It is time to forget the physical pavilion and real economy but not
Fukushima: DesertoRosso coming soon for Art Basel and simultaneously at
the Venice Biennale.
More info next week there http://www.twitter.com/franckancel
Le 08/06/11 11:18, Francis Hunger a écrit :
---------- Forwarded message ----------
From: *beral madra* <[email protected] <mailto:[email protected]>>
Date: 2011/6/8
PRESS RELEASE
please distribute
*THE REMOVAL OF AIDAN SALAKHOVA’S SCULPTURES FROM THE PAVILION OF
AZERBAIJAN IN 54^TH VENICE BIENNALE*
I was invited by the Ministry of Culture of Azerbaijan to be the
advisory curator of the exhibition of Azerbaijan Pavilion in 54th
Venice Biennale. From September 2010 on I have worked with Mr. Chingiz
Farzaliev, who acted as commissar and local curator. All the works of
these artists have been evaluated in meetings in Baku and Venice.
Aidan Salakhova has presented her sculptures in every detail which
have been produced in Carrara and these works together with the works
of the artist have been published in the catalogue and announced in
the website from April 2011 on.
31st of May, when I came to the pavilion I was informed thatMinistry
of Culture has found Salakhova’s two sculptures which were installed
in the entrance of the Palazzo controversial to the prestige of the
country.
Aidan Salakhova and me, we felt very concerned and responsible of the
image of the exhibition and respecting the position of the other
artists we tried to be positive and find a solution. As it could not
be removed during the opening days, the sculptures were covered with
textile. Until 5th of June, every daywe have discussed with the
authorities and responsible people of the pavilion and explained that:
-Removing the sculpture will mean “censorship” and it will do more
harm to the image of the country than the sculpture itself; it would
be much effective, if the officials would place a label next to the
sculpture and declare that the authorities are not acknowledging and
approving the form, message or concept of this sculpture, that it is
the interpretation of the artist.
-The concept of the sculptures has been misinterpreted and misjudged
by the authorities or by their advisers; all symbols, signs, objects
Salakhova is using have a historical and traditional knowledge and
anchorage.
-The meaning and message of this work is extensively explained in my
catalogue text and is eventually the artist’s interpretation of “being
woman under the religious dictums”; here the religion is not only
related to Islam but also to Orthodoxy and other religions, which
before Islam introduced the veil;
-The selection of artists and the works have been made by me and by
Mr. Farzaliev with utmost responsibility and prudence; during this
process there was not one negative hint that came on Salakhova’s work.
-The Venice Biennale is a platform for extreme artistic freedom, for
sensitive topics, for limitless criticism; therefore all countries
must consider and accept this context before participating.
However, we were not able to convince and stop the removal of these
sculptures.
In my 25 years of curating profession, I have never experienced this
kind of conflict. However, lately I am observing - probably most of my
colleagues also do - the growing intrusion of the political and
official power on contemporary art production and on the artists and
curators in many countries, including the developed democracies.
Contemporary art production and its theoretical and critical context
is being employed and exploited by the official power as well as by
the private sector as a tool for high prestige and glory; but at the
same time its content and concepts are not tolerated and acknowledged.
We in the production sector of contemporary art are witnessing and
enduring this use/abuse process. We release protests and supports for
the victims of these attitudes. Journalists investigate and write
about it. However, at the end the damage is done and the artist or the
curator suffers.
In the case of Azerbaijan Pavilion, I think from now on this is the
problem of the artists and curators living and working in Azerbaijan.
I have done my best, to bring the Azerbaijan contemporary art
production into the agenda of international contemporary art; however
I must acknowledge that I was naive and I failed. The artists, art
critics and curators in Azerbaijan should act and liberate art making,
art production and creative criticism and take their long deserved
position in the international art.
On the other side, this is also becoming a general problem in the art
world and I think the artists and curators should have an
international legal protection against these conflicts.
Beral Madra
Tuesday, 07 June 2011
--
beral madra
curator, art critic
BM Contemporary Art Center, Istanbul
www.bmsuma07.blogspot.com <http://www.bmsuma07.blogspot.com/>
www.pluversum.blogspot.com <http://www.pluversum.blogspot.com/>
www.supremepolicy.blogspot.com <http://www.supremepolicy.blogspot.com/>
0090 212 2311023 <tel:212%202311023>
[email protected] <mailto:[email protected]>
[email protected] <mailto:[email protected]>
skype:madseher
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