11th Gwangju Biennale
2. 9. – 6. 11. 2016
Korea

Fellows

The GB11 Biennale Fellows consist of roughly one hundred small- and medium-scale art organizations across the world whose work makes important contributions to the art of today, yet remains under the radar. Biennale Fellows will continue doing the important work they normally do, without GB11 being involved in their activities.
These organizations often function as the research and development department of the art world, generating new ideas, supporting artists to allow them to experiment and cultivate their practices, shaping new curatorial and educational methods, and fostering active relationships to their field as well as to their physical, social, and political environments. Yet the significance of their works for a wider art and social ecology has not been acknowledged enough.

To All the Contributing Factors

The Forum entitled To All the Contributing Factoris, consists of three days of activities dedicated to questions of value, continuity, and scale through the lens of the art organizational practices of the so-called Biennale Fellows, around 100 small and mid-size “differential” art organizations from various parts of the world, and imagining acts in common. Representatives from about 80 of the Fellows will participate in the Forum.



The Forum will take place at several locations, including the Gwangju Biennale Hall, 518 Archives, Gwangju International Center, Mite-Ugro, and May Mother's House.

Curated by Binna Choi and Maria Lind.
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Grizedale Art, Cumbria

self-presentation:

Things we learned from plants: We are more creative under pressure; the harder, the better. If the thug is unchecked it will dominate, all life is dependent on two inches of soil.

Things we learned from art: Realizing that art is live, an action and a process, not an artifact—accepting that galleries and museums are full of dead art artifacts. The cutting edge, innovation, and originality are only very occasionally valuable; general creativity is valuable everyday. 95 percent of the audience that visits the biggest London art museum is unaware that it hosts art.

Things we learned from living: Rather than imposing art projects on people, if you creatively develop projects that people ask you to help with, you will achieve far better art and engage real participation and sustainability. Understanding that ideas and ideologies degrade quite quickly, and that in ten years, a dynamic functioning project will have lost its reason, function, and ideology and has to be creatively and politically renewed. Realizing art is still the vital force that it ever was; realizing that it has been perverted in terms of its societal value, but that it is easily revived.
PS. The obvious is the new radical; the everyday, the ambition.

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