The third Moscow Biennale of Contemporary Art will take place from September 25 to October 25, 2009 under the motto «Against exception». The event will not be limited to the special theme, as in past years - the freedom of creative artists dedicated vizionerskimi finding, it is difficult to fit into the strict thematic framework. In determining the place in Moscow in a number of the world's cultural capitals, Moscow Biennale intends to open new horizons beyond the standard boundaries of contemporary art.

Biennale 2009 will introduce viewers to artists from all continents. Among them are names already familiar to art galleries, while other works showed bright and alive artistic gesture outside the established system of traditional market. The curator of the exhibition, Jean-Hubert Martin and his assistant Olivier Varennes (MONA, Hobart) to select a product, offering answers to topical questions of contemporary society. The solution, of course, would be given to the artistic spirit, and will be metaphorical, aesthetic, and the multivalued nature.

Although it is believed that the development of culture goes hand in hand with the processes of the economy, this relationship was not conclusive. In different countries within and outside the attention of mass media, there are many unusual phenomena in the field of arts and culture. It is time to reckon with the fact that each artist, what would culture it may belong, can translate it into their creations, faithful to its history, traditions and beliefs. It would be wrong to say that other cultures are not available to our understanding. Often, the minimum information sufficient to exacerbate our ability to perceive, interpret and understand the fact that until recently had not been considered as works of art. Today, more than there is absolutely alien to our topic. All that may happen in the world, affects us all, and tomorrow can affect anyone.

agrees to cooperate in the framework of the Biennale have CAAC (Contemporary African Art Collection) and MONA (Museum of Ancient and New Art) in Hobart, Australia.

curator Manifesto - Jean-Hubert Martin

As a rule, the curator of the exhibition refers to the topic, but there is always the danger that the works will be displayed only to illustrate it. Especially often this happened before, and now artists are often turned against this practice, arguing that the uniqueness of their creations should be above the idea person. As a result of this practice is the following: a selection of works for the exhibition is to the detriment of the topic, but taking into account the individual wishes of the artists or the demands and wishes of the authors are not taken into account in the name of preserving the integrity of the thematic exhibition.

This is why the third Moscow Biennale has identified its goal to become a panorama of works by artists from around the world. But that's not the essence, the main thing is to, through various and diverse examples to convey the idea of the richness and diversity of artistic creativity in the world.

Subject Bienniale «Against exception» is equally true of the basic human rights, and to the world of aesthetics, which appears today in front of inquisitive lover of all forms of art.

More recently, contemporary art is defined as opposed to the art of antiquity, but the exhibition «Artempo», which took place in the museum «Fortune» in Venice in 2007, has proven fallacy of this argument in relation to the day today. Act Like a pendulum, the periods of synthesis in art followed by periods of analysis, and complex searches. Today, thanks to globalization and the transfer of information in real time - at least the part that is transmitted via the Internet - we entered the period of synthesis, which carries a risk to the artistic world to the same degree of homogenization that has prevailed now in the economy. But the purpose of the current Biennale of it and is to combine the notion of «Globalization» and «unique» by demonstrating products, hybrids resulting from a myriad of cultural mixing that take place in the modern world. The ratio of same to the incredible confusion in okolohudozhestvennyh quarters remains very conservative.

Because the art, to a lesser extent, is seen not as a gradual, sequential process but as a set of individual events, you can write in a long history. But this is not applicable to contemporary art, which reproduces itself, without leaving the state of amnesia - whether because of the cyclicity of avant-garde movements or because of recurrence of fashion. Indeed, the attempt to preserve the historic perspective of the consistent development of art, while removing barriers to the most radical art - this is not an easy task. History teaches us to fear the effects of fashion and false similarities, but creativity requires passion - if not blind, it is based on a real, even a naive freshness of perception. History presents us with a certain sequence of invariants, which look modern man does not see anything other than a repetition, as a true art requires originality, following the all new.

artistic trends 1970 - conceptualism, minimalism and arte povera - often close to the formal boundaries of art, which could finally uteret nose any commentators, to reach the stage at which any interpretation of, any comments are irrelevant and unnecessary. But criticism recovered and began to take revenge: Not only was the sea of literature on the «vacuum» in the art, but also in learning the art medium for years and fostered a passion for academic theorizing. So there conceptualism that the art - no more than an illustration of some ideas, philosophical or political. Yet components of the arts far more complex: need alchemy exclusion and involvement in their own era, where the investment in life are ahead of a marketing strategy.

inscribing in his own era is not required by the Art literalism in the interpretation of events. In a world full of frustration, where prevail positivism and materialism, the artist has an opportunity to excite and delight the public means at its disposal, which are known as an artistic language, forms and colors. It recreates the world, though often archaic methods. Recently, due to the primacy of linguistic semiology and is subject to conceptual art has a departure from the plastic forms of creativity in the various forms of verbal creativity. But artists from time immemorial, to communicate among themselves through visual thinking, which is the result of non-verbal process of the birth of ideas. In the human psyche, she is responsible for intuition, sensual perception, and functioning in a pair of speech and logic, does not require verbal or linguistic expressions. This is the visual idea, and allows for cross-cultural interpretations.

In a world dominated by Western culture, the artists were forced to lean under the Euro-American cultural dogmas, otherwise they risk being marginalized. Russia is well familiar with this situation, for a time the country was excluded from the Western system, for political reasons. But, fortunately, the Iron Curtain was impenetrable, and contacts between artists, more intensive than was made to think for a long time. Finally something and abroad are beginning to recognize the value of the Moscow conceptualism. But because of globalization has accelerated the pace of history, and now the view falls far beyond the borders of Europe. Russia could have on this occasion to test some rancor, but the recent economic upswing again tip the scales in her favor.

The crisis could put all of this sudden end. It remains to be seen. One can only hope that the desire to collect works by Russian artists and support them are forever.

If the rapid artistic development and it is usually for economic take-off, generally it is not universal. To date, there are a myriad of interesting cultural and artistic events taking place in poor countries with low penetration and the exchange of information. It is not what it was before, when the physical remoteness or inaccessibility has contributed to the dissemination of ideas ekzotizma fraught with various kinds of fantasy. The aim is to organize a meeting of people living in more or less the same conditions and, therefore, able to communicate with each other. It is time to recognize that any artist, regardless of which culture they belong should be able to distribute it through their works, with respect to its own history, traditions and beliefs. Wrong to think that the culture of foreign countries, we are not available. Normally a minimum of information is sufficient to increase their own susceptibility, set it on the interpretation and understanding of works of art. Dekontekstualizatsiya was the argument of those who wanted to erect protectionist barriers, trying to establish some sort of neo-colonial order. Now there is no question that was completely alien to us. Everything that is happening in the world is our attitude, and may in the near future, we specifically refer to.

List of participants of the third Moscow Biennale of Contemporary Art

Marina Abramovich, AES S , VN Adji, Yuri Albert , Gad Amer, El Anatsui, Jose Bedia, Michel Blazy, Alexander Brodsky, Berlinde de Bruykere, Frederick âÒÀÌÉ Bouabré, Celeste Bursa -Muzheno, Cohen Vanmehelen, Stanislav Volyazlovsky, Navurapu Vunungmurra, Erwin Vurm, Alfredo Dzhaar, Yang Dzhichang, Wim Delvua, Bratso Dimitrijević, Atul Dodia, Anita Dyube, Dmitry Gutov , Roman Zigner, Huang Yong Ping, Samuel Kane Kvei, Anish Kapoor, Maurizio Kattelan, William Kentridzh, Kimsudzha, Agatoak Ronnie Kouspi, Valery Koshlyakov , Eul Krayer, Tony Kregg, Jean-Jacques Lebel, Alexander Lobanov, Rafael Lozano-Hemmer, Heinz Mack, Esther Malang, Dzhambava Marawi, Christian Markle, Annette Messazhe, Tatsuo Miyadzima, Vic Myunis, Doreen Reid Nakamarra, Ernesto Net, Anatoly Anatoly Osmolovsky , Mike Parr, Paul Peppershteyn , Julius Popp, Markus Retts, Ravinder Reddy, Reynold Reynolds, Claude Ryuto, Cherie Samba, Blue Noses , Haim Sokol , Wolfgang Tilemans, CYPRIEN Tokudagba, Tunga, Spencer Tunik, Ridzhina Wilson, Jean-Olivier Yukle, Gloria Friedman, Romuald Hazume, Aspassio Haronitaki, Fiona Hall, Leni Hoffmann, Dmitry Tsvetkov, Sheba'a Chachi, Jake and Dinos Chapmeny Ivan Chuikov , Sherene Sheri, Chiharu Shiota, Yinka Shonibare, Conrad Shoukross, Gerda Steiner and Jörg Lentslinger, Jason Shulman, Sun Yuan and Peng Yu, Afghan carpets.

Source: press release third Moscow Biennale of Contemporary Art