Organizers for the III Moscow International Biennale for Young Art 2012 (whose previous editions have occasionally been known as “Qui Vive?”) have announced an open call for submissions.
Sponsored by Russia’s National Center for Contemporary Art and the Moscow Museum of Modern Art, the biennale features artists under 35 years of age, whose work is exhibited in venues across Moscow. This is the first time festival participants have been selected via jury. Heading up the team is curator Kathrin Becker, Neuer Berliner Kunstverein curator and no stranger to the squat scenes of Leningrad in the Perestroika era. Becker has come up with the title, “Under the Tinsel Sun”, which she explains as such:
Under A Tinsel Sun assumes that, despite the cultural, economic and social differences that may exist between the participants from different countries, there is a common factor in the impossibility of locating oneself by belonging to certain peer groups (whether in the ideological or in the artistic sense). Cultural science often refers to this as an “almost desperate isolation” (Wolfgang Kaschuba), as the final state of a development in the field of art that had already begun in the mid-1970s, manifesting itself in the end of the historical avant-gardes and in their reassessment as part of a dominant canon. The collapse of ideologies at the end of the 1980s and the dawning of the post-ideological age both play a role within this mesh, as much as the end of the narrative of youth culture representing the universal culture of renewal, induced by the merciless commercial exploitation of the subcultures in the mid-1990s, which in turn coincides with the onset of commercial availability of the World Wide Web in 1994.
In this decisionistic ground state with its infinite possibilities of free decision and development and, as a consequence, with the absence of a “we”, the self-positioning of the (artistic) individual becomes the pressing imperative of the present, especially when being aware of the increasing medialization of the world, the loss of one’s own body and the indistinguishability of what is “real” and what is “fake”. The long established alleged bipolarity between reality and virtuality gives way to the consciousness that also “reality” as such is constructed, subjective and fragmented.
This realization becomes the drive for the artists’ self-positioning and for their production of works that no longer describe the phenomena surrounding them as “objective”, but that aspire to catalyze a multidimensional and alternative perception of the world. Poetic shifts, emotionality, subjective appropriation are the tools, which the artists of this generation operate with, intending to faciliate new ways of seeing.
In order to best capture all these “poetic shifts,” the biennale welcomes works from all media (no surprise as media art is one of Becker’s specialities at nbk.)
Click here to apply. Applications will be accepted up through December 15, 2011. The festival itself runs from July – August, 2012.