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Manifesta 8

  Biennials

Art Mediation
sustainability                                                                     dynamic
                 discours	
  	
  

tranzit.org	
  	
                                    involvement          collonial
                                                                                                      development

   artists                                                          Chamber of Public Secrets (CPS)
                   2 October	
  
West                                           biennial                                           contemporary	
  	
  


                                                                                                                                 East
             Northern Africa	
  	
  
                                                     Manifesta 8                                                  international
local
                                artistic production	
                                             nomadic
                                                                           dialogue	
  	
  
                                       Europe	
  	
  
                                                                                                                     festival
             Murcia	
  	
                                                                       debate
communist
                                                        Cartagena	
  
                                                                   9 January	
                                    collective	
  
                                                                                              transgress

   Alexandria Contemporary Arts Forum (ACAF)                                                                                     flexible
                                                                                                    venues
                         geography	
  	
  
                                                                                                             methodologies
The Biennial
Athens Bienniaal      Dak’Art Senegal        Iowa Biennial          São Paulo Biennial

Auckland Triennial    Documenta              Kitakyuschu Biennial   Seoul Biennial

Biennial Austria      Echigo Tsumari         Liverpool Biennial     Shanghai Biennial
                      Triennial
Blatic Triennial                             Lodz Biennial          Sharjah Biennial
                      Emergency Biennial
Beijing Biennial                             Luanda Triannial       Singapore Biennial
                      Florence Biennial
Berlin Biennial                              Lyon Biennale          Sydney Biennial

BIACS Seville                The Biennial
                      Folkestone Triennial
                                             Manifesta              Taipei Biennial
                      Fukoaka Triennial
Brighton Photo                               Mercosul Biennial      Tirana Biennial
Biennial              Göteborg Biennial
                                             Biennale de Montreal   Turin Triennial
Bucharest Biennial    Guangzhou Triennial
                                             Moscow Biennale        Vancouver Biennial
Busan Biennial        Gwanju Biennale
                                             Panama Biennial        Venice Biennial	
  
Cairo Biennial        Gyumri Biennial
                                             Periferic Biennial     Valencia Biennial
California Biennial   Havana Biennale
                                             Prague Biennial        Whitney Biennial
Chile Triennial       Istanbul Biennial
                                             Riwaq 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
SOCIETY/CULTURE

   INSTITUTION

      TEAM       ARTWORK




       MEDIATOR            VISITOR
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         Explain    …….
Awaken          Join       …….
Critique        Mistify    …….
Awe             Frighten
Bring insight   Clarify
Part            Scare
Startle         Inform
Lull            Balance
Attract         Heal
Reject          Position
Force           Advocate
Overwhelm       Conjure
Connect         Argue
Deter           Convince
Impress         Explain    …….
Awaken          Join       …….
Critique        Mistify    …….
Awe             Frighten
Bring insight   Clarify
Part            Scare
Startle         Inform
Lull            Balance
Attract         Heal
Reject          Position   The function of an artwork
Force           Advocate   can be discussed and re-
Overwhelm       Conjure    considered many times over,
Connect         Argue      even for a single work of art,
Deter           Convince   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
Yoeri Meessen
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Yoeri Meessen
Yoeri Meessen
Yoeri Meessen
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Yoeri Meessen

  • 1.
  • 2.
  • 3. Manifesta 8 Biennials Art Mediation
  • 4. sustainability dynamic discours     tranzit.org     involvement collonial development artists Chamber of Public Secrets (CPS) 2 October   West biennial contemporary     East Northern Africa     Manifesta 8 international local artistic production   nomadic dialogue     Europe     festival Murcia     debate communist Cartagena   9 January   collective   transgress Alexandria Contemporary Arts Forum (ACAF) flexible venues geography     methodologies
  • 6. Athens Bienniaal Dak’Art Senegal Iowa Biennial São Paulo Biennial Auckland Triennial Documenta Kitakyuschu Biennial Seoul Biennial Biennial Austria Echigo Tsumari Liverpool Biennial Shanghai Biennial Triennial Blatic Triennial Lodz Biennial Sharjah Biennial Emergency Biennial Beijing Biennial Luanda Triannial Singapore Biennial Florence Biennial Berlin Biennial Lyon Biennale Sydney Biennial BIACS Seville The Biennial Folkestone Triennial Manifesta Taipei Biennial Fukoaka Triennial Brighton Photo Mercosul Biennial Tirana Biennial Biennial Göteborg Biennial Biennale de Montreal Turin Triennial Bucharest Biennial Guangzhou Triennial Moscow Biennale Vancouver Biennial Busan Biennial Gwanju Biennale Panama Biennial Venice Biennial   Cairo Biennial Gyumri Biennial Periferic Biennial Valencia Biennial California Biennial Havana Biennale Prague Biennial Whitney Biennial Chile Triennial Istanbul Biennial Riwaq Biennial Yokohama Triennial
  • 7. La Biennale di Venezia, since 1895 John Baldessari, I will not make anymore boring art, 1971 2007
  • 8. La Biennale di Venezia Map Giardini 2009
  • 9. Crystal Palace Great Exhibition of the Works of Industry of all Nations or Great Exhibition Hyde Park, London, England, 1 May – 15 Oct 1851
  • 12. Documenta, since 1955 Museum Friedricianum, Kassel, 1955
  • 13. Mohnfeld, (Poppy Field) Sanja Iveković Documenta 12, 2007 Museum Friedricianum, Kassel
  • 14. São Paulo Biennial, since 1951 Pavilhão Ciccillo Matarazzo Pavillion, 1957
  • 15. 28th São Paulo Biennial, 2008 Pavilhão Ciccillo Matarazzo Pavillion
  • 16. 28th São Paulo Biennial, 2008 Pavilhão Ciccillo Matarazzo Pavillion
  • 17. 6th Caribbean Biennal, St. Kitts, Antilles, 2000
  • 18. 6th Caribbean Biennal, St. Kitts, Antilles, 2000 (Cattalan)
  • 19.
  • 20. 12 November, 1989 © John Gaps / AP
  • 21. • 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;
  • 22. Manifesta 1; Rotterdam; The Netherlands; 1996 Manifesta 2; Luxembourg; 1998
  • 23. Manifesta 3; Ljubljana; Slovenia; 2000 Manifesta 4; Frankfurt; Germany; 2002
  • 24. Manifesta 5; Donostia-San Sebastian; Spain; 2004 Manifesta 6; Nicosia ; Cyprus; 2006
  • 25.
  • 26.
  • 27.
  • 30.
  • 37.
  • 39.
  • 41. SOCIETY/CULTURE INSTITUTION TEAM ARTWORK MEDIATOR VISITOR
  • 44. Art … Audience … Mediation
  • 47. - 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
  • 48. Impress Explain ……. Awaken Join ……. Critique Mistify ……. Awe Frighten Bring insight Clarify Part Scare Startle Inform Lull Balance Attract Heal Reject Position Force Advocate Overwhelm Conjure Connect Argue Deter Convince
  • 49. Impress Explain ……. Awaken Join ……. Critique Mistify ……. Awe Frighten Bring insight Clarify Part Scare Startle Inform Lull Balance Attract Heal Reject Position The function of an artwork Force Advocate can be discussed and re- Overwhelm Conjure considered many times over, Connect Argue even for a single work of art, Deter Convince while still remaining true.
  • 51. Autonomy / Co-creation the experience of art - and not the artefact - is the main criterion of artistic value (Shusterman, 2001))
  • 52. Art Audience
  • 53. 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.
  • 54. “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.)
  • 55.
  • 56.
  • 57.
  • 58. •  Printed •  Tours •  Workshop •  Family Sundays •  Special Projects •  Education Forum •  Sustainability
  • 59. PRINTED •  Workbook •  Art Pack
  • 60. TOURS/WORKSHOP •  Adults •  Primary School •  Secondary School
  • 61.
  • 62.
  • 63.
  • 64.
  • 65.
  • 66.
  • 67.
  • 68.