56th International Art Exhibition AWARDS 2015

The Jury of the 56th International Art Exhibition of la Biennale di Venezia comprised of Naomi Beckwith (USA), Sabine Breitwieser (Austria), Mario Codognato (Italy), Ranjit Hoskote (India), Yongwoo Lee (South Korea), wishes to acknowledge an outstanding Biennale Arte 2015 with an increased number of National participations and a particular sensitivity to current geopolitical urgencies. It also marks the first International Art Exhibition with a dedicated space which emphasizes the performative and discursive as an integral element in today’s art practice.

The Golden Lion for Best National Participation goes to the Republic of Armenia
Armenity / Haiyutioun. Contemporary artists from the Armenian Diaspora
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the
World Europa, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of
Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue:
Monastery and Island of San Lazzaro degli Armeni

The Golden Lion for the best artist in the International Exhibition All the World’s Futures goes to Adrian Piper
The Probable Trust Registry: The Rules of the Game #1–3
(United States, 1948; Arsenale, Corderie)

The Silver Lion for a promising young artist in the International Exhibition All the World’s
Futures goes to Im Heung-Soon
Factory Complex
(South Korea, 1969; Arsenale, Artiglierie)

The Jury has also decided to assign three special mentions to artists of the International
Exhibition All the World’s Futures:

Harun Farocki
(Germany 1944 - d. 2014; Corderie, Arsenale)
Abounaddara collective
(founded 2010 Syria, based in Syria; Giardino delle Vergini, Arsenale)
Massinissa Selmani
(Algeria 1980; Corderie, Arsenale)

The Jury has also wished to honor with a special mention the United States of America for their presentation of Joan Jonas, an artist of significant oeuvre and influence:

Joan Jonas: They Come to Us Without a Word
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini

The Awards Ceremony of the 56th International Art Exhibition took place today May 9th 2015 at Ca’ Giustinian. The Board of la Biennale di Venezia, chaired by Paolo Baratta, is also awarding theGolden Lion for Lifetime Achievement to El Anatsui (Ghana), and a Special Golden Lion for Services to the Arts to Susanne Ghez (USA), both under director Okwui Enwezor’s proposal.

The awards of the International Jury are assigned with the following motivations:

The Golden Lion for the national pavilion goes to Republic of Armenia for forming a pavilion based on a people in diaspora, each artist engaging their specific locality as well as their heritage. The pavilion took the form of a palimpsest, with contemporary positions inserted into a site of historic preservation. In a year that witnesses a significant milestone for the Armenian people, this pavilion marks the resilience of trans-cultural confluence and exchanges.

Photo by Sara Sagui
Courtesy by la Biennale di Venezia

Photo by Sara Sagui
Courtesy by la Biennale di Venezia

Golden Lion for best artist in the International Exhibition All the World’s Futures to Adrian Piper. A pioneering artist, Piper has reformed conceptual practice to include personal subjectivity—of herself, her audience and the publics in general. Her presentations invite us to engage in a life-long performance of personal responsibility and calls out attention to ephemeral and transitional character of value systems.

Photo by Alessandra Chemollo
Courtesy by la Biennale di Venezia


Silver Lion for a promising young artist in the International Exhibition All the World’s Futures to Im Heung-Soon for a moving video work that probes the nature of precarity in relation to the conditions of labor for women across Asia. Factory Complex takes the form of a documentary but with a direct, lightly mediated, encounter with his subjects and their working conditions.

A special mention for artists of the International Exhibition All the World’s Futures goes to Harun Farocki, a seminal figure in post-war cinema. This presentation makes his entire body of highly influential work accessible to a larger public.
Another special mention goes to the incredibly brave Abounaddara collective for documenting the current political strife and human struggle for survival in Syria, without taking sides.

Special mentions goes to Massinissa Selmani for working in a modest medium which has the capacity to act beyond its scale.

Official website of the 56th International Art Exhibition: www.labiennale.org
Official hashtag: #biennalearte2015

Photo: Alessandra ChemolloCourtesy: la Biennale di Venezia

Photo: Alessandra ChemolloCourtesy: la Biennale di Venezia 
Photo: Alessandra ChemolloCourtesy: la Biennale di Venezia

Photo: Alessandra ChemolloCourtesy: la Biennale di Venezia

Photo: Alessandra ChemolloCourtesy: la Biennale di Venezia

AFRIKADAA ISSUE N°9 "ANTHROPOLOGISMES" IS ONLINE !

En couverture / cover :Salon colonial, Le petit colon, Verdun, Yo-Yo Gonthier, 2007


FRENCH

Le neuvième numéro d'AFRIKADAA propose une réflexion sur les "Anthropologismes", et explore les relations entre art et anthropologie. À quelles hybridations donnent-elles lieu ? Les artistes et les chercheurs nous apportent leurs réponses, aussi diverses que les liens art-anthropologie sont complexes. Les artistes sont-ils les nouveaux anthropologues ? Ont-ils su se saisir du "tournant ethnographique" dont parlait Hal Foster ?

À l'inverse, en se plaçant dans la lignée historiographique notamment amorcée par Sally Price, les institutions muséales ont-elles su faire dialoguer art contemporain et collections ethnographiques ? Dans le contexte postcolonial, les musées occidentaux ont-ils su développer de nouvelles collaborations avec les peuples d'où proviennent ces collections ethnographiques ? Quelles voix se font entendre ?

Comme l’a bien souligné récemment le commissaire de la 56e édition de la Biennale de Venise, Okwui Enwezor : “… le monde a toujours été créolisé. On ne le voit pas à Berlin ou à Munich, mais il suffit d’aller au Brésil, à Istanbul ou à Kochi pour le constater. L’Occident ne peut s’empêcher de se croire au centre du monde et d’ignorer le reste”. Comment peut alors s'instaurer le dialogue, si les savoirs de l'anthropologie et de l'ethnologie restent européano-centrés ou encore, vus du centre ? Quel est l’héritage du colonialisme, et quel est celui des pionniers de l'anthropologie et de l'art, qui ont tenté de renverser le regard sur l'Autre et de le dépasser ? Comment les théoriciens et critiques d’art des pays du Sud se positionnent face aux enjeux de la postcolonialité ?

Il s’agit, pourtant, de mettre en lumière l’échec des grandes narratives de la modernité et de renoncer à une forme unique d'historicité. À l’échèle globale, des résistances historiques, culturelles et sociales se lèvent ainsi « contre la propension implacable de l’ordre social à hiérarchiser les populations dans le continuum colonial de sa reproduction ».

Propulsées par le marché de l’art, les productions contemporaines africaines sont de plus en plus visibles sur la scène internationale. Des foires d’art contemporain africain fleurissent à Londres, New York et Paris, en même temps que centres d’art et fondations mettent en scène des dispositifs visant à interroger par le biais de la poscolonialité, l’Histoire et l’Archive. Mais comment articuler la subversion de certains discours préétablis et stratégies de production et diffusion ? Quelle est la représentation de l’art contemporain des pays postcoloniaux au sein du marché de l’art mondial ? Quelles collaborations et dialogues possibles ? Aurons-nous le courage de poser les vraies questions, celles qui brisent les stratégies du continuum colonial ?

Les voix qui s’expriment à travers AFRIKADAA aujourd’hui viennent combler un manque et un décalage existant entre continuum colonial des discours et pratiques de résistance locales, et montre que continuer de parler de « nous » sans « nous » fait preuve d’une incompréhension globale sur les problématiques postcoloniales. Afrikadaa s’impose ainsi comme une poche de résistance vis-à-vis des pratiques de légitimation du pouvoir.

Ils ont contribué à ce numéro :
Seloua Luste Boulbina, Frieda Ekotto, Yo-Yo Gonthier, Martine Barrat, Jay One Ramier, Mukwae Wabei Siyolwe, Alicia Knock, Pascal Kenfack, Myriam-Odile Blin, Rémi Astruc, Emmanuel Rivière, Roger Sansi, Stéphane Malysse, Bruno Pédurand, Cynthia Phibel, Olivier Timma, Antje Van Wichelen, Jean-Claude Moineau, Sally Price, Martin Aguissa, Martine Bouchier, Julien Creuzet, Eva Barois De Caevel, Oussama Tabti, Thierry Oussou, Mustapha Sedjal, Dagara Dakin, Yang Seung Woo, Joana Choumali, Omar Victor Diop, Fréderic Nauczyciel, Francine Mabondo, Marc-Antoine Durand, Romaric Tissserand, Julia Morandeira Arrizabalaga, Daniel Bernard Roumain, Galerie Cécile Fakhoury, Anna Mazzei, Edouard Duval-Carrié, Pearl, Brent Hayes Edwards, Sylvie Kandé, Jean-Marc Bullet, Alisa Clements, Kouka Ntadi, Barthélémy Toguo, Marcel Pinas, Myriam Dao, Camille Moulonguet, Olivia Anani, Carole Diop, Pascale Obolo, Louisa Babari, Hafida Jemni, Djenaba Kane, Fabiana Bruna Souza, Sean Hart

Pour lire le numéro cliquez ici >>


ENGLISH

The ninth edition of AFRIKADAA shares reflections on "Anthropologisms" and explores the relationships between art and anthropology, or (anthropology of art). What kinds of hybridizations result from it? Artists and researchers provide us with their answers, as varied as the complexity of the links between art and anthropology. Are artists the new anthropologists? Have they been able to glimpse the "ethnographic turn" mentioned by Hal Foster?

Conversely, by joining the historiographical tradition initiated by Sally Price, were museum institutions able to combine contemporary art and ethnographic collections? In a post colonial context, were the Western museums able to develop new collaborations with the peoples from whom these ethnographical collections originate? Whose voices are heard?

As has recently highlighted the Commissioner of the 56th edition of the Venice Biennale, Okwui Enwezor: "...the world has always been creolized. We do not see it in Berlin or Munich, but simply go to Brazil, to Istanbul or Kochi to see that. The West cannot help but believe in the center of the world and ignore the rest. " How then can a dialogue be established if the knowledge of anthropology and ethnology remain European-centered or, seen from the center? What is the legacy of colonialism, and what of the pioneers of anthropology and art, who have attempted to overthrow the view of the Other and to overtake it? What is the stance of the theorists and art critics of Southern countries towards the challenges of postcoloniality?

The point remains, however, to highlight the failure of the great narratives for modernity and forego a one-way historicity. At the global scale, historical, cultural and social resistance thus rise "against the relentless tendency of the social order to prioritize populations in a colonial continuum of reproduction."

Promoted by the art market, contemporary African productions are increasingly visible on the international stage of contemporary African art. Fairs are blooming in London, New-York and Paris, while art centers and foundations feature directed apparatus to initiate query through Poscoloniality, History and Archive. But how do we articulate the subversion of certain predetermined discourse and strategies of production and distribution? What is the real representation of contemporary art from post-colonial countries in the world art market? What possible collaborations and dialogues? Will we have the courage to ask the real questions, those who break the strategies of this colonial continuum? 

The voices that express themselves through AFRIKADAA today come to fill a gap and an ever-subsisting mismatch between colonial continuum speeches and local practices of resistance while showing that keeping referring to "us" without "us" demonstrates a complete misunderstanding on postcolonial issues. Afrikadaa is essential and acts as a pocket of resistance vis-a-vis the power legitimation practices.

They contributed to this issue :
Seloua Luste Boulbina, Frieda Ekotto, Yo-Yo Gonthier, Martine Barrat, Jay One Ramier, Mukwae Wabei Siyolwe, Alicia Knock, Pascal Kenfack, Myriam-Odile Blin, Rémi Astruc, Emmanuel Rivière, Roger Sansi, Stéphane Malysse, Bruno Pédurand, Cynthia Phibel, Olivier Timma, Antje Van Wichelen, Jean-Claude Moineau, Sally Price, Martin Aguissa, Martine Bouchier, Julien Creuzet, Eva Barois De Caevel, Oussama Tabti, Thierry Oussou, Mustapha Sedjal, Dagara Dakin, Yang Seung Woo, Joana Choumali, Omar Victor Diop, Fréderic Nauczyciel, Francine Mabondo, Marc-Antoine Durand, Romaric Tissserand, Julia Morandeira Arrizabalaga, Daniel Bernard Roumain, Galerie Cécile Fakhoury, Anna Mazzei, Edouard Duval-Carrié, Pearl, Brent Hayes Edwards, Sylvie Kandé, Jean-Marc Bullet, Alisa Clements, Kouka Ntadi, Barthélémy Toguo, Marcel Pinas, Myriam Dao, Camille Moulonguet, Olivia Anani, Carole Diop, Pascale Obolo, Louisa Babari, Hafida Jemni, Djenaba Kane, Fabiana Bruna souza, Sean Hart

Click here to read the issue >>
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