Download Pavilion #9

pavilion_9 6/7/06 7:36 AM Page 1 PAVILION contemporary art & culture magazine / # 9 CHAOS / READER OF BUCHAREST BIENNALE 2 pavilion_9 6/7/06 7:36 AM Page 3 PAVILION #9 www.pavilionmagazine.org / www.bucharestbiennale.org CHAOS: THE AGE OF CONFUSION / READER OF THE BUCHAREST BIENNALE 2 Editors: Råzvan Ion & Eugen Rådescu Advisory Board: Marina Grzinic,ˇ ´ Zoran Eric,´ Dan Perjovschi, Lia Perjovschi, Dana Altman, Zsolt Petrányi, Johan Sjöström, Felix Vogel. Contributors: Zsolt Petrányi, Jean Baudrillard, Cristina Bucicå, Alexander R. Galloway, Marina Grzinic,ˇ ´ Råzvan Ion, Alexandra Jivan, Douglas Kellner, Suzana Milevska, Ronald F. King, Cosmin Gabriel Marian, Tincuta Pârv, Lia Perjovschi, Eugen Rådescu, Raqs Media Collective, Marko Stamencovic,´ Sefikˇ Sekiˇ Tatlic,´ Michel Tournier, Felix Vogel. Proof Read: CodruÆa Pohrib BUCHAREST BIENNALE 2 Curator: Zsolt Petrányi Co-Directors: Råzvan Ion & Eugen Rådescu Projects & Communications Director: Alexandra Hagiu-Manda Assistant Curator: Claudia Martins Assistant Project Director: Sebastian Negulescu Interns: Nora Dorogan, Andreea Manolache, Ramona Zemache Design: Råzvan Ion PAVILION is the producer of BUCHAREST BIENNALE www.bucharestbiennale.org Published by: Artphoto Asc. Chairman: Eugen Rådescu For advertising and info: Email: [email protected] Phone: +4 0726 789 426 Postal Address: P.O. Box 26-0390, Bucharest, Romania Subscriptions: 2 years subscription 64€ [Europe]/ 80$ [outside Europe] Printed at: Herris Print Printed and bound in Romania ® PAVILION & BUCHAREST BIENNALE are a registered marks of Artphoto asc. © 2006 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 view expressed in the magazine are not necessarily those of the publishers. Cover: Map of Bucharest Biennale 2. Phototograhy and draw by Tiberiu Bleoancå based on an idea by Zsolt Petrány Marker, paper printed map. Courtesy: Bucharest Biennale 2. [1] pavilion_9 6/7/06 7:36 AM Page 4 COLUMN 142 Chaos Theory on an Applied Case: Romania Eugen Radescu˘ 5 Chaos: The Age of Confusion Zsolt Petrànyi 148 Chaotic Citizenship AROUND Ronald F. King 13 Abstraction, evacuation of resistance and sensualisation of emptiness 150 Culture & Civilization Marina Grzinicˇ ´ Michel Tournier 32 Social Realism in Gaming 152 Diagrams Alexander R. Galloway Lia Perjovschi 44 Transitional Economics and Art Marko Stamenkovic´ 156 I Would Prefer Not To Felix Vogel 52 Techno-Politics, New Technologies, and the New Public Spheres Douglas Kellner EXTENT 70 Strike Of Events 160 Artist Projects in BB2 Jean Baudrillard 162 Erik Binder CHAOS:THE AGE OF CONFUSION 166 Eduard Constantin 77 Deconstructing the Chaos: Art as Reservoir of Chaos, Iteration and Originality 170 Janos Fodor Suzana Milevska 174 El Perro 178 Rainer Ganahl 84 Chaos TM and Aesthetics of Active Passivity 182 Kátia Lombardi Sefikˇ Sekiˇ Tatlic´ 186 Agent MC 94 The Chaos of the World of Art 190 Sebastian Moldovan Tincuta Pârv 194 Pedro Motta ´ 198 Ioana Nemes, 100 The Street Is the Carrier and the Sign 202 Ilona Németh Raqs Media Collective 206 Tatsumi Orimoto 210 Dan Perjovschi 112 Sex Workers' Manifesto 214 Catalin˘ ˘ Rulea Durbar Mahila Samanwaya Committee 218 Janek Simon 222 Áttila Stark 120 The Toothbrush Razvan˘ Ion 226 Aya Tzukioka 230 Wang Qingsong 122 Legitimating Power in Capital Cities 234 Artists Biography Cristina Bucica˘ 240 Writers Biography 132 How to Understand Chaos Cosmin Gabriel Marian 244 Venues of BB2 136 Fragmented Memories 245 Parallel Projects of BB2 Alexandra Jivan [2] [3] pavilion_9 6/7/06 7:36 AM Page 6 Chaos: The Age of Confusion - remarks for an exhibition - by Zsolt Petrányi The following lines seek to describe the parallel aspects which exist between our unsure knowledge of the phenomena of that part of the civilized world which we call society, its contemporary history or economy and the possibilities of artistic expression. My standpoint regarding this subject is that the status of understanding can be reflected in many forms, but the closest paralellity to the OLUMN submission of messages about this C knowledge can be found in situations where the source material is the image of the world itself, reflected in photo- graphic, filmed or installed (real) situations. Moreover, I believe that the experiments of the 2nd Bucharest Biennial can showcase the metaphors of art forms which describe the characteristics of our chaotic world – something which I defi- nitely think we face with a current period of history which can perhaps be described as a world of confusion. The chaos is defined here as a personal per- spective of our daily experience and its scientific approach has no place within our project. My approach to the subject is rooted in the art historical view that social matters [4] [5] pavilion_9 6/7/06 7:36 AM Page 8 are in close relation with any kind of intel- politically and ideologically conducted the approach of unique and generic tance to the need to understand eco- lectual entity. This „mirroring” gives the world in any kind of totalitarian system information. When art works with facts nomics, politics and history, this forces possibility to historians to describe the could play with the visuals by segregat- revoiced by the artists, the media repre- us to miss the point of seeing parallelities wider context of the image of the world or ing the ideological from the commercial, sent all kinds of information as determi- and higher coherencies. The personal is of an age. In this sense this characteris- and moreover by separating the local native matters regarding local and global the root of any beliefs and misunder- tic of the arts has remained stable use of symbols from their global sources society. The distinction is rooted in the standings which lead to our own world through the ages, which means that and essential meanings. Democracy as personal comment, the subjective part of view that conducts us in the manage- even the experiments and methodologi- a system opens up all of the possible the information, which is transparent in ment of our existence. The personal cal changes gave and still give much uses of visual messages, which leads to the arts, but not in the media. belief can also be the guide for the par- information about the time and condi- parallel appearances of very different ticipation in chosen communities, reli- tions of the birth of any piece of art. patterns. The reading of these differ- This whole question we discuss here is gious, political or minor units of society. ences is open to intellectuals up to the arresting from the point of reality itself. If Following this point, if we could now take point where the symbols are no longer a the observed world can be described, If in this mechanism the big ideologies a look at our societies through the pro- part of the self expression of local or then the personal question of the observ- can not give a clear and overall answer duction of culture, we really would have global - less known - subcultures. The er could be What is it like? and How can to the basic problems and questions, a hard time to „read back” the facts and long history of the function of this prac- we comment on it's character? Two then personal understanding becomes characteristics of this particular age. tice of communities creating and using sources can be used for such a purpose, necessarily confusional. This disorder Direct reactions we witness today to images is without doubt, just as the personal experience which we get reflects the world itself as we can con- modern social problems are more quantity of the used images increases through the media and the personal struct it from disposable sources. But reflected in underground and over- with global culture, linked to the possibil- experience that we get beyond and away how can art serve our hunger for knowl- ground movements than aesthetically ity for greater access to these lan- from the media. The difference is in the edge if the possibilities of cognition are in defined manifestations. The verbal and guages, something that becomes more direction: learning from the media we such obscurity? performance-related statements of politi- and more difficult. move from global to local units, and the cal life lead us towards either conflict or pure personal experience starts from the The classical forms of art focus on their peace, which seems to be reflected in The media as source for understanding local environment and has a goal to own visual language used to submit aes- secondary manifestations in the arts. of actual incidents and phenomena is reach the global context. The two are thetical and universal messages. The The reason behind this is the visual also working with a special iconology, combined in our lives, we can with no techniques used for such goals such as expression itself, an expression whose one which, as an antithesis to classical doubt state that this mixture leads us to drawing, sculpture or painting are real- symbolism and metaphorical way of symbols, remains unclear to a wider a confused perception of our times. ized in a wide cultural context where the thinking gives a sensual surface to all audience. This is related to a methodolo- We could play with the idea of what style, the society, the market and many these problems which, itself, contrasts gy of submitting messages more related would happen if we were to rely just on other relations plays an important role. with the direct verbal expression. to the sender and not the viewer. This the images on some selected TV chan- The personal nature of artistic produc- could be the same in every segment of nels, and what kind of ideology could be tion as a psychological aspect delivers The icons produced with common mean- visual expression, but the nature of the constructed by the presentation of the much information about the artist ings and messages in this process are materials which the media is working unity of so called universal values.

Load more