Tashkent Fifth International Biennale of Contemporary Art October 15-22nd, 2009 1. Organizers of Biennale 2. Content of Biennale 3. Exhibition halls and events 4. A retrospective show (history of Tashkent Biennales) I. Organisers of Biennale Main Organisers of Tashkent Fifth International Biennale of Contemporary Art Uzbekistan Fund Forum of Culture and Art: Chairman of a Board of Trustees Gulnara Karimova The Academy of Fine Art of Uzbekistan: Chairman Tursunali Kuziev Tashkent City Council (Hokimiyat): Mayor (Hokim) of Tashkent A.Tohtaev Biennale Management: Director of Biennale – Akbar Khakimov e-mail: firstname.lastname@example.org, mobile no: +00998 93 182-63-66 Аrt Director – Pavlos Konstantinos Politis e-mail: email@example.com, mobile no: +009 97 444-01-53 Co-coordinators of Biennale: Elmira Gjul Julia Syrtsova Diyor Razykov Zilola Nasyrova Sponsors of Biennale: General Sponsor - International Woman’s Public Fund "SHARQ AYOLI" Board Chairman of Fund - Academician Tursunbaeva Saodat Gafurovna Head of Center "SHARQ MEDIA GROUP" - Yevstigneyeva Irina Vladimirovna II. Content of Biennale Concept of Biennale. The 5th Tashkent International Biennale will seek to consider Urbanism and its various anthropologic l, cultural and philosophical aspects that are reflected in the unusual binary motto of the Biennale: 1) The philosophy of the city: its anthropological landscape (presented by national experts) 2) Wall – overcoming and creating (presented by overseas experts). The philosophy of the city: its anthropological landscape ( by Akbar Khakimov). This conceptual idea is bound both with urbanite aspects and the actual problems of contemporary civilization. The basic plots of our life happen in the space of the city, it is exactly here that we form and destroy our moral constructions. From the point of view of the organisers of the Biennale, the problem of urbanism is interesting, as is the process of reflection in art of the atmosphere of the cities, the dynamics of people’s life in the space of the city. In the history of Philosophy and art consciousness, Philosophy and urbanism was formed in its antithesis – anti-urbanism, which has different historical modifications. Archaic forms of anti-urbanism are found in ancient religious notions, particularly in famous dichotomy of the city – i.e. the virgin-city, and the whore-city. In this tradition, one side considers the line of creation, the God’s City, which is like a paradise and becomes The God’s Gates (Bab El or Babylon) whilst the other side becomes a monster, the city of devil (“Babylonian whore”). Meditated forms of anti-urbanism are found in such topics as Suncity of Campanella or in the idea of Garden City by Howard which are directed to search for new forms of human community. But true opposition between urbanism and anti-urbanism leads to the Philosophy of Enlightenment, where in an optimistic view of the city (Montesquieu, G. Herder) resists total negation of civil civilization (J.-J. Russo). The greatest influence anti-urbanism was acquired in 19th and 20th century Germany, where it had philosophic foundation in works of Ferdinand Turnnis and Oswald Spengler. Although in Spengler’s works we can find brilliant ideas and observations concerning cultural and philosophical approaches to searching the city and its architecture. Consider the high value of his following remark: “Nothing had such damage in history of great architecture, – wrote O. Spengler, – as it was considered as history of technical methods, not as history of ideas…”. Although it is necessary to remark, that being in the area of strong philosophic criticisms of contemporary to it, West European civilization which has in the beginning of the 20th century with its strongest social-moralistic crisis, the culmination of which was the fascism of the 1930s, Spengler debunked not actually the city, but Western ideas in integrity. But if the city accumulated its values this entire criticism was naturally dropped on the city. Urbanism and anti-urbanism concordant with that the city is personification of western industrial civilization but takes opposite positions in appreciation of this fact. Characteristics of anti-urbanism: the opposition of the city to the traditional small community the criticisms of the city as the personification of the soullessness of modern industrial civilization. Urbanism interprets the city’s culture as the supreme development of human civilization – the first decision instrument of all social conflicts. In some contemporary social theories, urbanism appears as a magic power which is capable of bringing the society to consensus, to obtain it’s cultural, political and social integration through the spreading the civil style of living and conforming town-planning politic. Urbanism is in the base of contemporary politics of civil social planning. Radical leftist critics appreciate urbanism as one of the myths which extends by the dominating classes. So, by following the review of urban philosophy and its alternative before the participants of Biennale, we can open wide the almost universal repertoire of ideas and interpretations of realizing even in confrontational context. Urbanism in our region is self-specific. In the condition of nomadic races, which formed a negative attitude to the nomad c culture of the civil population in Central Asia, traditionally the city apprehends as a positive fortification phenomenon, like a bulwark of stability, but in the Muslim Middle Ages as a symbol of enlightenment and harmony (Samarkand), reliability and honour (Bukhara) and refined hedonism (Herat). Special eastern consciousness – is the absence of anti-urbanism which did not mature here in objectively. In the Middle Ages this was undeveloped industrial levels in the development of the city. Although in the works of historians, travelers and philosophers of Middle Eastern 11th to 16th centuries, we find out the characteristic of the city from the point of view of social-criticism definition – “good city”, “cruel city” etc. are connected with the famous in that periods theme of “good (just) and cruel (unjust) rulers” not with the level of properly urbanistic stage of development of the city. This idea for national pavilion participants will have a reference meaning, but the general position will be the expression of philosophy, world outlook and moral collisions of contemporary city’s residents independently of where it is situated – East or West. As part of the national pavilion, the curator’s project of A. Khakimov, dedicated to the jubilee of Tashkent “Tashkent Remade”, which is based on a plastic arrangement of photos of Tashkent’s history at the end of 19th and 20th centuries (characters, group photos, views of Tashkent, etc.) on exposition will be shown paint, installations, video art, performance. Wall – overcoming and creating (by Pavlos Constantinos Politis) As the main symbol of protection since the beginning of mankind “wall” have received many parallel meanings that express human relations and attitudes on personal or social context. From descriptions of psychological barriers to the Cold War confrontations “walls” exceeded their initial image of protection of a city/society/ from enemies and became a negative archetypical image of separation and animosity. For as long as “society” and “enemies” are considered as entities of emotional or political value, “intra muros”, “walls” received a new role to describe the endoscopic character of a person or society that denies to communicate with its surroundings. The necessity to raise “walls” comes always as result of a feeling that we are threatened and we are insecure. So, “walls” come as protection, as defence. This defence of course is becoming a tool of aggression when “walls” are built not really to protect but to limit and keep in control. Fears are leading us to a desperate move to build “walls”. Once the “walls” are raised then it becomes more a more difficult to overcome them because the luck of communication and understanding of the other side’s particularities increases the fears. In the modern global world many “walls” are put down and societies that previously were isolated now are becoming a part of this global market and exchange. The role of the “walls” is now replaced by the one of the “surveillance”. This last one promises to the people the protection against their fears through the prevention. So, walls, protection, “protection”, fears, surveillance, conflicts are some of the key-words of the new global village. Despite the promises of a coming era of global peace and wealth, volcanoes of conflict are erupting in more and more countries and fears of ecological disastrous, nuclear wars, pandemic viruses and financial crises are emerging to threaten us. Many “walls” are put down but other walls are put up! This is the game: find which is what and who is who! Find which walls are to be up and which to be down. Find out who is from which side of the wall, who is inside and who is outside? Are there enemies out there? Are our guys our friends? Terms & Conditions of participation in the 5th Tashkent International Biennale 2009 The 5th Tashkent International Biennale will seek to consider Urbanism and its various anthropological, cultural and philosophical aspects that are reflected in the unusual binary motto of the Biennale: The philosophy of the city: its anthropological landscape (presented by national curators and experts) and Wall – overcoming and creating (presented by international experts). Professional artists, working in different styles and directions - painting, sculpture, photo, avant- garde, conceptual art etc. are invited to participate. To participate in the Biennale it will be necessary to confirm attendance before 1st of September 2009. Registration can be made in English or Russian languages and should include; Photo of the artist and information about his or her creative activity and history for the catalogue; Photographs of the artwork or slides - 4 items for catalogue (send by post); Quantity of the works to be shown at the exhibition: each author should provide 5 or 6 names, and each country can provide up 10 works. Works offered to be exhibited should not exceed 150cms on a greater side. Works must be signed in English and Russian languages. The Inscription on the back should indicate: a country, author’s Full Name, techniques used, year it was created, sizes. Travel costs (air tickets) for participants of the Biennale will not be paid, although organizers can provide a VIP Lounge upon arrival at the airport. The organizers will cover all expenses for the participants of Biennale which include: accommodation, food, transport, cultural program. Biennale will take place from 15th to 22nd of October 2009. Registration Form for Participants: Full Name: Country: Name of Organisation: Name of art work: Year it was created: Technique used: Sizes: Information required for visa arrangements Full name: Date and Place of Birth: Passport No and valid till – Citizenship: Place of work: Position: Address: Telephone, Fax, e-mail: Scientific Conference «Contemporary Art – Strategy of Choice» As a part of Tashkent 5th International Biennale of Contemporary Art there will be a Scientific Conference: «Contemporary Art – Strategy of Choice» held on the 17th of October 2009 in the Conference Hall of Hotel Intercontinental. Leading art critics, scholars and theorists of the Contemporary Art, artists and curators of exhibition projects from Europe and Asia will take part in this conference. The purpose of the conference is to discuss major problems in development of Contemporary Art worldwide and to analyze general currents and tendencies of Art in various countries. All reports will be presented with illustrations which will help to demonstrate the full range of art processes in all regions involved. These scientific forums became some sort of tradition and are held at every Tashkent Biennale. The only difference is that forthcoming scientific conference will lay special emphasis on analytical evaluation of the Contemporary Art in terms of globalization and World’s financial crisis. Topics suggested for discussion: 1. Leading tendencies and priorities in Art in the beginning of the 21st century. 2. International exhibitions as the stimulating factor in the development of Contemporary Art. 3. Globalisation processes and their influence on the development of Contemporary Art. 4. Leading centers and local initiatives: cooperation opportunities. 5. Role of new regional art systems. 6. National and International features in Contemporary Art : West-East symbiosis. 7. Contemporary Art and World financial crisis: ways of a survival and a search of new lexicon 8. Art and a society, art and the state: dialogue ways. Participants of conference should submit their annotations and full text of the presentation by the 1st of September 2009. Presentation should not exceed 10 pages (script size 14, with the interval of 1,5). Speakers should fit their presentation into 20 minutes from start to finish. All Conference materials will be then published in the Biennale book. Languages used at the Conference are Russian and English. III. Pavilions and main events of Biennale Main Pavilions in Tashkent where exhibitions will be held 1. Central Exhibition Hall of the Academy o Arts of Uzbekistan 2. The Gallery of Fine Art 3. The Centre of Creative Work of Youth 4. Tashkent House of Photography 5. Exhibition Hall “Culture and Art of Uzbekistan” 6. Ikuo Hirayama Caravanserai of Culture and Art of the Academy of Arts of Uzbekistan Main events of Biennale Opening of Biennale at the Centre of Creative Work of Youth in Tashkent on the 15th of October 2009. Press-conference – 15th of October 2009. Scientific conference – Forum of curators “Contemporary Art: Strategy of choice” in the Conference Hall of the Intercontinental Hotel on the 17th of October 2009 . Closing of Biennale will take place at the Centre of Creative Work of Youth in Tashkent on the 22nd of October 2009. IV. A Retrospective Show. Tashkent Biennale 2001 Academy of Fine Art of Uzbekistan and Tashkent City Council (Hokimiyat) organized the very 1st Tashkent International Art Exhibition “Biennale 2001” that took place in October 2001. Biennale 2001 was dedicated to the 10th anniversary of the Independence of Uzbekistan. “Art as the symbol of Humanity and Creation” was the motto of the Biennale 2001. More than 20 artists from all over the world took part in this Biennale. They presented a wide range of directions and genres of Contemporary Art – from traditional painting to projects of modern art. The International Jury of the 1st Biennale included: Arno De’Otterivs (France)-Chairman; members of Jury: Akbar Khakimov (Uzbekistan), Masut Fatkulin (Russia), Akhmed Abd El Karim (Egypt), Franz Frei (Switzerland). Exhibition work was finalized on the 5th of October 2001. Jamal Usmanov (Uzbekistan) has got a Grand Prix, 1st prize went to Yuriy Pavlov- Rusyaev (Russia), 2nd prize went to Ronald Clayer (Holland). Special prizes went to: Lekim Ibragimov (Uzbekistan), Sahar Al Amir (Egypt), Nabuaki Muraoka (Japan). Many artists were awarded diplomas of International Confederation of the Union of Artists of Uzbekistan. Tashkent Biennale 2003 In October 2003, Academy of Fine Art of Uzbekistan and Tashkent City Council (Hokimiyat) organized 2nd Tashkent Biennale. 58 participants and guests from 21 countries took part in this significant art action. The International Jury included: Chairman - Dr. Andrey Nakov (France) - a famous art critic; Prof. Loreto Cicero (Italy) - Academia di Belle arti Aldo Galli, Komo; Franz Frei (Switzerland) - art critic; Han Hyun Sam (Korea) - Chairman of Art Association; Masut Fatkhulin (Russia) - Chairman of Executive Committee of International Confederation of Unions of Artists and Djavlon Umarbekov (Uzbekistan) - Academician of the Academy of Arts of Uzbekistan, National Artist of Uzbekistan. Tashkent Biennale 2003 finalized its work on the 6th of October 2003 at the Central Exhibition Hall before the enormous audience. Tashkent Biennale 2005 Third Tashkent Biennale was held from 1st to 20th of October 2005 by Academy of Fine Art of Uzbekistan and Tashkent City Council (Hokimiyat). “Myths of the West and Myths of the East” was a theme of the 3rd Tashkent Biennale. Seventy five artists from twenty six countries took part in the action. Installations, video works, painting and graphic works were exposed in Central Exhibition Hall, Centre of Modern Art, National Gallery and Caravanserai of Culture. The international jury included Chairman Andre Nakov (France), famous Art Critic; Makhmud Akhmad Attiya (Egypt); Han Hyun-Sam (Korea), Chairman of Modern Art Association; Masut Fatkhulin (Russia), Chairman of International Confederation of United Artists; Pavlos Constantinos Politis (Greece); Doctor Akbar Khakimov, Academician AA Uz and Doctor Nigora Ahmedova (Uzbekistan). Tashkent Biennale 2005 announced the winners in the Centre of Modern Art on the 5th of October 2005. Grand prix was given to Ahmad Nadalian Ali (Iran); the first place was given to Vyacheslav Useinov (Uzbekistan) and the second place – to Chung Kil-Hwan (Korea). Special prize of ICAU (Russia, Moscow) went to Faizullahon Ahmadaliev (Uzbekistan); Special prize of Association of Artists (Korea) was given to Jamol Usmanov and a Secial prize of AA z – to Korinna Schnitt (Germany). Diplomas of ICAU were given to Morgan Showalter (USA) and Elen Driskol (USA), Maria Dolores (Spain), Gilad Shahar (Israel), Tafaf Khalil Ibrahim Elabd (Egypt), Katerina Barabouti (Greece), Corinna Schnitt (Germany), David Zaripov (Russia), Babur Ismailov and Alexander Nikolaev (Uzbekistan). Tashkent Biennale 2007 The 4th International Contemporary Art Biennale called "New: Illusion or Reality" was held on October 2-9, 2009 in Tashkent. Uzbekistan Fund Forum of Culture and Art, the Academy of Art of Uzbekistan, the Tashkent City Council (Hokimiyat) and the National Television and Radio Company of Uzbekistan were the principal organizers of the event. For the first time Tashkent Biennale has covered all of the exhibition sites of the capital: the Central Exhibition Hall (CEH), Tashkent House of Photography, the International Caravanserai of Culture, Fine Arts Gallery of Uzbekistan, the Exhibition of Culture and Art Gallery and the Cinema Museum. There were more than 150 artists from 33 countries from all over the world taking part in this event.
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