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Seductive, behind the scenes and conflicts in St. Petersburg

"Seductive, behind the scenes and conflicts in St. Petersburg" "Manifesta 10 complicates the picture of Russia and Europe" "the Reason that Manifesta 10

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Seductive, behind the scenes and conflicts in St. Petersburg
"Seductive, behind the scenes and conflicts in St. Petersburg"

"Manifesta 10 complicates the picture of Russia and Europe"

"the Reason that Manifesta 10 is not announced in the space of the city is said to be that the promised grant from the Saint Petersburg first came in connection with the vernissaget. Is it true? Any info if the show is not even on the Eremitagets website."

"Konstkollektivet Chto Delat (What is to be done?) boycotting this year's Manifesta in order that it is kept in the state Hermitage in connection with its 250-year anniversary. But why have the sign No Future, that adorn Jordi Colomers car running around town translated with ”What should be done?”, Chernyshevsky & Lenin's old question? I don't feel the boycott prepared in advance? On the Manifesta 10 seems everything that happens as a potential conspiracy, and on the gayklubben Blue Oyster see all out as usual, but it is not uncommon tense, teatralt as well?"

"No, to completely escape from a form of paranoid sensibility when visiting Manifesta, the European biennale of contemporary art, is impossible. This is Putin's hometown, this is the city where the new anti-gay laws will. The baroque and neo-classical architecture, and taverns, whose only mineral water from Italy and France, and yells out: Europe. At the same time boasting the temporary main exhibition at the Hermitage museum, with amazing costumes from imperial russia. A seductive backdrop to the neo-imperialistic impulses from the Kremlin and a more distanced relation to just Europe?"

"Manifesta started in the 1990s just after the end of the cold war, when liberal thinkers spoke about the end of history and the mix of parliamentarianism and capitalism denoted the final solution. One of the performances of contemporary art is sprung from this situation: it constitutes a critical reflektionsyta of neoliberalism's ability to renew a eurocentric gaze on the world. Manifesta as a project denotes, therefore, a european vanity, who was also its strength. Perhaps we can say that Manifesta has been part of the criticism that has dominated the perception of art as political force since 1989. In the year to boycott the project may on the one hand be seen as a crime with this single way of artistic criticism. On the other hand, it can be understood as a symbolic contribution to the exhibition."

"the Last Manifesta 9 in Genk, went in a materialistic direction, by focusing on the region's coal industry. To the exhibition now taking place at the state Hermitage museum, among its historical collections, is the dialectical interesting, especially as a curator Kasper König has chosen an intuitive curatering rather than a conceptual. A Manifesta without a manifesto."

"the Effect of presenting contemporary art in the Eremi-a time that it will appear as one of the world's most alienating art institutions. In the same moment as the local minister of culture, was similar to the Hermitage at a man and Manifesta at a woman (”what a perfect match”), so it was not first and foremost heterosexismen in the statement that struck me, but how exactly it manifestlösa in this situation implies a kind of total submission of what the minister of culture, would call masculine. This can certainly be seen as a strategic positioning, a självmarginalisering that allows for expressions that do not necessarily speak the lord's language. It is in all cases an input to everything from Ready Lidéns movie where she plays a character who is involved in the balettkompaniet Mariinskijs training, to Wolfgang Tillmans's photographs of tv screens, showing only the digital noise. Boris Mikhailovs photo project Theater of War, from the uprising in Kiev is embodied also in a montageform that differ from fotojournalistikens."

"Dramaturgical impresses one of the artistic additions to a interior magnificent re-engineered by Rem Koolhaas in Eremitagets General Staff Building. Here, for example, go from Thomas Hirschhorns sublime demolition - façade Abschlag to Erik van Lie-language presentation of the nine-week effort to improve the situation for the cats in the Eremitagets basement is really destabilizing."

"And Francis Alÿs makes one of his absolute best works with Kopeika Project. On Vinterpalatsets courtyard is a Barn which has collided against a tree. In Eremitagets newly renovated personalbyggnad told in collage - and filmform the story of how the artist as a young man tried to leave his bourgeois life in Belgium and go to Leningrad, but the voyage failed, the car pajade. Now he has brought his brother to go the whole distance, and in the exhibition space there is a doku-fictional interpretation that tells us more about the historic change since the cold war than most of what I read. Crazy good work, simply, that complicates the desire for a different world with the help of a car full of symbolism for an audience from both sides of the iron curtain."

"While König itself has taken care of the Hermitage so has Joanna Warszas put together the public program out on the town. Here are Slaves and Time behaviour at the Institute of oriental manuscripts, the part of the academy of sciences, the origin of the Russian orientalismen derived which among other things set laid the foundation for the understanding of the Crimean peninsula and the question of what constitutes the Russian."

"the Strength of the assembly of the Warszas program is that it complicates the other works, Deimantas Narkevicius live recording of a cossack-run that shows another side of the Putin-supported group of people who attacked Pussy Riot lately. In a lägenhetsutställning I meet also a utställningsguide that proves to be the double agent. Without me asking she gives me, namely the secret instructions on how I take me to Chto Been school. Where I'm met by a lecture by the editor of the Art Leaks Gazette ( and are told that not even the König received a salary since march."

"The public program makes Manifesta 10 overall complicates the propagandatyngda the image of Russia and Europe. And in the parallel exhibitions as an Observatory of the Stas Shuripa & Anya Titova embodied the psychological condition of today's Russia in a delicate way. Then put Manifesta 10 to something to what we call contemporary art, and its economic and political implications? Hardly. However, the conflicts are clarified."

"The European Biennial of Contemporary Art"

"The state Hermitage museum, St Petersburg"

"Runs until October 31, 2014"

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