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BerlinBiennale:德国柏林当代艺术双年展

BerlinBiennale:德国柏林当代艺术双年展

编辑时间:2013-08-26

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BerlinBiennale:德国柏林当代艺术双年展是由柏林当代艺术双年展公司举办、KW当代艺术研究院的艺术总监、班收藏家及赞助人创办;宗旨在开放空间中实验、辨认、批判艺坛的最新趋势,给予年轻艺术家机会去接触更广阔的观众层面。

BerlinBiennale:德国柏林当代艺术双年展

柏林双年展举办至今,在德国褒贬不一。主流的声音认为,双年展上涉及的政治、社会话题包括主权、大屠杀、吸毒,却没有涉及当下人们更为关心的话题,比如经济危机、劳动力短缺、老龄化等问题。

在距离柏林市中心亚历山大广场不远的奥古斯特大街上,有一座被废弃的、“丑陋”的灰色教堂。它没有尖顶,没有标识,也听不到钟声。教堂名叫圣·伊莉莎白,是2012年的第七届柏林双年展主展厅之一。双年展从4月27日开始,将一直持续到7月1日。教堂内被五颜六色的涂鸦占据,它们是展览的内容之一。教堂中心散放着各色颜料,任何人都可以拿起画笔,在天花板上、墙壁上甚至地板上随意涂鸦。不知哪位慕名前来的中国人也加入了创作队伍,在地板上留下四个斗大的黑色汉字:活在当下。

第七届双年展的主题为“忘掉恐惧”,祖米卓斯基将它解释为“不用担心受到威胁,自由表达”。他从全世界7500多位艺术家的作品中挑选出30多位艺术家的电影、纪录片、绘画、装置艺术作品,组成了柏林双年展的主体。祖米卓斯基意图将艺术与政治结合,让艺术不再是“无病呻吟,或者穿着奇装异服坐在路边咖啡馆喝咖啡的小资情调”,他希望艺术成为批判社会、改变社会的一种力量。

祖米卓斯基在德国引起的广泛关注源于他拍摄的一部短片《贝雷》(也叫《标签游戏》)。在这部60分钟的短片中,他组织了一组裸体的普通成年男女,记录他们在前纳粹集中营毒气室中玩标签游戏的表现。他们需要举着标签,在曾经的毒气室里跑圈圈,或者大笑。这部短片拍摄于1999年,祖米卓斯基将心理学中的暗示疗法运用到短片中,在美国英国波兰等地展映时曾引起极大反响,《纽约时报》评论:“《贝雷》是一部触及犹太人大屠杀和尝试抚平二战创伤的力作。”

The berlin biennale für zeitgenössische kunst e.v. was founded on March 26, 1996 by Klaus Biesenbach, founding director of KW Institute for Contemporary Art, and a group of collectors and patrons of the arts such as Eberhard Mayntz. Eberhard Mayntz has since then been chairman of the association’s board.

The idea of establishing a biennale in Germany was inspired by the Venice Biennale in 1995. Following the demise of aperto - the forum for young contemporary art founded in 1981 - there was much discussion about the need to heighten the profile of contemporary art in Berlin, a fact which undoubtedly accelerated the project’s progress.

The aim of the association is to organise a representative, international exhibition of contemporary art in berlin every two years and to attract attention to less established younger artists. The exhibition’s original and most important institutional partner is the KW Institute for Contemporary Art, which regularly provides the Berlin Biennale with the use its exhibition spaces.

In 1998, Klaus Biesenbach took the artistic helm of the 1st Berlin Biennale in cooperation with Nancy Spector and Hans Ulrich Obrist. For the 2nd Berlin Biennale in 2001, the baton was passed to Saskia Bos, who is in turn followed by Ute Meta Bauer for the 2004 exhibition. The 4th Berlin Biennale in 2006 was curated by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick. Adam Szymczyk was chosen for the 5th Berlin Biennale in 2008 who then appointed Elena Filipovic as co-curator. Kathrin Rhomberg curated the 6th Berlin Biennale in 2010. The 7th Berlin Biennale was curated by Artur Zmijewski together with associate curators Voina and Joanna Warsza in 2012.

The Berlin Biennale has established itself as an 'open space' that experiments, identifies and critically examines the latest trends in the art world. The innovative character of this “art lab,” which tries and tests the greenest shoots in the art world is to be expanded, with the particular aim of giving young artists the opportunity to introduce themselves to broad sections of the public.

Although the exhibition has an essentially public character, it also has an inner forum in which event organisers, artists, curators, selected critics, cooperation partners, sponsors and promotors committed to the advancement of this association work at shaping the exhibition and its seismographic interpretation of current cultural and social developments.

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