{"id":11159,"date":"2013-11-15T16:28:00","date_gmt":"2013-11-15T16:28:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=11159"},"modified":"2023-04-24T16:44:23","modified_gmt":"2023-04-24T16:44:23","slug":"re-imagining-an-old-international-mega-art-festival-the-carnegie-international-2013","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/re-imagining-an-old-international-mega-art-festival-the-carnegie-international-2013\/","title":{"rendered":"Re-imagining An Old International Mega-Art-Festival: the Carnegie International 2013"},"content":{"rendered":"\n

2013 Carnegie International<\/strong><\/a><\/p>\n\n\n\n

Carnegie Museum of Art<\/strong> (4400 Forbes Avenue, Pittsburgh, Pennsylvania, US) Oct 5, 2013\u2013Mar 16, 2014<\/strong><\/p>\n\n\n\n

The Carnegie International, the world\u2019s second oldest perennial survey exhibition of international contemporary art launched by the American industrialist Andrew Carnegie in 1896, returned with its brand-new 2013 edition opening at the Carnegie Museum of Art in October. Co-curated by Daniel Baumann, Dan Byers and Tina Kukielski, this features the work of thirty-five artists and collectives from nineteen countries, with several artists being highlighted in mini-retrospectives. Aside from the major survey of international contemporary art, the other components of this year\u2019s International include a reinstalled, permanent collection of modern and contemporary art, a small exhibition-within-the-exhibition named \u201cThe Playground Project\u201d and some off-site projects. Although it has been five years since the launch of its previous edition \u201cLife on Mars\u201d in 2008, the 2013 edition surprises one as a truly focused and intellectually challenging show, proving the long wait to have been worthwhile.<\/p>\n\n\n\n

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Phyllida Barlow\u2019s \u201cTIP\u201d (2013) installed in front of the museum entrance; the other sculpture is by Richard Serra<\/figcaption><\/figure>\n\n\n\n

At the Forbes Avenue entrance of the Carnegie Museum of Art, two vibrantly colored three-dimensional outdoor pieces perfectly summarize the frame of the entire show. The British sculptor Phyllida Barlow\u2019s \u201cTIP\u201d (2013), a sculpture assembled chaotically from rough construction materials and colored flags, intentionally disrupts the aesthetic balance originally achieved by the refined, monumental Henry Moore and Richard Serra sculptures in front of the museum. It represents an \u201canti-monumental\u201d statement made by the artist to confront the current white-male-artist-dominated sculpture field. Another work, the \u201cLozziwurm,\u201d a playground designed by Yvan Pestalozzid in 1972, serves as a reminder of \u201cThe Playground Project\u201d as well as resonating with the underlying spirit of play that can be traced through the entire show.<\/p>\n\n\n\n

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A set of portrait from Zoe Strauss\u2019s \u201cHomesteading\u201d (2013)<\/figcaption><\/figure>\n\n\n\n
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He An\u2019s installation, \u201cWhat Makes Me Understand What I Know?\u201d (2009); on the right side is the \u201cArt Lending Collection\u201d project by Transformazium<\/figcaption><\/figure>\n\n\n\n

While showcasing international artists\u2019 work at an attempt at global representation, the exhibition is also deeply committed to addressing the local problems of Pittsburgh as a place undergoing wrenching transitions. On view in the hallway near the entrance are the street photography and intimate portraits of the residents of Homestead, Pennsylvania, taken by the Pennsylvania-based Zoe Strauss for her project \u201cHomesteading\u201d (2013). Not far from Pittsburgh, the city of Homestead was once home to Andrew Carnegie\u2019s flagship plant before the entire state of Pennsylvania suffered from a disastrous industrial decline. At the end of the hallway, a video is projected on the ground as another component of this work. Strauss appropriated the photos and video footage taken of contemporary Chinese steel plants to reanimate a historical epicenter of a major industrial strike that occurred in Pennsylvania. Through her lens, the feeling of estrangement caused by the obsolete cityscape is both juxtaposed with and contradicted by the intimacy of very lively portraits. By establishing connections between past and present, local and global, our everyday existence under the influence of social change and industrialization is being examined. Similar in theme, a set of two video installations by the Indian artist Amar Kanwar, \u201cA Love Story\u201d (2010) and \u201cThe Scene of Crime\u201d (2010), addresses the impact of industrialization on the Indian Subcontinent differently. The artist narrates a twisted love\/hate relationship with an unidentified lover; despite the clear sadness of loss and deep regret in the video along with the imagery of industrial dumps in India, one immediately associates with the over-exploitation of nature during the country\u2019s industrial development. Also on the first floor, as one of the most conspicuous pieces, is the Chinese artist He An\u2019s neon-light installation \u201cWhat Makes Me Understand What I Know?\u201d (2009). The artist stole cheap, partially damaged neon light-box signs from the city to repeatedly spell out the name of his deceased father and favorite Japanese porn star. It clearly represents his desperate longing for intimacy in the alienating cosmopolitan city, whether it is bound by blood or even just seemingly familiar. With local works resonating with the international ones, it is clear that industrialization and social change are never the problems of just one place.<\/p>\n\n\n\n

A major score point of this exhibition is that it has truly invited a multiplicity of artistic and cultural stances into an open and intense conversation, giving voice to the invisible and the visible, the marginalized and the established, the outsider and the insider.<\/p>\n\n\n\n

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Mladen Stilinovi\u0107\u2019s \u201cBag-People\u201d (2001) featured in his mini-retrospective<\/figcaption><\/figure>\n\n\n\n

On view on the second floor, a small gallery is given over to Yugoslavian artist Mladen Stilinovi\u0107, quite well-known in Europe but rarely shown in the United States. The entire atmosphere of Stilinovi\u0107\u2019s mini-retrospective is both activist-like and depressing. When you walk into the gallery, your eyes are immediately drawn to a large pink flag with an all-capitalized statement saying that \u201cAN ARTIST WHO CANNOT ENGLISH IS NO ARTIST.\u201d It confronts the hierarchical cultural politics of the Anglo\/Western-centered global art world from the periphery in a way that could not possibly be more straightforward. A text written by the artist also on view, \u201cIn Praise of Laziness\u201d (1933), further illustrates the artist\u2019s statement to subvert the market-driven system of art-making in the West. In strong contrast with Stilinovi\u0107\u2019s black-and-white photographs of people marching in rows, devolving ultimately into a numb and meaningless pattern (as seen in \u201cBag-People,\u201d 2001), \u201cvisual activist\u201d Zanele Muholi brings the most invisible and marginalized gay, lesbian, and transvestite community in South Africa out to the public. In her \u201cFaces and Phases\u201d (2010) series, the direct and confrontational gaze shared by all her subjects creates an extreme tension in these powerful images, making her a well-deserved winner of this year\u2019s Carnegie Prize.<\/p>\n\n\n\n

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Zanele Muholi\u2019s photography on view with Sadie Benning\u2019s abstract clay paintings and Lara Favaretto\u2019s sculptures<\/figcaption><\/figure>\n\n\n\n

The spirit of activism central to this exhibition becomes even clearer as we see two projects given generous space to subvert Americans\u2019 own confirmed values: Joel Sternfeld\u2019s \u201cSweet Earth: The Experimental Utopias in America\u201d (2006) and Dinh Q. L\u00ea\u2019s \u201cLight and Belief: Sketches of Life from the Vietnam War\u201d (2012). Recognized as one of the best-known American journeyman photographers, Sternfeld chronicled the marginalized, sometimes even isolated, utopian communities that have experimented on collectivistic lifestyles. Among them, Drop City, the once-famed artist community in Colorado, and Black Mountain, the experimental education program once attended by Robert Rauschenberg and Willem de Kooning, are instrumental in shaping our art history. In a nation like America, where individualism is undoubtedly the prevailing ideology, the stories documented in these photos fill in our epistemic blind spots by revealing an alternative history. On view in a gallery beautifully built from light-colored wood, Dinh Q. L\u00ea\u2019s project consists of one hundred drawings and paintings made by Vietnamese artist-soldiers during the Vietnam War and a documentary of interviews with these artists. As a painful historical war between the two nations being recounted through personal narratives, the work brings to light the other side of the story, encouraging a reconsideration of the history.<\/p>\n\n\n\n

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Guo Fengyi\u2019s scroll works on view in the International<\/figcaption><\/figure>\n\n\n\n
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Part of the Carnegie International<\/figcaption><\/figure>\n\n\n\n
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57 drawings by Joseph Yoakum installed on a gallery wall; in front of them is a Vincent Fecteau sculpture<\/figcaption><\/figure>\n\n\n\n

Among all the artists, two deceased outsider artists included in the exhibition\u2014Joseph Yoakum and Guo Fengyi, have attracted much attention as well. For this year\u2019s Carnegie International, the museum has amassed and exhibited 57 drawings by Yoakum in the center of a main gallery, presenting the largest exhibition of his drawings in decades. While inspiration is drawn from his real-world experience of traveling around the world, the people he met and the places he went to were used as raw materials in his drawings to construct an imaginary trip to Lebanon. Portrayed meticulously by the artist, the intricate and sinuous landscapes in these vibrant yet nuanced drawings navigate the audience freely into a dream state. Considered an \u201cartist\u2019s artist,\u201d Yoakum\u2019s drawings have had an impact on the practices of many young American artists. Among them are Vincent Fecteau and Sadie Benning, whose illogically shaped sculptures and abstract clay paintings are thoughtfully placed in the same space with Yoakum\u2019s works, engendering a dialogue between the artists from two generations. In a rear gallery on the second floor, ten medium-to-large-size scroll paintings by the late Chinese artist Guo Fengyi are displayed on the same wall painted in light grey. Derived from a mystic Chinese health maintenance practice, Guo\u2019s paintings visualize the energy flow within the bodies of both normal people and mythical figures. Even if a routine like this fails to be a successful self-healing device, maybe there really are certain kinds of psychological implications embodied in traditional rituals that can be enhanced over time through performing symbolic gestures repeatedly. In this thoughtfully curated exhibition, Guo\u2019s and Yoakum\u2019s works naturally stand out because of their distinguished visual language rather than the exhibition\u2019s intentional emphasis on their outsider status.<\/p>\n\n\n\n

Of course, there are many other interesting pieces in this year\u2019s Carnegie International. In \u201cArt Lending Collection\u201d project, the Pennsylvania-based art collective Transformazium proposes that maybe artworks can be circulated and evaluated in a non-hierarchical way, just like books. The adjunct exhibition, \u201cThe Playground Project,\u201d surprises many people as being both playful in presentation and thought-provoking in nature. It traces all kinds of confrontation, negotiation and conflict common in games and experiments back to our childhood. Aside from that, the reinstalled permanent collection of modern and contemporary art presents many important pieces featured in the previous editions of the Carnegie International. As art critic Thomas McEvilley once noted, \u201cA sensitive exhibition defines a certain moment, embodying attitudes and, often, changes of attitude that reveal, if only by the anxieties they create, the direction in which culture is moving,\u201d the show reviews many important moments, changes of attitude and cultural trends that the Carnegie International has experienced over its history. It is a reminder of how important it is for the biennial to reimagine itself continually in order to stay relevant.<\/p>\n\n\n\n

A brief walk through the galleries is already sufficient for devoted biennial goers to notice several distinguished qualities of the exhibition. Unlike most biennials nowadays, which are usually grandiose in size and overwhelming in content, the entire contemporary art survey show this year only occupies the first two floors of the museum. While the percentage of female artists being shown in public museums or galleries remains still as low as around 18%, 50% of the works exhibited in this show are by female artists. Additionally, the majority of the artists included in the show are emerging to mid-career artists, from 30 to 40 years old. Although many of them might be familiar to art professionals, these artists are not the conventional \u201cbiennial artists\u201d whose inclusion at prestigious international biennials is almost predictable.<\/p>\n\n\n\n

The Carnegie International 2013 is moderate in scale, but quite ambitious at its core. As the exhibition shows a clear intention to mature away from a spectacular-culture-centered biennial\u2014which oftentimes also means intervening insensitively in a local situation and having a stagnant curatorial pattern\u2014it has made a statement about how we should go about a \u201cbiennial\u201d today.<\/p>\n\n\n\n

\"\"
One of Joseph Yoakum\u2019s drawings<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

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