Check out Hyperallergic’s review of the Creative Time Summit in Venice and Press Room at the Summit!
Cymru yn Fenis / Wales in Venice, Ludoteca Santa Maria Ausiliatrice, Venice, Wednesday, 13 August 2015
with briefs by Eleanor Saitta, Charles Gaines, Gregory Scholette and Pedro Lasch as well as Jenn Reid’s performance of Come Home To Your Children And Me and a presentation by Public Studio of their project “Migrant Choir.”
The final breakfast briefing session at Movie Bistro in Venice saw extensive discussion on what the future role of the journalist might look like.
Martin Holman (writer on art), Ami Clarke (Banner Repeater), Anna Battista (journalist), Jane Lawson (artist), Shonagh Manson (Director of Jerwood Charitable Foundation), Robert Frankle (artist) and Gaynor O’Flynn (Artists for Nepal) presented the following set of briefs:
We can’t talk anymore. Words spilt or spoken are the alta acqua of the Venice Biennale.
The great Biennale disconnect. Which reality does it serve?
In Venice thousands dine. In the sea off Libya hundreds die.
Don’t look now. For artists’ integrity, Venice is the knife-wielding dwarf in the red hooded coat.
At the Biennale, why does Tintoretto always win?
The Biennale theme is All The World’s Futures – what is the future of journalism? Will the journalist morph/mutate into a curator, a PR officer, or a merchant or is the journalist destined to wear the venetian “Bauta” and disappear like a ghost? @irenebrination
Many fashion companies are investing into art/ art spaces / museums, or restoration projects. – Is this genuine patronage or just another way to strengthen a brand’s identity and presence on the market? @irenebrination
It’s easy to despise the super yachts lining the grand canal as objects and symbols of privilege and inequality, but what more can the stories of the people who live and work on them tell us about the circulation of power? @shonaghm
Karolina Markiewicz/Pascal Piron
Too much of water hast thou, poor Ola from Homs, and therefore I forbid my tears. End of hope in Sicily, Biennale in Venice. @kultursalzkaro
Sicile: Le programme de sauvetage de l’UE en 10 points, en action. Point 2: empreintes digitales des survivants. Pas des morts. @kulturstruktur
(Karolina Markiewicz + Pascal Piron) English translation: Sicily: EU rescue programme in 10 action points. Point 2: fingerprints of the survivors. Not of the dead. @kultursalzkaro (Karolina Markiewicz + Pascal Piron)
All you can do is glean information from the tiniest fragments. Trying to see everything makes you ill. @mikestubbs
Calculate the magnitude of the carbon bubble caused by visitors to the Biennale. PS Carbon Tracker and Carbon footprint calculator
Laboratory of the Insurrectionary Imagination
It’s time to stop pretending to do politics in the art world and get real, which means deserting – back to life @labofii
Venice art overload sows discord in relationships. – Anouchka Grose
Venice art abundance ignites passion between viewers. – Anouchka Grose
Works not made for collectors. @ania_bas
Parasites – works, spaces, events. Peripheries – distance, visibility, funding, @ania_bas
Best visitor experience – sofas, loos, goodies, smiles. @ania_bas
“Mediterranean Migrant Crisis: Vaporetto to Giardini in rescue mission” @BenNebula
What’s left worth printing on paper? @spitzenprodukte
Nationalism is a powerful divisive tool. If complex social, economical and personal issues can be encapsulated into a simple idea then there can be catastrophic consequences. If the problem can be made to seem simple then the solution can also be made to be simple, so simple it seems a gun or a knife can solve it.
There have been many people outraged by the utter disregard for human rights by various Governments around the world, there have been many calls for cultural boycotts, which seems, in the bigger picture like a small kind of response and the least we can do. Of course any action that might bring an end to injustice might seem the right action. However perhaps International isolationism may not deliver the aims of a boycott, which are in themselves complicated, to change the direction of a state or to show solidarity with a repressed people. But what if we did the opposite rather that culturally isolate a country embrace it, replace politics with poetics, war with jaw, violence with passivity, action with non action, the sword with a pen, a gun with spray paint, a bullet with a crayon?
These are some of the questions we are asking at Venice Agendas for the breakfast debates at CZ95 and in the evenings at the Imagina Cafe VENICE AGENDAS AT CZ95 CZ95, Giudecca 95, 30133 Venezia Vaporetto: Zitelle on lines 2, 4.1 and 4.2 VENICE AGENDAS AT IMAGINA CAFÉ Imagina Café, Rio Terà Canal, 3126 Dorsoduro, (Near Campo Santa Margherita) http://www.veniceagendas.eu
Where is the Venice in the Biennale? @pressroomvenice
56th Venice Biennale = Documenta 11 redux ? @pressroomvenice
Low Animal Spirits is a High Frequency Trading algorithm driven by real time data, scripted as a live onscreen score and audio work with automated ‘readers’. Taking its cue from the oft-mentioned loss of the referent in both language and the economy, it is a live model of high frequency trading, dealing in words sourced from global news feeds for virtual ‘profit’, whilst speculating on their usage. The analysis produces new phenomena in the form of headlines generated with the help of Natural Language processing algorithms, tweeted @LowAnimalSpirit from it’s present installation at Museo Universitario Del Chopo, Mexico City, with a new bias towards art!
A short experimental text on the Biennale so far:
“The news… but not as you know it”.
liquideasy big boss hard facts hazards a speculation
Is Deutsche Bank a continuation of the 3rd Reich?
harvesting the news
a high frequency news trading bot
and a kiss from a kid with a cold sore.
Do people ever figure this out?
No – they usually think I’m Hungarian.
You’re doing well.
Superluminal doing well.
They met in Beirut.
spoke Turkish between themselves
Armenian to their daughter
Arabic, French, and then English
a Finnish minority group that speaks Swedish
(but less singsong)
that’s closer to Turkish and Hungarian
with thanks/ref to: Really Simple Syndication, @LowAnimalSpirit (Mexico City), Accent Elimination, 2005 by Nina Katchadourian at the Republic of Armenian Exhibition, Courtesy of the Mekhitarist Monastery of the Island of San Lazzaro, Venice. and Factory in the Sun by Hito Steyerl at the German Pavilion.
Make it your business @jademontserrat
Position the PUBLICITY from every angle and every front @jademontserrat
What’s the use of collective joy? @RachaelLHouse
Paul di Felice
All The World’s Futures contains mainly 80s artists who have only incrementally evolved? Is this the future of contemporary art
‘How much time can be wasted, lost or searching in Venice. in that exclusive moment, can you ever stare into nothing @richartpoorart’
You are in Venice but should you be, do your beliefs conflict with the machine behind the Biennale? Are you hypnotised? @richartpoorart
#brief artists are narcissist, egotistical, fame, money & power hungry monsters who create a money laundering market, discuss? @gaynoroflynn