VENICE BIENNIAL CENTRAL ASIAN PAVILLION ART CURATORS

How and with whom does the contemporary art of Central Asia communicate? To whom is it addressed? In which language does it speak? Does it use a lingua franca, the language of most effective communication, or does it twist its language towards outsiders?

This is the proposition set down by the curators for the Central Asian Pavilion at next year’s 54th Venice Biennial. Georgi Mamedov (Moscow) Boris Chukhovic (Montreal) and Oksana Shatalova (Rudnyi) have sent out an open call to artists from Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan to submit work under the theme of “Lingua Franca”. The project has been commissioned by Asel Akmatova (Bishkek) and Andris Brinkmanis (Venice) with Beral Madra (Istanbul) andGulnara Kasmalieva and Muratbek Jumaliev (Bishkek) as special consultants.

Oksana Shatalova, 'Red Flag', 2008, five lambda prints on dibond, 180 x 155 cm each.

Oksana Shatalova, 'Red Flag', 2008, five lambda prints on dibond, 180 x 155 cm each.

The focus of the pavilion looks to play upon the gap in artistic communication, similar to the project Making Intersticethat featured at Venice two years ago. The curators maintain that in communicative terms, the contemporary art history of Central Asia is balanced between two poles; communicating with the international “Western” art scene and with the “local” community.

How far are these respective forms of communication effective? Next year’s project will explore not only this gap in communication but how they might be brought together.

Installation view of Making Interstices, Central Asian Pavilion, 53rd Venice Biennial, 2008. Image taken from centralasiaart.org.

Installation view of Making Interstices, Central Asian Pavilion, 53rd Venice Biennial, 2008. Image taken from centralasiaart.org.

HG/KN/HH

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By Brittney

Brittney is a writer, curator and contemporary art gallerist. Born in Singapore and based in New York City, Brittney maintains a deep interest in the contemporary art landscape of Southeast Asia. This is combined with an equally strong interest in contemporary art from the Asian diasporas, alongside the issues of identity, transmigration and global relations.

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