Die 6. Berlin Biennale für zeitgenössische Kunst ... - CAC Brétigny

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space. The artists, who refuse a linear view of history, react to the “impure” and unfinished
character of the present by exploring objects, protocols, scenarios, scores, or
regulations that recur in our daily routine. Thus the artists bring the viewers into the
paradoxical situation of a social “inter-passivity,” which influences our present. The
exhibition’s concept investigates the works’ active dimension—an approach that results
in overcoming museum constraints that “neutralize” access to the artworks in order to
guarantee their historical record. In addition, this is also a way to circumvent market
criteria. The latter attempts to prevent such artistic strategies in favor of products that
do conform to the market. The situation that the exhibition project creates is opposed to
a normative reality that claims to be the only valid model. By multiplying the reservoir
of parameters—conveyed through the objects, protocols, scenarios, and scores—the
project points beyond the deconstruction of reality and instead pleads for a construction
of reality.
La monnaie vivante unsettles the division between audience and stage in the theater.
The mode of appearance of the works dissolves the codes of theater through the reality
of a live experience. The staging becomes a collaborative work in real time between the
curator, the artists, and the participants, one which is determined by the rhythm with
which the audience moves through the space. The exhibition takes place in the “here
and now,” divorced from the chronological relationship with the works and in distinguishing
the successive stages of production, from the rehearsal to the live performance.
The events either follow one another or take place simultaneously; their visibility and
their reading depend on the intensity of the relations between the participants. The
visitor becomes the actor in a process, and he or she decides its duration—an hour, an
entire day, or perhaps returning the next day.
Pierre Bal-Blanc
Marie Cool Fabio Balducci
*1961 in Valenciennes, Frankreich ★ France; lebt und arbeitet ★ lives and works in Paris
*1964 in Ostra, Italien ★ Italy; lebt und arbeitet ★ lives and works in Pergola, Italien ★ Italy
Untitled (Baumwollfaden, Feuer ★ cotton thread, fire), 2004
Untitled (4 DIN-A-4-Blätter, Tisch ★ 4 x DIN A4 paper sheets, table), 2005
Untitled (2 DIN-A-4-Blätter, Biafine ★ 2 x DIN A4 paper sheets, biafine), 2004
Untitled (Klebeband, Tisch ★ adhesive tape, table), 2004
Die französisch-italienischen Künstler Marie Cool Fabio Balducci, die seit 1995 zusammenarbeiten,
präsentieren eine Serie von Arbeiten, die einen schlichten, einfachen
Moment erfassen und dabei mit dem Banalen und Profanen spielen. Dennoch sind die
Stücke keine Aktionen des täglichen Lebens, da sie sich weder auf erlebte Erfahrungen
noch auf systematische Reproduktionen routinierten Verhaltens beziehen. Die Präzision,
mit der sie umgesetzt werden, erinnert vielmehr an mathematische Gleichungen.