yoeri meessen

Manifesta 8

Biennials

Art Mediation

Manifesta 8

Chamber of Public Secrets (CPS)

Alexandria Contemporary Arts Forum (ACAF)

tranzit.org    

Murcia    Cartagena  

Europe    

Northern Africa    

dialogue    

contemporary    

debate

transgress

biennial

nomadic

artists

collective  

involvement development

venues

international local

East

West

collonial

communist

methodologies

discours    

geography    

festival

2 October  

9 January  

artistic production  

sustainability dynamic

flexible

The Biennial

The Biennial

Athens Bienniaal

Auckland Triennial

Biennial Austria

Blatic Triennial

Beijing Biennial

Berlin Biennial

BIACS Seville

Brighton Photo Biennial

Bucharest Biennial

Busan Biennial

Cairo Biennial

California Biennial

Chile Triennial

Dak’Art Senegal

Documenta

Echigo Tsumari Triennial

Emergency Biennial

Florence Biennial

Folkestone Triennial

Fukoaka Triennial

Göteborg Biennial

Guangzhou Triennial

Gwanju Biennale

Gyumri Biennial

Havana Biennale

Istanbul Biennial

Iowa Biennial

Kitakyuschu Biennial

Liverpool Biennial

Lodz Biennial

Luanda Triannial

Lyon Biennale

Manifesta

Mercosul Biennial

Biennale de Montreal

Moscow Biennale

Panama Biennial

Periferic Biennial

Prague Biennial

Riwaq Biennial

São Paulo Biennial

Seoul Biennial

Shanghai Biennial

Sharjah Biennial

Singapore Biennial

Sydney Biennial

Taipei Biennial

Tirana Biennial

Turin Triennial

Vancouver Biennial

Venice Biennial  

Valencia Biennial

Whitney Biennial

Yokohama Triennial

La Biennale di Venezia, since 1895 John Baldessari, I will not make anymore boring art, 1971 2007

La Biennale di Venezia Map Giardini 2009

Crystal Palace Great Exhibition of the Works of Industry of all Nations or Great Exhibition Hyde Park, London, England, 1 May – 15 Oct 1851

Marc Bijl Never mind, 2005

Salon Jury Paris, 1903

Documenta, since 1955 Museum Friedricianum, Kassel, 1955

Mohnfeld, (Poppy Field) Sanja Iveković Documenta 12, 2007 Museum Friedricianum, Kassel

São Paulo Biennial, since 1951 Pavilhão Ciccillo Matarazzo Pavillion, 1957

28th São Paulo Biennial, 2008 Pavilhão Ciccillo Matarazzo Pavillion

28th São Paulo Biennial, 2008 Pavilhão Ciccillo Matarazzo Pavillion

6th Caribbean Biennal, St. Kitts, Antilles, 2000

6th Caribbean Biennal, St. Kitts, Antilles, 2000 (Cattalan)

12 November, 1989 © John Gaps / AP

• to provide Europe with a international platform for contemporary artists who have not yet found their voice or institutional backing;

•  to facilitate artistic exchanges between all professional groups and parties, especially those who have limited access to the market or established institutions;

•  to respond to a commonly perceived need, by initiating new projects and new forms of artistic practice, to experiment with new curatorial methods and develop new audiences for contemporary art;

Manifesta 1; Rotterdam; The Netherlands; 1996

Manifesta 2; Luxembourg; 1998

Manifesta 3; Ljubljana; Slovenia; 2000

Manifesta 4; Frankfurt; Germany; 2002

Manifesta 5; Donostia-San Sebastian; Spain; 2004

Manifesta 6; Nicosia ; Cyprus; 2006

Martino Gamper, exhibition furniture

Philippe Rahm, Climate Uchronia

Harold de Bree

M-city

Piratebay

Marcus Coates

Klaus Weber

Daniel Knorr

Art Education Department

Art Education Mediation

ARTWORK

VISITOR MEDIATOR

TEAM

INSTITUTION

SOCIETY/CULTURE

Art …

Art … Audience

Art … Audience … Mediation

Art …

Painting Drawing Video Photography Ceramics Performance Installation Sound Something someone found lying around ….. …..

- Representation (Plato)

- A medium for the transmission of feelings (Tolstoy)

- “zweckmassigkeit ohne zweck” (Kant)

- Intuitive expression (Corce)

- Significant form (Bell)

- Anything and everything the artworlds coins as such

- nonsensical/irrelevant question, the true nature of the work of art is based on the creative transgeression of every thinkable standard and the re-definition of every possible self definition

- Necessary and sufficient conditions to ascertain the truth of the statement that object X is an artwork

Impress Awaken Critique Awe Bring insight Part Startle Lull Attract Reject Force Overwhelm Connect Deter

Explain Join Mistify Frighten Clarify Scare Inform Balance Heal Position Advocate Conjure Argue Convince

……. ……. …….

Impress Awaken Critique Awe Bring insight Part Startle Lull Attract Reject Force Overwhelm Connect Deter

Explain Join Mistify Frighten Clarify Scare Inform Balance Heal Position Advocate Conjure Argue Convince

……. ……. …….

The function of an artwork can be discussed and re-considered many times over, even for a single work of art, while still remaining true.

Autonomy

Autonomy / Co-creation

the experience of art - and not the artefact - is the main criterion of artistic value (Shusterman, 2001))

Art Audience

1.  informative or cultural function satisfying our thirst for cultural knowledge,

2. symbolic function satisfying our need to demonstrate social position or persona

3. social function satisfying our need for social interaction,

4. emotional function stimulating, relaxing, escaping, arousing and so forth,

5. artistic function linked to the experience of completing a work of art.

“How works of art, and through them our worlds, may be comprehended and created must be part of basic education for the millions of us who will never be artists of any kind.

Why? Because this will equip us for better survival and success? Rather, because advancement of the understanding is what makes survival and success worthwhile.”

(Goodman, 1984 p.n.b.)

•  Printed

•  Tours

•  Workshop

•  Family Sundays

•  Special Projects

•  Education Forum

•  Sustainability

PRINTED

•  Workbook

•  Art Pack

TOURS/WORKSHOP

•  Adults

•  Primary School

•  Secondary School

FAMILY SUNDAYS