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31/5/2011

Oltre la crisi

S.a.L.E. Docks, Venezia

---english below

DENTRO IL DISPOSITIVO BIENNALE PER SOVVERTIRE L’ECONOMIA DEL CONTEMPORANEO.
Una riflessione sul rapporto tra S.a.L.E., Biennale e l’Institut Ramon Llull

Quest’anno il S.a.L.E. ospiterà “180”, una personale di Mabel Palacin, partecipazione ufficiale della Catalogna e delle Isole Baleari alla 54 Biennale di arti visive di Venezia. Parallelamente alla mostra si svilupperà un programma culturale diviso cinque appuntamenti, curato dal S.a.L.E. e intitolato: “Oltre la crisi. Per la pratica del Comune”.

Il partner dell’iniziativa è L’Institut Ramon Llull di Barcellona.

La riflessione che proponiamo qui è la seguente: è possibile praticare la sovversione del dispositivo Biennale pur ospitando un padiglione ufficiale?

Il paradosso della Biennale di Venezia non sfugge alla dinamica perversa dell’economia creativa. Da una parte la mostra d’arti visive è un’innegabile occasione per confrontarsi con i trend globali dell’arte contemporanea, dall’altra essa funziona come dispositivo di rinforzo delle rendite immobiliari, accademiche e spesso anche culturali.

Non è forse paradossale che l’arte (sovente in dialogo con i rappresentanti del pensiero più radicale) faccia capolino dal piano nobile di decine e decine di palazzi veneziani? Attenzione, non stiamo dando un giudizio morale, questo osservazione deriva dall’analisi materiale di come l’economia della Biennale finisca per disconoscere la dimensione comune delle pratiche artistiche a favore di vecchi e nuovi rentiers della laguna.

Parlare di dimensione comune dell’arte significa riconoscere l’attualità della creazione artistica, dove l’opera diventa, in maniera sempre più chiara, il frutto di un corto circuito tra singolarità e dimensione cooperante. Dove la confusione tra rete e singoli nodi è la condizione necessaria alla creazione di nuovo essere.

Basta osservare da una prospettiva di parte, cercare oltre la superficie per rendersi conto della dismisura tra potenza comune della creazione cooperante e mancato riconoscimento del merito di questa dimensione.

Il plusvalore prodotto dagli operatori del contemporaneo (artisti, musicisti, designers, architetti, ricercatori, compositori, hackers, programmatori, attori, performer, danzatori, registi, autori, curatori, organizzatori, attivisti, media-attivisti, ecc.) che lavorano in rete (sia on che off line) è quasi totalmente catturato ed estorto, non solo attraverso il tradizionale mercato artistico, ma anche attraverso il modello della creative city nelle sue varie declinazioni.

Il contemporaneo è comune per eccellenza, non solo perché dentro questa fase della produzione esso è relazionale e cooperante più che mai, ma anche per quel carattere di intempestività che lo definisce. Se non c’è scarto, se non c’è eccedenza, se c’è una rispondenza totale alle richieste del proprio tempo (che è il dovere delle istituzioni ufficiali) non c’è contemporaneo, c’è magari un canone, nella migliore delle ipotesi, se no solo volgarità disarmante.

Tornando al S.a.L.E., costruire un programma culturale in partnership con l’Institut Ramon Llull, significa sovvertire il dispositivo Biennale. Significa poter programmare una serie di eventi seminariali di caratura internazionale dove discutere di beni comuni, crisi, conflitti metropolitani, Cina, insurrezioni arabe e ruolo dell’arte contemporanea. Significa, inoltre, recuperare quote di reddito per giovani precari e produrre un modello che sappia fare esodo dai caratteri negativi della precarietà del lavoro culturale.

Si tratta certamente di una scommessa le cui valutazioni andranno fatte tra qualche mese. Intanto noi proviamo a suggerire un modello in cui il la Biennale sia al servizio del comune e non viceversa.

Maggiori informazioni sulla mostra di Mabel Palacin
http://www.llull.cat


OLTRE LA CRISI, PER LA PRATICA DEL COMUNE

S.a.L.E.-Docks e l’Institut Ramon Llull organizzano un ciclo di incontri che si svolgerà parallelamente alla mostra personale di Mabel Palalcin. Da giugno fino ad ottobre, gli appuntamenti affronteranno temi quali: i Commons, la pirateria, i conflitti metropolitani nella crisi, la Cina e la zona euro-mediterranea, lo statuto dell’immagine oggi.

Un programma ricco e transdisciplinare in cui si alterneranno artisti, storici, architetti, sociologi, filosofi, curatori ed economisti.

In collaborazione con Alternativa Comune.

Info: saledocks@gmail.com
Language: Italian-English

PROGRAMMA:

10 giugno ⋅ Ore 15
Commons: un nuovo paradigma oltre il privato e oltre il pubblico.
Difendere e governare i beni comuni

Joan Fontcuberta
Christian Marazzi
Ugo Mattei
Francesco Raparelli
Raquel Xalabarder

24-25-26 giugno
Pratiche del comune nella metropoli della crisi.
Gentrificazione, colonialismi, conflitti, arti e architetture

Martí Peran
Decholonizing Architecture ( Eyal Weizman, Alessandro Petti , Sandi Hilal)
Carles Muro
Josephine Berry Slater e Anthony Iles

23-24 settembre
Cambiare il mondo al tempo del “nuovo dis-ordine mondiale”
La governance globale di fronte a conflitti sociali e ambientali, rivolte e rivoluzioni: i paradossi cinesi e il terremoto nordafricano che sta cambiando lo spazio euro-mediterraneo.

Settembre: date da definirsi
Corsari e pirati nel XXI° Secolo.

14-15 ottobre
Dopo lo spettacolo.
Riflettere sullo statuto dell’immagine ai giorni nostri
Cattura, espropriazione, privatizzazione vs condivisione, riappropriazione, redistribuzione

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INSIDE THE BIENNALE DEVICE TO SUBVERT THE “ECONOMY OF THE CONTEMPORARY”
A consideration on the relationship between S.a.L.E., Biennale and Institut Ramon Llull

This year, S.a.L.E. Docks will host “180°”, a personal exhibition by Mabel Palacìn, as official participant for Cataluña and Baleares Islands at the 54th Biennale di Arti Visivie di Venezia. In parallel with the exhibition, a cultural program formed by five appointments will be developed, curated by S.a.L.E. and entitled “Beyond the crisis. For the Practice of the Common”.

The partner for this project is the Institut Ramon Llull of Barcelona.

The consideration we purpose is the following one: is it possible to practice a certain kind of subversion of the Biennale device even hosting an official pavilion?

The Biennale paradox doesn’t escape from the wicked dynamic of the creative economy. On one side the Exhibition of visual arts is, undeniably, an occasion to deal with the global trends of contemporary art, on the other it works as a device that enforces real estate rent together with academic and cultural entities.

Isn’t it paradoxical that Art (often dealing with the most radical thinkers) peeps out from loads of main floors of antique Venetian palaces? But pay attention, we’re not trying to give a moral judgement; this is an observation that comes from the materialistic analysis of how the economy of the Biennale ends in ignoring the common dimension of the artistic practices, favouring instead new and old rentiers of the lagoon.

To speak of common dimension of art means the recognition of the topicality of the artistic creation, when the work of art becomes, always more clearly, the product of a short-circuit between singularity and a cooperating dimension…Where the confusion between net and single knots is the necessary condition for the creation of a new product. Observing from a one-sided prospective, looking behind the surface, is enough to recognise how deep is the gap between the common power of the cooperating creation and the missing recognition of its worth.

The surplus value produced by the operators of the contemporary (artists, musicians, designers, architects, researchers, composers, hackers, programmers, actors, performers, dancers, directors, authors, curators, organizers, activists, media-activists, etc) who work also through the web (both on or offline) is almost completely caught and extorted not only through the traditional artistic market, but also by the means of the creative city model in all its aspects.

The contemporary is common par excellence, not only because inside this phase of the production it is relational and cooperating more than ever, but also because of its distinctive untimeliness. If there’s no difference, no excess, if there is a complete correspondence to the requests of the very contemporary time (which is a duty of official institutions) there is no contemporary, there’s at best a canon, or otherwise only disarming vulgarity.

Going back to S.a.L.E., scheduling a cultural program with the partnership of Institut Ramon Llull means subverting the Biennale device. It gives us the chance to plan a series of conferences, seminars and workshops of international importance to debate about common goods, crisis, metropolitan conflicts, China, Arab insurrections and the role of contemporary art. It means, moreover, collecting incomes for young temporary employees and producing a model that could escape the negative features of the cultural employment.

This is, for sure, a challenge whose results will be analysed in a few months. In the meantime, we’ll try to suggest a model in which Biennale would work for the common, and not vice versa.

More info about Mabel Palacin's solo show
http://www.llull.cat


BEYOND THE CRISIS. FOR THE PRACTICE OF THE COMMON

S.a.L.E.-Docks in partnership with the Institut Ramon Llull is organizing a round of meetings parallel to “180” the one-man exhibition of Mabel Palacin. From June to October, the meetings will focus on issues such as: the Commons, piracy, metropolitan conflicts, China and the Euro-Mediterranean Zone and the status of the image today.

This is a transdisciplinary program where artists, historians, architects, sociologists, philosophers, curators and economists will be invited to discuss.

In collaboration with Alternativa Comune.

Info: saledocks@gmail.com
Language: Italian-English

PROGRAM:

June 10 ⋅ h 3pm
The Commons. A new Paradigm Beyond the Private and the Public.

Joan Fontcuberta
Christian Marazzi
Ugo Mattei
Francesco Raparelli
Raquel Xalabarder

June 24,25,26
The practice of the commonwealth in the metropolis of the crisis
Gentrification, Colonialisms, Conflicts, Arts and Architectures.

Martí Peran
Decholonizing Architecture ( Eyal Weizman, Alessandro Petti , Sandi Hilal)
Carles Muro
Josephine Berry Slater e Anthony Iles

September 23,24
Changing the world at the time of the new “world dis-order”
The global governance facing social and environmental conflicts. The “Chinese paradoxes” . The Northern African insurrections changing the profile of the Euro-Mediterranean Zone.

September: Date to be defined
Pirates and privateers of the Twenty-First Century.

October 14-15
After the Spectacle
Thinking about the meaning of the image today.

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Mabel Palacín
180º

The Catalonia and Balearic Islands project for the 2011 Venice Biennale presents a solo project by the artist Mabel Palacín that has been specifically conceived for the occasion in the city of Venice.

Mabel Palacín began her career in the early nineties in connection with a generation of Catalan artists who continued the conceptual tradition. While their work represented a jump or a break with the return to the painting of the eighties, they were linked to this tradition with approaches that questioned the status of the image and representation, the return to the object and its consideration, and the recovery of neo-conceptual and neo-dada approaches in the international context. Since then, her projects have focused on two issues: the status of images in today's world (the crisis of the image and its representation) and forms of artistic output. She has thus been concerned with reflecting on the image as universal language: how new systems of production and dissemination (from mobile phones to social networks) have allowed global access to images, and how these have taken a central role that conditions, affects and explains the present-day social, economic and political reality.

180º, the title of the project for la Biennale di Venezia, alludes to the so-called 180º rule in film that establishes the relationship between the position of the camera and that of the viewer. Mabel Palacín's project refers to this principle to show that it is precisely the relationship between the viewer and the image that has been altered in the contemporary world by multiplication and democratic use. Hence approaches inherent in the modern age, such as the distance between transmitter and receiver, or the medium defining the image, are no longer valid.

The project 180º starts out from a large-scale view of a building in Venice, part of a high-definition photograph. Obtaining this required a production that took into account all the features that appear in it. A video also examines the image, revealing details and proposing various narratives that are written on the screen, about which the image speaks. The central image in 180° is both a moving picture and a still image, causing a lack of differentiation between media. The project also includes another series of videos taken from the wooden roof terraces that are so characteristic of Venice. These videos function as vanishing points. Obtained through various recording media, in high and low quality, they initiate a journey or dialogue between different characters based on the main building featured in the project.

However, 180º does not focus only on the change in the status of the image today; it unfolds in various layers. It proposes a dialogue between history and the contemporary world in choosing the city of Venice or the roof terraces as characteristic features of a city steeped in history. 180º starts out from an urban view of Venice and hence refers to a genre of historical painting that is characteristic of the city, the vedute. Hence architecture, the urban landscape, the city and the collective appear as subjects. And it even includes references to current political events: in recent years the roofs and monuments of Italian cities have been used as spaces for demonstrations.

In 180º, through photographs and videos in which both media overlap, Mabel Palacín reflects the multiplicity of the image, its non-univocal character, and the user's role in the construction of distinctive narratives. The very title echoes the universal language that has been assumed by the image: it is made up of figures that need no translation. And Venice becomes the subject of the project highlighting a dialogue between history and the contemporary: Venice as a space in which urban views originated, and the urban as a space in contemporary life.

International Press Contact:
Diana Marrone
prundercover@gmail.com

Press Contact:
Gavina Garcia
ggarcia@llull.cat

Conferenza stampa: mercoledi 1 giugno ore 16.30

S.a.L.E-Docks and Institut Ramon Llull
Catalonia and Balearic Islands
Magazzino del Sale N.2
Dorsoduro 265, Venice
Orari: 10 - 18

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