martedì 30 settembre 2014

Grecia Call request!

Il Ministero della Cultura e dello Sport, in preparazione della partecipazione nazionale alla 56 ° Esposizione Internazionale d'Arte della Biennale di Venezia, che si terrà dal 9 maggio al 22 novembre 2015, invita a scrivere agli storici, critici d'arte e teorici di esperienza internazionale nell'organizzazione d'eventi artistici a presentare le loro proposte per la selezione della rappresentazione greca.

Το Υπουργείο Πολιτισμού και Αθλητισμού, στο πλαίσιο της προετοιμασίας της εθνικής συμμετοχής στην 56η Διεθνή Έκθεση Τέχνης της Μπιενάλε Βενετίας που θα πραγματοποιηθεί από 9 Μαΐου έως 22 Νοεμβρίου 2015, απευθύνει ανοικτή πρόσκληση σε ιστορικούς, κριτικούς και θεωρητικούς τέχνης με διεθνή εμπειρία στην οργάνωση και επιμέλεια εκθέσεων προκειμένου να υποβάλουν τις προτάσεις τους για την επιλογή της ελληνικής εκπροσώπησης.
Οι ενδιαφερόμενοι καλούνται να υποβάλουν τις επιμελητικές προτάσεις τους, συμπληρώνοντας το ειδικό έντυπο εκδήλωσης ενδιαφέροντος, το οποίο κρίνεται απαραίτητο να συνοδεύεται από οπτικό υλικό σε ψηφιακή μορφή που να παραπέμπει στα προτεινόμενα έργα και στην παρουσίασή τους στο χώρο του ελληνικού περιπτέρου. Οι προτάσεις θα πρέπει να κατατεθούν το αργότερο μέχρι την Παρασκευή, 3 Οκτωβρίου 2014 και ώρα 16.00, στην ακόλουθη διεύθυνση:
Διεύθυνση Εικαστικών Τεχνών, Ρεθύμνου 1, 106 82 Αθήνα (Γραφείο 106Α, 1ος όροφος)

Προτάσεις μπορούν να υποβάλλονται και μέσω ηλεκτρονικού ταχυδρομείου, στη διεύθυνση To συνολικό μέγεθος των ψηφιακών αρχείων δεν πρέπει να ξεπερνά τα 10 MB.
Οι προτάσεις θα αξιολογηθούν από ad hoc γνωμοδοτική επιτροπή αποτελούμενη από τους παρακάτω:
- Μαρία Τσαντσάνογλου, ιστορικό τέχνης, Δ/ντρια του Κρατικού Μουσείου Σύγχρονης Τέχνης.
- Αλέξανδρο Ψυχούλη, εικαστικό, Αναπληρωτή Καθηγητή Τέχνης και Τεχνολογίας στο Τμήμα Αρχιτεκτόνων του Πανεπιστημίου Θεσσαλίας.
- Χάρη Κοντοσφύρη, εικαστικό, Επίκουρο Καθηγητή στη Σχολή Καλών Τεχνών του Πανεπιστημίου Δυτικής Μακεδονίας.
- Λήδα Παπακωνσταντίνου, εικαστικό.
- Διονύσιο (Ντένη) Ζαχαρόπουλο, ιστορικό και κριτικό της τέχνης, καλλιτεχνικό Δ/ντή του Μακεδονικού Μουσείου Σύγχρονης Τέχνης.

Για περισσότερες πληροφορίες, οι ενδιαφερόμενοι μπορούν να απευθύνονται στην Διεύθυνση Εικαστικών Τεχνών / Τμήμα Προώθησης της Σύγχρονης Τέχνης Ρεθύμνου 1 – Αθήνα, τηλ. 210.8201708, 728, e-mail:

sabato 27 settembre 2014

Lina Selander per la Svezia

Il sito Kunstkritikk segnala la selezione di  Lina Selander per la Svezia 

Dal sito  Kunstkritikk 

Today, Moderna Museet officially announced that a solo exhibition by Lina Selander (b.1973) will constitute Sweden’s contribution to the Venice Biennale 2015. The exhibition will take place in the Arsenale, following an invitation from the Biennale curator Okwui Enwezor. The Nordic Pavilion is shared between Norway, Finland and Sweden, and this year it will be organised by Norway.

Congratulations on the exhibition! What are you going to show in Venice, and where will the exhibition take place?
– I will show a number of installations from 2014 and earlier, and a new film that is a collaboration with Oscar Mangione. The exhibition will take place in the Arsenale, in a 300-square meter room following directly after Enwezor’s exhibition. Thereafter, other national participants follow, Lina Selander tellsKunskritikk.
Selander’s film installations often draw upon historic events, and she uses both essayistic and archaeological approaches to uncover the way private as well as public images define memory or history. «Selander’s artistic practice is about finding traces, as much as about leaving traces», wrote Kunstkritikk’s criticMagnus Bremmer about her exhibition at Index in Stockholm 2011, whileMartin Grennberger described the piece Silphium (2014), shown at Kunsthall Trondheim earlier this year, as a film where the traces of nature and history are «aligned with the instruments for surveillance, control, regulation of and production of knowledge in the modern era».
Lina Selander. Photo: Cecilia Grönberg/OEI Editör.
Lina Selander. Photo: Cecilia Grönberg/OEI Editör.
You and Oscar Mangione recently collaborated on the film Silphium. Mangione is known mainly as a writer and editor of the magazineGeist. What is his role in the collaboration?
– I have been having an ongoing discussion with Oscar about my work since 1999. The last couple of years the conversations have become more and more practical in scope, extending into the actual work. We are very close and the films have ultimately become embodiments, projections or manifestations of our conversations on the problems and possibilities of the image. The film-work is, so to speak, a continuation of the conversation by other means.
Can you say something about the film you are making for Venice?
– Right now we are thinking and reading, and then the task of finding images, rhythms, and lines that continue what our thoughts have started is a delicate matter. I am not ready to discuss it yet. The films find their form in the editing process. But the new film will pick up the thread from recent work like Model of Continuation and Silphium, investigating the image as a both exterior and interior object.
Last year Hilma af Klint was included in the main show of the Venice Biennale, and last time Sweden organised the Nordic Pavilion, in 2011, the exhibiting artists were Fia Backström and Andreas Eriksson. Moderna Museet’s director Daniel Birnbaum, who was head curator of the Venice Biennale 2009, thinks that Selander’s work deserves a larger audience.
– We have discussed this decision together at Moderna, and we all agree that Lina Selander is one of the most exciting artists in Sweden today. She has exhibited internationally, but not participated in the really big events, Daniel Birnbaum says to Kunstkritikk.
Lina Selander and Oscar Mangione, {ITALIC}Silphium{ENDITALIC} (still), 2014.
Lina Selander and Oscar Mangione,Silphium (still), 2014.
How will Selander’s work do at the Venice Biennale?
– She can seem intellectually challenging, but I do not think we should underestimate the audience in Venice. It is big and mixed, but it is also sophisticated and used to complex artworks. I have been following Selander’s work for some years now and have been looking for an opportunity to exhibit her. We will do an exhibition here at the museum in Stockholm as well.
Selander’s exhibition at Moderna Museet opens in October 2015, and will partly overlap with the Venice Biennale, which runs from May 9 to November 22. Lena Essling, curator at Moderna, will organise both exhibitions.
– Lina Selander’s works operate on their own wavelength, I feel, and they have a strong visual presence and an inner density that captures you, regardless of whether you as a spectator immediately comprehend all layers and references, Lena Essling tells Kunstkritikk.
– Lina and I just came back from Venice where we examined the exhibition space, which is fantastic and has a great location in the Arsenale. At the moment we are thinking about the space, as well as the selection of works. A publication will be made for the exhibition, but it is not yet decided what form it will take.
Lina Selander, {ITALIC}Model of Continuation{ENDITALIC}, 2013.
Lina Selander, Model of Continuation(still), 2013.
Daniel Birnbaum also talks about the significance of the exhibition space, and emphasises the importance of establishing a dialogue with the adjacent international exhibition.
– When I was curator of the Biennale, I thought that it was the most beautiful room, Birnbaum says of the location inside the Arsenale.
– I know Okwui quite well and remember shows such as Archive Fever at ICP in New York 2008, which had a tone similar to Lina’s work. I hope and think that this will be good for her and the Biennale as a whole.
Selander has previously exhibited at Manifesta in Genk 2012 and at the Bucharest Biennale 2010. This weekend the first large-scale presentation of Selander’s work in Sweden will open at Kalmar Konstmuseum. The exhibition is called A Series of Images About You, and is curated by the director of Kunsthall Trondheim, Helena Holmberg. Later this year she will exhibit at INIVA – the Institute of International Visual Art in London.

Call for South Africa

Il Sito segnala il bando del Sud Africa per un curatore. 

Call for Curators for the Venice Biennale 2015 by National Arts Council of South Africa (NAC)

Tender documents are obtainable from the Department’s website:  or can be collected at the Department of Arts and Culture, 8th Floor, Kingsley Centre, corner Steve Biko and Stanza Bopape Streets, Arcadia. 

Closing Date and Time: 13 October 2014 at 11h00 

Bids must be submitted to: The Department of Arts and Culture, 481 Kingsley Centre, 8th Floor, corner Steve Biko (Beatrix) and Stanza Bopape (Church) Streets, Arcadia. 

Technical Enquiries: 
Mr A. Oberholzer, tel. (012) 441 3611 / email: 
Bid-Related Enquiries: Ms R. Zulu, tel. (012) 441 3089 / email: or Mr T. Thubisi, tel. (011) 441 3504 / email: 

lunedì 22 settembre 2014

Prossimamente Leni Sinclair

L’organizzazione “West of rome”, coordinata da Emi Fontana, presenterà nell’estate 2015 una mostra fotografica di Leni Sinclair 

Applications for the 2015 Venice internship program are now open

A unique opportunity for young Emiratis and long-term residents to be part of the National Pavilion United Arab Emirates la Biennale di Venezia during the 56th International Art Exhibition (May 9 - November 22, 2015)
We are pleased to announce that applications for the 2015 Venice Internship program are now open. The Venice Internship is a specialized internship program offering a unique opportunity for young Emiratis and long-term residents of the UAE to be part of the National Pavilion United Arab Emirates la Biennale di Venezia during the 56th International Art Exhibition, through a month-long internship in Venice where they act as custodians and docents of the National Pavilion UAE.
This exciting opportunity provides interns a platform to get hands-on experience working alongside curators, artists and exhibition managers to put together and manage a large-scale exhibition at one of the most-acclaimed, non-commercial art events in the world. Not to mention access to a strong network of regional and international industry practitioners.
The National Pavilion UAE is commissioned by the Salama bint Hamdan Al Nahyan Foundation, and supported by the UAE Ministry of Culture, Youth and Community Development. Sheikha Hoor bint Sultan Al-Qasimi, President and Director of the Sharjah Art Foundation, has been appointed as the curator for the National Pavilion UAE at the 56th International Art Exhibition of la Biennale di Venezia
For more information and to apply, visit  nationalpavilionuae.orgApplications close November 15, 2014.
Connect with us 
Facebook: /nationalpavlionuae
Twitter: @pavilionuae / @veniceinterns
Instagram: @nationalpavilionuae / @veniceinterns

mercoledì 17 settembre 2014

Heimo Zobernig per l'Austria

Oggi, il ministro della cultura austriaco J.Ostermayer ha annunciato l'artista che rappresenterà l'Austria, sarà Heimo Zobernig.

Press release

The minister of cultural affairs of Austria, Josef Ostermayer, and the commissioner of the Austrian Pavilion, Yilmaz Dziewior, are pleased to announce HEIMO ZOBERNIG as the artist of the Austrian Pavilion - La Biennale di Venezia 2015 at Venice Biennial 2015.

Commissioner: Yilmaz Dziewior
The Austrian Federal Minister of Arts and Culture, Josef Ostermayer, and the commissioner of the Austrian Pavilion, Yilmaz Dziewior, are delighted to announce Heimo Zobernig as the artist of the Austrian Pavilion at the Venice Biennale 2015.  
The Venice Biennale counts among the most important art exhibitions and is celebrating its 120th anniversary in the summer of 2015. A look back at the history of artists presented in the Austrian Pavilion so far makes clear the extraordinary breadth and range of the positions displayed there. However, despite the great diversity, the list of participants reads like a retrospective “Who is Who” of the Austrian art scene from the end of the 19th century into the 21st: including, for example, Gustav Klimt, Egon Schiele, Oskar Kokoschka, Arnulf Rainer, VALIE EXPORT, Maria Lassnig, and Franz West.
In recent years, through the choice of positions such as those of Hans Schabus, Dorit Margreiter, Markus Schinwald, and Mathias Poledna, conscious emphasis has been placed on positions which have highly differentiated relationships with the media they use, which range from installations through painting to performance and film. In addition to individual presentations, there were a number of group exhibitions of three or more positions and even the usual restriction to Austrian nationality was occasionally abandoned.
For the Austrian Pavilion in 2015, commissioner Yilmaz Dziewior selected Heimo Zobernig, an artist who has not only influenced the art scene in his own country like almost no other, but is also among the most successful positions in international art discourse and exhibitions. Through his professorship at the Academy for Fine Arts in Vienna, where he has taught for the last 14 years, Zobernig continues to influence subsequent generations. His exhibition activities range from repeated participation in major events such as the Venice Biennale (1988 & 2001), documenta in Kassel (1992 & 1997), and Skulptur Projekte Münster (1997) to extensive individual exhibitions in renowned institutions like the Palacio de Velázquez/Museo Reina Sofía in Madrid (2012), Kunsthaus Graz (2013), Mudam Luxembourg, and the Kestnergesellschaft in Hannover (both 2014)—to name just a selection from the last three years.
Heimo Zobernig’s work is marked by its high level of precision in terms of both form and content. He often succeeds in involving the observer both intellectually and sensually at the same time. His spectrum ranges from drawing and painting through installation and sculpture to video and spatial settings of a practical nature. Already in his early years, Heimo Zobernig had a firm grasp of how to question the basic premises of art both critically and playfully, by using the exhibition and/or the catalog or book in itself as a medium of his analytical reflection. In this sense, the individual core elements of art became his actual oeuvre. Hence, he exposes the mechanisms of the art system, addresses hierarchies and examines concepts both for their concrete and metaphorical meanings. All the more impressive is how he succeeds in negotiating these issues in the form of what might almost be called classical, apparently autonomous canvases and sculptures, or by means of concrete architectural interventions and installations.
Heimo Zobernig will combine both approaches for the Austrian Pavilion, which is based on a spatial concept by Robert Kramreiter and was built in 1934 by Josef Hoffmann. Both spatial intervention and independent work of art will enter into a combination as equal, reciprocally commentating elements of his Venice contribution. No less than the concrete room, the situation of the Biennale itself is a starting point for Heimo Zobernig’s deliberations. How can a meaningful contribution be made in an environment based on nation-state representations and in which each voice competes for the most attention? What effects make sense in such a context? These questions also play a role in Heimo Zobernig’s concept for Venice. And the Austrian Pavilion, with its equally classical and modern language of form, offers an ideal space for this purpose.
Commissioner Yilmaz Dziewior was born in Bonn and studied art history there and in London. He received his doctorate from Humboldt University of Berlin in 2005 with a thesis on the Bauhaus architect Ludwig Mies van der Rohe. Since 2009, Yilmaz Dziewior has been director of the Kunsthaus Bregenz. Before that, he was director of the Kunstverein in Hamburg and, at the same time, held a professorship of art theory at the Hochschule für bildende Künste in Hamburg. He has also worked as a freelance curator on exhibitions and projects at numerous other locations, including Beirut, Hong Kong, Cairo, Cologne, Limerick and Rovereto. Dziewior has also been active as an art critic and writer since 1991. His articles have appeared regularly in Artforum (New York), Camera Austria (Graz) and Texte zur Kunst (Berlin). He has published more than 50 books and catalogs on 20th- and 21st-century art. In February 2015, Yilmaz Dziewior takes over as director of the Museum Ludwig in Cologne.

Heimo Zobernig

born in 1958 in Mauthen, lives in Vienna.
He studied from 1977–80 at the Academy for Fine Arts Vienna and from 1980–83 at the University for Applied Arts Vienna.
From 1994–95 he was guest professor at the University for Fine Arts in Hamburg.
From 1999–2000, he was professor of sculpture at the Academy for Fine Arts – Städelschule, Frankfurt/Main.
Since 2000, he has been professor of sculpture at the Academy for Fine Arts Vienna.

Since the early 1980s, his work has been shown at numerous exhibitions, including, among others: Villa Arson, Nice (1991); Kunsthalle Bern (1994); Wiener Secession (1995);  Renaissance Society at The University of Chicago (1996); Portikus, Frankfurt/Main (1999); Biennale di Venezia (1988/2001); documenta, Kassel (1992/1997); Skulptur Projekte Münster (1997); mumok, Vienna (2002); Kunsthalle Basel and K21, Düsseldorf (2003); Yearning for Beauty, MAK, Vienna (2003); Biennale of Sydney (2004); Kunstverein Braun­schweig (2005); Artspace, Sydney (2006), Biennale Busan (2006); Galleria Civica, Modena (2008); Heimo Zobernig and the Tate Collection, Tate St. Ives, Cornwall (2008); Heimo Zobernig. Total Design, MAK, Vienna (2008);Stellproben, deSingel International Arts Centre, Antwerp (2008); Heimo Zobernig and the Collection of the Calouste Gulbenkian Foundation Centre of Modern Art, Fundação Calouste Gulbenkian, Lisbon (2009); CAPC, Bordeaux (2009); Le Festival, Centre Pompidou, Paris (2009); Austrian Frederick Kiesler Prize for Architecture and Art 2010, Vienna; ohne Titel (in red), Kunsthalle Zürich (2011); Essl Museum, Klosterneuburg / Vienna (2011); Palacio de Velázquez, Museo Reina Sofía, Madrid (2012); Kunsthaus Graz (2013); Mudam Luxembourg (2014); Kestnergesellschaft, Hanover (2014).

Austrian Pavilion
La Biennale di Venezia 2015
c/o section.a gmbh
Praterstrasse 66/7a
A-1020 Vienna

Commissioner: Yilmaz Dziewior
Curatorial Assistance/Project Coordination: Leonie Radine
Public Relations: Kathrin Luz
Production: Katharina Boesch, Christine Haupt-Stummer (section.a)
Team Heimo Zobernig: Maria Huber, Eric Kläring, Georg Petermichl, Michaela Rapp Zobernig
Architecture/Technical Coordination: Troels Bruun, Luca Ugolini (M+B studio)
Garden: Auböck + Kárász Landscape Architects
Graphic Design: Dorothea Brunialti
Website: Leopold Šikoronja
Editing Publication: Katrin Sauerländer
Tax Consultant: Georg Geyer / Kanzlei Geyer & Geyer, Vienna 

Patrick Flore curatore del Padiglione delle Filippine

Il sito del Manila Times  annuncia che sarà Patrick Flores il curatore del Padiglione delle Filippine con una mostra dal titolo “Tie A String Around the World”

Press release

The National Commission for Culture and the Arts (NCCA) and the Department of Foreign Affairs (DFA), in partnership with the Office of Sen. Loren Legarda, announced the selection of Patrick Flores’s curatorial proposal titled “Tie A String Around the World” as the official Philippine participation at the 56th Venice Art Biennale in 2015.

The esteemed panel of jurors, noted names in the field of modern and contemporary art and culture, was composed of Mami Kataoka, chief curator, Mori Art Museum in Tokyo; Paul Pfeiffer, New York-based multi-media artist; Renaud Proch, executive director, Independent Curators International; Cid Reyes, respected critic, artist and writer; Felipe de Leon Jr. NCCA chairman; and Sen. Loren Legarda, principal advocate and visionary behind the Philippine participation at the Venice Biennale.

The panel deliberated on 16 proposals for two days on September 4 and 5 at the NCCA Boardroom in Intramuros, Manila.
Flores’s curatorial concept is a poetic and political reflection on the history of world making, the links between geography and politics, and the notions of nation, territory, and archipelago. It foregrounds the extensities of the Philippines, a foil perhaps to the more aggressive instincts of expansion around us—in the past and in “present passing.”

“Tie A String Around the World” revolves around Manuel Conde’s 1950 film Genghis Khan, co-written and designed by National Artist Carlos Francisco, screened at the Museum of Modern Art and at the Venice Film Festival in 1952, where it competed with the films of Chaplin, Clement, Fellini, Bergman, and Mizoguchi.
The said film tells the story of the young Genghis Khan, his passage into the life of a warrior. It ends with the conqueror, perched on a mountain, casting his magisterial gaze over his dominion and promising his woman to “tie a string around the world” and lay it at her feet.
This is a tale of the “king of kings” and the formation of empires that have strung the islands of the world. Genghis Khan’s empire stretched from the Pacific to Europe, the largest contiguous realm ever.

The newly restored film Genghis Khan will be exhibited at the Pavilion and will be positioned in conversation with the contemporary art projects of intermedia artist Jose Tence Ruiz and filmmaker Mariano Montelibano 3rd.

The Pavilion seeks to initiate discussion on the history of the sea and its relationship with the current world, claims to patrimony, and the struggle of nation-states over vast and intensely contested nature.

It locates the Philippines in the world through its deep ties to ancient cultures, its precocious modern art, and the critical responses of contemporary art to present predicaments. Through the work of artists across generations, this history is told as a history of art and a history of the world.
The panel of jurors was impressed with the quality of most of the 16 submissions. They thought that most of the proposals were intellectually remarkable. After a two-day deliberation, the discussions came down to three strong proposals. Ultimately, the jury deemed Flores’s proposal the most fitting for the country’s return to contemporary art world’s first and oldest biennale after a 50-year hiatus.

Flores is professor at the University of the Philippines Department of Art Studies and curator of the Vargas Museum. He is adjunct curator of the National Art Gallery, Singapore; a member of the Guggenheim Museum’s Asian Art Council; and a guest scholar of the Getty Research Institute in 2014.

The Venice Art Biennale will open on May 9 and will run until November 22, 2015.

mercoledì 10 settembre 2014

Under the Surface con Jordan Bennett e Anne Troake

“Under the Surface,” è il titolo della mostra che l’organizzazione not-for-profit Terra Nova Art Foundation di Venezia organiza alla Galleria di Ca’Rezzonico con gli artisti Jordan Bennett e Anne Troake durante la prossima Biennale di Venezia della Arti Visive nel 2015.

Terra Nova Art Foundation announces the selection of two Newfoundland & Labrador artists for their project as part of the world’s most prestigious contemporary art event - the 56th Venice Biennale. The exhibition, titled Under the Surface, will present recent work by Jordan Bennett (Stephenville Crossing, NL) and Anne Troake (Twillingate, NL). Under the Surface is curated by Chris Clarke (born in St. John’s, NL; Senior Curator at Lewis Glucksman Gallery, University College Cork, Ireland). The exhibition will be housed within Galleria Ca’ Rezzonico, a Gothic palazzo on Venice's historic Grand Canal, and will run from May 9 - November 22, 2015.  

This year’s artists were selected by Clarke from submitted proposals, in consultation with the Selections Advisory Committee: Sarah Fillmore (Chief Curator, Art Gallery of Nova Scotia); Mary MacDonald (Director, Eastern Edge Gallery);  and Jonathan Shaughnessy (Associate Curator of Contemporary Art, National Gallery of Canada).

sabato 6 settembre 2014

Katerina Gregos curatrice del Padiglione Belga

Art Brussels ha annunciato il  direttore artistico del padiglione belga per la prossima Biennale di Venezia (maggio-novembre 2015), che sarà Katerina Gregos,

Il progetto si intitolerà "Personne et les autres" ed è stato concepito insieme all'artista belga Vincent Meessen, a cui si affiancheranno altri artisti internazionali. 

La mostra sarà sulla storia del Padiglione belga e sul contesto internazionale della Biennale. 

Press release 

Art Brussels is delighted to announce that its artistic director, Katerina Gregos, will be curating the Belgian Pavilion at the next Venice Biennial (May – November 2015) . The project is entitled Personne et les autres and it was conceived by Gregos together with the Belgian artist Vincent Meessen, whose work will feature in the pavilion, together with a dozen international artists.  
The exhibition will take the history of the Belgian Pavilion and the international context of the Biennale (both derived from the colonial exhibitions and world expositions) as the points of departure. This will be Gregos' second time in Venice; in 2011 she curated the Danish Pavilion with the critically acclaimed group exhibition Speech Matters. We are also very pleased to announce the Gregos will also be curating the 5th Thessaloniki Biennial (May – September 2015), which bears the title "Between the Pessimism of the Intellect and the Optimism of the Spirit".
Since joining Art Brussels in 2012 Gregos has worked to develop a strong curatorial identity within the fair, and has contributed to raise both the profile and the quality of Art Brussels. Gregos’ artistic vision is translated on different levels in the fair: from her involvement in the selection of the galleries to the implementation of the artistic programming through platforms like #thestage, for debates, talks, and performances, #thecinema, for short films and artists’ video projects, the selection of the artist-run and not-for-profit spaces, as well as the artistic and architectural interventions in the fair.