art 2004/1
TO CONTENTS
BACK

Nomeda ir Gediminas Urbonas. Instaliacija Ruta Remake. Fragmentas Balsų archyvas. 2002–2004

Ulrike Ottinger. Filmo Bilietas į vieną pusę (Berlyno trilogija) kūrimo dokumentacija. 1979

Matthias Poledna. Videoinstaliacija Actualité. 2001

Stephen Willats. Ciklas In Isolation Ieben (Gyventi atskirtam). 1979–1980, fotografija, guašas, tušas, kartonas


3rd Berlin Biennial for Contemporary Art

Valentinas Klimašauskas: The curators of the 1st Berlin Biennial Berlin/Berlin (1998) defined it as anti-futuristic and anti-nostalgic, and focused on the actual present, thus, in essence, establishing the modus vivendi for the future biennials. The dialectic concept of the 1st biennial (implicitly emphasizing the painful co-existence of two incongruous East and West Berlins) has become in the 3rd triennial "poly-lectic&" and "meta-discursive&". The physical and virtual spaces of Berlin have changed over the years of unification. When a metropolis of the industrial era has been replaced by a "meta-polis&" of the digital era, the mega city of a new era becomes the space of lodging, industry, transit, services, and entertainment. At the biennial, these functional discourses are introduced through separated in space hubs of Migration, Urban conditions, Audio landscapes, Fashions and Catwalks, A Different Cinema. The key motif of the 3rd Berlin Biennial is sub-stations of data processing and transmission in a large computer network or at mega airports.
Linara Dovydaitytė: The past decades in the history of Berlin have seen both the political change of European space, and the shifts in the systems of mentality. The collapse of the Wall has put behind numerous oppositions and encumbered decision-making. The choice between East and West (also, between collaboration and resistance, the official and the underground, tendencies and alternatives, etc.) has lost its ideological clarity by involving numerous other loosely defined criteria. The participants of the biennial tend to operate in political than aesthetic categories, and find themselves in a post-dialectic condition; their messages are no longer informed by decision making operations, but by mistrust and suspicion. Mistrusted are polished surfaces, homogeneous spaces and integral identities. …The physical body of the town, as represented in different ways by the works on display, also abounds in the signs of power, social manifestations, and traces of the destructive history.
Ūla Tornau: The 3rd Berlin Biennial abounds in nostalgic reflections, incredibly precise and consistent, extensions and animations of the complex Berlin’s myth par excellence. Though most often analytical, they neither modify nor suppress, but foster the greed for the town, which is generated by the Berlin’s guide in those who have never been to Berlin … the exhibition and the town restate the archetypal images that everyone expects from the town: the town in the 1930s, 1980s and afterwards, cabaret, Metropolis, Brecht, the stage of alternative rock, blocks of flats of the GGD, Montana fashion, Wim Wenderson’s Berlyn and the dizzying rate of the new age construction. Many participants of the biennial explore lavishly these mythological images and construct complex systems of overlapping communication fields, elements of theorems, and layers of metaphors.

TO CONTENTS
BACK