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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If I Can’t Dance, Amsterdam

self-presentation:

If I Can’t Dance, I Don’t Want to Be Part of Your Revolution was founded in the context of a theatre festival in the Netherlands. The curators decided to take up the challenge to think about visual art within a context that embraces performance-based practices such as theatre, music and dance. For its first edition, If I Can’t Dance borrowed the model of collaborative working and travelling productions from the theater by investing in an elaborate program that developed through its very enactment, at each event and at each location. Because of the ambition and scope that this theater structure offers to the production of contemporary art, it still functions as the main mode of working for If I Can’t Dance today. This becomes manifest in the long-term collaborations with artists, researchers, and partner organizations that take form in two-year editions of commissioned productions which develop over time and are presented at different institutions in the Netherlands and abroad.

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