Organizers: National Center for Contemporary Art, ROSIZO, Moscow Museum of Modern Art.
More than 55 exhibitions will be seen by the audience of the V Moscow International Biennale young art this summer. The main project of the Biennale "Deep Inside" will be presented in the Trekhgornaya Manufactory. Exhibitions of the two Strategic Projects will be held in State Center contemporary art and the Moscow Museum of Modern Art. Special projects can be seen at the Multimedia Art Museum, the WINZAVOD Center for Contemporary Art, the ARTPLAY Design Center, as well as in the Moscow Region, Yekaterinburg, Nizhny Novgorod, Izhevsk and other venues. The cities of St. Petersburg ("Bezmestye"), Voronezh ("In glorious city Voronezh") and Izhevsk ("Izhevsk speaks. Part 3").
This year's participants include six educational institutions: Russian State Humanities University, Institute "Baza", program "School of a young artist" of the PRO ARTE Foundation and the North-Western branch of the NCCA, Yekaterinburg Academy of Modern Art, Moscow School of Photography and Multimedia named after A. Rodchenko and School of Contemporary Art "Free Workshops" of the Moscow Museum of Modern Art . The biennale's parallel program included 40 exhibitions. Also, visitors will find an extensive discussion and educational program.
STRUCTURE OF THE BIENNALE
Main project "Deep inside"
2 Strategic projects
16 Special projects
40 exhibitions within the parallel program
Discussion and educational program
MAIN PROJECT
Theme: "Deep Inside" (Deep Inside)
Location: exhibition spaces of Trekhgornaya manufactory
Curator: Nadeem Samman
Participants: 87 young artists and artistic associations, representatives of 36 countries
STRATEGIC PROJECTS
Title: The Time of Reasonable Doubt
Venue: State Center for Contemporary Art
Curators: Silvia Franceschini and Valeria Mancinelli
Participants: 10 young artists from 9 countries
Details in the press release.
Title: G I P E R S V Y Z I
Location: Moscow Museum of Modern Art in Ermolaevsky Lane
Curator: Juan Laia
Participants: 18 young artists from 16 countries
Details in the press release
SPECIAL PROJECTS
IN chronological order by opening date
02.06 — 04.09
19/92 First. Anticipation of the 25th anniversary of the School of Contemporary Art "Free Workshops" MMOMA
04.06 — 02.07
Izhevsk says. Part 1
Udmurt Republican Museum fine arts, Izhevsk
04.06 — 02.07
Izhevsk says. Part 2
Museum of the history of the city of Izhevsk
02.06 — 31.07
Izhevsk says. Part 3
23.06 — 24.07
procrastination
Moscow Museum of Modern Art, Gogolevsky 10
27.06 — 19.09
PRO SHR. 10 years of Rodchenko School
Multimedia Art Museum, Moscow
01.07 — 31.07
Bar "Joy"
Center for Creative Industries "FABRIKA"
04.07 — 21.08
Workshop 2016. Personal connections
Moscow Museum of Modern Art on Tverskoy Boulevard
12.07 — 28.08
Raw / Boiled
Moscow Museum of Modern Art, Gogolevsky 10
16.07 — 04.12
Life of the living
National Center for Contemporary Art, Volga-Vyatka branch, Nizhny Novgorod
28.07 — 28.08
Between us. Memory space
Moscow Museum of Modern Art, Gogolevsky 10
21.07 — 10.08
Houseware
Studio KOP
29.06 — 31.07
In the glorious city of Voronezh
Center for Contemporary Art "WINZAVOD"
07.07 — 10.08
Inside art
Department store "Tsvetnoy"
23.06 — 24.07
Kernel level
Gallery street art"Sweater", Yekaterinburg
01.07 — 17.07
no place
ARTPLAY Design Center
09.06 -19.06
post hoc
Museum and Exhibition Center "Worker and Kolkhoz Woman"
House-palace-salon-otshib-museum-america
(the project is taking place at several sites)
23.06 — 31.07
Moscow Museum of Modern Art, Gogolevsky 10
15.07 -31.07
Salon, Kostomarovsky per. 3, page 12
23.07 — 31.07
House of creativity of architects, Moscow region, Leninsky district, Vidnoye, der. Sukhanovo
04.07 — 19.07
Central House of Architect
02.07 — 31.07
Victor Skersis (apartment exhibition), 880 Laurel Drive, Bethlehem, PA, 18017, USA
PARALLEL PROGRAM
As part of the parallel program of the Biennale, 40 exhibitions will be held.
The list of projects is available in the application.
DISCUSSION AND EDUCATIONAL PROGRAM
July 1 at 12:00 and 14:00 at the Tech-Hub "Key" at Trekhgornaya Manufactory a series will pass portfolio review. Artists who wish to participate are invited to showcase their portfolios to leading contemporary art experts on the global art scene: Aya Luri, Director and Chief Curator of the Herzliya Museum of Contemporary Art; art critic and Teresa Möllenhoff, curator of the Astrup Fearnley Museum of Contemporary Art in Oslo. The Portfolio Review provides an opportunity to discuss completed and ongoing projects, hear the opinions and get comments from internationally renowned curators who have decades of experience working with young artists.
If you are interested, please send your portfolio to the project address: [email protected] by June 20th.
The selection of participants is carried out on a competitive basis by the curator of the discussion and educational program, art critic, deputy director of the National Center for Contemporary Art, initiator and chairman of the Expert Council of the Moscow International Biennale for Young Art Daria Pyrkina.
Details on the website
6th Moscow International Biennale for Young Art
Strategic project at MMOMA
Revolutionary work in progress
 Dorota Gaveda and Egle Kulbokaite, "Group of Young Readers", installation, performance, 2017  Benjamin Forester, HyperReadings, installation, workshop.  Joana Mol and Cedric Parisot, "Virtual Observers", online video project  Tabitha Razar, "Sincerely Sorry" video |
Free mediation tours take place on: Thursday and Wednesday - at 14:00 and 18:00; Saturday - at 13:00; Sunday - 13:00 and 18:00. Until 22 July.
Strategic project curator: Barbara Cueto
The Moscow Museum of Modern Art for the sixth time has become a platform for the strategic project of the Moscow International Biennale for Young Art. In 2018, Lucrezia Calabro Visconti became the curator of the Main project called "Abracadabra", and Barbara Cueto became the curator of the strategic "Revolutionary work in progress".
Cueto invited the artists of her project to think about what could be a form of protest in the age of digital oligarchies, how can biased institutions and unfair control mechanisms be resisted, and what can be considered violence in the digital space? The project within the framework of the Biennale will be symbolically held in the MMOMA mansion on Gogol Boulevard, where the circle of Decembrists once gathered, and will continue in the digital space - on the CosmosCarl.co.uk platform.
IN virtual world our voices seem to be devoid of echo - they dissolve in an endless stream of images and data. We become only observers of our own experience and data providers for corporations. Despite the evidence of aggressive actions in the digital field, they continue to be masked by arguments about protection and freedom of access to information. To combat repressive yet fluid and intangible systems such as Google and Facebook, Revolutionary Works Underway explores the mechanisms by which they can be circumvented and undermined, as well as ways to awaken civic consciousness. Including work done in various types art - from text and performance to sound installation and part of the exhibition in the digital space, the exhibition shows how artists, with the help of minimal means, criticize and oppose generally accepted long-established norms that, in their opinion, do not represent the right different groups society. digital form artistic language they choose how optimal strategy combating new ways of virtual suppression and manipulation that have emerged in the 21st century, and focus on the social, cultural, historical, gender aspects of identity in the context of a post-digital society.
The strategic project of the biennale, curated by Barbara Cueto, is a way of personal and group struggle of the biennale participants with the system. Defining it as institutionally biased towards the individual, the authors offer everyone to look at it from the position of inequality, individual influence and action, that is, manifestations of civic activity. So, for example, Benjamin Forster's HyperReadings project appeared - an open software, on the platform of which users can make a list of books for self-education and share it with other users.
The exhibition turns the museum into an instrument of influence, and the exposition into live action, thanks to an extensive educational program, which includes seminars, discussions and performances - both in digital and in physical space.
Project participants in MMOMA:
Benjamin Forster (Australia) and Julia Babyka (Australia/Germany), Joana Moi (Spain) and Cedric Parisot (Spain), Dorota Gaveda (Poland) and Egle Külbokite (Lithuania), Ignas Krunglevichius (Lithuania), Morehshin Allahyari (Iran), Pyuk Fong (Netherlands), Saemundur Thor Helgason (Iceland) and Frederic Pissuise (Netherlands), Stephanie Saijuko (USA), Tabitha Roser (France), Ho Rui An (Singapore), Art & Feminism (USA), ShareLab (Serbia), UnmakeLab (Korea).
Artists of the virtual part of the CosmosCarl.co.uk project:
Hackblossom (USA), Benjamin Grosser (USA), Ramsey Nasser (Lebanon), Jasmine Visser (Netherlands), FemArtNet (Spain), Marina Pinsky (Russia), Basel Abbas (Cyprus), Ruanne Abu-Rame (USA).
About the Biennale:
The Moscow International Biennale for Young Art is one of the largest and most ambitious projects in the field of young art, which will be implemented this summer for the sixth time. The mission of the Biennale, organized by ROSIZO-NCCA and MMOMA, is to discover new names, create conditions for the presentation of young authors to the public and develop contemporary art in the urban environment. The strategic project will traditionally take place at two venues - the Moscow Museum of Modern Art and ROSIZO-NCCA - and will present the best curatorial projects selected by the Biennale's expert council on a competitive basis. Lucrezia Calabro Visconti, an independent curator and co-founder of the non-profit research project CLOG. It was she who gave the project the name "Abracadabra". Abracadabra favors time-based practices, dynamic images, and interdisciplinary research conducted collectively or individually that aims to activate spaces and landscapes through the concepts of performativity, dramaturgy, and agency (free will).
Partner of strategic projects
Project partners 
Alexander Bazhenov. "Busya and Miavchik". Photo: Moscow International Biennale for Young Art
The Moscow International Biennale for Young Art is being held for the sixth time, becoming a familiar and expected event in artistic life capital Cities. This year more than 50 artists from all over the world, under the age of 35, will show their work in the main project. main topic Biennale intrigues with its uncertainty - the exhibition "Abracadabra" will become a discourse on modernity, where the boundaries between private, professional and public spheres life. In addition to the main exhibition, the Biennale will have two more important side projects, as well as a host of interesting events in a parallel program.
Andres Baron. "Print Sunset". Photo: Moscow International Biennale for Young Art
At the VI Youth Biennale female face: both the main and strategic projects are supervised by women, and, judging by the announcements, this biennale will be distinguished by increased emotionality. The main project will be conducted by the young curator Lucrezia Calabro Visconti. She is not even 30, she recently graduated from the faculty of visual and performing arts of the Institute of Architecture of Venice and a master's degree from the Ca' Foscari University in Venice. She considers the organization of the non-commercial exhibition and research space CLOG in Turin to be her main achievement. She worked as an assistant to such masters as Francesco Bonami and Maurizio Cattelan. Independently supervised several projects in Amsterdam: “Why is everyone so cute? at the De Appel Art Institute, where she studied under a curatorial program, and at the University of Amsterdam - "Good luck, see you after the revolution!". Visconti knows and loves the Russian avant-garde well, and among contemporary Russian artists, he especially singles out the Chto Delat? group. and Dmitry Venkov, who have already outgrown the age limit of the Youth Biennale.
Moreshin Allahiari. "The one who sees the unknown." Video installation. Photo: Moscow International Biennale for Young Art
The current biennale will be the first major international project of Visconti, which has nothing to do with education. For the main project, she chose a theme that contained abysses of meanings. "Abracadabra" got its name from a 1980s hit bands The Steve Miller Band, where we are talking that "everything is spinning and spinning again and again, and when it will end - no one knows." Visconti believes that this, in general, nonsense, abracadabra, accurately describes our modernity, where any boundaries are erased. This is especially true for the territory of art, where it is sometimes difficult to understand where work ends and entertainment begins. The most accurate metaphor modern life here is the dance floor where "energy is created". “In the project I want to talk about the phenomenon nightlife. Here, in Venice, this is especially obvious: there is no longer any difference between going to an exhibition in the pavilion at the Biennale and going to a party after it opens, ”explained in interview Art Newspaper Russia Lucrezia Calabro Visconti. Anyone who has ever been to Venice can testify that this is the case. And if the curator succeeds in creating in Moscow the unique carnival atmosphere of the Venice Biennale, it certainly won't be boring.
Gaveda Road, Egle Kulbokite. "YGRG 14X: read with one hand". Performance. Photo: Moscow International Biennale for Young Art
There are many artists from Russia among the participants of the main project, some of them have already managed to declare themselves quite loudly. Ilya Grishaev, a graduate of the Pro Arte Foundation School, was nominated for the Kandinsky Prize; a graduate of the Rodchenko School, sculptor and video artist Elena Artemenko recently performed with the exhibition “Alienated Body”; media artist Alexandra Anikina has participated in several international biennials; Svetlana Vorontsova-Velyaminova, known as a fashion columnist, tries herself as an artist after graduating from the Institute of Contemporary Art Problems.
The Biennale's first strategic project, Thank You, Please Excuse me, is about more prosaic words and relationships than Abracadabra. “Magic words come from the world of childhood as a way to overcome total human egoism and as an acceptable step towards reconciliation,” says its curator Zhenya Chaika, who holds the position of Deputy Director Ural branch State Center for Contemporary Art.
Mark Johnson. "Ultraviolet". Photo: Moscow International Biennale for Young Art
If the atmosphere of the dance floor is recreated in the main project, then in the strategic exposition it will be built in the form of a house, where you can look into the bedroom, living room, corridor and attic. The viewer will have to move like in a quest, discovering artistic skeletons in the closet in the back streets. This project has very famous Russian artists, which belong to the Youth Biennale only by age and are clearly chosen as locomotives. Tatyana Akhmetgalieva was the opening of the 1st Youth Biennale, since then she has participated in more than one status international project. The exhibition will show her video "Scales", filmed at a graphite plant for the IV Ural Industrial Biennale. And Timofey Radya, who is called the Russian Banksy, has already become a street art legend. For the most part, the works selected for the strategic project have already been shown at exhibitions in the Russian regions, but are not yet known in Moscow. The Politefish series of photographs by Elena Anosova was presented for the first time at the Zarya Center for Contemporary Art in Vladivostok. The animated film "Holiday" by Nina Bisyarina participated in animation festivals, and now for the first time it can be viewed at a contemporary art exhibition. "Service" by Vladimir Marin, created jointly with the Sysert Porcelain Factory, has not yet been seen in the capital. And the “Map” by the Samara video artist Andrey Syailev has been waiting in the wings for five whole years.
Vladimir Marin. "Service". Photo: Moscow International Biennale for Young Art
The second strategic project - This Site is Under Revolution ("Revolutionary work is underway") - is supervised by Spaniard Barbara Cueto. Like Lucrezia Calabro Visconti, she graduated from the curatorial program at the De Appel Institute in Amsterdam. In her luggage - the co-curatorship of the festival in Utrecht, exhibitions in the Madrid social and cultural center La Casa Encendida, at the Museum of Modern Art in Seoul. The Moscow Cueto project is dedicated to resisting the restrictions of freedom in the virtual world. Artists from Europe will climb the virtual barricades, and the exhibition itself will be accompanied by round tables and master classes - both offline and online.
Moscow Museum of Modern Art,
State Center for Contemporary Art
VI Moscow International Biennale for Young Art. Abracadabra
June 8 - July 31
This summer, Moscow has become not only the football capital of the world, which has attracted more than half a million guests from more than thirty countries. IN Russian capital Many lovers of contemporary art also went, but for a completely different reason - from June 8 to July 31, this is the sixth time The Moscow International Biennale for Young Art is a unique youth art forum.
The Moscow Youth Biennale has been held since 2008 and over time has become one of the most ambitious and large-scale projects in the field of contemporary art in Russia, presenting the latest artistic and curatorial strategies. Since last year, the age of not only artists, but also curators should not exceed 35 years. Exhibitions and other events within the framework of the Biennale cover several venues, including the buildings of the once famous furniture factory Muir and Maryliz, and now the renovated Rassvet business district on Krasnaya Presnya, where the main project is being deployed. The 27-year-old Lucrezia Colabro Visconti, an independent curator from Italy, who is the author of the original exhibition concept called " Abracadabra". In an open competition, she selected 58 works by young artists from over 1,500 submissions from around the world. The main project is continued by strategic exhibitions: one called "Revolutionary Works Underway" at the MMOMA on Gogolevsky Boulevard (curated by Barbara Cueto), dedicated to the role of art in the world of technology, and the second - "Thank you, please excuse" (curated by Zhenya Chaika) - will take place in State Center for Contemporary Art. In addition, the program special projects, parallel and educational programs.
Our browser Elena Rubinova talked to the curator Lucrezia Colabro Visconti and young artists Sabrina Chow (USA)) And Vassilis Papageorgiou (Greece) about the concept of the main project of the biennale, the place of the national and international in contemporary art, and also about what “soft power” means for young artists in the era of globalization.
How did this concept of abracadabra appear in your concept? What does it mean in this case?
Lucrezia Visconti: As a curator, I had to find a way to visualize phenomena that at first glance seem unrelated to each other: hypochondria, attention, disappointment, intimacy, sleep, understatement, and the concept of abracadabra turned out to be such a formula that accommodates all those diverse forms artistic research, which we selected for the main project. “Abracadabra” is a word used in many languages, including Russian, and we often use it, but we don’t always think about where it came from. And in different cultures oh and epochs it is endowed different meanings. Linguistically, it also expresses an ancient magic spell, and at the same time it is a performative concept that has the power to influence the surrounding reality. Before coming to Russia, I didn’t know at all how this word is understood in Russian: that it means “nonsense”, “nonsense” and that in the Soviet Union it was one of the most popular songs Steve Miller Band, which was played in discos.
For almost a whole year, while the project was being prepared, you worked closely with 50 representatives of your generation - young artists from different countries. How do you see the culture of dialogue and interaction in the era of the very Abracadabra» that the project is exploring? How important is it today?
Lucrezia Visconti: I am convinced that contemporary art, and especially the exhibition process, provides an excellent opportunity to build a dialogue, it is a platform for the interaction of different cultures. In this case, the project also allowed all the artists to come to Moscow to participate in the installation of the exposition, get to know each other personally and communicate. And although “abracadabra” is nonsense that accurately describes the modern information world, where it seems that the boundaries are erased, and communication goes into virtuality, no one will deny that it is no less important to develop relationships and live communication between artists from different countries. Everyone gathered in Moscow - both foreign participants and Russian ones, including those from other cities. Such a rare opportunity is hard to overestimate.
Building such common language and cultural bridges somehow different for your generation, and if so, in what way?
Lucrezia Visconti: Undoubtedly. In the economy of "presence", in which, according to J. Derrida, we all exist, events happen many times faster, and in certain circumstances this allows me to turn horizontally - for example, if I need to find someone in Japan, then it is much faster easier and faster than, for example, 25 years ago. But at the same time, depth is not achieved - after all, if everything happens at a speed, then how to immerse yourself in a meaningful conversation and find a way to get to know each other deeper? And the younger generation is looking for these new forms of communication.
In the course of working on this project, have you encountered a situation where the artists had doubts or decided not to take part in the project on political reasons? After all, now is not the most simple tenses in relations between Russia and many Western countries ...
Lucrezia Visconti: When was announced open competition to participate in the Biennale, I shared this information with all my colleagues, and for some artists the question of participation really became a dilemma that everyone solved for themselves in their own way. In most cases, I managed to convince them, because participation in such a project is also a matter of trust in the curator. I must say that I did not experience any pressure from the organizers of the Biennale - the Ministry of Culture and ROSIZO, everything was built in the highest degree confidentially. I am convinced that young artists simply need to build cultural bridges, and they want to do this, because the political situation is changing and fast, and they still have a long professional path in art.
Sabrina Chow: I will not hide that at some stage I thought about whether it was worth going to Moscow. But I really enjoyed working with Lucrezia, as well as the concept of the exhibition itself, so, in the end, I decided to participate and I'm very glad about it. Art can function differently: on the one hand, this is part global peace and global politics, and on the other hand, the art process can also be a special space where at times you can hide and find a moment to find peace.
Vasilis Papageorgiou: How contemporary artist, I work in a variety of circumstances and countries - I travel a lot with exhibitions, especially in Europe, I live in art residences. For me, the opportunity to participate in the Moscow Biennale is an opportunity to show my work, and if it has content, then the political situation or context is not so important.
What is for you as representatives younger generation thirty-year-olds, means the concept of "soft power"? We see that in modern society post-postmodernity, which, in fact, the current biennale explores, certain concepts have shifted ...
Sabrina Chow: In my opinion, the concept of "soft power", so popular in the 80s and 90s, has really changed, primarily because people identify themselves differently. Along with the rise of nationalist tendencies in many countries, the artists themselves are increasingly speaking in their own name, rather than positioning themselves as representatives of a particular nation or country. I remember that even ten or fifteen years ago our government supported artists more, and today, in the era of globalization, people exist in a much more fragmented way. This is very noticeable to me - I am from Los Angeles, although now I live in London, and before that I lived and studied in Holland for some time. All these processes are similar wherever you are, but cultural dialogue helps to overcome these processes.
Vasilis Papageorgiou: I can only agree with this opinion. When it comes to nationalism, it is best for the artist not to identify himself in terms of belonging to a nation, but to concentrate on self-representation. In Greece, over the past ten years, we have had to rethink the concepts of national and international after the country's entry into the European Union. But now everyone has become accustomed to the "new normal". And the younger generation adapted to new reality, starting from changes and building, accordingly, their world.
What does this project and collaboration mean for you, including with young Russian artists?
Lucrezia Visconti: For me, this large-scale and very ambitious project became a kind of test - on the way of thinking and my own ability to think wider, outside the usual framework. I am very grateful that I had the opportunity to work on it.
Vasilis Papageorgiou: I am here for the first time, and I would very much like to stay in Moscow longer - unfortunately, we did not have time to see much, because we were busy editing the exhibition all the time. Moscow is a city with fantastic energy, and I really hope to visit here again.
