News 2016/17/18

 

 

 

 

5th Odessa Biennial of Contemporary Art – Turbulence. August 26th – October 31st, 2017

Curated by Mikhail Rashkovetsky and Semen Kantor, The Museum of Odessa Modern Art, Odessa, Ukraine

 

Including Dan Prejovschi, special section  to include Boris Mikhailov,  and a special section curated by Monika Szewczyk with Artur Zmijewski

Zanny Begg, Kristina Paustian, Renee Ridgway, Ghost of a Dream

 

Special Section

The “Delivering Obsolescence. Art Bank, Data Bank, Food Bank” project.

Curated by  Camilla Boemio, with Fabio Lattanzi Antinori and David Goldenberg

 

 

 

TURBULENCE AREA

Half a century later after “Future Shock” by Alvin Toffler outstanding sales manages discovered that we turned out in turbulent flow of  V.U.C.A., volatility, uncertainty, complexity and ambiguity.

Easy to see that the times of turbulence are periodic phases in the state of human culture.

And they occur as a result of the culture activity itself. So the eidos of certainty and perfection in the Renaissance are replaced by turbulent eddies of Baroque.

But if earlier turbulence in the culture has been defined as crises or transitions with their spatial-temporal boundaries, now the state of turbulence claims to be the boundlessness. Ancient curse “May you live in era of change” is losing its meaning because contemporary culture does not assume any eras of stability. Output from turbulent area is considered as a catastrophe that ends human existence as a whole.

Unity and opposition to the private and the general come into the most danger zone of risk. Radical means of design modeling are urgently needed in a permanent change accelerates exponentially. One of such means has been  art. A daily challenge of the art at all times has been work with universal relationship including dynamic one. Value of this function in turbulent zone seeks to infinity.

We once again call to look into the essence of social problems through the specific and universal art optics.

We exist at the turn where isolation of audience of contemporary art (which is a generation of post industrial society) becomes unbearable.

Odessa Biennale once again confronts the artists the global problem. That, according to many authoritative experts, is one of the signs of provincialism or marginality. However, in the era of fundamental crises, and even more so – a crisis of fundamentality – true outline of the future often encountered in the margins of canonic texts, at the boundaries which are melting in the fire of innovations.

 

http://2017.odesa-biennale.org.ua/

 

More information to follow shortly

 

Text and images from Distributing Obsolescence: Food Bank. Art Bank. Technology Bank show, background information for the new installation in the Odessa Biennial can be found in the following publication

https://view.joomag.com/startup-2/0225386001471983048?

   

 

   

  

 

Article by Camilla Boemio

 

 

Forthcoming events and projects in 2017/18

 

5 Years Gallery, London, UK May 2018

 

Program of talks and projects  2017/18 examining Participating Cultures in collaboration with Chelsea school of art, University of South Wales, Museum of Contemporary Art, Macedonia

 

Project in MK early 2018

 

Medway Arts Festival, Rochester, UK Oct 2017

Festival

 

Artists´ Books for Everything

An exhibition of the Centre for Artists´ Publications

Juni 3rd  – August 6th  2017

Centre for Artists´ Publications / Weserburg

Museum für Moderne Kunst
Teerhof 20
28199 Bremen

Germany

 

2017

 

6th December, What happens to us,  curated by Marsha Bradfield and Amy McDonnell, Welcome at the Same Table with CINZIA CREMONA. Wimbledon Space, Wimbledon School of art, London, UK.

 

23rd November I have work in Art-e-motion, presented by Marina Moreno, Palazzo Mora, Venice, Italy

 

Three new texts  2016/2017

January 2017 new version of “After the catastrophe” for the Catalogue of “Diane La Chasseresse” Iris Brosch, Published by Editions Rue de Temple

 

“After the catastrophe” Published by Normal Magazine

 

“Switch on and off (new version) ” Published by Pavilion Magazine

 

 

http://pavilionmagazine.org/david-goldenberg-switch-on-and-off/

 

pavillion text

 

 

Excerpt from my text on Participatory Practices written for Fillip Journal No 8 quoted by Fabiola Hanna 3.6.2017

 

 

                                                                                                                   

 

Pavilion homepage     New book on Art after Autonomy  

 

10th November Talk on recent work at The University of the Arts Canterbury

 

News

Exhibitions 2016/17

 

 

Sept

Art Riot Exhibition and book launch, Chelsea School of Art, London, UK

PV 5th September

5-9th September

Room A119a

 

July 2016

 

“Delivering Obsolescence: Art bank, Data bank, food bank” One person show at the Palace of Villa Caprile, Le Marche, Italy. Curated by Camilla Boemio and AAC Platform

 

art bank, data bank, food bank

 

 

July 2016, Group show, Kunst Altonale 18, Hamburg, Germany

 

 

Stasis and Looping

 

Title: Stasis and Looping, 2016

 

A new work  “A visual essay on the effectiveness of art against the background of a protest against austerity”

 

 

Delivering obsolescence. Art Bank, Data Bank, Food Bank – Installazione site-specific di David Goldenberg

 

Research Seminar: David Goldenberg

Event Date May 4, 2016 3:30 p.m. – 5 p.m.

Location – ATRiuM, Cinema (CA B205)

Assembling a platform to stage Participating Cultures

Chair: Inga Burrows (University of South Wales)

The term Participating Cultures originated in a lecture that I delivered for the 2010 Mongolian Land Art Biennial, as a critique of participatory practices and the Biennial form as a platform for staging art in a Global context. Then expanded and visualised in installations for the Venice Biennial and the Caspian Sea Biennial, and more recently in a text for the Pavilion Journal in 2014 where Participating Cultures is recognised as the second term in the formulation of the scheme of Post Autonomy.

In the new lecture I propose to provide a general introduction that covers the initial steps towards the conceptualisation and visualisation of Participating Cultures, beginning with how to translate the concepts into recognisable forms and language that makes the ideas understandable to a wider audience and contributors. And at the same time establish a platform to both discuss and stage a project examining Participating Cultures against a background of stasis and obsolescence and the current state of sociopolitical emergency, that forefronts the health and capacity for art and thinking to register this state of affairs? As a term it is intended to signal and trigger re-imagining starting again, leading to re-configuring the spatial global role of art. Yet before this possible any discussion of change, starting again, and reconfiguration is only possible through a general understanding of the space of art and cultural power.

Da­vid Gol­den­berg, (Hit­chin, Hertfordshire, UK, 1956) is an im­portant Eng­lish con­cep­tu­al ar­tist. For ye­ars, his re­se­arch has been con­cen­tra­ted on the Post Au­to­no­my con­cept, which he has de­ve­l­o­ped in a num­ber of shows held at im­portant in­ter­na­tio­nal in­sti­tu­ti­ons, stan­douts amongst which are the re­cent (2012) The Sce­na­ri­os of Post Au­to­no­my, Glen­da Cin­que­gra­na: the Stu­dio, Mi­lan, Ita­ly; Tem­pla­te – Mo­bi­le Do­cu­men­ta, Chisenha­le Stu­di­os, Lon­don (2011), The Space of Post Au­to­no­my, Arts De­pot, Vi­en­na (2011), Plau­si­ble Art­worlds, Ba­se­kamp, Phil­adel­phia (2010), Mo­bi­le Do­cu­men­ta, Ford­ham Gal­le­ry, Lon­dra (2009), The Time of Post Au­to­no­my is Now, Your space, Van Ab­be­mu­se­um, Eind­ho­ven, Hol­land (2009), The Space of Post Au­to­no­my, Lo­cal Ope­ra­ti­ons, Ser­pen­ti­ne Gal­le­ry, Lon­don (2007).

 

Review of Condo by David Goldenberg

New text in collaboration with Maria Inez Plaza

Social share

New text on Participating Cultures for Reflector M

Participating Cultures

 

 

Here, There and Everywhere: Eurasian Cities

 

Project Director, Project Artist Kyong Park

JIHOI LEE, CURATOR

Asia Culture Center, ACC Creation, in Gwangju, South Korea,

from November 25th, 2015 to July 5th, 2016

 

Poster work South Korea small

 


 

Installation shots Asia Culture Center, ACC Creation, in Gwangju, South Korea

 

Guide

http://imaginingneweurasia.org/exhibition/programs/

http://imaginingneweurasia.org/main/

eMuseum

 

I have three text/poster works

Collapse

Fiction

From Art into Politics and from Politics into Art

 

Opening of European Promise 11th December

European Promise

 

New text on Curating degree zero in OnCurating issue 26

Curating degree zero

 

Arts Initiative Tokyo,
Rosanne Altstatt,
Amasté,
Artlab,
Anthony Auerbach,
B+B: Sophie Hope & Sarah Carrington,
Marius Babias,
Basekamp,
 Ute Meta Bauer,
Lorenzo Benedetti,
Tobias Berger,
Ursula Biemann,
Beatrice Von Bismarck,
Blok,
Lionel Bovier,
Tim Brennan,
c a l c,
camouflage,
Ele Carpenter,
Daniela Cascella,
Vaari Claffey,
Barbara Clausen,
consonni,
 Copenhagen Free University,
CRUMB,
Alice Creischer & Andreas Siekmann, D.A.E: Peio Aguirre & Leire Vergara, Catherine David,
Joshua Decter,
 Clémentine Deliss,
Claire Doherty,
Barnaby Drabble,
Sergio Edelsztein,
 Eichelmann, Faiers & Rust, EIPCP, Octavian Esanu, Jacob Fabricius, Elena Filipovic, Fiteiro Cultural, Freee, Mark Garry, Sönke Gau, Catalin Gheorghe, GMK, David Goldenberg, Horst Griese, Frederikke Hansen,
Kent Hansen,
Maria Hlavajova,
Justin Hoffmann,
Manray Hsu,
Andrew Hunt, Per Hüttner, Instant Coffee,
International 3, K&K, Christoph Keller, Alexander Koch, Annette Kosak, Holger Kube Ventura, Kuda.org, Kuratorisk Aktion, Daniel Kurjakovic, Simon Lamunière, Kelly Large, Maria Lind, Locus +, Chus Martínez, Bernd Milla, Elke aus dem Moore, Nina Möntmann, Heike Munder, Lise Nellemann, Tone Olaf Nielsen, Hans Ulrich Obrist, NEID, Paul O’Neill, Marion von Osten, Sarah Pierce/The Metropolitan Complex, Planet22, Tadej Pogacar, Prelom, Aisling Prior, Protoacademy, Catherine Queloz, Reinigungsgesellschaft, RELAX, Dorothee Richter,
Maria Riskova, Stella Rollig, Sabine Schaschl-Cooper, Annette Schindler, Katharina Schlieben, Eva Schmidt, Trebor Scholz, Marco Scotini, Yukiko Shikata, Nathalie Boseul Shin, Gregory Sholette, Joshua Simon, Lisette Smits, Reinhard Storz, Bettina Steinbrügge, Szuper Gallery, Toasting Agency, TNC Network, Attila Tordai, Trinity Session, Mark Tribe, Unwetter, Value, Sencer Vardaman, Yvonne Volkart,
Stevan Vukovic, Gavin Wade, Florian Waldvogel, Cristine Wang, Astrid Wege,
Lee Welch WHW, Jan Van Woensel,
Ina Wudtke, Florian Wüst, Tirdad Zolghadr, Tal Ben Zvi.

 

The archive of curating degree zero is open to the public at  the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK).

Information on the archive

Catalogue

Curating Degree Zero Archive

The Curating Degree Zero Archive (CDZA) documents the work of over 100 contemporary art curators who are known internationally for their critical and experimental positions. This collection of exhibition documentation, gifted to the archivists by the curators themselves, contains, among other materials, catalogues, DVDs, magazines and ephemera. In this way the archive presents a representative cross-section of the critical curatorial discourse at the beginning of the 21st Century.

The project began with the three-day symposium ‘Curating Degree Zero’, organized in Bremen in 1998 by Dorothee Richter and Barnaby Drabble. Between 2003 and 2008 the two curators worked together again on the Archive, which grew in size as it travelles to 18 venues around the world as an exhibition and program of live events and public discussions.

In 2011, the resulting collection was gifted to the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK). Since the opening of the University’s new premises in the Toni-Areal in 2014, the archive ist accessible as a permanent refernce collection in the lower floor of the MIZ.

The entire contents of the CDZA are listed in the NEBIS Catalogue, and material that, due to conservation issues, cannot be accessed directly in the reference section can be ordered for viewing through the NEBIS catalogue. Several unedited video recordings are listed in the eMuseum and can also be requested for viewing in the MIZ archive.

Further information about the archive and the touring exhibition can be found on the former CDZA website which is documented in the Arts Media Archive (Medienarchiv der Künste).

 

Material on David Goldenberg and works stored in the archive

 

http://recherche.nebis.ch/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=ebi01_prod006797061&indx=80&recIds=ebi01_prod006797061&recIdxs=9&elementId=9&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&dscnt=0&vl(1UIStartWith0)=contains&scp.scps=scope%3A%28ebi01_prod%29&tb=t&vl(215043702UI0)=any&mode=Basic&vid=NEBIS&vl(524695795UI1)=all_items&srt=rank&tab=default_tab&dum=true&vl(freeText0)=dokumentensammlung%20e65%20curating%20degree%20zero%20archive&dstmp=1477947526499

 

Interview October 2015

 

For exibitart.com

 

CURATORIAL PRACTISES

La Post Autonomy di David Goldenberg
di Camilla Boemio
camilla boemio

 

 

Catalogue for venicevending show

Venicevending catalogue

Gallery

2nd International Bodrum Biennial

(                  ) Collapse, 2015, Şevket Sabancı Kültür ve Sanat Merkezi, Turgutreis

Bodrum cover

 

“In a technical sense the project is looking at the erosion of thinking and art under the regime of Neo-Liberalism primarily through the prism of Post Autonomy, which I no longer understand as a theory but a means to record the erosion and loss of the attributes of art and thinking leading to this historical moment – so the work is a meditation on this. It also poses a provocation if art is truly free which aspects of society is art capable of interrogating, and making transparent, which leads onto locating images for Colonialism and Globalisation, then ideas for reinventing a new institutional critical practice. But central to the work has to be how to break colonial behaviour, actions and thinking, but foremost what is art able to say today, are we able to say anything?” In many respects’s the pooling together of these fragments can be seen as a path to reimagining an Enlightenment.

 

 

 

Biennial website http://www.bodrumbienal.org/en/2015-biennial-artists/

collapse text

A Fictitious event

From Art into Politics and from Politics into Art

Installation shots

IMG_4354 IMG_4361 IMG_4364 IMG_4365 IMG_4393 IMG_4395 IMG_4398 IMG_4418

Activating the Archive

images-stories-archive 2013 1-785x585

 

Banner Repeater and Hackney Archives

invite you to a

Borough of Hackney Artists’ Publishing exhibition.

opening night: Thursday 5th Feb 6-8pm until April 25th

Please join us for Activating the Archive: an exhibition of Artists’ Publishing in the borough of Hackney, at Hackney Archives on Thursday 5th February from 6-8pm.

Banner Repeater has been working with Hackney Archives to promote the richness of Artists’ publishing across the borough.  The project aims to provide a temporary platform to raise the visibility of publishing as an art form, and is part of a broader aim to introduce Artists’ Publishing within the network of Hackney Libraries.

Hackney Archives is the recognised repository for the Borough history and its research.  This service preserves the Borough’s historic records and makes them accessible for people to research and learn from.  Hackney Archives also collects and records information relating to past and current activity in the borough.  Activating the Archive has provided Hackney Archives with the opportunity to identify local, contemporary work with a view of adding this work into the archives and to ensure its contribution to the Borough’s creative heritage.

The Activating the Archive exhibition opens on Thursday 5th February at Hackney Archives, with a launch event from 6pm until 8pm.  The exhibition features works from local artists. The exhibition is accessible during the public opening hours of Hackney Archives, located on the second floor of CLR James Library, Dalston.  Many of the works can be handled to allow the visitor to explore this medium at its best.  The works collectively go some way in representing a broad range of artistic practices that engage with the publishing process, including Artists, Artist-led groups, collectives, and independent publishers working with Artists.

The exhibition will be on display from 5th February until April 25th (please note there is a scheduled period of closure at Hackney Archives between February 14th until the 2nd March).

Supported by Arts Council England.

 

The exhibition has been extended to May

Interview for Whitehot contemporary magazine

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WM homepage > Cities > whitehot London

Installation view

 

Post Autonomy: Simina Neagu Interviews David Goldenberg

By SIMINA NEAGU, NOV. 2014

David Goldenberg’s complex practice, focusing on the concept of Post-Autonomy and often employing participatory practices, poses ambitious questions on the future of art, thinking and language. And by investigating the geopolitics of biennials, David Goldenberg manages to shed light on a problematic, yet engaging set of inquiries. We set out to discuss the finer details of his ongoing work, whose structure is provided by the methodology of artistic research and a constant interest in collaboration.

Simina Neagu: Why a new language? What is it about the framework of art that prevents new development?

David Goldenberg: To answer your first point, images of the container, the route for a Mobile Biennial and ideas for selecting information on Biennials that made up the installation for Venice were elements taken from the exhibition I staged in Milan in 2012, “The Scenarios of Post Autonomy”.

We don’t have language, nor thinking. Any discussion of a new language and discovering a language refers explicitly, on the artistic level, to the narrative described by the scheme of Post Autonomy, which indicates an end point in the trajectory of art as a signal for its collapse and reimagining, and this describes precisely the collapse of language and thinking and its rediscovery. This can appear reactionary and anti-artistic, but this is wrong, since PA registers neo liberalism’s and cultural capitalism’s impact on art. Given that art and language are described as an absence, this can appear uncomfortable; however, an indication of a new language is shown at the point that the collapse of art triggers a new mental image of art, language and thinking. These complexities were visualised in the installation in Venice, the title, “the transformation of art”, showing a route back into language and thinking.  These observations need to be seen alongside the influence of Thomas Krens, director of Guggenheim, and his statement in the ‘90s that art doesn’t need further developments in the push to make art more accessible and global, which is outrageous and a clear indication of conservative thinking, leading to the proliferation of non critical practices and unwillingness of artists to openly engage with serious problems behind biennials and the globalisation of art.  All these threads have been taken up by recent authors, who have traced the complete stripping away of existing terms and theories inherited from Post war art to define art, there are no readymade terms and criteria to define art, so whatever is happening now is highly significant and gives credibility to Post Autonomy.

Neagu: The format of the Biennial still positions itself between Nationalism & Globalisation. What is the main issue behind the format and how does PA want to change it?

Goldenberg: There is no consensus concerning the definition of what a Biennial is, but this is the main argument between Nationalism and Globalisation for breaking down the global expansionist role of Biennials. However the main problem concerns issues I have just mentioned, preventing developing art and thinking. The term “Biennial”, along with “contemporary art”, both equally obsolete, comprise the existing spatial temporal coordinates defining art. As a term, Biennial locks thinking into a restricted format, but the frustrating problem is that no other format exists, so we are forced to visualise our own. It also locks art into the function of expanding the Western art market, and this is where we do find a consensus. But if we imagine beyond the term and function as sites for art in a global context, the terms to reformulate the ontology of art intersect. Therefore, our task was how to stage a project examining these issues without replicating these mechanisms and break with these restricted forms into thinking.

Neagu: How will a Mobile Biennial propose to resolve the common criticism of a Biennial that its Global agenda overlooks a local context?

Goldenberg: We used the image of a Mobile Biennial to mentally unfix the Biennial exhibition, which allowed us to project our thinking into the concrete practicalities of touring a show to different locations and the political ideological consequences of doing this, as well as designing and organising our own biennial.

route

Neagu: What is the similarity between a Global shipping container industry and Global exhibitions?

Goldenberg: The Global container industry provided a very simple familiar image that allowed us to link together the container with a Biennial pavilion, gallery units, minimalist sculptures as signs of global western art, the Global circulation of art and commodities. Two images structured our thinking: the image of a container port to summarise the existing limits, non development, Non thinking, stasis, the physical limit of what is possible, set against the Container Park to visualise going beyond existing forms leading into thinking and reconfiguring art. The installation in Venice comprised two containers in our imaginary container park.

Neagu: Define Participatory Cultures?

Goldenberg: Participating cultures is a new term to embody the entry into thinking that changed Post Autonomy from its earlier limited definition into an expanded version. Existing methodologies and thinking are unable to break open the loop that traps us within the mechanisms of colonial and global expansion and non-thinking. So we need something to assist us. Participating cultures is part of this thinking revolving around how to break open this trap and locate a trigger to start the process leading into reimagining art again. This occurs through linking up with Globally distributed cultures who are in the same stage of rethinking art as ourselves, and work towards developing a new art through exchanging ideas. This seems to take art to a higher level.
Neagu: Did the show in Venice raise new Questions?

Goldenberg: Yes and it revolves around recognising the 2nd effect the ideas generated, and occurred when we recontextualised the installation and issues raised in Venice to Baku, in the form of a kit for a mobile Biennial, using the design for an imaginary container park, including a model of the Venice installation.  What is of interest here is how we shift from the centre of cultural power in Venice out to a country and culture who represented the first example of a participating culture, in order to engage with the actual reality of establishing a participating culture. Bypassing the idea of a participating culture to the reality and context of a participating culture and reinventing the Biennial uncovers and puts under threat principles of western modernism, its autonomy and cultural power, and brings us face to face with the realisation that what we take for granted needs to be fought for and that it is unlikely that the principles of western modernism will be retained. In other words, entering a context where we begin to actively reimagine art again completely unsettles our received understanding, generating a shock, and asks us very forcibly what we still want from art.  It is here where new questions arise, moving us into the core of establishing participating cultures. What elements do we select and retain and what qualities and what criteria are used to select suitable cultures to be part of the network of Participating cultures?

Neagu: Why is collaboration an important component? And say something about the PA group.

Goldenberg: It isn’t so much collaboration, as participation, which is a methodology with its sets of problems that I have explored since the 1990’s, first as a cybernetic model, then a Systems theoretical model, and its fundamental replacement of Modernism’s terminology around the artist and art work, as a basis for breaking down hierarchies and cultural power. Participating cultures sought to reframe participatory practices after its recent appropriation by institutions. Members of the Post Autonomy group occupied points in both actual geographical space and in our imaginary map to take the mobile Biennial, a string of geo political coordinates that allowed us to test out and exchange our understanding and vocabulary for articulating art and its possible development, in other words, they were a physical embodiment to work towards materialising participating cultures.

I want to thank Ioana Pioaru and Bahram Khalilov for their advice and collaboration on many stages of the project.

 

 

Simina Neagu (b. 1988, Bucharest) works as a curator, cultural manager or journalist. She obtained an MA in Aesthetics & Art Theory at Centre for Research in Modern European Philosophy, Kingston University London and collaborated with various institutions such as Pavilion Unicredit, Bucharest Biennale, Centre for Visual Introspection (Bucharest), Knoll Galerie (Vienna and Budapest), South London Art Map or Artist Pension Trust Institute (New York). In 2011 she co-founded the curatorial collective AAA+ and since 2013, she collaborates with artist Silvia Vasilescu for [perplex projects]. She’s a regular contributor to South London Art Map Magazine and has written for various international organizations such as Gothenburg Museum of Art, The Project Biennial of Contemporary Art, D-0 ARK Underground or Centre for Contemporary Art Ujazdowski Castle. Lives and works in London.

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