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lunedì 27 ottobre 2014

Padiglione della Germania



Da pochi giorni è iniziata la creazione del sito del Padiglione, che riporta i principali dati del futuro progetto. 

Per il prossimo anno il Padiglione ospiterà i lavori di Olaf Nicolai, ideati col regista tedesco Hito Steyerl,  fotografo Tobias Zielony, il film-maker con sede al Cairo Jasmina Maharani e il blogger egiziano Philip Rizk.

#biennale #venezia


giovedì 23 ottobre 2014

Bando per il Padiglione di Cipro


Ecco il bando per il Padiglione di Cipro 


V E N I C E B I E N N A L E 2 0 1 5

 Participation of Cyprus in the 56th International Art Exhibition

(9th May – 22 November 2015)

www.labiennale.org, www.cyprusinvenice.org

The next Venice Biennial of Visual Arts will take place between 9th May and 22 November 2015 (preview 6-8 May). The Board of the Biennale di Venezia has appointed Okwui Enwezor as Director of the Visual Arts Sector, with specific responsibility for curating the 56th International Art Exhibition. Born in Nigeria in 1963, Okwui Enwezor is a curator, art critic, editor and writer, with a wide-ranging practice which spans the world of international exhibitions, museums, academia, and publishing. Enwezor has investigated, in particular, the complex phenomenon of globalization in relation to local roots, and is a key figure in postcolonial art theory and criticism.

For this next edition of the Biennial, Cyprus returns to Palazzo Malipiero to present an exhibition
curated by Omar Kholeif. The curatorial selection process was entrusted to the Advisory Committee for the Selection of Artists and Works of the Ministry, comprising a number of independent art
professionals in Cyprus.

I. CURATOR
Omar Kholeif (Egypt/UK) is a writer, curator and editor whose work has tended to focus on issues of
narrative, territory and satire in an increasingly globalized context. He is currently Curator at the
Whitechapel Gallery, London, where he works on an integrated programme of exhibitions, publications and international projects. Upcoming programmes at the Whitechapel Gallery include major monographic exhibitions of the artists Christopher Williams and Emily Jacir as well as a series of projects with Fiona Banner, Lynette Yiadom-Boakye, and James Richards. Alongside this, he oversees the Gallery’s Artists’ Film International programme and is curating a historical overview of Arab art from the modern to the contemporary period, among other historic survey and monographic shows.

Kholeif is also Senior Visiting Curator at Cornerhouse and HOME, Manchester, a new 26 million pound art centre opening in 2015, where he has co-curated the inaugural programme, showcasing major new works from the likes of Sophia Al-Maria, Joana Hadjithomas and Khalil Joreige, Basim Magdy, and James Richards among others. He is also Senior Editor of Ibraaz Publishing, an initiative of the Kamel Lazaar Foundation; it is the leading critical forum for visual culture on North Africa and the Middle East. Previously, Kholeif was Curator at FACT, Foundation for Art and Creative Technology, Liverpool, where he curated major projects and exhibitions by Akram Zaatari, Pedro Reyes and Anja Kirschner and David

mercoledì 22 ottobre 2014

Charles Lim per Singapore


The National Arts Council, Singapore is pleased to announce the appointment of Singapore artist Charles Lim and curator Shabbir Hussain Mustafa as the artistic team to represent Singapore at the 2015 Venice Biennale.
Dr Eugene Tan, Director of the National Gallery Singapore and Co-Chair of the Commissioning Panel, says: “The commissioning panel were convinced by the proposal of Charles and Mustafa, as well as their close artistic partnership. Their exhibition will serve as a culmination of Charles’s  SEA STATEproject, which has been widely exhibited to critical acclaim. Their proposal demonstrates how artists can speak to international audiences, such as that which congregates at the Venice Biennale, while also engaging with issues that are specific and locally determined.”
Initiated in 2005, the SEA STATE project examines the biophysical, political and psychic contours of Singapore through the visible and invisible lenses of the sea. Taking as its metaphor the World Meteorological Organization’s code for describing sea conditions—ranging from calm, to moderate, to the phenomenal—SEA STATE inverts perceptions of sea and land in the Southeast Asian city-state. As the curator, Shabbir Hussain Mustafa notes, “The Singapore Pavilion presents a wonderful opportunity to explore how Charles’s work intersects with ongoing debates in the global contemporary art world. Singapore and Venice will meet through the sea itself, and we look forward to the rich conversation that will be generated along the way.”
Ms Kathy Lai, CEO of the Council and Co-Chair of the Commissioning Panel, adds, “As a focal point for international contemporary art, the Venice Biennale remains an important platform for Singapore’s visual artists to showcase their work and build international networks. The 2015 representation will continue to raise Singapore’s profile as a centre for artistic production and research in Asia.”
SEA STATE was the first breakaway series developed by Charles Lim after the dissolution of the seminal net-art collective tsunamii.net in 2004. For the past decade, Charles’s works and projects related to the sea, borders, maritime legacies and land reclamation in Singapore and Asia at large have had a tremendous influence on artists and other researchers seeking critical and alternative perspectives on how the island nation is seen, developed and reimagined.

Media enquiries Pamela Tham
National Arts Council T +65 6436 9470 / pamela_tham@nac.gov.sg


About National Arts Council
NAC was set up to spearhead the development of the arts in Singapore while advancing the country’s aspiration to be a distinctive global city for the arts. NAC’s mission is to nurture the arts and make Singapore’s rich and diverse culture an integral part of people’s lives. Anchored on the twin strategies of excellence and engagement in the arts, NAC aims to build a vibrant arts sector by creating a conducive environment where the arts is accessible to all, and artistic talents have the necessary resources and capabilities to excel and achieve long-term sustainability. For more information on NAC’s programmes and initiatives, please visit www.nac.gov.sg

All the World’s Futures



below english 

la Biennale di Venezia
56. Esposizione Internazionale d’Arte
curata da Okwui Enwezor

All the World’s Futures

Venezia (Arsenale e Giardini), 9 maggio – 22 novembre 2015
(vernice 6, 7 e 8 maggio 2015)

Venezia, 22 ottobre 2014 – Il Presidente della Biennale di Venezia Paolo Baratta, accompagnato dal Curatore della 56. Esposizione Internazionale d’Arte Okwui Enwezor, ha incontrato oggi a Ca’ Giustinian i rappresentanti di 53 Paesi partecipanti alla 56. Esposizione, che si svolgerà dal 9 maggio al 22 novembre 2015 ai Giardini e all’Arsenale (vernice 6, 7 e 8 maggio) nonché in vari luoghi di Venezia.


Il tema scelto da Okwui Enwezor per la 56. Esposizione Internazionale d’Arte è:

All the World’s Futures

Okwui Enwezor ha così esposto il suo progetto:
« Le fratture che oggi ci circondano e che abbondano in ogni angolo del panorama mondiale, rievocano le macerie evanescenti di precedenti catastrofi accumulatesi ai piedi dell’angelo della storia nell’Angelus Novus. Come fare per afferrare appieno l’inquietudine del nostro tempo, renderla comprensibile, esaminarla e articolarla? I cambiamenti radicali verificatisi nel corso degli ultimi due secoli hanno prodotto nuovi e affascinanti spunti per artisti, scrittori, cineasti, performer, compositori e musicisti. Ed è riconoscendo tale condizione che la 56. Esposizione Internazionale d’Arte della Biennale di Venezia propone All the World’s Futuresun progetto dedicato a una nuova valutazione della relazione tra l'arte e gli artisti nell’attuale stato delle cose ».

La Mostra: il parlamento delle forme
« Al posto di un unico tema onnicomprensivo, All the World’s Futures è permeato da uno strato di Filtrisovrapposti, intesi come una costellazione di parametri che circoscrivono le molteplici idee che verranno trattate per immaginare e realizzare una diversità di pratiche. La 56. Esposizione utilizzerà come Filtro la traiettoria storica che la Biennale stessa ha percorso durante i suoi 120 anni di vita, un Filtro attraverso il quale riflettere sull’attuale “stato delle cose” e sull’ “apparenza delle cose” ».
« In che modo artisti, filosofi, scrittori, compositori, coreografi, cantanti e musicisti, attraverso immagini, oggetti, parole, movimenti, azioni, testi e suoni, possono raccogliere dei pubblici nell’atto di ascoltare, reagire, farsi coinvolgere e parlare allo scopo di dare un senso agli sconvolgimenti di quest’epoca? Quali materiali simbolici o estetici, quali atti politici o sociali verranno prodotti in questo spazio dialettico di riferimenti per dare forma a un’esposizione che rifiuta di essere confinata nei limiti dei convenzionali modelli espositivi? In All the World’s Futureslo stesso curatore insieme agli artisti, agli attivisti, al pubblico e ai partecipanti di ogni genere saranno i protagonisti centrali nell’aperta orchestrazione di questo progetto ».

« Al centro della Mostra c’è la nozione di esposizione come palcoscenico nella quale verranno esplorati progetti storici e antistorici. All’interno di questa struttura gli aspetti della 56. Esposizione privilegeranno nuove proposte e lavori specificatamente concepiti dagli artisti, cineasti, coreografi, performer, compositori e scrittori invitati per lavorare individualmente o in collaborazione ».

Tre i Filtri che strutturano All the World’s Futures:
Vitalità: sulla durata epica; Il giardino del disordine; Il Capitale: una lettura dal vivo.

Vitalità: sulla durata epica
« All the World’s Futures è una manifestazione, sia temporale sia spaziale che è incessantemente incompleta, strutturata da una logica dello svolgimento, un programma di eventi che può essere esperito nel punto d’incontro tra “vitalità” ed “esibizione ”. Sarà una drammatizzazione dello spazio espositivo come un evento dal vivo in continuo svolgimento. Così facendo All the World’s Futures proporrà delle opere che esistono già, ma chiederà anche dei contributi che saranno realizzati appositamente ed esclusivamente per questa Mostra ».

Il giardino del disordine
« Questo Filtro, collocato nei Giardini e nel Padiglione Centrale nonché nelle Corderie, nel Giardino delle Vergini dell’Arsenale e in altri spazi selezionati a Venezia, utilizza lo spazio storico dei Giardini della Biennale come una metafora attraverso la quale esplorare l’attuale “stato delle cose”. La Biennale Arte 2015 ritorna sull’antico territorio di questo ideale per esplorare i cambiamenti nell’ambiente globale, per leggere i Giardini, con il suo malridotto insieme di padiglioni, come il sito ultimo di un mondo disordinato, di conflitti nazionali e di deformazioni territoriali e geopolitiche. Gli artisti sono stati invitati ad elaborare delle proposte che avranno come punto di partenza il concetto di giardino, realizzando nuove sculture, film, performance e installazioni per All the World’s Futures ».

Il Capitale: una lettura dal vivo
« Oltre al caos e al disordine propri dell’attuale “stato delle cose”, esiste una preoccupazione dilagante che è al centro della nostra epoca e modernità. Fin dalla pubblicazione dell’imponente opera di Marx Il Capitale:Critica dell’economia politica nel 1867, la struttura e la natura del capitale   ha suscitato l’interesse di filosofi e artisti, ispirando teorici della politica, economisti e strutture ideologiche in tutto il mondo. Una parte centrale di questo programma di letture dal vivo è “Das Kapital”, un imponente progetto bibliografico frutto di una meticolosa ricerca, concepito dal direttore artistico nel Padiglione Centrale ».

« Con questa prospettiva, All the World’s Futures, attraverso le sue costellazioni di Filtri, scaverà a fondo nello “stato delle cose” e metterà in discussione l’”apparenza delle cose” passando da un’enunciazione gutturale della voce alle manifestazioni visive e fisiche, tra opere d’arte e pubblico »(Si veda il testo integrale di Okwui Enwezor qui allegato)
« La prima Mostra Internazionale d'Arte della Biennale di Venezia riformata ebbe luogo nel 1999, e fu in quell'anno, all'inizio di una nuova fase della propria vita, che dovette reagire a molte osservazioni critiche: una mostra organizzata per padiglioni sembrava una formula obsoleta o comunque invecchiata nell'epoca della conclamata globalizzazione».

Così il Presidente Paolo Baratta ha introdotto la 56. Esposizione Internazionale d’Arte rammentando di aver accettato la critica ma non le conclusioni che taluni proponevano: «non rinnegammo cioè la Biennale per padiglioni – chiarisce il Presidente - ma aggiungemmo a essa in via definitiva una nostra grande Mostra Internazionale autonoma. Predisponemmo nuovi grandi spazi e nominammo un curatore per questo progetto ambizioso. Una grande Mostra Internazionale, e non più sezioni internazionali aggiunte volta a volta alla mostra del curatore del Padiglione Italiano. Un curatore internazionale per la nostra Mostra Internazionale e mai più comitati o commissioni. Il modello funzionò, e in questa nuova vitale formula duale il numero dei paesi che chiesero di partecipare aumentò. Sono trascorsi 15 anni da quella riforma e dall'avvio di questa nuova storia. Ed è grazie a quella scelta strategica che oggi un curatore come Okwui Enwezor (come i suoi più recenti predecessori) può proporci, non una "sezione", ma un progetto di Mostra Internazionale ispirata dall'ambizione di offrire al mondo una cassa di risonanza del mondo».

« In quell'occasione – spiega Baratta - ai Giardini fu affiancato l'Arsenale e oggi, dopo 15 anni, il numero di paesi partecipanti nelle due sedi si eguaglia: 28 partecipazioni nazionali ai Giardini e altrettante all’Arsenale, in occasione della 14.a Mostra Internazionale di Architettura. Questa più precisa responsabilità assunta dalla Biennale ha fatto evolvere il dialogo con i padiglioni e i paesi partecipanti. Il pluralismo di voci che ne risulta è un unicum della Biennale di Venezia».

« La Biennale – precisa Baratta - è una Mostra d'Arte, non una mostra mercato. Non basta un neutrale aggiornamento dell'elenco degli artisti più o meno giovani e noti. L'arte e la presente realtà ci sfidano a compiti più complessi. Abbiamo, in passato, definito in vari modi la Biennale. Oggi, di fronte ai pericoli di scivolamenti conformistici verso il noto, il consueto e il sicuro, l'abbiamo denominata la "Macchina del desiderio". Mantenere alto il desiderio di arte. A sua volta, desiderare l'arte è riconoscerne la necessità. È, cioè, riconoscere come necessità primaria e primordiale l'impulso dell'uomo a dare forma sensibile alle utopie, alle ossessioni, alle ansie, ai desideri, al mondo ultra sensibile».

« Una Biennale è cosa complessa – dichiara il Presidente. Qualunque sia il punto di partenza del curatore - filosofico, politico, antropologico - la sua selezione dovrà davvero presentarci creazioni necessarie e vitali alla nostra percezione. E l'introduzione di ‘Biennale College’ aumenta il nostro impegno verso le nuove generazioni di artisti. L'edizione in corso di Architettura ha avuto al suo interno presenze aggiunte dei settori Danza Teatro Musica e Cinema, la prossima Biennale d'Arte conterrà al suo interno varie forme dell'arte, ma come parti integrante della Mostra».

« Non è la prima volta – conclude Baratta - che una mostra ha davanti a sé un mondo fatto di insicurezze e turbolenze mentre il "giardino del mondo" ci appare un giardino non ordinato, ma non è neppure la prima volta che a una realtà complessa una mostra reagisca con entusiasmo ed energia vitale come fa questa che ci accingiamo a realizzare».
(Si veda il testo integrale di Paolo Baratta qui allegato)

La 56. Esposizione Internazionale d’Arte della Biennale di Venezia presenterà, come di consueto, lePartecipazioni nazionali, con proprie mostre nei Padiglioni ai Giardini e all’Arsenale, oltre che nel centro storico di Venezia.

Anche per questa edizione si prevedono selezionati Eventi collaterali proposti da enti e istituzioni internazionali, che allestiranno le loro mostre e le loro iniziative a Venezia in concomitanza con la 56. Esposizione.

Sito web ufficiale della 56. Esposizione: www.labiennale.org
Hashtag ufficiale: #biennalearte2015






English


The President of la Biennale di Venezia, Paolo Baratta, accompanied by the curator of the 56th International Art Exhibition, Okwui Enwezor, met today at Ca’ Giustinian with the representatives of the 53 Countries participating in the 56th Exhibition, which will take place from May 9th – November 22nd 2015 at the Giardini and at the Arsenale (Preview on May 6th, 7th and 8th) and in various other venues in Venice.
 
The title chosen by Okwui Enwezor for the 56th International Art Exhibition is:
 
Okwui Enwezor has explained his project as follows:
« The ruptures that surround and abound around every corner of the global landscape today recall the evanescent debris of previous catastrophes piled at the feet of the angel of history in Angelus Novus. How can the current disquiet of our time be properly grasped, made comprehensible, examined, and articulated? Over the course of the last two centuries the radical changes have made new and fascinating ideas subject matter for artists, writers, filmmakers, performers, composers, musicians. It is with this recognition that the 56th International Exhibition of la Biennale di Venezia proposesAll the World’s Futuresa project devoted to a fresh appraisal of the relationship of art and artists to the current state of things ».
 
The Exhibition: Parliament of Forms
« Rather than one overarching theme, All the World’s Futures is informed by a layer of intersecting Filtersthese Filters are a constellation of parameters that circumscribe multiple ideas, which will be touched upon to both imagine and realize a diversity of practices. The 56th International Art Exhibition will employ as a Filter the historical trajectory that the Biennale itself, over the course of its one hundred and twenty years existence has run over, Filter through which to reflect on both the current “state of things” and the “appearance of things ».
 
« How can artists, thinkers, writers, composers, choreographers, singers, and musicians, through images, objects, words, movement, actions, lyrics, sound bring together publics in acts of looking, listening, responding, engaging, speaking in order to make sense of the current upheaval? What material, symbolic or aesthetic, political or social acts will be produced in this dialectical field of references to give shape to an exhibition which refuses confinement within the boundaries of conventional display models? In All the World’s Futures the curator himself, along with artists, activists, the public, and contributors of all kinds will appear as the central protagonists in the open orchestration of the project ».
 
«At the core of the Exhibition is the notion of the exhibition as stage where historical and counter-historical projects will be explored. Within this framework the main aspects of the 56th Exhibition will solicit and privilege new proposals and works conceived specifically by invited artists, filmmakers, choreographers, performers, composers, and writers to work either individually or in collaboration ».
 
Three are the Filters that form All the World’s Futures:
Liveness: On epic duration; Garden of Disorder; Capital: A Live Reading.
 
Liveness: On epic duration
« All the World’s Futures is both a spatial and temporal manifestation that is relentlessly incomplete, structured by a logic of unfolding, a program of events that can be experienced at the intersection of liveness and display. It will be a dramatization of the space of the exhibition as a continuous, unfolding, and unceasing live event. In doing so All the World’s Futures will activate works that are already existing but also invites contributions that will be realized especially for this Exhibition ».
 
Garden of Disorder
«This Filter, located in the Giardini and the Central Pavilion, Corderie, Giardino delle Vergini in the Arsenale, and selected areas in Venice, takes the historical ground of la Biennale in the Giardini as a metaphor through which to explore the current “state of things ”. The Biennale Arte  2015, returns to the ancient ground of this ideal to explore the changes in the global environment, to read the Giardini with its ramshackle assemblage of pavilions as the ultimate site of a disordered world, of national conflicts, as well as territorial and geopolitical disfigurations. The artists have been invited to develop proposals that take the concept of the garden as a point of departure to realized new sculptures, films, performances, and installations for All the World’s Futures ».
 
Capital: A Live Reading
«Beyond the distemper and disorder in the current “state of things,” there is one pervasive preoccupation that has been at the heart of our time and modernity. Since the publication of Karl Marx’s massive Capital: Critique of Political Economy in 1867, the structure and nature of capital has captivated thinkers and artists, as well as inspired political theorists, economists, and ideological structures across the world. A core part of this program of live readings, is “Das Kapital” a massive meticulously researched bibliographic project, conceived by the artistic director in the Central Pavilion ».
 
« With this outlook, All the World’s Futures, through its constellation of Filters will delve into the “state of things” and question “the appearance of things”, shifting from the guttural enunciation of the voice to the visual and physical manifestations between artworks and the public ».
« The first International Art Exhibition of the reformed Biennale di Venezia took place in 1999 and it was in that year, at the very beginning of a new chapter in its history, that it found itself having to respond to the many adverse comments it received. Many thought that an exhibition through pavilions was obsolete or at the very least an outdated concept in what was the much heralded era of globalization ».
 
 
So the President Paolo Baratta has introduced the 56th International Art Exhibition remembering to accepted the criticisms, but not the solutions that some put forward: « we did not throw out the use of pavilions for the Biennale -  explains the President – but we enhanced it in a definitive way, by arranging a large, stand-alone International Exhibition at the same time . We arranged additional large spaces and appointed a curator for this ambitious project of ours. A main International Exhibition replaced the international sections, which used to be added to the exhibition organized by the curator of the Italian Pavilion. An international curator for our International Exhibition and no more committees or commissions. The new model worked, and this dynamic, new two-pronged event led to an increase in the number of countries wanting to participate.
It’s been 15 years since that reform, and the start of this new chapter, and it is thanks to that calculated choice that today, a curator of the ilk ofOkwui Enwezor – like his most recent predecessors – can present not just a ‘section’, but an entire International Exhibition inspired by the ambition to offer the world a global sounding board ».
 
« In that occasion – Baratta continues – the Arsenale became an addition to the Giardini venue, and 15 years on, the number of participating countries, exhibiting in the two venues, is equal: 28 national participations at the Giardini and the same at the Arsenale, on the occasion of the 14th International Architecture Exhibition. Since the Biennale took on this greater and more precise responsibility, the dialogue with the pavilions and participating countries has evolved. The pluralism of voices that now exists is unique to the Biennale di Venezia ».
 
« The Biennale – specifies Baratta – is an Art Exhibition and not an art fair, and as such requires more than an unbiased up-dating of a roster of artists, young or not so young, famous or otherwise. Art and today’s reality present us with far more complex tasks.  In the past, we have defined the Biennale in various ways. Today, faced with the dangers of slipping towards a more orthodox popularity, conventionality and security, we have named it The Machine of Desire to keep the desire for art high and in turn to want art and accept it is a necessity. In other words, to recognise as both a primary and primordial necessity man’s need to give some perceptible form to utopias, obsessions, anxieties, desires and to the ultra-sensitive world ».
 
« A Biennale is a complex affair– states Baratta. None of the aspects mentioned can be overlooked and whatever the curator’s initial concept – philosophical, political or anthropological – his selection really must include pieces that are necessary and fundamental to our perception. The introduction of the Biennale College is proof of our increasing commitment to new generations of artists. The current Architecture Exhibition has enjoyed the addition of the Dance, Theatre, Music and Cinema sectors. The next Art Biennale contain various forms of art but as an integral part of the exhibition ».
 
Baratta concludes: « It is not the first time that an exhibition faces a world filled with uncertainty and turmoil whilst the “garden of the world” appears to us as a “garden of disorder”, and it is also not the first time that faced with a complicated reality, an exhibition responds with the enthusiasm and dynamism evident in the one we are in the throes of organizing ».
 
 
The 56th International Art Exhibition of la Biennale di Venezia will also present, as is traditional, the National Participations with their own exhibitions in the Pavilions at the Giardini and at the Arsenale, and in the historic city centre of Venice.
 
This edition will also include selected Collateral Events, presented by international entities and institutions, which will present their exhibitions and initiatives in Venice concurrently with the 56th Exhibition.
 
Official website: www.labiennale.org
Official hashtag: #biennalearte2015

mercoledì 8 ottobre 2014

Open Call: Artistic Representation of Cyprus at the 56th Venice Biennale.



Per la prossima edizione della Biennale Cipro userà come padiglione Palazzo Malipiero con la curatela di Omar Kholeif, per l'occasione c'è anche il bando di selezione per gli artisti, info dal sito http://www.philenews.com/



Open Call: Artistic Representation of Cyprus at the 56th Venice Biennale.
Deadline: Wednesday, 5 November 2014, 12:00 noon.
56th Venice Biennale:
The next Venice Biennial of Visual Arts will take place between the 9th of May and the 22nd of November 2015(preview 6-8 May).
The Board of the Biennale di Venezia has appointed Okwui Enwezor as Director of the Visual Arts Sector, with specific responsibility for curating the 56th International Art Exhibition. Born in Nigeria in 1963, Okwui Enwezor is a curator, art critic, editor and writer, with a wide-ranging practice which spans the world of international exhibitions, museums, academia, and publishing. Enwezor has investigated, in particular, the complex phenomenon of globalization in relation to local roots, and is a key figure in postcolonial art theory and criticism.


Exhibition Project:
Curator Omar Kholeif articulates his vision for the next Cyprus Pavilion at the Venice Biennale of Art as follows:“My ambition with the Cyprus Pavilion at the 56th Venice Biennale is to consider Cyprus’s relationship to the southern hemisphere. I have always seen Cyprus as the gateway to what we have come to know as the Global South. It is a site of multiple territories and imaginaries. My sketch for the upcoming exhibition is to consider the question of, how does one choreograph a history that is constantly being reimagined? How do we speak to an anthropology of movement? With this in mind, I seek to consider questions of identity, expanded geography, as well as cultures of image production and its dissemination.”Proposals for both new commissions and existing works, as well as performances would all be encouraged.

Open Call:
The artist(s) representing Cyprus in the exhibition will be selected through an Open Call process by the appointed curator. Those who wish to take part in the selection process are called to make a submission containing: 1) Curriculum Vitae, 2) Samples of previous work, and 3) Statement of Intent.

Terms of Application:
1. The Statement of Intent should clearly illustrate the breadth and scope of ambition by the candidate artist(s) for the pavilion of Cyprus at the 56th Venice Biennale, preferably in English.The final proposal will be developed in conversation between the selected artists(s) and the curator.
2. Any visual material may be submitted in the form of sketches, drawings, photographs, slides, or digital archives. Texts may be submitted in digital form.
3. Artists are free to use any media and techniques (audio, film, painting, sculpture, installation, photography, video, etc). There are no limitations concerning the type, form or subject of the final work.
4. Candidates may submit an application individually or on the basis of a collective project. More than one participant may be selected for the exhibition. The competition is also open to transdisciplinary projects.
5. Applications should be submitted by Wednesday, 5 November 2014, 12:00 noon, to the following address: MINISTRY OF EDUCATION AND CULTURE, Cultural Services, 27 Ifigenias Street, 2007 Nicosia (Room 113, 1st Floor).
6. The cover of the envelope should necessarily include the indication “Venice Biennale 2015”, as well as the name(s) and contact details of the applicant(s).
7. Applications can also be submitted via e-mail, at cyprusinvenice@gmail.com. Digital files should not exceed 15 MB in total. Please request reception confirmation.
8. There are no age restrictions to apply.
9. Candidates must hold a connection to Cyprus in order to apply, whether it is through nationality, birth, origin, residency, or through their given line of research.
10. Candidates cannot be full time students, excluding PhD candidates.
11. The selected artist(s) will be announced in the Cypriot Press and online at http://www.moec.gov.cy/politistikes_ypiresies. Submitted materials may be collected within one month following the announcement.For enquiries please contact the Culture Department of the Ministry of Education and Culture: T +357 22 809814, F +357 22 809872, E

Image: Palazzo Malipiero, Venice. Photo: Wikimedia Commons