{"id":5833,"date":"2016-03-17T10:01:00","date_gmt":"2016-03-17T10:01:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=5833"},"modified":"2022-12-13T10:12:31","modified_gmt":"2022-12-13T10:12:31","slug":"3rd-ural-industrial-biennial-of-contemporary-art","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/3rd-ural-industrial-biennial-of-contemporary-art\/","title":{"rendered":"3rd Ural Industrial Biennial of Contemporary Art"},"content":{"rendered":"\n

This piece is included in Ran Dian\u2019s print magazine, issue 2 (Winter 2015\u20132016)<\/em><\/p>\n\n\n\n

3rd Ural Industrial Biennial of Contemporary Art<\/strong><\/a><\/p>\n\n\n\n

Yekaterinburg, Russia, Sep 9\u2013Nov 10, 2015<\/strong><\/p>\n\n\n\n

The city of Yekaterinburg, nestled deep in the Russian heartland almost 2000 km east of Moscow, might not be the most obvious site for an international biennial. Yet straddling as it does the putative geographical divide between Europe and Asia\u2014the Ural Mountains\u2014it is perhaps less surprising that this erstwhile \u201cGateway to Siberia\u201d has chosen for its biennial two China-based curators, Biljana Ciric and Li Zhenhua.<\/p>\n\n\n\n

Yekaterinburg is arguably the most important Russian city that is hardly known outside the former Soviet Union: named after Peter the Great\u2019s wife, Empress Catherine, the city later witnessed the execution of the last Tsar of Russia and the rest of the Romanovs following the October Revolution that brought the Bolsheviks to power. Later, Stalin built the region up as a major industrial center; as the saying goes, \u201cthe Urals defeated Germany.\u201d Visiting Communist dignitaries\u2014including Mao Zedong and Fidel Castro\u2014duly paid homage, particularly to Uralmash, a massive machine factory complex. It was also in this city (renamed Sverdlovsk during Soviet times) that a young Boris Yeltsin reached prominence before climbing to the pinnacle of power. Less salutarily, Yekaterinburg also suffered an anthrax leak in 1979; the closed city was a major center of the Soviet military-industrial complex.<\/p>\n\n\n\n

\"\"
Iset Hotel (courtesy the 3rd Ural Industrial Biennial)<\/figcaption><\/figure>\n\n\n\n

With such a history, the Ural Biennial has always engaged on some level the legacy of its industrial heritage. The first was subtitled \u201cShockworkers of the Mobile Image\u201d (curated by Cosmin Costinas, Ekaterina Degot, and David Riff) and was situated in the Ural Worker Printing Press\u2014which has now predictably gentrified. Now, for the third iteration of the biennial, the main venue has switched to the Iset Hotel, a Constructivist gem: about nine stories high and circular (supposedly representing the sickle), the structure is functionally brutalist and yet not without its charms; it also happened to be a major building in \u201cGorodok Chekistov\u201d (Chekist Town)\u2014in other words, the Town of KGB Officers\u2014the compound from which surveillance and discipline were meted out. Such somber shadows from the past certainly force a particular reaction in curatorial strategy\u2014as does the loose theme of \u201cMobilization\u201d\u2014but concretely, it is the layout of the structure that imposes the greatest constraints. The Iset Hotel was, well, a hotel, with individual rooms leading off from the long corridor on every floor. The biennial\u2019s two curators\u2014who in effect divided the show into separate sections\u2014adopted different strategies.<\/p>\n\n\n\n

Biljana Ciric\u2019s section \u201cSpaces for Maneuver: Between Abstraction and Accumulation\u201d imposed a strong trajectory, from the front door of the Iset Hotel through the first three floors (with also an isolated part on the top 9th floor); the assembled artworks showcased an international range of artists. A Tino Sehgal work greeted visitors at the front gate, followed by Sini\u0161a Ili\u0107\u2019s \u201cConference Room with a View over the Mediterranean\u201d\u2014an installation of chairs strewn about, designed to serve also as a site for discursive programming. Jompet Kuswidananto\u2019s \u201cA Model for Mass and Explosion\u201d, with its mechanical waving hands, welcomes visitors on the second floor, before Alisa Yoffe\u2019s punk drawings on the corridor walls (\u201cAnd if You Don\u2019t Feel Yourself Pretty Sick, then Go Away from My Yard\u201d)\u2014a nod to punk resistance to Vladimir Putin\u2019s program of nationalism and the centralization of power.<\/p>\n\n\n\n

\"\"
Jompet Kuswidananto, \u201cA Model for Mass and Explosion\u201d<\/figcaption><\/figure>\n\n\n\n
\"\"
Jonathas de Andrade, \u201cSugarcane ABC\u201d<\/figcaption><\/figure>\n\n\n\n

Particular strains emerge, such as that of mass collective movement\u2014perhaps of a certain nostalgia for the potentialities of a Socialist future, now fallen into dust. This was seen in Marta Popivoda and Ana Vujanovi\u0107\u2019s \u201cMass Ornament\u201d\u2014a video of one of the last Yugoslav Youth Day Celebrations in 1987, where audiences seemingly enthusiastically joined in the propagandistic celebrations despite public anticipation of future problems, if not necessarily collapse. The focus shifts to Polina Kanis\u2019 \u201cWork Out\u201d, which presents collective bodies regulated by a fitness instructor. The viewer\u2019s attention then moves to Jonathan de Andrade\u2019s \u201cSugarcane ABC\u201d, which involves the \u201clandless workers movement\u201d and pedagogy in present-day Brazil. Such is an example of Ciric\u2019s modulation of a theme. Another would be Yurko Koval\u2019s \u201cTrinity. Jewel\u201d, paintings of metallic hues from the region, paired with Pratchaya Phinthon\u2019s \u201cUntitled\u201d, photographs of meteorites sliced and polished as mirrors, both centering around resources in the general sense (to the side was also Yoko Ono\u2019s \u201cTouch\u201d, where the 1963 dark room was inverted to a light room; this meditative space instead fell flat).<\/p>\n\n\n\n

\"\"
Li Liao, \u201cOffice\u2014Ekaterinburg\u201d, video, 2015 (courtesy the 3rd Ural Industrial Biennial)<\/figcaption><\/figure>\n\n\n\n
\"\"
Ho Tzu Nyen, \u201cThe Making of the New Silk Roads\u201d, video\/performance<\/figcaption><\/figure>\n\n\n\n
\"\"
!Mediengruppe Bitnik, \u201cThe Random Darknet Shopper. The Bot\u2019s Collection\u201d (courtesy the 3rd Ural Industrial Biennial)<\/figcaption><\/figure>\n\n\n\n

Other works dealt with the idea of power, though not always directly. Li Liao\u2019s \u201cOffice\u2014Ekaterinburg\u201d involved the artist filming the office of the mayor of Yekaterinburg empty for a whole day, a direct if perhaps simple display of the normally hidden condition of power. (The mayor Yevgeny Roizman is himself perhaps the bigger draw: with a dubious history, Roizman is one of the few politicians left in Russia who is not part of the ruling United Russia, while his \u201cCity Without Drugs\u201d program\u2014which purportedly involved kidnapping drug addicts to force them to quit\u2014was not without controversy). Wong Hoy Cheong\u2019s \u201cUnCover\u201d catalogues manhole covers, subtly linking structures of political power within the city (police stations, municipal buildings and such like) through the subterranean sewage system, which hints at hidden linkages as well. Noteworthy also is the strategy of restaging. Shi Yong\u2019s \u201cThe Other On-Site Sound: the Private Space Going Public\u201d revisited his work from 20 years ago\u2014but instead of recording his own apartment and streaming it live, he records an elderly couple\u2019s apartment (the collective 3PLY also reproduced the \u201cLet\u2019s Talk about Money\u201d fax exhibition from 1990s Shanghai in book form). Lest readers think all works were so focused on power or collectivity, more expansive works were present, too, like Ho Tzy Nyen\u2019s \u201cThe Making of the New Silkroads\u201d (2009), a self-reflexive video work on postures and gestures within an art conference, slyly commenting institutionally on the ponderousness of such powwows.<\/p>\n\n\n\n

In comparison, Li Zhenhua\u2019s section \u201cNo Real Body\u201d felt like a series of mini-exhibitions loosely strung around themes of virtual bodies, encoding, and image reproduction. !Mediengruppe Bitnik\u2019s \u201cThe Random Darknet Shopper. The Bot\u2019s Collection\u201d involved a bot being programmed to engage in the darknet, that cupboard of skeletons of the internet; in the end, it bought some drugs and a legal conundrum ensued as to whether a computer program could be hauled to court. The collective Where Dogs Run\u2019s \u201cKnitting Mandelbrot set\u201d connected knitting and mathematics in a colorful textile work\u2014harkening back to Lovelace, an early female mathematician and an avid knitter.<\/p>\n\n\n\n

Many Chinese artists were present; notable was Kwan Sheung Chi\u2019s \u201cDoing It With Mrs. Kwan \u2026Making Pepper Spray\u201d, a slightly campy and tongue-firmly-in-cheek production of a TV clip teaching viewers to make their own pepper spray. Also presenting works were Chen Qiulin, Wang Yiquan and Yan Xing, among others. Lu Pingyuan\u2019s ghost stories, installed through the floors, more directly reflected the site. In all honest truth, these mini-exhibitions mostly felt disconnected; some were lackluster. A charitable view would allow for another function of biennials\u2014beyond that of the national pavilions (Venice) or spectacular displays of transnational wealth (the list is long)\u2014that of forging meaningful engagements beyond connections through New York\/London\/Berlin (in the perhaps usual forms of discussions, panels, forums, but which in the end has to happen on a person-to-person level). One could also note Russia\u2019s current economic difficulties: faced with plummeting oil prices, the resource-dependent Russian economy has slowed considerably, with the ruble doping sharply in value. That anything went ahead was due to the redoubtable biennial team and the funding secured from local businesses (which Moscovite critics acidly dubbed the \u201cgraveyard of logos\u201d\u2014that field of logos, by now standard, at the nether regions of catalogues).<\/p>\n\n\n\n

\"\"
Wang Yiquan, \u201cMothball\u201d, 2015
\u738b\u61ff\u6cc9\u4f5c\u54c1<\/figcaption><\/figure>\n\n\n\n
\"\"
Liao Wenfeng and Bignia Wehrli, \u201cYes\/No Egg. Decision-Making Device\u201d, 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Chen Shaoxiong, \u201cInk Media\u201d, 2011\u20132013
\u9648\u7ecd\u96c4\uff0c\u300a\u6c34\u58a8\u5a92\u4f53\u300b\uff0c2011-2013<\/figcaption><\/figure>\n\n\n\n

Aside from the main exhibition, the biennial also featured a residency program\u2014which placed artists in Yekaterinburg as well as the surrounding cities and towns of the Ural region\u2014along with an architectural presentation of the history of the Iset Hotel, a performance platform, as well as the customary collateral events. The history of Chekist Town, curated by Ilya Shipilovskikh, was particularly informative. Meticulously installed (though unfortunately only in Russian, at least at the time of the opening), it documents the planned community that housed Yekaterinburg\u2019s Soviet officials. The archival photographs and documents tell the backstory of the Constructivist compound and some of the people who lived there\u2014but the exhibition also foregrounds the utopian ideals of Stalinist Constructivism and its ideological imperatives, including the lack of bathrooms and kitchens in individual apartments in order to \u201cencourage\u201d communal living.<\/p>\n\n\n\n

Glancing sideways at the Moscow Biennial this year\u2014drastically cut to a series of symposiums and artworks created on-site\u2014one can only wonder at the future. Indeed, one also wonders how much longer the Ural Biennial can continue to mine its industrial heritage as a theme. In other words, at what point does the \u201cindustrial\u201d in the self-definition of the biennial become a straitjacket rather than an inspiring point of departure in an age of \u201ctouristic reproduction\u201d? (1)<\/p>\n\n\n\n

_____________________________________<\/p>\n\n\n\n

[1] \u201cIt is globalization and mobility that have fundamentally called the utopian character of the city into question by reinscribing the urban ou-topos <\/em>into the topography of globalized space\u2026We are now witnesses to a sheer explosion of eternity or, to put it more succinctly, of eternalization in our cities. It is no longer only such famed monuments as the Eiffel Tower or Cologne Cathedral that seem to cry out for preservation, but in fact anything that sparks a sense of familiarity in us\u2014after all, that\u2019s how things always used to be and that\u2019s how they will stay. Even when you go, for example, to New York and visit the South Bronx and see drug dealers shooting each other (or at least looking as if they are about to shoot each other), such scenes are imbued with the dignified aura of monumentality\u2026Rather than being guided by some intrinsic quality pertaining to a monument, our sense of monumentality is derived from the relentless process of monumentalization, de-monumentalization and re-monumentalization that is unleashed by the romantic tourist\u2019s gaze.\u201d Boris Groys, \u201cThe City in the Age of Touristic Reproduction,\u201d Art Power<\/em>. Cambridge: MIT Press, 2008.<\/p>\n\n\n\n

\"\"
Michele Giangrande, \u201cGears\u201d, at the Ural Khimmash Factory<\/figcaption><\/figure>\n\n\n\n
\"\"
Zheng Yunhan, \u201cThe light whispers\u201d, 2015
\u90d1\u4e91\u701a\u88c5\u7f6e\uff0c2015<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

This piece is included in Ran Dian\u2019s pri … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":5872,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[2349,2352,940,259,2350,2351,2353,2354,2355,2356,2357,2358,2359,420,2360,2361,2362,2363,2364,2365,2366,138,2367,2368,2369],"yoast_head":"\n3rd Ural Industrial Biennial of Contemporary Art - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"3rd Ural Industrial Biennial of Contemporary Art - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"This piece is included in Ran Dian\u2019s pri … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2016-03-17T10:01:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-13T10:12:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/Michele-Giangrande-Gears.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"765\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Duyen Le\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Duyen Le\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/\"},\"author\":{\"name\":\"Duyen Le\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/4d95ceea857b4c4fde91b6437bfaee13\"},\"headline\":\"3rd Ural Industrial Biennial of Contemporary Art\",\"datePublished\":\"2016-03-17T10:01:00+00:00\",\"dateModified\":\"2022-12-13T10:12:31+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/\"},\"wordCount\":1826,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"3rd Ural Industrial Biennial of Contemporary Art\",\"Alisa Yoffe\",\"Biljana Ciric\",\"Daniel Szehin Ho\",\"Iset Hotel\",\"Jompet Kuswidananto\",\"Jonathan de Andrade\",\"KWAN Sheung-Chi\",\"Li Liao\",\"Li Zhenhua\",\"Lu Pingyuan\",\"Pratchaya Phinthon\",\"Russian\",\"Shi Yong\",\"Sinisa Ilic\",\"Spaces for Maneuver: Between Abstraction and Accumulation\",\"Tino Sehgal\",\"Ural Industrial Biennial\",\"Wong Hoy Cheong\",\"Yekaterinburg\",\"\u4e4c\u62c9\u5c14\",\"\u4f55\u601d\u884d\",\"\u4f55\u601d\u884d Daniel Szehin Ho\",\"\u7b2c\u4e09\u5c4a\u4e4c\u62c9\u5c14\u5f53\u4ee3\u827a\u672f\u5de5\u4e1a\u53cc\u5e74\u5c55\",\"\u90ac\u6668\u4e91 Elaine Wu\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/\",\"url\":\"http:\/\/www.randian.art\/3rd-ural-industrial-biennial-of-contemporary-art\/\",\"name\":\"3rd Ural Industrial Biennial of Contemporary Art - 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