Fwd: [media-art-hr] newsletter_02_1.Biennial of Quadrilateral

[claudia westermann]

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><http://www.mmsu.hr/bq>www.mmsu.hr/bq
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>T he Biennial of the Quadrilateral is a follow 
>up to the successful series of the Biennial of 
>The Young Artists of Yugoslavia 1960 - 1991 and 
>Biennial of the Young Mediterranean Artists 1993 
>- 1997 organised by the Museum of Modern and 
>Contemporary Art in Rijeka, Croatia
>www.mmsu.hr/bq.
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>Based on a diplomatic initiative on behalf of 
>the Quadrilateral, the Biennial presents artists 
>from Croatia, Hungary, Italia and Slovenia as 
>selected by a curator from each respective 
>country after reaching consent on a biennial's 
>theme. The Þrst edition will address a 
>contemporary concept of Relativism. In the 
>second month of the biennial philosophers and 
>art magazine publishers from the region will 
>gather to exchange observations and analyses in 
>the areas of their expertise, all within a broad 
>Þeld of relativism.
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>Symposium on Relativism
>organized by Elvio Baccarini
>19 - 20 January 2006
>Lecture Hall of the University Library
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>Relativism is, generally speaking, a position 
>stating that there are no universal standards of 
>evaluation, but only standards relating to 
>individuals or communities. The symposium offers 
>an analysis and discussion on diverse issues of 
>relativism, comparing it with other relevant 
>concepts. In a Þeld of relativism and knowledge, 
>a relation between relativism and quest for 
>truth will be discussed, based on abstract 
>philosophical background, as well as on the 
>examples from the history of science. In a Þeld 
>of ethics, relativism will be discussed 
>concerning a dilemma should there be, and 
>whether there are, universal moral judgments, as 
>well as regarding relations determining 
>contemporary moral standards. In an aesthetics 
>context, the discussion will center around the 
>example of Daniel Edwards exposition of Ted 
>Williams's head, which serves as a case for 
>assessment of relativism of evaluative standards 
>in philosophy of arts. Finally, a discussion on 
>relativism and contextualism is going to 
>demonstrate a possibility of position between 
>dogmatic universalism and mere subjective 
>relativism.
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>The participants are: Marina Sbisa', University 
>of Triest (Relativism and Contextualism); Peter 
>Szegedi, Eötvös University, Budapest, (Scientist 
>vs. Philosophers on the Relativism of Science); 
>Vojko Strahovnik, University of Ljubljana 
>(Relativism and Contextualism); Gianfranco 
>Pellegrino, LUISS Rome (Distance and Morality); 
>SnjeÏana Prijiç-SamarÏija, University of Rijeka 
>(Truth-Possession in a Social World); Nikola 
>Petkoviç, University of Rijeka (Relativism and 
>Aesthetics); Elvio Baccarini, University of 
>Rijeka (Relativism and Action).
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>Elvio Baccarini (1961, Rijeka) B.A. in 
>Philosophy (University of Trieste, Italy), 1986 
>(degree thesis on the political philosophy of 
>J.S. Mill), M.A in Philosophy (University of 
>Zagreb, Croatia), 1992 (thesis on moral 
>epistemology), Ph.D. in Philosophy (University 
>of Trieste, Italy), 1998 (thesis on moral 
>ontology). Baccarini is a lecturer, an author of 
>numerous books and scientiÞc articles and has 
>participated at numerous group projects and 
>conferences. In addition to a position of 
>Assistant Professor of Ethics, Baccarini is a 
>Dean of the Faculty of Arts and Sciences at the 
>University of Rijeka.
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>Convention of the Art Magazine Publishers
>organised by Janka Vukmir
>19 - 20 January, 2006
>Lecture Hall of the University Library
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>In an overall context of the BQ and this year's 
>topic of RELATIVISM, publishers, editors, 
>contributors and writers of contemporary art 
>magazines will discuss their working experience 
>in respected countries as well as the function 
>of art magazines within their context. Interest 
>will focus on ethical values and educational 
>role of published articles, social signiÞcance 
>of art, responsibility of art critics, writers 
>and other protagonists of art magazine 
>publishing and possible models of collaboration 
>within the region.
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>Participants are Giuliana Carbi, Trieste 
>Contemporanea Magazine, Trieste and Marco 
>Giacomelli, Exibart, Florence for Italy; 
>Nikolett Eröss, Exindex web magazine, and Adele 
>Eisenstein, Praesens, Budapest for Hungary; 
>Nevenka ·ivavec, (Likovne besede) Likovni salon, 
>Celje and Tadej Pogaãar, (M'ars) artist, 
>Ljubljana for Slovenia; Sandra KriÏiç Roban, 
>Îivot umjetnosti and Janka Vukmir, Radionica, 
>Zagreb for Croatia.
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>Janka Vukmir (Zagreb, 1963) lives and works in 
>Zagreb as a widely active art historian at a 
>Þeld of contemporary art and has curated, 
>lectured, juried, written and published 
>internationally. Working in non-proÞt sector 
>during last 12 years, Vukmir was occupied with 
>matters of organization, fundraising, capacity 
>building and leadership, attending numerous 
>concerned seminars among which is also the ECF 
>program Kultura Nova. Since 2004 Vukmir is 
>holding workshops within Educational Program in 
>Culture on Strategic Planning and Cultural 
>Development of the City of Zagreb. The program 
>is currently in its second year and will 
>continue on a national level. Janka Vukmir has 
>been a director of the Institute for 
>Contemporary Art since 1998, an editor in chief 
>of art magazine Radionica/Workshop since 2002 
>and a president of the Croatian Independant 
>Publishers 2003 - 2005.
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>  curated by Igor ·panjol
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>The IRWIN group was founded in Ljubljana 
>(Slovenia) in 1983. Its members are Du”an Mandiã 
>(1954), Miran Mohar (1958), Andrej Savski 
>(1961), Roman Uranjek (1961) and Borut Vogelnik 
>(1959). Along with a music group Laibach 
>(*1980), a performance group GledaliӋe Sester 
>Scipion Nasice (*1983), later known as 
>Kozmokinetiãni Kabinet Noordung, and a design 
>department Novi kolektivizem, IRVIN is one of 
>the core groups within the artists' collective 
>of Neue Slowenische Kunst (NSK), established in 
>1984 in the Slovenian republic of the Federal 
>Socialist Republic of Yugoslavia. IRWIN is 
>committed to a so-called 'retro-principle', 
>which is "not a style or an art trend but a 
>principle of thought, a way of behaving and 
>acting"(IRWIN). At the beginning of the 1990s, 
>the artistic collective NSK transformed from 
>organisation to a "State" in Time, in a 
>framework wherein IRWIN played the roles of 
>protagonists as well as chronologists by 
>analysing and recording the processes which had 
>started in Europe after the fall of Socialism. 
>IRWIN is also involved in creation of three 
>collections of contemporary art and is currently 
>working on a project East Art Map.
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>Maja Licul (1970) lives and works in Ljubljana. 
>She graduated painting from the Academy of Fine 
>Arts in Ljubljana under mentorship of Metka 
>Kra”evec in 1993. During the 1992-2000 period 
>she was a member of the Provokart group 
>producing newsletter Art in Your Home, An 
>Aesthetic Event with Waclav Havel, Vote for me 
>- the Þrst democratic elections in Slovenia, 
>etc. Since 2000, she has begun to focus on a 
>Þeld of visual communications concerning broader 
>public, with a special emphasis on graphic 
>design.
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>Marko Peljhan (1969) is a theatre director and a 
>conceptual artist; his work focuses on 
>performance, visual installations, video, 
>telecommunications, electronic music, and 
>interconnections between art, science, and 
>technology. Since 1992 he has been working in a 
>context of the Projekt Atol, coordinating work 
>on long-term projects such as Makrolab, 
>Trust-System, and Insular Technologies. He has 
>received numerous international awards for his 
>work, among them the Golden Nica Prix Ars 
>Electronica 2001 for a work Polar, which he 
>produced together with a German conceptual 
>artist Carsten Nicolai in Tokyo. He is one of 
>the co-founders of a digital media lab Ljudmila 
>in Ljubljana, and is currently a professor at 
>the University of California in Santa Barbara, 
>USA.
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>Lujo Vodopivec (1952) lives and works in 
>Ljubljana, Slovenia. He graduated in 1974 from 
>the Sculpture Department at the Academy of Fine 
>Arts in Ljubljana and completed postgraduate 
>course in sculpture at the same academy, under 
>mentorship of Drago Tr”ar (1974-1976). As a 
>recipient of the Barnett Newman Foundation 
>scholarship he continued his studies under 
>William Tucker and Sidney Geist at the New York 
>Studio School (1979-80). Since 1984 he has been 
>teaching at the Academy of Fine Arts in 
>Ljubljana, where he is an associate professor of 
>sculpture ever since 1990.
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>----c----
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>Igor ·panjol (1972) studied sociology of culture 
>and art history at the Faculty of Arts in 
>Ljubljana. From 1995 to 1999 he has been 
>collaborating on different media art projects at 
>the Soros Centre for Contemporary Arts in 
>Ljubljana. Since 1999 he has been working as a 
>curator at the Moderna galerija Ljubljana/Museum 
>of Modern Art. He is lecturing on media art and 
>publishing articles on contemporary art.  His 
>most important projects include documentation, 
>archival and research project Videodokument - 
>Video art in Slovenia 1969-1998 (SCCA-Ljubljana) 
>and exhibition trilogy Slovene Art 1975-2005 at 
>the Moderna galerija (co-curated with Igor 
>Zabel).
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>  curated by János Sugár
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>IPUT (International Parallel Union of Telecommunications)
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>The IPUT is a Neo Socialist Realist, 
>occasionally emerging, illegal entity, founded 
>by its superintendent, Tamás St.Auby in 1968. 
>St.Auby c-organized the Þrst Hungarian Happening 
>in 1966, made readings, lectures, actions, Þlms, 
>participated in expositions and organized 
>Flux-concerts, etc. In 1972 started to deal with 
>strike as a theme that led to the Subsistence 
>Level Standard Project 1984 W in 1974. He was 
>sent to exile for political subversion in 1975. 
>Established the Near-East-European Free 
>University for West-European Joblesses 
>(Astronomy-, R'n'R- and Strike Departments) in 
>Geneva. Since his return to Hungary in 1991, he 
>is a lecturer at the Intermedia Faculty of the 
>Hungarian Fine Arts Academy. Opened the Neo 
>Socialist. Realist. IPUT's Global 
>Counter-Arthistory-FalsiÞers Front, which 
>constructed the Portable Intelligence Increase 
>Museum - Pop Art, Conceptual Art and Actionism 
>in Hungary during the 60s (1956 - 1976) in 2003. 
>IPUT organized the Þrst three, direct 
>democratic, non-art-art referendum in Hungary 
>between 2003 and 2005.
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>Ádám Kokesch (1973, Budapest) graduated from the 
>Hungarian Art University in 2003, in a class of 
>Dóra Maurer. Since 1998 he's been a member of 
>Studio of Young Artists Association (FKSE). 
>Kokesch has exhibited at numerous solo 
>exhibitions and participated at numerous group 
>exhibitions in Hungary and abroad. He lives and 
>works in Budapest.
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>Szilvia Reischl (1969, Budapest, Hungary) lives 
>and works in Budapest. She graduated from the 
>Hungarian University of Fine Arts, Faculty of 
>Intermedia in 1999 and completed postgraduate 
>studies in 2000. Since 1999 Reischl has 
>exhibited at three solo exhibitions and several 
>group exhibitions throughout Hungary and 
>Austria. Her works are usually based on 
>seem-to-be-strange-at-Þrst-sight ideas related 
>to literal gaps, funny moments, everyday life as 
>well as the end of life; using writings, 
>diagrams, aesthetic and less aesthetic pictures, 
>photographs or almost artless compositions.
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>Omara (Mara Oláh, 1945) is a self-trained artist 
>of Romany origin living in Hungary. Her artistic 
>carrier started in 1988, at age 43. Omara's 
>artworks are direct and uncompromised 
>testimonies of the discrimination, prejudice and 
>hatred against the Hungarian Romany minority, 
>told through intimate and personal episodes of 
>the artist's own life. The Hungarian art scene 
>learned of Omara's at the Hidden Holocaust 
>exhibition in Budapest Kunsthalle, 2004. She is 
>acknowledged as one of the most powerful, 
>gripping and authentic Romany advocates and is 
>politically active in a Þeld of minority rights, 
>women rights, culture and education.
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>----c----
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>János Sugár (1958) studied at the Department of 
>Sculpture of the Hungarian Academy of Fine Arts 
>in Budapest. Parallel with his studies he was 
>actively involved in the exhibitions and 
>performances of Indigo, an interdisciplinary 
>underground art group. His work includes 
>installations, performances, as well as Þlm and 
>video.
>Sugár has been participating at national and 
>international exhibitions since the mid 80-ies. 
>In 1992 he exhibited at the Documenta IX, 
>Kassel, while in 1996 he participated at 
>Manifesta I, Rotterdam. He completed an Artslink 
>residency at the Cleveland Institute of Art in 
>1994, and in 1998/99 he had a seven-month 
>fellowship at Experimental Intermedia in New 
>York. In 1998 his Þlms were screened at the 
>Anthology Film Archives in New York. Between 
>1990 and 1995 he was a board member of the 
>Balázs Béla Film Studio in Budapest. In 1994, 
>1995, and 1996 Sugár organized the MetaForum 
>Conference Series (with Geert Lovink and Diana 
>McCarty). He has been teaching at the Intermedia 
>Department of the Hungarian University of Fine 
>Arts since 1990.
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>  curated by Giuliana Carbi
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>Brigitte Brand (1955, Rastatt, Germany) lives 
>and works in Treviso. She graduated from the 
>Akademie der Bildenden Künste of Stuttgart 
>(Prof. K.R.H. Sonderborg) and moved to Italy in 
>1979 thanks to an annual scholarship for the 
>class of Prof. Emilio Vedova at the Academy of 
>Fine Arts in Venice. Since 1980 she has been 
>exhibiting at numerous public and private 
>galleries in Austria, Germany, Hungary, Italy 
>and Slovenia.
>
>Emanuela Marassi (1937, Muggia, Italy) lives and 
>works in Trieste. She was student of August 
>Cernigoj, an Italian-Slovene representative of 
>Constructivism. Since the beginning of her 
>career, during the late 1960ies, as one of the 
>Þrst Italian feminist performance artists, she 
>has investigated fallacy of conventional 
>symbols, often using unusual materials like 
>ribbons and tulle. Her most signiÞcant works 
>are: "La donna è un S-Oggetto kitsch?", 
>L'OfÞcina, Trieste (1978); "Aurora Musis Amica", 
>Galleria Pellegrino, Bologna (1980); "Il 
>Cavaliere", Palazzo dei Diamanti, Ferrara (1981) 
>and Rocca Paolina, Perugia (1992); "Art sweet 
>art", for the exhibition "Fine Weather", Ludwig 
>Museum of Contemporary Art, Budapest (1999); 
>"Sweet Suite", Studio Tommaseo, Trieste (2001).
>
>Maurizio Pellegrin (1956, Venice, Italy) lives 
>and works between New York and Venice, where he 
>earned a M.F.A. in Contemporary Art. He studied 
>Literature and Philosophy at Ca' Foscari 
>University and Painting and Sculpture at the 
>Academy of Fine Arts. In New York he studied 
>Sociology at the New School and Eastern 
>Philosophy at NY University where he teaches 
>Drawing and Art Criticism Fine Art Studies 
>master's degree. He teaches Sculpture and 
>Phenomenology of Arts at Columbia University TC. 
>Pellegrin has published thirty works. He held 
>130 solo exhibitions, participated at almost 300 
>group exhibitions in the world's major museums 
>and private galleries, and executed hundreds of 
>site speciÞc works. His interests include 
>installations, Þlm, photography, sculpture, 
>painting and drawing.
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>Alfredo Pirri (1957, Cosenza, Italy) lives and 
>works in Rome. He graduated from the Academy of 
>Fine Arts in Rome. His one-man and group 
>exhibitions in public spaces include 
>participation at: Venice Biennale (1988 and 
>1993); Minimalia, PS1, New York (1999); 
>Contemporary Art Biennial, L'Havane (2001); 
>Palazzo delle Papesse, Siena (2000, 2001). For 
>the gardens of Villa Medici in Roma, he realized 
>"Via d'ombra" (2000). He is represented by 
>galleries Tucci Russo (Torino and Torre 
>Pellice), Studio Casoli (Milano), Ore D'aria and 
>Planita (Rome), Lia Rumma (Napoli), Benet Costa 
>(Barcellona), and Michel Rein (Paris). In 2004 
>Skira (Milano) published "Dove sbatte la luce. 
>Mostre e opere. 2003-1986" a bilingual, 
>English/Italian monograph on his work.
>
>----c----
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>Giuliana Carbi (1959, Trieste, Italy) is an art 
>historian and a curator. She earned her Ph.D. 
>(History of Art) in Rome, 1989. She's done 
>studies in philosophy and art criticism. She was 
>a professor of history of contemporary art at 
>the University of Trieste (1993-95). Carbi is a 
>founder (1995) and a president in charge of the 
>Trieste Contemporanea Committee 
>(www.tscont.ts.it).
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>   curated by Branko Franceschi
>
>Kristian KoÏul (1975, Munich) lives and works in 
>Zagreb and New York. KoÏul entered Academy of 
>Fine Arts in Zagreb in 1993 and transferred to 
>the Kunstakademie Düsseldorf where he graduated 
>in 2002. KoÏul received his Þrst recognition as 
>a video artist, however his late oeuvre consists 
>of elaborate metaphorical objects. KoÏul has 
>participated at the numerous exhibitions both in 
>Croatia and abroad and is considered one of the 
>most intriguing Croatian artists of his 
>generation.
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>Andreja Kulunãiç (1968. Subotica) lives and 
>works in Zagreb. She graduated from the Academy 
>of Applied Arts and Design in Belgrade in 1992 
>and completed her postgraduate studies at the 
>Hungarian Academy of Fine Arts in Budapest. 
>Kulunãiç participated at the numerous 
>international exhibition such as Liverpool 
>Biennial (UK 2004), 8th Istanbul Biennial 
>(Turkey, 2003), The American Effect at Whitney 
>Museum, (New York, 2003), Translocations, an 
>on-line exhibition by Walker Art Center 
>(Minneapolis, 2003), Documenta 11 (Kassel, 
>2002), Manifesta 4 (Frankfurt/Main, 2002) and 
>other numerous group and solo exhibitions in 
>Croatia and abroad.
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>Sandra Sterle (1965, Zadar) lives and works in 
>Split. She graduated from the Academy of Fine 
>Arts in Zagreb in 1989 and continued her studies 
>at Kunstakademie in Düsseldorf 1995 - 1996. 
>Sterle has exhibited internationally since 1995 
>and gained reputation as a multimedia artist by 
>participating at numerous exhibitions: Capital & 
>Gender (Skopje, 2001), To Tell a Story (Zagreb, 
>2001), Here Tomorrow (Zagreb, 2002), In den 
>Schluchten des Balkan (Kassel, 2003). In 2001 
>Sandra Sterle produced go_HOME, an internet and 
>streaming project with Danica Dakiç. Her works 
>are included in mayor retrospectives of Croatian 
>video art such as Frame by Frame, Personal 
>Cinema Program, Insert, as well as A short 
>History of Dutch Video Art. Since 2002 Sterle 
>has been a senior lecturer at the New Media 
>Department of the Art Academy in Split, Croatia.
>
>www.enigmaobjekta.com is a project conceived and 
>executed by Gordan Karabogdan (1980, 
>Mainz-Mombach) and Nikica Klobuãar (1977, 
>Zagreb) in 2005. Gordan Karabogdan graduated 
>from the Graphic Department of the Academy of 
>Fine Arts in Zagreb in 2004 and has been 
>exhibiting since 1996, mostly in Croatia. Nikica 
>Klobuãar graduated Philosophy and History of Art 
>from the Human Studies Faculty at the Zagreb 
>University. Klobuãar is a collaborator of the 
>Drama Program of the Croatian National Radio, an 
>author of the numerous articles in Croatia's 
>prestigious cultural magazines, a poet and a 
>writer, an author of the award wining Þlms 
>"Enter" and "Can and Opener" at the West 
>Herzegovina Fest. Karabogdan and Klobuãar live 
>and work in Zagreb.
>
>----c----
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>Branko Franceschi , art historian, was born in 
>Zadar in 1959. Croatia. Since 2004 he's been an 
>executive director of the Museum of Modern and 
>Contemporary Art in Rijeka, Croatia 
>(www.mmsu.hr). During his career Franceschi has 
>curated numerous exhibitions, written numerous 
>contributions to daily press, art reviews and 
>periodicals, TV and radio broadcasts, etc.  He 
>has also initiated, managed  and coordinated 
>residencies and cultural exchanges between 
>Croatia/USA and Croatia/Great Britain. Member of 
>AICA (Board of AICA Croatia), ICOM, CIMAM, DPUH, 
>Advisory Committee of ArtsLink.
>
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>Muzej moderne i suvremene umjetnosti
>
>Dolac 1/II, 51000 Rijeka, Croatia
>
>Tel +385 51 334280, fax +385 51 330982
>
>www.mmsu.hr
>
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>City of Rijeka, Department of Culture and
>the Ministry of Culture of the Republic of Croatia
>
>support the Biennial of Quadrilateral.
>
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