeverinDan ShafranAmarjit SitfuMirela CărăbașConstantin StanRobert StasinskiDumitru ȘerbanVava ȘtefănescuLouise TaylorChristoph TannertSilvia TincaMirela VăleanuCristiana VladBianca VlastonThomas WeithönerGiorgiana Zachia

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