| ten international curators
The artist's work is a seismograph of change in society. When contemplating
an exhibition, the curator must have a finger on the pulse, aware of
the collective concerns of the moment as the history associated with
an artist and his or her narrative.
Yes, my generation of Chinese has been fighting for more fundamental
issues of humanity. For us, the firs necessity of at is never to return
to the enclosure of the self. The second thing is to see how modernity
rewrites the process of social transformation in different conditions,
and then how it is visualized. Architecture and urban issues become important
because they're the most general expression of this kind of project.
In Japan, we have a strong history in graphics, of long scroll paintings
that tell a sequential story inch by inch. The style from the Ukiyo-e
in the Edo period is one that you might know, since it inspired Japonisme
in France in the 18th and 19th centuries. Japanese ceramics were exported
to France wrapped in paper with the designs of this period, and the French,
instead of discarding the paper, saved it.
When I did the third Biennial I wanted to be treated equally. There's
a French term, "bon pourI'Orient," or "good enough for
the Orient." I didn't want that attitude. That was fundamental.
Second, I didn't want o use historical sites for exhibitions because
they serve a touristic mindset.
Manifesta will be an exhibition for artists with interesting artistic
positions who are not yet established on the international scene. Yes,
one could be "young" in this sense at 65. So, for a curator
to find young artists here require profiled research through studios
and other primary methods. In Eastern Europe, where the gallery system
is not comparable to that in the West, the partners for this research
are the locally based curators, critics, and art historians who can guide
one to artists' studios.Rosa Martinez:
At the Istanbul Biennial, the decision to exhibit more women that men
was an effort to balance the patriarchal tradition we all live under,
which is particularly strong in Islamic culture. Women are renovating
the discourse of contemporary art and critique of culture - to highlight
this was a significant gesture. I think woman artists of the 90s are
more fluid than before, finding their way like weavers, adapting to the
obstacles and circumventing them, not destroying them. They are trying
to construct together with the male.
Alighieroe Boetti is a pioneer of the idea of the exhibition as a network,
and he anticipated the artist's practice as both a global and a local
one. He exhibited on an airline, with the assistance of the Museum in
Progress[Vienna], and he worked with art that was sent through the mail,
as an exchange with different communities.
A journalist in Rio de Janeiro recently asked me if Americans still exoticise
Brazilian art as a curiosity. I think it's just the opposite: Americans
have a strong tendency treat Latin America as a lesser extension of ourselves,
and still to see Europe as the ultimate cultural arbiter.
In dealing with the durational sense of time, an artist like Bruce Nauman
would work in his studio alone, and repeat dance-like movements in front
of the camera of the length of the tape, which back in 1969 meant either
thirty or sixty minutes. At the beginning, Nauman, Peter Campus, and
other artists examined the complexities of time that resulted from the
interplay between the viewer, the live camera, and pre-recorded video
material. Time could be speed up… Film cannot do this, what you
see in film has happened in the past.
It is true, what he said, for music and poetry or any creative articulation.
If art didn't exits, it would be difficult to think of the future. One
could probably recall so many different kinds of things from Beuys. It's
interesting to talk about what he did in Munster, actually. For Unschltt/Tallow,
first he said, "To fo something outdoors would be an aesthetic waste. " Then
he managed a dialectical trick of finding a spot that was kind of a social
alibi; later, it was transported into the museum.