Mats Stjernsted per i Padiglioni Nordici

Mats Stjernstedt è stato nominato curatore per il Padiglione dei Paesi Nordici (Norvegia, Finlandia e Svezia), ne ha dato notizia il Moderna Museet 

English

Mats Stjernstedt will curate the joint exhibition of Finland, Norway and Sweden in the Nordic Pavilion at the 57th International Art Exhibition, La Biennale di Venezia 2017. The exhibition marks the rejuvenation of the Nordic collaboration between the three countries.

The art in the Nordic Pavilion will be presented as a joint project, where the three countries are represented on equal terms. As before, the countries will take turns as principal commissioner and manager of activities at the Nordic Pavilion as follows:

2017: Moderna Museet, Sweden

2019: Frame Visual Art Finland, Finland

2021: Office for Contemporary Art (OCA), Norway

Moderna Museet has thus appointed Mats Stjernstedt to curate the Nordic Pavilion in 2017. Stjernstedt is the artistic director of Kunstnernes Hus in Oslo since 2011. He has curated numerous exhibitions internationally over the years.

“Being asked to assemble an exhibition for the Nordic Pavilion is an honour and a challenge. I appreciate being entrusted this assignment and look forward to combining my experience with research over the next few months. I also look forward to presenting interesting artists who are active in the Nordic countries, within the compelling framework of La Biennale di Venezia,” says Mats Stjernstedt.

The Nordic Pavilion for the Venice Biennial was completed in 1962 and has since been a space for collaboration between three nations – Sweden, Finland and Norway. Built on a plot between the pavilions of the United States and Denmark, it is situated in the Biennale grounds at Giardini in Venice. For the last three biennials of 2011, 2013 and 2015, a format was developed which involved the solo commissioning by each country of a project. For the period 2017–2021 the agreement entailing that all three countries are represented on equal terms, will be resumed.

Frame Visual Art Finland received 96 proposals

Frame Visual Art Finland received 96 proposals for the exhibition to be staged in the Pavilion of Finland at the forthcoming Venice Biennale in 2017.

In its Open Call Frame sought project proposals that examine independence as something formed through complex processes of dependence. Applicants were also requested to consider how the logic of exclusion, forgetting and silencing is recognised as foundational in the construction of national identity.

“The curators and artists who submitted proposals had developed interesting concepts from a wide variety of perspectives and in a diverse range of artistic media. The proposals were conceptually diverse and of a high level of quality,” says Raija Koli, Director of Frame.

The proposals are being processed by an international jury chaired by Raija Koli, Director of Frame. Her fellow jury members are Taru Elfving, Head of Programme at Frame, Curator Katerina Gregos, Professor Sarat Maharaj, Leevi Haapala, Director of the Kiasma Museum of Contemporary Art, Curator Maaretta Jaukkuri and artist Patrik Söderlund.

68 proposals for the Dutch entry to Venice Biennale 2017

The Mondriaan Fund’s request for proposals for the Dutch entry to the 57th edition of the Venice Biennale has received a wide response. 68 proposals were submitted by curators and curator collectives. Along with freelancers, curators and directors of various museums, presentation spaces and art initiatives also entered proposals. Proposals for solo versus group presentations are evenly balanced.

The director of the Mondriaan Fund, Birgit Donker, considers this a good harvest of promising proposals. It highlights (demonstrates) the amount of talent and ambition in the Netherlands, and selecting the very best plan will be a considerable task for the jury, she added.

The proposals will be evaluated by an internationally oriented jury of experts, who will submit a selected shortlist of no more than 5 by the end of February. The selected curators will be assigned a budget with which to further elaborate their plan, and will present their plans to the jury at the end of May.

The jury consists of Lorenzo Benedetti (curator, e.g. Nederlands Paviljoen in Venice 2013), Nathalie Hartjes (director showroom MAMA), Aernout Mik (artist, participant in e.g. exhibitions in the Nederlands Paviljoen in 1997 and 2007) and Mirjam Westen (curator of contemporary art Museum Arnhem). Birgit Donker is chairperson, with no right of vote.

The jury members will select the most suitable plan after the presentations, and will subsequently formulate their choice of curator of the Dutch entry for the Mondriaan Fund. The Venice Biennale opens on May 13, 2017.

Call Rationale for Malta

Call Rationale 

Arts Council Malta, in its capacity as Pavilion Commissioner, and in collaboration with MUŻA (Malta’s National Museum of Fine Arts, Heritage Malta), under the auspices of the Ministry of Justice, Culture and Local Government is publishing an international call for the engagement of a curator/curatorial team to curate the Malta Pavilion at the 57th International Art Exhibition at the Venice Biennale in 2017.

The Malta Pavilion 
Malta is officially returning to the Venice Art Biennale after an absence of 17 years. It has so far participated with a special exhibition of Maltese Artists in 1958 and a National Pavilion in 1999.
In October 2015, Arts Council Malta initiated discussions with the Venice Biennale Foundation with a view to securing Malta’s participation in 2017. Malta’s participation has been subsequently confirmed and the venue secured. The Malta Pavilion is approximately 300 square meters with exposed brick walls. It will be located at the Artiglierie in the Arsenale Area. Details of the chosen venue can be found in the image.

The International Art Exhibition will be held from 13th May to 26th November 2017.

Arts Council Malta is now seeking proposals from curators/ curatorial teams to curate the 2017 Malta Pavilion. Expressions of interest can be submitted in the form of a concept proposal for the visual language and design of the exhibition. The declared aim of the Malta Pavilion is to offer a platform through which Maltese contemporary artistic practices understood within the broadest sense of the term can be exposed, contextualised and presented to an international audience.

The Maltese Pavilion will also be part of the Cultural programme of the Maltese Presidency of the Council of the European Union in 2017. The project will also bridge with the contemporary art programme of Valletta as European Capital of Culture in 2018.

Curatorial Profile and Requirements 
The call is open to Maltese and international curators with a strong curatorial track record. Multi-national curatorial teams including Maltese will be favourably considered.
The curator/ curatorial team shall be answerable to the Malta Commissioner (Arts Council Malta) and shall: 
• Develop, articulate and define both concept and themes of the Malta Pavilion;
• Select the contents and artists for the Malta Pavilion, including artworks and other requirements chosen in response to theme/s and concept, with the support of recourses and expertise made available by Arts Council Malta as required; 
• Liaise with representatives of the Venice Biennale with regards to logistics and transfer of Pavilion contents, including set-up in Venice as required by the Biennale Regulations for National Participations; 
• Curate the exhibition catalogue including choice of contributors, and liaise directly with the publishing house with regards to layout and other editorial requirements as necessary; 
• Assist and support marketing and PR requirements as required by the Malta Commissioner.

The current allocated budget is EUR150,000. This amount excludes the rental of the space that will host the Malta Pavilion, as this will be covered by Arts Council Malta. Additional funding may be sourced through private sponsorship as required in response to the submitted proposal.

The lead applicant shall be engaged on contract by Arts Council Malta for the National Participation of Malta at the 57th International Art Exhibition. Such contract shall define curatorial remit and other requirements that the candidate agrees to deliver in response to this brief.

Proposals 
The proposal in response to this brief is to be submitted to Arts Council Malta, in the form of a concept proposal, including themes and proposed visual language for the Malta Pavilion. It also needs to include the following, but not exclusively: 
• An understanding of the Maltese contemporary artistic scene;
• The proposed curatorial strategy, guiding the selection methodology; 
• A detailed CV highlighting previous experience on similar high-profile projects; 
• Tentative budget breakdown of the proposed concept including curatorial and proposed artist’s fees, transport and insurance, mounting and dismantling, marketing and PR, catalogue, including contents and production and any other requirements that may arise. If additional budgets are required, the proposal shall also include how these ought to be sourced. This should also include a strong track record on how additional alternative resources for past similar projects were acquired. 
• Any other information relevant to and required for a better and comprehensive understanding and evaluation of the submitted proposal.

Proposal Submission and Assessment Criteria 
Proposals are to be submitted via email by noon, Wednesday 30th March 2016 onvacancies@artscouncilmalta.org indicating ‘Curatorial Proposal for the National Participation of Malta at the 57th International Art Exhibition at the Venice Biennale’ as subject. 
Submitted proposals will be assessed by a panel of experts, purposely appointed and chaired by Arts Council Malta. Shortlisted candidates will be invited to pitch their project and discuss it in more detail during an interview to clarify any information submitted as required. The final decision will be announced by 30 April 2016.
The panel shall be guided by the following criteria throughout the process leading to the final selection: 
1. The strengths and merits of the exhibition concept;
2. The methodology to select and/or commission the artist (s) for the Pavilion;
3. The profile and exhibition records on a national and international level of the curator (s);
4. The logistical and financial viability of the proposed curatorial strategy as presented in the general breakdown of costings and budget allocation for each of the proposed components; 
5. The preliminary understanding of the Maltese artistic ecology, including its broader connections and relations beyond Maltese territory, and how the proposal intends to highlight and contextualise it; 
6. The track record for completing projects on time and on budget.

Should you have any questions as a result of reading this brief please contact
Romina Delia, Internationalisation Associate at Arts Council Malta onromina.a.delia@artscouncilmalta.org

Venice Biennale and the Art Market

The Venice Biennale and the Art Market, the Venice Biennale as an Art Market: Anatomy of a Complex Relationship

3-5 February 2016

CONFERENCE PROGRAMME

Wednesday 3rd February 2016
Location: 11 Bedford Square, London WC1B 3RF

• 18.00 Keynote Lecture: Dr. Olav VELTHUIS (Amsterdam), ‘The Role of the Venice Biennial in the Emergence of Art Markets’
  Chair: Julian STALLABRASS, The Courtauld Institute of Art
• 19.00-19.30 Question and Discussion

Thursday 4th February 2016
Location: The Institute of Historical Research, London, Senate House, Malet St, London WC1E 7HU

9.00 Registration

• 9.30 Welcome and Introductory remarks: Marie Cambefort-Tavinor
• 9.40 PANEL ONE: MARKET OR NO MARKET: THE EVOLUTION OF THE BIENNALE’S STRATEGIC POSITIONING
  Chair: Dr. Derrick CHONG, The Royal Holloway, University of London
• 9.50 Stefania Portinari (Venice)’Exhibition in Real Time’: Attacks to the Art Market and Capitalism at the Venice Biennale in the 1970s’
• 10.10 Vittoria Martini (Turin) ‘The Dematerialisation of Biennale’s Exhibitions 1976: the Birth of the Thematic Biennale and The Issue of the Market’
• 10.30 Clarissa Ricci (Venice) ‘To Sell or Not to Sell, is this the question? Attempts at reopening the Venice Biennale’s Sales Bureau’
• 10.50 Dorothy Barenscott (Vancouver) ‘Objects and Events: the Emergence of the Venice Biennale as Global Spectacle’

11.10 Break

• 11.40 PANEL TWO: ADDED VALUE: THE BIENNALE’S SYMBOLIC CAPITAL
  Chair: Dr. Mark WESTGARTH, University of Leeds
• 11.50 Monica Sassatelli (London) ‘Georg Simmel at the Venice Biennale: perennial exhibitions, forms of value and contemporary culture
• 12.10 Elena Granuzzo (Padua) ‘Harald Szeeman’s Biennials: the Relationship between Criticism and the Market’
• 12.30 Discussion

13.00-14.30 Lunch break (not provided)

• 14.30 PANEL THREE: MARKETING STRATEGIES
  Chair: Adriana SCALISE, Independent Scholar, Venice
• 14.40 Francesca Castellani (Venice) ‘1895-1899. Market, Collectors, Criticism at Venice Biennale’
• 15.00 Silvia Madeddu (Paris) ‘Retrospectives of Artists and Market Interests at the Biennale: the Case of Enrico Piceni (1901-1986)
• 15.20-15.40 Break
• 15.40 Luca Pietro Nicoletti (Milan) ‘Merchant, Critic, Poet: the Story of Jean Fautrier at the 30th Venice Biennale’
• 16.00 Marco Delogu (London), ‘The relationship between photography and the Biennale’
• 16.20-17.00 Discussion

19.00 Talk followed by a reception at the Italian Cultural Institute of London (TBC)

Friday 5th February 2016
Location: The Institute of Historical Research, London, Senate House, Malet St, London WC1E 7HU

9.30 Registration

• 9.50 PANEL FOUR: THE BIENNALE AS ITALY’S COMMERCIAL AND IDEOLOGICAL PLATFORM
  Chair: Dr. Giuliana PIERI, The Royal Holloway, University of London
• 10.00 Cristina Beltrami (Venice) ‘The Venice Biennale and the Market for Murano Glass: 1895-1930’
• 10.20 Giuliana Tomasella (Padua) ‘1940-1942: The Contemporary Art Market during the War’

10.40 Break

• 11.00 PANEL FIVE: FITTING IN THE BIENNALE FRAMEWORK: THE RE-BRANDING OF OUTSIDERS
  Chair: Dr. Chloe PREECE, The Royal Holloway, University of London
• 11.10 Ana Bogdanovic (Belgrade) ‘Yugoslavia at the Venice Biennale 1950-1952: Strategic Positioning between East and West’
• 11.30 Nicola Foster (London) ‘Thailand and China at the Venice Biennale’
• 11.50 Salimata Diop and Liz Lydiate (London) ‘Do the Venice Biennale national pavilions still impart special status? A reflection on the composition, development and influence of the pavilions, taking developing contemporary art practice throughout Africa as a case in point’
• 12.20-12.50 Discussion

13.00-14.00 Lunch Break (not provided)

14.00 PANEL SIX: EMERGING MARKETS AT THE VENICE BIENNALE: SPECULATION OR DEMOCRATISATION?
Chair: Dr. Anthony GARDNER, The University of Oxford

• 14.10 Estelle Bories (Paris) ‘The Complex Relationship of the Venice Biennale and China’
• 14.30 Kathleen Ditzig (Singapore) ‘The Significance of the Venice Biennale for the Southeast Asian Art Market’

14.50-15.20 Break

•  15.20 Leonor Veiga de Oliviera Matos (Leiden) ‘The Venice Stamp: South-East Asian Artists and the Venice Biennale’
• 15.40 Valerie Kabov (Harare) ‘The role of the Venice Biennale partnership with the art market in real and perceived democratization of the art world – African contemporary art case-study in the context of the Global South’
• 16.00-16.30 Discussion and Closing Remarks