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
The “Delivering Obsolescence. Art Bank, Data Bank, Food Bank” project.
Curated by Camilla Boemio, with Fabio Lattanzi Antinori and David Goldenberg
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.
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
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
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
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
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