Investigating news creation through expanded acts of visual reportage


Final briefings from Venice

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:

Martin Holman

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?

Anna Battista

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

Shonagh Manson

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)

Mike Stubbs

All you can do is glean information from the tiniest fragments. Trying to see everything makes you ill. @mikestubbs

Neil Cummings

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

Anouchka Grose

Venice art overload sows discord in relationships. – Anouchka Grose

Venice art abundance ignites passion between viewers. – Anouchka Grose

Ania Bas

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

Ben Lloyd

“Mediterranean Migrant Crisis: Vaporetto to Giardini in rescue mission” @BenNebula

Huw Lemmey

What’s left worth printing on paper? @spitzenprodukte

Terry Smith

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

Robert Frankle

Where is the Venice in the Biennale? @pressroomvenice

56th Venice Biennale = Documenta 11 redux ? @pressroomvenice

Ami Clarke

Our (Ami Clarke and Richard Cochrane) twitter bot @LowAnimalSpirit – will be tweeting from Museo Universitario Del Chopo, Mexico City with a special new! arts! venice! biennale! bias…  (later in the days due to time difference – they are 7 hours behind us).
Here’s a brief description of the twitter bot:
@LowAnimalSpirit tweeting new speculative arts headlines!

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)
and Finnish
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.

Jade Montserrat

Make it your business @jademontserrat

Position the PUBLICITY from every angle and every front @jademontserrat

Rachael House

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

Richard Shields

‘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

Gaynor O’Flynn

#brief artists are narcissist, egotistical, fame, money & power hungry monsters who create a money laundering market, discuss? @gaynoroflynn


Kathleen Soriano and Richard Parry brief PRESSROOM

PRESSROOM launched in Venice today with a series of briefings from Guest Editors. Follow @pressroomvenice to hear our artist-investigators responses!

Kathleen Soriano

Art party or party art? @kclSoriano

Anthony d’Offay

Belonging in the future occupies which @ARTISTROOMS?

Richard Parry

Biennale announces hypnotists to be employed as invigilators. Deeper experience promised. @rhmparry

Documentary to begin filming at Venice today exploring what it describes as ‘honey without the bees’. Feature interview. @rhmparry

Critic mauled by rogue family of gerbils. Scenes of pandemonium. @rhmparry

Biennale to issue artists with canoes in bid for efficiency push. online exclusive. @rhmparry

Dealer and gallery director in selfie stick shame. We have the pictures. @rhmparry

Parallel underwater art fair announced to coincide with biennale. Titled floated as ‘Venlantis’. @rhmparry

Sparks fly over so-called ‘performative text incident’. @rhmparry

Royal couple announce baby as artwork and will form basis of next British pavilion show. @rhmparry

Colony of eagles reported nesting near giardini. Artists and public advised not to feed. @rhmparry

Large nebulous artwork accidentally seen by outsider tourist – quizzical looks observed. @rhmparry

Conclave of collectors spotted in bidding war over most hyped artwork using vongole shells for chips. What did you see? @rhmparry

Emerging artist reported stuck in plant pot. Send us your pictures. @rhmparry

Art writer seen scrawling illegible semi-anarchic graffiti on palazzo door at 4am slurring that going to art parties is the new situationism. Fresh reports. @rhmparry

Four walls, one artist, seven curators, five dealers, eight collectors with spouses, plus a pastry chef. What did you hear? @rhmparry

Mestre decides to sever all links to the lagoon declaring ‘the lion just got up and walked onto the mainland’. Full report to follow. @rhmparry

Annabel Dover

The Wunderkammer of Venice
The 2013 Venice Biennale had the Wunderkammer as its curatorial focus. Massimiliano Gionithe’s Encyclopedic Palace. This year the 56th year of the Bienale, Okwui Enwezor has created a show entitled All the Worlds Futures, a title that to me conjures a post-war ethos and the spirit of the United Nations.

First opened in 1895 and first International in 1907, overtaken in the
1930s as is evidenced by the majority of Fascist chic pavilions.

In 1974 the biennale was dedicated to Chile as a political statement to Pinochet and in 2013 Udo Kittelman the director of the Nationalgalerie, State Museums of Berlin included the Chinese artist Ai Weiwei in the German pavilion.

For me the biennale will always be a Wunderkammer; an (often male) curator’s vision of a perfect world in miniature. Sometimes the Wunderkammer of the 1600s were completely invented in the mind and didn’t exist in reality at all. Often like Sloane’s they held a herbarium. Venice itself has the atmosphere of an overwhelming and supernatural island that deserves its own collection of curiosities. Your brief for Venice is to visit, read or collect as many of these as you can and create your own biennale Wunderkammer.

Ostaria al Marghelo
Caffè Florian (expensive looking can suffice!)
Swimming at the Lido
Peggy Guggenheim’s house
Arena Chapel at Padova
Natural History Museum
Rumanian Pavilion
Arsenale
Finland pavilion.
Prostitute spotting on the way in.
Lizards
Milky water
Facelifts
Pick some flowers and press them
Collect some water from the Grand Canal

Films and books to read and art to look at:
Venice, by Jan Morris
Casanova’s History of My Life,
Don’t Look Now, Death in Venice, The Comfort of Strangers, The Leopard, any Visconti, John Singer Sargent, Watteau in Venice by Phillippe Sollers, Anne Rice’s Cry to Heaven, Candide, Othello, Merchant of Venice, Fellini’s Casanova

Joanne Masding

Get exhausted. Traipse. Saturate yourself. See the whole biennale @JoanneMasding

Use stealth. Sneak. Make yourself invisible. See underneath the biennale @JoanneMasding

Rise above. Fly. Find yourself a bird’s eye view. See the biennale straight on @JoanneMasding

Peckham Platform

Calling all investigators to consider what could be socially relevant art in the context of Venice 2015? @PeckhamPlatform