In response to the 58th edition of the Venice Biennale, The New Centre for Research & Practice / Parallel Academia Group organized HYPER ANNOTATIONS during the pre-opening days of the exhibitions, focusing on short conversations with artists, curators and art professionals in town for the event.
The program took place on May 8, 9, 10, 2019 between 11:00 AM - 1:30 PM and was hosted at Ocean Space / TBA-21 ACADEMY. The interviews were broadcasted on the New Centre’s social media channels and recorded for the New Centre archive. Our social media channels wre active during the pre-opening days of the Biennale, providing a visual preview of the exhibition and other events in Venice. In addition, Pudendum | شرمگاه Instagram account (@scharmgah) took over our Instagram account, providing it with memes about our program and the exhibitions. Hyper Annotations was sponsored by Arts of the Working Class.
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VIDEOS | BIOS |
| Misal Adnan Yıldız is a curator, writer, and educator. Yıldız was the director of Artspace NZ in Auckland (2014-2017), previous to which he held the position of artistic director at Künstlerhaus Stuttgart in Germany (2011-2014). His curatorial approach is based on conversations with an interest in creating connections between studio processes, exhibition methodology and audience development. He is also one of the initiators of Autonomous Space Agency (ASA), a collaborative space based on thinking together, learning from each other and sharing commons. Currently, he is a PhD candidate at Hafencity Hamburg, and has been working on several exhibition and publication projects in Berlin. | ||
| John Gerrard is an Irish artist, best known for his large-scale sculptures and installations, which typically take the form of real-time computer simulations. His works concern themselves with the nature of contemporary power by exemplifying the mass structures and vast networks of energy which materialised during the twentieth century. Through advanced technology, Gerrard manages to invoke the history of landscape painting and photography by positioning his oeuvre somewhere between fiction and documentary. Recent solo presentations of Gerrard’s work include "Exercise", Kunsthalle Darmstadt (2015), "Farm", Thomas Dane Gallery, London (2015), and "Sow Farm", Rathole Gallery, Tokyo (2015). |
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| Markus Reymann was trained as an actor and performed on screen and on stage for many years. He joined Thyssen-Bornemisza Art Contemporary (TBA21) in 2011. With TBA21 chairperson and founder Francesca Habsburg, he co-founded TBA21 Academy where he subsequently took on the role of a director. As a central programming unit of TBA21, the Academy provides a moving platform of cultural production and interdisciplinary exchange within TBA21. Between July 2011 and today, Reymann initiated and conducted numerous expeditions. Each trip is designed as a collaboration with invited artists, scientists and thinker's eager to embark on oceanic explorations. | ||
| Boris Ondreička is a curator, artist, author and singer based in Bratislava, SK and Vienna, AT. Curator at Thyssen-Bornemisza Art Contemporary, Vienna since 2012, he has worked as project coordinator at Soros centre for contemporary arts, Bratislava and as director of art-initiative tranzit.sk, Bratislava. He has led and contributed to artistic projects for a host of global biennials, galleries and institutions, including Manifesta 2, Luxemburg, the Venice Biennale (Czecho-Slovak & Roma pavilions), the biennials of Gyumri, Torino, Anzengruber, Tai-Pei, Athens, Kiev and Jakarta. |
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| Lucia Pietroiusti is Curator of General Ecology at the Serpentine Galleries (London) as well as the Curator of Sun & Sea (Marina) by Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelyte, the Lithuanian Pavilion at the 58th Venice Biennale, 2019, awarded the Golden Lion for Best National Participation. She is the curator (with Filipa Ramos) of the durational festival on interspecies consciousness, The Shape of a Circle in the Mind of a Fish (2018-19) as well as the research, publication and performance project, PLANTSEX, on erotics and botany. Since 2013, she has programmed and produced research projects, artist commissions and performances, as well as film and collaborative partnerships, at the Serpentine Galleries. | ||
| Katja Novitskova is an Estonian artist. She lives and works in Amsterdam and Berlin. Her work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics. Novitskova is interested in investigating how, "media actively redefines the world and culture, and everything” related to art, nature and commerce. In 2017, she represented Estonia in the 57th Venice Biennale with If Only You Could See What I’ve Seen with Your Eyes and in 2016 participated in the Berlin Biennial (BB9) curated by DIS. | ||
| Manuel Correa was born in Medellín, Colombia in 1991. In 2016 his video #ARTOFFLINE was premiered at the Rotterdam International Film Festival. His videos have been presented in venues such as the Rufino Tamayo Museum, Presentation House Gallery, The University of Copenhagen, Medellín Museum of Modern Art, The 8th Norwegian Sculpture Biennial, Kunsternes Hus in Oslo, Palazzo Grassi in Venice, Kadist Arts foundation, DOK Leipzig international documentary film festival, amongst other spaces. | ||
| Andrej Tomažin is a Slovenian writer, poet and journalist based in Ljubljana. With a degree in comparative literature from the Faculty of Arts in Ljubljana, he is a member of the Slovene Writers’ Association. He was a member of the editorial offices of the Idiot and of Radio Študent (RŠ) magazine. He works with the magazine for contemporary art Šum. Šum 11, titled Hypersonic Hyperstitions, is published and presented in the context of the exhibition by Marko Peljhan at the Slovenian Pavilion of the Venice Biennale (2019). | ||
| Katalin Timár, theorist and curator of the Ludwig Museum for Contemporary Art in Budapest has served as programme director for various international conferences and workshops and as member of curatorial teams for several group exhibitions. In 2007, Timár received the Golden Lion Award for Best National Pavilion at the 52d Venice Biennale for her curation of the Hungarian Pavilion. She has received a Getty Grant (1999) and Doctoral Support Grant (CEU, 2000) and a Henry Moore Research Fellowship (2001). She has given lectures and presentations at a host of institutions and teaches art history and theory at the University of Pécs, Hungary. | ||
| Arthur Steiner is an art historian working at the crossroads of contemporary arts, design and technology. His research is focused on the role of aesthetics in investigating our digital reality as well as the global forms of aesthetic and the geographic specificities of image manipulation, circulation and appropriation. He is the founder of the African Crossroads festival and the Digital Earth, through which he investigates the materiality and immateriality of the digital reality with 20 artists from Africa and Asia as well as Vertical Atlas which aims to publish a new atlas to navigate the complex techno geographies of the world today. | ||
| Shaun Dacey is the director of the Richmond Art Gallery, previously curator at the Contemporary Art Gallery, both located in Vancouver, Canada. He has held positions such as director/curator of Access Gallery, public programmer at the Burnaby Art Gallery, and youth programmes coordinator at Oakville Galleries. Dacey has produced exhibitions for various spaces throughout Canada including the Morris and Helen Belkin Art Gallery, Gallery Atsui, InterAccess Media Arts Centre, and Sleepwalker Projects. His projects explore diverse forms of knowledge exchange through focused research in public, collaborative and social practices. Dacey holds a Master’s degree in critical and curatorial studies from the University of British Columbia. | ||
| Philippe Pirotte is an art historian, critic and curator. He has been rector of the Städelschule and director of Portikus in Frankfurt since 2014. In 2016 he was chief curator of the Biennale de Montreal and in 2017, he collaborated with the artistic team for the Jakarta Biennale. From 2005-11 Pirotte was the director of the Kunsthalle Bern and from 2003-2013 Senior Adviser of the Rijksakademie, Amsterdam. In 2019, he curated exhibition projectArus Balik at the NTU Centre for Contemporary Art Singapore. Sought-after for his expertise on curatorial subjects, Pirotte is a representative of the documenta 15’s selection committee which appointed Indonesian collective ruangrupa as director for the 2022 edition. |
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| Leonardo Dellanoce is an art historian who explores technological realities using art and design as navigational tools. Collaboration is at the core of his practice, as he works with artists, spatial designers and theorists on a variety of projects. Among others, he is co-leading the cross-disciplinary research projectVertical Atlas: a Techno-political Cartography, and co-curating Digital Earth, a 6 month research fellowship for artists and designers in Africa and Asia. Currently, he is also editor of Volume magazine where he initiated the long-term research project Trust in the Blockchain Society. | ||
| Marina Fokidis is a curator and writer based in Athens Greece. In 2014, she was appointed Head of the Artistic Office, Athens and curatorial advisor for documenta 14. She is the founder of Kunsthalle Athena and South as a State of Mind, a bi annual arts and culture magazine. In 2011 Fokidis was one of the curators of the 3rd Thessaloniki Biennial. She has also been the commissioner and the curator of the Greek Pavilion at the 51st Venice Biennial, (2003) and one of the curators of the 1st Tirana Biennial (2001). She has written essays for different edited collections, for artists and exhibition catalogues and for several international art magazines and book publications including Frieze, Art-Agenda, Artinfo, Flash Art, Art and Australia, among several others. | ||
| Amsterdam-based Geert Lovink is the founding director of the Institute of Network Cultures, whose goals are to explore, document and feed the potential for socio-economical change of the new media field through events, publications and open dialogue. As theorist, activist and net critic, Lovink has made an effort in helping to shape the development of the web. He has authored numerous books including Uncanny Networks (2002), Dark Fiber (2002), My First Recession (2003), Zero Comments (2007), Networks Without a Cause (2012), Social Media Abyss (2016). His latest book, Sad by Design: On Platform Nihilism was published in 2019 by Pluto Press. | ||
| Diann Bauer is an artist and writer based in London. Her work spans a range of disciplines and has been screened and exhibited internationally; notably in London at Tate Britain, The Showroom and The Drawing Room; in Athens at Deste Foundation and Benaki Museum, in Melbourne, at Ian Potter Museum of Art; in Berlin at Kraupa-Tuskany Zeidler and Die Neue Aktions Galerie and in New York at The New Museum, White Box, The Dorsky Museum, OMI International Art Centre, and Socrates Sculpture Park. Bauer is involved in several collaborative projects including Laboria Cuboniks, AST (the Alliance of the Southern Triangle) and The Office for Applied Complexity (OfAC). | ||
| Hans Ulrich Obrist is a Swiss art curator, critic and art historian. Since 2006, he is co-director of the Serpentine Galleries, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first exhibition “World Soup” (The Kitchen Show) in 1991 he has curated more than 300 shows. In 2011 Obrist received the CCS Bard Award for Curatorial Excellence, in 2009 he was made Honorary Fellow of the Royal Institute of British Architects (RIBA), and in 2015 he received the International Folkwang Prize for his commitment to the arts. Obrist has lectured internationally at academic and art institutions, and is contributing editor to several magazines and journals. |
PATRICK SCHABUS ON &&&.COM
MOHAMMAD SALEMY ON OCULA.COM
ADAM KLEINMAN & GILDA WILLIAMS ON ART-AGENDA.COM
The New Centre for Research & Practice is an international non-profit art institute for higher education that fosters a global network of artists, curators and thinkers. Co-founded by Mohammad Salemy, the New Centre’s programming include collaborations like The Eighth Climate (What does art do?) Gwangju Biennale (2016), Superconverations, a series of responses to e-flux’s participation in the 2015 edition of Venice Biennale, as well as the resulting Machines that Matter conference at e-flux (2015), and regular organization and sponsoring of events at Spike Art Quarterly – Berlin (Interlocutories, 2019; ANON: The AltWoke Manifesto & Other Negativities, 2018).
TBA21–Academy leads artists, scientists, and thought-leaders on expeditions of collaborative discovery. Founded by Francesca Thyssen-Bornemisza and led by Director Markus Reymann, the Academy is dedicated to fostering a deeper understanding of the ocean through the lens of art and to engendering creative solutions to its most pressing issues. TBA21–Academy commissions interdisciplinary research that catalyzes engagement, stimulates new knowledge, and inspires artistic production. Established in 2011, the nonprofit’s program is informed by a belief in the power of exchange between disciplines and in the ability of the arts to serve as a vessel for communication, change, and action. The International Art Exhibition La Biennale di Venezia is the world’s leading art event, founded in 1895 and occurring every two years in Venice. This year the 58th edition, May You Live in Interesting Times, is curated by Ralph Rugoff and includes artist Lawrence Abu Hamdan. Defne Ayas, curator and New Centre board member, was appointed a member of the Biennale International Jury which will award this year’s official prizes. Ocean Space, a new global center for catalyzing ocean literacy, research, and advocacy through the arts, opens to the public in the newly revitalized Church of San Lorenzo in Venice. Spearheaded by TBA21–Academy and building on its expansive work over the past eight years, this new embassy for the oceans fosters greater engagement and collective action on the most pressing issues facing the oceans today. Conceived as a platform for collaboration and exchange, Ocean Space provides flexible facilities for installations, performances, workshops, archives, and research, overseen by TBA21–Academy and its network of partners, including universities, NGOs, museums, government agencies, and research institutes from around the world. The project opens in phases, reintegrating the historic building back into the cultural fabric of the city after two years of extensive revitalization works and more than 100 years of being largely inaccessible to the public.
A new street journal on poverty, wealth and art: "Arts of the Working Class" is published every two months and contains contributions by artists and thinkers from different fields and in different languages. Its terms are based upon the working class, meaning everyone, and it reports everything that belongs to everyone. Everyone who sells this street journal earns money directly. AWC is published by Paul Sochacki, María Inés Plaza Lazo and Alina Kolar, for the streets of the world.
Nathalie Agostini is an independent researcher based in London. She works with a host of cultural entities, including galleries, non-profit organisations and digital agencies on questions of production and communication. Agostini is alumna of the New Centre's Art & Curatorial Program and regularly collaborates with the organization on public programming and digital media.
Răzvan Anghelache lives and works between Bucharest, Berlin, and Umeå. He holds a BA in Cinematography and Media from the National University of Arts in Bucharest and an MFA from Umeå Art Academy. In 2018, he began to work with The New Centre for Research & Practice. In 2018, he participated in Artificial Cinema Project curated by Mohammad Salemy and Sam Samiee as part of Robot Love exhibition in Eindhoven, Netherlands.
Hernán Blumenthal was born in Argentina and has a background in biochemistry and biotechnology. He has studied and worked in Canada, USA and UK. Blumenthal is interested in the works of Gilles Deleuze and the interface between sciences and philosophy. He is a Certificate Student of at The New Centre in the Critical Philosophz Program.
Alan Diaz is a Mexico city-based architect, currently finishing his master in Critical Theory in 17 Institute for Critical Studies. He is a Certificate student at The New Centre for Research & Practice in the Media & Techniology Program.
Artemis Papachristou is an architect, designer and artist based in London. She was one of the Greek representatives in the Biennale des Jeunes Créateurs d’europe et de la Méditerranée (BJCEM, 2017) and has worked as an architect in the office of Karim Rashid in New York (2018). She is currently researching the inhabitation patterns of contemporary digital nomads as a Certificate Student of The New Centre in Art & Curatorial Practice Program.
Kasra Rahmanian is a Milan-based artist and photographer from Ahwaz in the southwest of Iran. Strictly limiting his work to taking photographs with his mobile phone, Rahmanian captures the absurdities of public and private life in Iran in his stream of consciousness photography feed on Facebook, Instagram and other social media platforms. A New Centre Certificate Student in Art & Curatorial Practice Program, he is the founder of the Pudendum | شرمگاه Instagram account (@scharmgah).
Mohammad Salemy is an independent Berlin-based artist, critic and curator from Canada. He holds a BFA from Emily Carr University and an MA in Critical Curatorial Studies from the University of British Columbia. He has shown his works in Ashkal Alwan's Home Works 7 (Beirut, 2015), Witte de With (Rotterdam, 2015) and Robot Love (Eindhoven, 2018). His writings have been published in e-flux, Flash Art, Third Rail, Brooklyn Rail, Ocula, Arts of the Working Class and Spike. Salemy's curatorial experiment For Machine Use Only was included in the 11th edition of Gwangju Biennale (2016). Together with Patrick Schabus, he forms the artist collective Alphabet Collection. Salemy is the organizer at The New Centre for Research & Practice.
Patrick Schabus is an independent Berlin-based artist, filmmaker and curator who holds an MA in visual arts from the Academy of Fine Arts Vienna. He has shown his works in Haus der Kulturen der Welt (Berlin), the Ars Electronica Festival (Linz), Künstlerhaus Wien and the Grazer Kunstverein. Schabus' films have been shown in international film festivals like Anifilm, Animex and Animateka, Viennale, and the Vienna Independent Film Festival. Schabus’ writings have been published in Spike, Art of the working class, engagée, Malmoe, artmagazine.cc and &&& Journal. He was most recently the co-curator of the Sofia Queer Forum 2018 (with Mohammad Salemy).