On March 28-30, the Ekaterinburg outpost of the National Center for Contemporary Art (who just awarded their annual Innovation prize) hosted a conference to outline the intellectual platform for the 2nd Ural Industrial Biennial, scheduled for September 13 – October 30, 2012.
Entitled Production and Appropriation: (Non)-Exhibition Strategies of Contemporary Art, the three-day conference featured Biennial Commissioner Alisa Prudnikova as well as curator Iara Boubnova. Rounding out the presentations were Moscow critic Valentin Diaconov; Transmediale curator Kristoffer Gansing (also a jury member for Innovation); Latvian Center for Contemporary Arts’ Solvita Krese; and James Morgan, head of the Digital Media Art program at San Jose State University in California.
According to the press statement:
The 2nd Ural Industrial Biennial will develop main themes of the 1st biennial, which revolved around the industrial and the post-industrial, the Soviet and the Post-Soviet, material and symbolic labour. The introductory seminar will probe the possibility of going beyond the binary of production vs. consumption in artistic, cultural, and social spheres in order to investigate the potential of (non)-exhibition spaces appropriated by contemporary art and giving rise to new communities
The 1st Ural Industrial Biennial was also commissioned by Prudnikova and drew attention for its main project, “Shockworkers of the Mobile Image,” which was curated by Katya Degot, David Riff and Cosmin Costinas (You can read Astrid Wege’s write-up for Artforum here or try Diaconov’s piece for Frieze.)