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Alexandre Singh, Assembly Instructions (The Pledge - Simon Fujiwara), fourty framed inkjet ultrachrome archival prints and dotted pencil lines, 2011. Installation view from Monitor Rome. Courtesy of the artist and Monitor Rome. Alexandre Singh, Assembly Instructions (The Pledge - Simon Fujiwara), fourty framed inkjet ultrachrome archival prints and dotted pencil lines, 2011. Installation view from Monitor Rome. Courtesy of the artist and Monitor Rome. [112] [113]
[114] Rinus van de Velde untitled (The Lost Bishop) For his contribution to the Biennale of Bucharest, Van de Velde will make a new, site-specific installation that consists of a series of black-and-white wall drawings in charcoal and a narrative text. Together, they tell a story based on the biography of Bobby Fischer (1943-2008), who is considered to be one of the greatest, but also most controversial chess players of all time. The drawings Van de Velde presents are based on existing photographs drawn from Fischer’s biography and other sources, which the artist then re-enacted within the confines of his studio, working with props, extras and himself as the protagonist. In doing so, Van de Velde imagines himself to be the main character of some one else’s story, which he appropriates and transforms. The narrative is based upon Fischer’s legendary victory in the 1972 World Championship in Reykjavik, where he defeated his Russian rival Boris Spasski in what has come to be known as “the game of the century”. In Van de Velde’s retelling of the heroic story, Fischer becomes a chess-playing artist, a heroic but obsessive and worldstrange hero that controls a game he is completely absorbed by. The game of chess thus becomes a metaphor for a studiobased art practice that revolves around the ego of the artist and gives structure to the unsurpassable chaos of the ‘outside’ world, which consists of an abundance of images. The large-scale drawings ask the viewer to ‘suspend their disbelief’ and literally step into the fictive story. At the same time, they reflect on the illusionistic function of drawing, storytelling, fantasy and romantic ideas of geniality and heroism. Although these are myths, Van de Velde suggests, they could still be considered to have a productive, self-realising value in the real of the outside world. (Koen Sels) Rinus van de Velde, untitled (The Lost Bishop), charcoal on wall 200 x 140 cm, 2012. Photo: Ben Van den Berghe. Courtesy of the artist and Ben Van den Berghe. [115]
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PAVILION journal for politics and c
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In memoriam Ioana Nemeș (1979 - 20
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Biennale focuses on such practices
Page 7 and 8: Around [10] Fordism. Post-Fordism a
Page 9 and 10: tion, i.e. and elitization of cultu
Page 11 and 12: Politics as Art of the Impossible:
Page 13 and 14: the Tea Party over the next few yea
Page 15 and 16: Because it is a patent impossibilit
Page 17 and 18: front of our eyes, ready to be embr
Page 19 and 20: The Internalisation of the Discours
Page 21 and 22: Contemporary Art Centers and their
Page 23 and 24: TACTiCs for The here And now Eikono
Page 25 and 26: Radicalizing this Marxian analysis,
Page 27 and 28: for Adorno art is critical insofar
Page 29 and 30: Art in the Knowledge-based Polis [5
Page 31 and 32: Though this emphatic plea for “re
Page 33 and 34: seminar-cum-workshop-cum-symposium-
Page 35 and 36: Notes [1] R0370126@student.akbild.a
Page 37 and 38: about politics as a rich aesthetic
Page 39 and 40: professionalization, from an impres
Page 41 and 42: ing the latter. In contemporary art
Page 43 and 44: dents could also take charge themse
Page 45 and 46: analyses that account for practices
Page 47 and 48: and there is no possibility of avoi
Page 49 and 50: equesting them to take action to ba
Page 51 and 52: [98] exTenT PArTiCiPAnTs And Venues
Page 53 and 54: [102] Iman Issa Triptychs This proj
Page 55 and 56: [106] Ahmet Öğüt Stones to Throw
Page 57: [110] Alexandre Singh The Pledge Th
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Page 71 and 72: THE INSTITUTE FOR POLITICAL RESEARC
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Page 75 and 76: [146] Ciprian Homorodean, Take the
Page 77 and 78: [150] Janice Kerbel, Remark able: F
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Page 97 and 98: [190] Curator Anne Barlow Anne Barl
Page 99 and 100: [194] Participants Abbas Akhavan Ab
Page 101 and 102: Vesna Pavlović Vesna Pavlović (Se
Page 103 and 104: "Melting" brings up the recent past
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