artists & participants
What is the Lodz Biennale The Lodz Biennale is an international art celebration that is managed and supervised by The International Artists' Museum. It is based on ideas developed during previous Construction in Process events.
The main goal of the Lodz Biennale is to create a challenging international exhibition where all works of art will be made exclusively for the project. Works made previously will not be included. This premise will ensure unique works for the exhibition and importantly, an opportunity for dialogue and exchange among international artists.
The Lodz Biennale will include all media and embrace all cultural backgrounds and artistic activities, including: drawing, painting, sculpture, installations, new media, performance, theatre, film, video, among other art forms; readings of poetry, texts, literature, or dialogues with the public; public lectures, discussions, and symposiums on diverse aspects of art and culture, science, religion and politics; work and activities that address personal, social, environmental, and other issues; * events and creative forms not yet anticipated.
The International Artists' Museum will provide "working days" for the biennale artists. These "working days" will be scheduled from September 20 to October 1, 2004. The opening of the Lodz Biennale will be held on October 2, 2004. The exhibition will be on view through October 31, 2004. For those invited artists who are unable to come to Lodz from September 20-October 1, The International Artists' Museum will offer them two alternative possibilities: 1. The artist can make their work as soon as they have accepted the invitation to participate in the Lodz Biennale. 2. If the participating artist is unable to come to Lodz to make his/her work, he/she can send a precise project description that can be realized by local assistants.
The organizers will cover all costs of making the artist's work as well as travel expenses and accommodation during the artist's stay in Lodz. The organizers understand that this biennale format may present a special challenge for the participating artists. In recognition of this challenge, The International Artists' Museum has decided that an international jury will offer awards for the most outstanding works created for the Lodz Biennale.
The Lodz Biennale offers an opportunity for Polish artists to present their works to an international public. Accordingly, The International Artists' Museum Board has decided to organize a parallel exhibition entitled Biennale of Polish Art which will be held at the City of Lodz History Museum. The Artistic Director of this exhibition is art critic Aneta Szylak. Pressetext
Biennale of Polish Art in Lodz - The Palimpsest Museum Aneta Szylak, Artistic Director The Palimpsest Museum is an exhibition 'written over' the existing 'text' of the Museum of the History of Lodz as palimpsest writes over the first texts on parchment. The term being employed here is born from a situation of deficit: due to its preciousness the parchment was used more than once, turning it into a regenerated writing material - the palimpsest. The careful reader can read these obscured primary writings. Though the layers of text and time hinder easy understanding, it happens that unexpected relations between the older and the chronologically newer appear. The First Biennale of Polish Art is constructed in a similar way. It constructs bonds between the delivery of contemporary art and the traditions of the history museum. The Museum thus will become both the "text" and "context" of this exhibition, testing whether and in which ways Polish art is asking questions about representation of culture and history within the museum discourse. It has to be remembered that the function of museum discourse differs here from that in the Western world. Here its functions, structures and mythologies have not reached a relevant status. Museums as such have never - to use the term established by Douglas Crimp - gotten a chance to turn into "ruins". Here, the museum remains more a subject of construction than deconstruction. Institutional prestige has never reached an unquestioned elevated level, and principles of collecting have never been fully realized, the museum here has also never achieved corporate dimensions. In the framework of local discourse the museum appears to be a rescue operation for artifacts blasted by history. Never constructed, the status of the Central-European has not collapsed, but this does not mean that it should not be reviewed. Therefore, The Palimpsest Museum does not aim for revisions of privileged positions, dominance and evaluation of structures but rather it observes the position of the museum and puzzles over its potential for absorbing new ideas and ways of constructing the narrative of the museum. Additionally, as there was no initial debate over the possible shape of either the historical or the art museum, now, as the number of new institutional projects grows - the Museum of Modern Art, the Museum of the History of Polish Jews - we arrive at the moment for just such a debate. The activities of artists invited to The Palimpsest Museum will be, in many cases, so subtle that the boundaries between the artwork and its context will be blurred, often blurred to the degree of complete adaptation and absorption. The spectator will be tasked with recognition and identification of these works. In some cases the artwork will offer the opportunity to confront work separated from, but not lacking the distinctions of "art" - and therefore allow the viewer to observe the works' relationship to the context of the museum, whereas in other cases the artworks will relate to the issues of representation of the museum itself and the ways it can be appropriated, portrayed, evaluated, revisioned, glorified or negated. Finally, the exhibition will address the stylistic and historic connotations of the very architecture of the exhibition's venue, the former Israel Poznanski Palace. The exhibition concept is located between two given premises: the commission of the Polish contemporary art exhibition and the venue: the former Israel Poznanski Place - currently the museum of city history. Such an environment, filled with artifacts, saturated with historic matters and stylistic complexity is a difficult space, yet too unique to be ignored. Instead of searching for empty spaces, neutralized in at least some small extent, The Palimpsest Museum will eagerly seek out this density and subject it both to revision and acceptance. The exhibition reframes the issues of the museum object and art object, recuperation of the representations that penetrated them, the situations of quotation and appropriation of museum discourse. It observes the subjects of originality and derivativeness. It verifies directions in which museum narratives are heading and how the fragmented is being transformed into coherence and continuity. It will test the public character and function of the museum and how the museum can be privatized or made available to individual or personal signifiers. The exhibition asks questions about sensory experience constructed by museums, the politics and strategies of display, methodologies and the relationship with the viewer. It observes the creation of substitutions of the private within the architecture of the museum interior. Finally, it interacts with artwork on permanent exhibition and with the history and anecdote of exhibitions such as "Hotel of Art" or "Construction in Process" that have occurred in the Poznanski Palace. Pressetext
only in german
Lodz Biennale 2004
international art celebration
Organisation: IAM - International Artists' Museum, Lodz
Ort: UNIONTEX Buildings
Kurator: Wonil Rhee
Künstler: Maja Bajevic, Xu Bing, Janet Cardiff, George Bures Miller, Irwin , Richard Long, Marjetica Potrc, Egle Rakauskaite, Mimmo Roselli, Karin Sander, Markus Schinwald, Claudia Schmacke, Nedko Solakov, Kim Sooja, Kunie Sugiura, Anton Vidokle
Parallelausstellung: Biennale of Polish Art, Kuratorin: Aneta Szylak
mit Azorro, Rafal Bujnowski, Roman Dziadkiewicz, Marek Glinkowski, Aneta Grzeszykowska & Jan Smaga, Izabella Gustowska, Elbieta Jablonska, Katarzyna Jozefowicz, Agnieszka Kalinowska, Grzegorz Klaman, Kamil Kuskowski, Robert Kusmirowski, Leszek Lewandowski, Hanna Nowicka, Leszek Przyjemski, Janek Simon, Christian Tomaszewski, Andrzej K. Urbanski & Mira Boczniowicz, Anna Witkowska, Ryszard Wasko, Julita Wojcik, Karolina Wysocka, Wojtek Zasadni