DOSSIERS
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M6 EXAM: Exhibition/Residency as A School
du 15 août au 15 septembre, 2011
Tallinn, ESTONIE


Enquête de la documentation des douze textes de la Biennale européenne Manifesta 6 de 2006 par une session d'étude post-biennale. Comme production de la connaissance, cet événement agira en agence des possibilités et des impossibilités pour une esthétique de la résistance (Roelstraete, 2011).

FILES
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M6 EXAM: Exhibition/Residency as A School
August 15th - September 15th, 2011
Tallinn, ESTONIA


The Biennial Manifesta 6 documentation is under investigation from our post-biennial study session as agency of knowledge production.

This OFF POST-BIENNAL event of global art act as an agency of possibilities and impossibilities under the aesthetic of resistance (Roelstraete, 2011).


"EVEN THE INSTITUTION AS A STABLE ENTITY MUST BE RECONSIDER" - Anton Vidokle, From "Exhibition to School", Art School (Propositions For the 21st Century), Steven Henry Madoff, Madoff Editor, Cambrigde, Mass. 2009, p. 190
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NO SCHOOL IS A SCHOOL WITHOUT AN IDEA (MADOFF, 2009) - AESTHETICS OF RESISTANCE (ROELSTRAETE, 2011) IS KNOWLEDGE PRODUCTION

DÉFINITION (FR)
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L’exposition en Estonie invite les artistes à réfléchir sur la pratique contemporaine d’une commodité de l’économie.

Le contemporain, une période essentiellement perçue après la victoire définitive et complète du marché sur les pays communistes et socialistes. En conséquence, l'art est assimilé au marché d'art et une œuvre d'art individuelle est perçue particulièrement comme une marchandise. La pratique post-communiste se devait pour devenir "sérieux" de devenir "critique", en équivalence au régime de l’économie et du marché de l'art.

L'équation entre l'art et marché de l'art, qu'il soit critique ou non, cette commodité illustre non-seulement la marchandisation d'une propagande du contemporain, mais d'un non-marché, il ignore la non-dimension en parallèle au marché officiel.

Le contemporain révèle que l'art des anciens pays communistes ou socialistes est considéré dans cette perspective comme non-sérieuses car non-critique par définition, et ne peut réfléchir comme une marchandise. Elle n'est pas une marchandise parce qu'il n'y avait pas de marché, et certainement pas de marché de l'art sous le socialisme. Maintenant, la règle du marché de l'art, elle n'est pas exclusive aux pays socialistes et communistes, mais le propre d'une globalisation de l'art.

Le contemporain, commodité ou non, est basé sur la performance du marché de l'art pour s'auto-valider et légitimer la pratique et le statut professionnel de l'artiste. La performance égale un artiste à un professionnel. La pratique vient de perdre une autonomie. Une esthétique de la résistance détient alors un rôle et des actions toutes aussi souveraines. Le contemporain oriente et maintient la validité d'une démocratie. S'il est propagande, il l'est pour la liberté.

Ainsi, fondamental il est de préserver la non-spécialisation car c'est à travers elle que réside la liberté. Les orientations politiques de l’événement M6 mettent de l'avant une pratique du social et de l’engagement comme production de la connaissance et motif d’une manifestation internationale. Art as a Commodity et Aesthetic of Resistance sont deux thèmes dédiés pour arrimer l’idée de l’art. Cet examen de la Manifesta 6 constitue une résistance à l’art institué et de ses implications dans la globalisation de politiques du marché de l'art.

L ’art d'une esthétique de la résistance est la production de la connaissance.

Sylvain Breton
commissaire

DEFINITION (ENG)
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The exhibition in Estonia invites the artist to reflect on the contemporary in nowadays economy as practice of commodity.

The fall of the Eastern Bloc, and more largely of socialists and communists countries, had contemporary art shift to fit the dominant economic ideology of a globalized market. Accordingly, art is equated to the art market and an individual artwork is seen primarily as a commodity. Under this regime the only way for art to become "serious" is to become "critical". Art is assimilated to the art market and the artwork is perceived as a mere commodity.

Critical or not, the equation between art and the art market, this commodity, depicts the globalization of a contemporary propaganda and a non-market, it ignores the non-dimension of an unofficial market existing along the official market.

The contemporary, it is telling that the art of the former Communist or Socialist countries is regarded from its perspective as non-serious because it is non-critical by definition, and therefore it could not be a commodity. It could not because neither a market nor an art market was possible under Socialism. Nowadays, the laws of an art market are not exclusive to socialists and communists countries, but as the true specificity of an art globalisation.

The contemporary, commodity or not, is based on the performance of the art market for its auto-validation and the practice, the professional artist status legitimation. The performance equals an artist to a professional. The practice just lost an autonomy. An Aesthetic of resistance holds a function and puts together actions that are just as fundamental: contemporary art guides and preserves the validity of a democracy. If it is propaganda, its purpose is liberty.

Therefore, fundamental it is to preserve the non-specialisation since it truly there that resides freedom. The political orientations under the M6 Event puts forward a practice of the social and engagement as knowledge production and motives for an international production. Art as a commodity and Aesthetic of Resistance are two themes committed to modify the idea of art. This exam of the Manifesta 6 constitutes a resistance against institutionalized art and its implications in the politics of a globalized market of art.

Art as an aesthetic of resistance is the production of knowledge.

Curated by Sylvain Breton

 


NOTES FOR AN ART SCHOOL
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OBJECTIFS
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L’exposition Art as a Commodity en Estonie consiste en deux salles d’exposition. La première est une interprétation physique de la documentation de la Biennale et la deuxième une session d’étude.

La résidence Aesthetic of Resistance au centre Polymer propose l’étude des douze textes de la documentation de la Manifesta 6 Notes for an Art School. Cette session d'étude examinera les pressions économiques liées à l'annulation de l'importante biennale européenne Manifesta 6 de 2006.

Cadre, cette session est une performance, séminaire, atelier et une exposition dédiée pour une production de la connaissance. Par cette formule, un élargissement de la pratique agit en agence des possibilités et impossibilités. Le contemporain est ainsi un examen post-biennal et une performance. Il est méthodologique et généalogique.

L'édition de la Manifesta 6 avait pour mandat de faire d’une expo-biennale une école d’art à Nicosie, Chypre (Anton Vidokle, Exhibition as a School, 2006). Par son étude, la poursuite d'un tel mandat de nos jours met en avant-plan la production de la connaissance pour confronter le contemporain à la notion de performance de l'artiste-producteur.




L'ÉCOLE
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La sélection des artistes a été approuvée selon des politiques fédérales et d'accès à cette production de la connaissance. Chaque artiste pourra produire son séminaire et atelier, sa participation à l'exposition dédiée, à partir de la documentation Notes for an Art School de la Manifesta 6 (disponible en haut à droite). L'événement post-biennal obtient son mandat par sa relation au contenu et des questions internationales.

Comme on joue à l'école, la première salle du centre Polymer présentera les artistes en session d'étude M6. Deux résultats de cet examen seront affichés au vernissage et au finissage de l'événement. Ces épreuves concernent le concept et le mandat de l'événement M6, d'où l'importance de lire la documentation Notes for an Art School.

Le concept d'exposition/résidence à l'Est offre à l'exposant un hébergement sur les lieux de l'exposition avec les artistes internationaux. Il permet de multiplier les échanges avec des pays étrangers et de participer au développement de chacun. L'hébergement est assumé par
le centre Polymer dans des conditions post-communistes. Comme première édition M6 et premier mandat de commissaire, elle ne peut en conséquence satisfaire le perdiem aux artistes.

Ce contexte exceptionnel à la biennale Manifesta 6 stimule et motive un dialogue international, en mettant à la disposition des artistes un concept d'échange amélioré pour la réalisation et la diffusion de l'identité de l’art et de la profession.

*La langue officielle est l'anglais et l
es travaux seront rédigés en anglais.

 

OBJECTIVES
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The exhibition Art as a Commodity in Estonia consists in two exhibition rooms. The first as a Biennial physical interpretation of its documentation and the second for its study session.

The residency Aesthetic of Resistance at the Polymer Center brings forward the study of 12 texts from Manifesta 6: Notes for an Art school. It is a study session inviting artists from around the world to examine the economic pressures that led to the cancellation of the important biennale Manifesta 6 in 2006.

Set as a framework, this art session is a performance, a seminar, a workshop and an exhibition dedicated as knowledge production. In this way, an artistic practice’s enlargement acts as agency of possibilities and impossibilities. Thereafter, the contemporary is a post-biennial exam and a performance. It is both methodological and genealogical.

The 2006 mandate of the Manifesta 6 edition was to present a biennial exhibition as a school in Nicosia, Cyprus (Anton Vidokle, Exhibition as a School, 2006). The pursuit of such mandate nowadays puts forefront such a knowledge production that aims to confront the contemporary to the actual performance notion of an artist-producer.


THE SCHOOL
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The artists selection has been approved from the M6 Event federal policies, sanctioning access rights to knowledge production. Each artist will produce their seminar and workshop, dedicated exhibition participation based on the Manifesta 6 Notes for an Art School documentation (available at the corner right). The post-biennial event obtains its mandate from its relation to the content and from international issues.

As we play school, the first room of the Polymer center will present the artists doing the M6 study session. Two results from this exam will be posted at the opening and at the event ending. These both results present the conceptual views and the goal underlying the M6 event. Thus the importance of reading the Notes for an Art School material.

The East exhibition/residency concept is an opportunity to live-on-site alongside the international artists. This enables greater exchange between individuals from different countries and contributes to their development. The Polymer center will provide accommodations in a post-communist conditions. As a first M6 curatorial edition, accordingly, no artist perdiem are available for now.

This exceptional opportunity to the post-biennale Manifesta 6 stimulates and encourages an international dialogue by offering artists a refreshed concept of exchange for the realization and the diffusion of contemporary art as a profession and an identity.

*English is the official language and works will be written in english.

 


UNITEDNATIONPLAZA
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Histories of Productive Failures: from French Revolution to Manifesta 6

Keywords: divorce, no pain no gain, breakdown, stoppage, malfunction, crash, collapse, fiasco, letdown, its such a cliché, can I speak to the manager?, disappointment, disenchantment, disillusionment, deprivation, loss, social democracy, euphemisms, bitterness, real-politic, good intentions, preaching to the choir, bad news, tough luck, too bad, misery, malaise, ennui, it'll pass, can't get any worse, the show must go on, silver-lining, too many cooks, world weariness, regret, guilt, shame, swamp, muddling through, non-event, anti-climax, amnesia, its not the same anymore, character building experience, failure as an option, faux-pas, blunder, resignation, embarrassment, hangover, lose/lose, whatever, pyrrhic victory, envy, obsolescence, tautologies, flops, bankruptcy, told you so, it wasnt my idea, nice try, you are too sensitive, white elephant, elephant in the room, submission, sellout, compromise, commodification, globalization, surrender, retreat, concession, deconstruction, I don't want to talk about it, I knew this would happen, let me come clear with you, access denied, this wont hurt a bit, talk is cheap, but you promised, just say no, institutional critique, co-optation, preemptive strike, soft targets, collateral damage, friendly fire, the lesser evil, easier sad than done, the party is over, urban failures, failures of nation states, failure of internationalism, martyrdom, better sad than sorry, it's the thought that counts, retirement, victimization, sacrifice, bring it back, suicide, ideological collapse, get well soon, you are so negative, art world defeatism, morning after, same old same old, moan fest, doom, the eternal return, heartbreak, you've got problems, weltschmerz, delusions of grandeur, window dressing, cul-de-sac, been there done that, self-help, if you only knew, charity, pity, burnout, running on empty, too little too late, inferiority complex, over the hill, not knowing when to stop, knowing your place, implosion, no show, cancellation, stand by, indefinite postponement, you are beginning to piss me off, I did not mean it, come on its only a show, repentance, payback, I cant work like this, better luck next time, back to square one, cant help you, what did you expect, we are going to have to let you go, you are telling me now, easy for you to say.

Source: unitednationplaza | organized by Anton Vidokle in collaboration with Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch, Natascha Sadr Haghighian and Tirdad Zolghadr.

PROGRAMMATION
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M6 EXAM: Exhibition/Residency as a School
Exposition: Art as a Commodity
Résidence: Aesthetic of Resistance
Dates: du 15 août au 15 septembre 2011


Participants à la session d'étude:

Erik Alalooga (EE)
Hanan Benammar (NO)
Christian Barré (CA)
Sylvain Breton (CA)
Sophie Castonguay (CA)
Claire Dehove (FR)
Doyon/Demers (CA)
Anne-Marie Dumouchel (CA)
Soleda Sánchez Goldar (AR)
Gabriela Golder (ARG)
Maryse Goudreau (CA)
Isabelle Guimond (CA)
Sandra Jõgeva (EE)
Simon Lafreniere (CA)
André Éric Létourneau (CA)
Lance McLean (CA)
Fernanda Mejía (MX)
Frédéric Saia (CA)
Tanel Saar (EE)
Sarah Zürcher (CH)



08.01 au 08.10, 2011
arrivées
08.12, 2011 à 10hre
M6 EXAM - Manifesta 6
08.15 - 09.15, 2011
1ère Expositon des artistes de l'Événement M6
08.15 - 09.15, 2011
Ateliers, séminaires et performances
08.20, 2011 - 13h
Conférence Aesthetics of Resistance, par Sylvain Breton
08.15 - 11.31, 2011
Résidence avec approbation de la Art Container

PROGRAMMATION
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M6 EXAM: Exhibition/Residency as a School
Exhibition: Art as a Commodity
Residency: Aesthetic of Resistance
Dates: August 15th - September 15th 2011


Study Session Participants:

Erik Alalooga (EE)
Hanan Benammar (NO)
Christian Barré (CA)
Sylvain Breton (CA)
Sophie Castonguay (CA)
Claire Dehove (FR)
Doyon/Demers (CA)
Anne-Marie Dumouchel (CA)
Soleda Sánchez Goldar (AR)
Gabriela Golder (ARG)
Maryse Goudreau (CA)
Isabelle Guimond (CA)
Sandra Jõgeva (EE)
Simon Lafreniere (CA)
André Éric Létourneau (CA)
Lance McLean (CA)
Fernanda Mejía (MX)
Frédéric Saia (CA)
Tanel Saar (EE)
Sarah Zürcher (CH)



08.1st - 08.10th, 2011
arrivals
08.12th, 2011 - 10 AM
M6 EXAM - Manifesta 6
08.15th - 09.15th, 2011
Features M6 Exam Artists of the M6 1st Exhibition
08.15th - 09.15th, 2011
Workshop, seminars & performances
08.20th, 2011 - 1 PM
Conference "Aesthetics of Resistance", by Sylvain Breton
08.15th - 11.30th.2011
Residency with Art Container officers approval

 

 

THE BUILDING
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East vs West Artists

[...] the artist at work: a piece called The laziness manifesto where the comment is that the artists from the west are no longer artists because they just producers and where the artist from the east are still artists because they know what it means to create and not just to produce. And that part of that deal is being totally lazy, because only when you are exceptionally lazy you can appreciate what it means to do something. And when you produce you just get up and do whatever what’s next in your Inbox.

Jan Verwoert, Jan Verwoert 1: Introduction: 3.10.2008, The Building, unitednationsplaza, Transcription_Translation video, 2008, approx. à_at 00:16:45 min.

 

 

PRODUCTION
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Developpement et Curateur M6:
Sylvain Breton (CA)

Curateur et historienne de l'art:
Sarah Zürcher (CH)


Agence des hypothèses:
Claire Dehove (FR)

Traduction:
Charlotte de Celles (CA)
Adriana Palanca (CA)

Marketing:
Vanessa Gerold (FR)

Production M6:
Tanel Saar (Tallinn)


Culture Factory Polymer - Fondateurs:
Erik Alalooga (EE)
Sandra Jõgeva (EE)
Tanel Saar (EE)

PRODUCTION
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M6 Curator & Development:
Sylvain Breton (CA)

Art Critic & Art History:
Sarah Zürcher (CH)

Agence des hypothèses:
Claire Dehove (FR)

Translation:
Charlotte de Celles (CA)
Adriana Palanca (CA)

Marketing:
Vanessa Gerold (FR)

M6 Production:
Tanel Saar (Tallinn)

Culture Factory Polymer - Founders:
Erik Alalooga (EE)
Sandra Jõgeva (EE)
Tanel Saar (EE)

BUREAU
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Développement_Development M6
Sylvain Breton (Montréal)

Partenaires_Partners M6
KUNSTIKONTEINER - Kultuuritehas POLYMER/ART CONTAINER
Agences d'artistes sans but lucratif
Madara 22/Ülase 16
Tallinn, 10613, EESTI

Institutions M6
MTÜ Kunstikonteinersupported
Estonian Ministry of Culture
Cultural Endowment of Estonia

Informations M6
artcontainer[at]artcontainer[dot]ee
info[at]byanalogy[dot]org

Mandat_Mandate
Pour situer une idée de l’art_To Situate an art idea

Collaborateurs_Collaborators
Vanessa Gerold, marketing (New York, Paris et Montréal)
Adriana Palanca, traduction_translation (Montréal)
Carter Goodwin, consultant (New York)

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Dernière mise à jour_Last edited : 24 juin_June 2011
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RÉFÉRENCES BIBLIOGRAPHIQUES
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GROYS, Boris, « Seminar 1: Boris Groys : After the Red Square », in Unitednationplaza, En ligne, < http://www.unitednationsplaza.org/event/13/ >. Consulté le 26 octobre 2011.

ROELSTRAETE, Dieter, Critical mess: On the ruins of the Museum’s Research Department, Talking About Section, Mousse, publication 26, 2011, p.50. Le critique intégre l'idée d'une esthétique de la résistance lorsque témoin d'activités de la connaissance sous ateliers, séminaires, conférences, expositions dédiées entre la Punker Art School de Berlin et l'école-exposition d'Anton Vidokle.

 

 

SOURCES
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GROYS, Boris, « Seminar 1: Boris Groys : After the Red Square », in Unitednationplaza, En ligne, < http://www.unitednationsplaza.org/event/13/ >. Consulté le 26 octobre 2011.

ROELSTRAETE, Dieter, Critical mess: On the ruins of the Museum’s Research Department, Talking About Section, Mousse, publication 26, 2011, p.50. Le critique intégre l'idée d'une esthétique de la résistance lorsque témoin d'activités de la connaissance sous ateliers, séminaires, conférences, expositions dédiées entre la Punker Art School de Berlin et l'école-exposition d'Anton Vidokle.