{"id":25773,"date":"2020-12-07T17:45:42","date_gmt":"2020-12-07T16:45:42","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=25773"},"modified":"2023-03-17T17:54:06","modified_gmt":"2023-03-17T16:54:06","slug":"frontalis-tortenetmeseles","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/frontalis-tortenetmeseles\/","title":{"rendered":"Front\u00e1lis t\u00f6rt\u00e9netmes\u00e9l\u00e9s"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=”” gradient_type=”default”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

11th Berlin Biennale for Contemporary Art: The Crack Begins Within1<\/span><\/h2>\n[\/vc_column_text][vc_column_text]\n

2020. szeptember 5 \u2013 november 1.<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az elm\u00falt k\u00e9t \u00e9vtized nemzetk\u00f6zi bienn\u00e1le-boomja kapcs\u00e1n egyre t\u00f6bb kritika fogalmaz\u00f3dik meg a grandi\u00f3zus m\u0171v\u00e9szeti seregszeml\u00e9kkel kapcsolatban.2<\/span> Egyesek a 2000-es \u00e9vekben artikul\u00e1l\u00f3d\u00f3 szoci\u00e1lis fordulat<\/em> \u00e9s a bienn\u00e1l\u00e9k politikai (\u00e9s egyben financi\u00e1lis) be\u00e1gyazotts\u00e1g\u00e1ban tal\u00e1lnak feloldhatatlannak t\u0171n\u0151 etikai ellentmond\u00e1st.3<\/span> M\u00e1sok a kur\u00e1tori t\u00falv\u00e1llal\u00e1sokat tal\u00e1lj\u00e1k probl\u00e9m\u00e1snak: lehetetlennek t\u0171nik t\u00f6bbtucatnyi nemzetk\u00f6zi alkot\u00f3t felsorakoztat\u00f3, helyspecifikus ki\u00e1ll\u00edt\u00e1son kereszt\u00fcl lok\u00e1lis, nemzeti \u00e9s transznacion\u00e1lis szinten legitim \u00e1ll\u00edt\u00e1sokat tenni a \u201edolgok \u00e1ll\u00e1s\u00e1r\u00f3l\u201d \u2013 ez alatt most \u00e9rts\u00fcnk glob\u00e1lis t\u00e1rsadalmi, politikai \u00e9s kultur\u00e1lis \u00f6sszef\u00fcgg\u00e9seket. Megint m\u00e1sok a t\u00e1rsadalmilag elk\u00f6telezett m\u0171v\u00e9szet t\u00falkap\u00e1sait, \u00e9s annak kizs\u00e1km\u00e1nyol\u00f3 aspektusait emelik ki: a margin\u00e1lis csoportok elnyom\u00e1s\u00e1t tematiz\u00e1l\u00f3 ki\u00e1ll\u00edt\u00e1sokat \u201ekultur\u00e1lis kannibalizmusnak\u201d vagy \u201eszoci\u00e1lis pornogr\u00e1fi\u00e1nak\u201d nevezik. Vannak, akik a bienn\u00e1l\u00e9k profetikus \u00f6npoz\u00edcion\u00e1l\u00e1s\u00e1t tartj\u00e1k t\u00falz\u00f3nak: nem ritka, hogy programjukban direkt re\u00e1lpolitikai c\u00e9lokat t\u0171znek ki, mik\u00f6zben val\u00f3s s\u00falyuk ilyen t\u00e9ren jelent\u00e9ktelen. \u00c9s term\u00e9szetesen vannak azok a holisztikus v\u00e9lem\u00e9nyez\u0151k, akik egyszerre mindegyik aspektust ugyanolyan fontosnak tartj\u00e1k, \u00e9s a bienn\u00e1le-\u0151r\u00fcletet a kult\u00fara \u00e1larc\u00e1ba b\u00fajtatott, vadkapitalizmusba \u00e1gyazott szenz\u00e1ci\u00f3hajh\u00e1sz moraliz\u00e1l\u00e1snak l\u00e1tj\u00e1k.<\/p>\n

Ezek ut\u00e1n ember legyen a talp\u00e1n, aki bienn\u00e1le kur\u00e1l\u00e1sra meri adni a fej\u00e9t. F\u0151leg, ha ezt a munk\u00e1t egy olyan kult\u00fart\u00f6rt\u00e9netileg komplex, geo- \u00e9s gazdas\u00e1gpolitikailag er\u0151sen befoly\u00e1sos, ugyanakkor halad\u00f3 szellem\u0171 multikulti k\u00f6rnyezetben kell elv\u00e9gezni, mint a n\u00e9met f\u0151v\u00e1ros, s egy olyan nagypreszt\u00edzs\u0171 int\u00e9zm\u00e9nyben mint a Berlin Bienn\u00e1le.4<\/span> Ezt tet\u00e9zi m\u00e9g a COVID-19 vil\u00e1gj\u00e1rv\u00e1ny el\u0151id\u00e9zte helyzet, amely egyr\u00e9szt \u00faj megold\u00e1sokra, gyors reflekt\u00e1l\u00e1sra k\u00e9nyszer\u00edt, m\u00e1sr\u00e9szt gyakorlati akad\u00e1lyokat g\u00f6rd\u00edt az eredeti elk\u00e9pzel\u00e9sek megval\u00f3s\u00edt\u00e1sa el\u00e9.<\/p>\n

A berlini int\u00e9zm\u00e9ny \u2013 a trendeknek megfelel\u0151en \u2013 k\u00e9t\u00e9vente, a vil\u00e1g legk\u00fcl\u00f6nb\u00f6z\u0151bb t\u00e1jair\u00f3l megh\u00edvott kur\u00e1torokra b\u00edzza az esem\u00e9ny konceptu\u00e1lis keret\u00e9nek kidolgoz\u00e1s\u00e1t \u00e9s a m\u0171vek kiv\u00e1laszt\u00e1s\u00e1t. Id\u00e9n ez a csapat meglehet\u0151sen soksz\u00edn\u0171re siker\u00fclt: Mar\u00eda Berr\u00edos<\/span> (1978, Chilei K\u00f6zt\u00e1rsas\u00e1g), Renata Cervetto<\/span> (1985, Argent\u00edna), Lisette Lagnado<\/span> (1961, Kong\u00f3i Demokratikus K\u00f6zt\u00e1rsas\u00e1g), Augustin P\u00e9rez Rubio<\/span> (1972, Spanyolorsz\u00e1g).[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

https:\/\/11.berlinbiennale.de<\/a> (utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2020. okt\u00f3ber 26.)<\/p>\n

2<\/p>\n

A Biennial Foundation oldal\u00e1n jelenleg megk\u00f6zel\u00edt\u0151leg 280 nemzetk\u00f6zi bienn\u00e1l\u00e9t jegyeznek. https:\/\/www.biennialfoundation.org\/<\/a>. A Berlin Bienn\u00e1l\u00e9<\/em>r\u00f3l kor\u00e1bban: Nagy Edina: A sehov\u00e1 sem tartoz\u00e1s diszkr\u00e9t b\u00e1ja. Balkon<\/em> 2016\/7,8., 11-16. (ld. https:\/\/issuu.com\/elnfree\/docs\/balkon_2016_7_8<\/a>); Gad\u00f3 Fl\u00f3ra: Mindennapi H\u0151s\u00f6k. Balkon,<\/em> 2018\/8., 4-9., (ld. https:\/\/drive.google.com\/file\/d\/1iEbni4 RqdOyxEY05Nr9PICNqhbIXvwJl\/view<\/a>)<\/p>\n

3<\/p>\n

A kifejez\u00e9st Claire Bishop honos\u00edtotta meg a m\u0171v\u00e9szeti diskurzusban a 2000-es \u00e9vek k\u00f6zep\u00e9n \u00edrt The Social Turn, Collaboration and it\u2019s dischontents<\/em> c\u00edm\u0171 essz\u00e9j\u00e9ben. Bishop azokat az ezredfordul\u00f3 k\u00f6r\u00fcl feler\u0151s\u00f6d\u0151 tendenci\u00e1kat tematiz\u00e1lta, amelyekben a m\u0171v\u00e9szeti tev\u00e9kenys\u00e9g gal\u00e9ri\u00e1n \u00e9s m\u00fazeumi t\u00e9ren k\u00edv\u00fcli, explicit t\u00e1rsadalmi v\u00e1ltoz\u00e1sok kataliz\u00e1l\u00e1s\u00e1t c\u00e9lz\u00f3 kollaborat\u00edv projektekk\u00e9 v\u00e1lt. Ezek a munk\u00e1k ker\u00fclik a materi\u00e1lis, azaz \u00e9rt\u00e9kes\u00edthet\u0151 megnyilv\u00e1nul\u00e1sokat, elutas\u00edtj\u00e1k az elitista \u00e9s a fogyaszt\u00f3i aspektusokat. Bishop essz\u00e9j\u00e9ben hosszasan t\u00e1rgyalja az ilyen t\u00edpus\u00fa m\u0171vek int\u00e9zm\u00e9nyi integr\u00e1l\u00e1s\u00e1ra tett k\u00eds\u00e9rletek logikai \u00e9s etikai buktat\u00f3it. Claire Bishop: The Social Turn, Collaboration and it\u2019s discontents, Artforum International<\/em> 44, no. 6 (February 2006): 178\u201383.<\/p>\n

4<\/p>\n

A Berlin Bienn\u00e1le<\/em> a bienn\u00e1l\u00e9k rangsor\u00e1ban az artnet.com list\u00e1ja szerint rendszerint a top-20 k\u00f6z\u00e9 tartozik.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0 full-5-25″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”small_depth” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_video link=”https:\/\/www.youtube.com\/watch?v=tB-W36cDeqo”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

11. The Crack begin within<\/h4>\n[\/vc_column_text][vc_column_text]A c\u00edmre reflekt\u00e1lva az emberben megt\u00f6rik valami m\u00e1r akkor, amikor a kur\u00e1tori manifesztumot el\u0151sz\u00f6r k\u00e9zbe veszi. Az er\u0151sen metaforikus \u00e9s sokszor te\u00e1tr\u00e1lis sz\u00f6vegb\u0151l t\u00f6bbsz\u00f6ri olvas\u00e1sra nagyj\u00e1b\u00f3l annyit lehet kih\u00e1mozni, hogy a ki\u00e1ll\u00edtott m\u0171vek a patriarch\u00e1tus, a feh\u00e9r fels\u0151bbrend\u0171s\u00e9g, a vall\u00e1s, a politikai populizmus \u00e9s a koloni\u00e1lis m\u00falt \u00f6sszef\u00fcgg\u00e9seinek felt\u00e1r\u00e1s\u00e1ra \u00e9s az ezekre \u00e9p\u00fcl\u0151, jelenleg fenn\u00e1ll\u00f3 hatalmi rendszerek dekonstrukci\u00f3j\u00e1ra hivatottak. Az esem\u00e9ny h\u00e1rom f\u0151 ki\u00e1ll\u00edt\u00f3hely\u00e9n ezt tov\u00e1bbi t\u00e9m\u00e1kra sz\u0171k\u00edtett\u00e9k. A Bienn\u00e1l\u00e9k k\u00f6zpontj\u00e1nak sz\u00e1m\u00edt\u00f3 KW Institute-ban a kereszt\u00e9ny vall\u00e1s int\u00e9zm\u00e9nyeit \u00e9s a nemis\u00e9ghez \u00e9s a szexualit\u00e1shoz kapcsol\u00f3d\u00f3 trad\u00edci\u00f3it \u00fctk\u00f6ztett\u00e9k queer- \u00e9s transzfeminista \u00e1ll\u00e1spontokkal (The Antichurch<\/em>). A Martin Gropius Bauban a m\u00fazeumi infrastrukt\u00fara kizs\u00e1km\u00e1nyol\u00f3 jelleg\u00e9t, a gy\u0171jtem\u00e9nyez\u00e9snek \u00e1ldozatul es\u0151 kult\u00far\u00e1kat \u00e9s emberi \u00e9leteket tematiz\u00e1lj\u00e1k (The Inverted Museum<\/em>). A Daad Galerieben pedig a t\u00f6megdivatot szembes\u00edtik a queer \u00e9s \u201edisszidens\u201d strat\u00e9gi\u00e1kkal (Storefront for Dissident Bodies<\/em>). Erre a t\u00e1rgyk\u00f6rre \u00f6nmag\u00e1ban az ember nem kapja m\u00e1r fel a fej\u00e9t. \u00c1ltal\u00e1nosan \u00e9s t\u00e1gan fogalmazott t\u00e9m\u00e1k, amelyek \u00e9vek \u00f3ta er\u0151sen k\u00e9pviseltetik magukat a gal\u00e9ri\u00e1s \u00e9s bienn\u00e1l\u00e9s univerzumban.<\/p>\n

\u00c9rdekes m\u00f3don a program igazi specifikum\u00e1t, amely a ki\u00e1ll\u00edt\u00f3t\u00e9rbe l\u00e9pve r\u00f6gt\u00f6n szembe\u00f6tlik, elfelejtett\u00e9k megeml\u00edteni a kur\u00e1tori kinyilatkoztat\u00e1sban. A 11. Berlin Bienn\u00e1le a szok\u00e1sos tradicion\u00e1lisan elitista, m\u0171v\u00e9szeti kvalit\u00e1s alapj\u00e1n is szelekt\u00e1lt gal\u00e9ri\u00e1s m\u0171v\u00e9szett\u0151l elt\u00e1volodva, az elnyomott kisebbs\u00e9gek mikroellen\u00e1ll\u00e1sainak legk\u00fcl\u00f6nb\u00f6z\u0151bb form\u00e1tum\u00fa bemutat\u00e1s\u00e1t val\u00f3s\u00edtotta meg. Az elvontabb k\u00e9pz\u0151m\u0171v\u00e9szeti \u00e1ll\u00e1sfoglal\u00e1sok mellett j\u00f3l megf\u00e9rnek egym\u00e1ssal az amat\u0151r \u00e9s a dokumentarista munk\u00e1k, valamint a konkr\u00e9t aktivizmus t\u00e1rgyi kell\u00e9kei. A reprezentat\u00edv m\u00fazeumi t\u00e9r ilyen fajta demokratiz\u00e1l\u00e1s\u00e1val egy olyan antropol\u00f3giai platform<\/em>ot hoztak l\u00e9tre, ahol maga a tett v\u00e1lik jogalapp\u00e1.<\/p>\n

A bevezet\u0151ben eml\u00edtett szoci\u00e1lis fordulat k\u00e9t fontos eleme a m\u0171v\u00e9szet \u00e9s az aktivizmus k\u00f6zti hat\u00e1rvonalak felsz\u00e1mol\u00e1sa, illetve mind a m\u0171v\u00e9szeti praxis mind pedig a bemutat\u00e1s m\u00f3dszereinek kiterjeszt\u00e9se. Az elk\u00e9pzel\u00e9sek megval\u00f3s\u00edt\u00e1s\u00e1val \u2013 a 2000-es \u00e9vek k\u00f6zep\u00e9t\u0151l \u2013 m\u0171v\u00e9szek \u00e9s kur\u00e1torok k\u00eds\u00e9rleteznek vil\u00e1gszerte. A legeml\u00e9kezetesebb n\u00e9metorsz\u00e1gi pr\u00f3b\u00e1lkoz\u00e1s erre a 2012-es kasseli documenta 13<\/em>5<\/span> \u00e9s ugyanabban az \u00e9vben tartott 7. Berlin Bienn\u00e1le<\/em>6<\/span> rendez\u00e9s\u00e9ben jelentkezett. Mindk\u00e9t esem\u00e9ny kiemelt helyet biztos\u00edtott a 2010-es \u00e9vek elej\u00e9n nemzetk\u00f6zi szinten \u00e9rv\u00e9nyes\u00fcl\u0151 szocio-politikai Occupy Mozgalomnak. A koncepci\u00f3 \u00e9rtelm\u00e9ben a k\u00f6z\u00f6ns\u00e9g, a m\u00e9di\u00e1b\u00f3l megtudhat\u00f3 inform\u00e1ci\u00f3kon t\u00falmutat\u00f3 \u00e9lm\u00e9nyeben r\u00e9szes\u00fclhetett: egyszerre tal\u00e1lkozhatott a mozgalom r\u00e9sztvev\u0151ivel, ismerhette meg rendszerkritikus \u00e9rvrendszer\u00fcket szem\u00e9lyes besz\u00e9lget\u00e9sek alapj\u00e1n, \u00e9s egyszerre tapasztalhatta meg a k\u00f6zvetlen demokr\u00e1ci\u00e1n alapul\u00f3 f\u00f3rumoz\u00e1st, a kollekt\u00edv d\u00f6nt\u00e9shoz\u00e1sban rejl\u0151 lehet\u0151s\u00e9geket. B\u00e1r a berlini esem\u00e9nyek nem v\u00e1ltott\u00e1k ki a sz\u00e9lesebb k\u00f6z\u00f6ns\u00e9g egyoldal\u00fa tetsz\u00e9s\u00e9t \u2013 a gal\u00e9ri\u00e1ba \u00fcltetett aktivist\u00e1kat sokan csak \u201eemberi \u00e1llatkertnek\u201d \u00e9s \u201egiccsnek\u201d titul\u00e1lt\u00e1k \u2013 az akkori kur\u00e1torok m\u00e9giscsak elk\u00f6telez\u0151dtek egy glob\u00e1lisan jelen l\u00e9v\u0151, a t\u00e1rsadalmi egyenl\u0151tlens\u00e9gnek nem csak l\u00e1that\u00f3s\u00e1got biztos\u00edt\u00f3, hanem inkluz\u00edv \u00e9s flexibilis megold\u00e1si strat\u00e9gi\u00e1t is felaj\u00e1nl\u00f3 konstrukci\u00f3 mellett.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”No Line” custom_height=”20″][vc_column_text css=”.vc_custom_1607516365275{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 20px !important;padding-left: 10px !important;background-color: #e2e2e2 !important;border-radius: 2px !important;}”]\n

\u201eAz emancip\u00e1ci\u00f3s kozmol\u00f3gi\u00e1k \u00e9s szexualit\u00e1sok szem\u00e9lyes \u00e9s kollekt\u00edv antigy\u00fclekezeteit, queer- \u00e9s transzfeminista szent\u00e9lyeket hoznak l\u00e9tre, amelyek szembesz\u00e1llnak az autokrat\u00e1k \u00e1ltal terjesztett f\u00e9lelem \u00e9s fanatizmus taktik\u00e1j\u00e1val \u00e9s h\u00e1tborzongat\u00f3 k\u00f6rmeneteivel. Azt mondj\u00e1k: \u2019Mi vagyunk azoknak a boszork\u00e1nyoknak az unok\u00e1i, akiket nem tudtatok el\u00e9getni.\u2019 A feminista szolidarit\u00e1s ritu\u00e1l\u00e9it v\u00e9gzik. Fel\u00e9p\u00edtik a l\u00e1zad\u00f3 gy\u00e1sz matriarch\u00e1lis sz\u00f6vets\u00e9geit. Megosztj\u00e1k sebezhet\u0151s\u00e9g\u00fcket \u00e9s t\u00f6rt\u00e9neteiket.\u201d
\n(R\u00e9szlet a 11. Berlini Bienn\u00e1l\u00e9 kur\u00e1tori nyilatkozat\u00e1b\u00f3l)[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

5<\/p>\n

https:\/\/www.documenta.de\/en\/retrospective\/ documenta_13#<\/a><\/p>\n

6<\/p>\n

https:\/\/www.berlinbiennale.de\/en\/kataloge\/1355\/ 7th-berlin-biennale-for-contemporary-politics<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0 full-5-40-allo” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”25793″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Ma\u0142gorzata Mirga-Tas: Lost Memory,<\/em> 2018; Wax, Installation view, 11th Berlin Biennale, KW Institute for Contemporary Art, 5.9.\u20131.11.2020; Courtesy Ma\u0142gorzata Mirga-Tas; \u00a9 Fot\u00f3: Silke Briel<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ehhez k\u00e9pest az idei ki\u00e1ll\u00edt\u00e1sok nem k\u00edn\u00e1lnak ilyen t\u00edpus\u00fa interakci\u00f3t vagy pro-akt\u00edv \u00fczenetet; front\u00e1lis t\u00f6rt\u00e9netmes\u00e9l\u00e9s zajlik, politikai jelens\u00e9gekre k\u00e9sz\u00edtett vizu\u00e1lis \u00e9s verb\u00e1lis illusztr\u00e1ci\u00f3k form\u00e1j\u00e1ban. M\u00edg a v\u00e1logat\u00e1s t\u00e9nylegesen befogad\u00f3nak t\u0171nik, az inkluzivit\u00e1s ill\u00fazi\u00f3ja semmiss\u00e9 v\u00e1lik a ki\u00e1ll\u00edt\u00e1s \u00e9s a n\u00e9z\u0151 k\u00f6zti kommunik\u00e1ci\u00f3s csatorn\u00e1ban. Sok m\u0171 nem kapcsolhat\u00f3 a fel\u00e1ll\u00edtott szekci\u00f3k t\u00e9m\u00e1j\u00e1hoz, a le\u00edr\u00e1sokban sokszor a kontextualiz\u00e1l\u00e1s hely\u00e9n megk\u00e9rd\u0151jelezhet\u0151 interpret\u00e1ci\u00f3kat \u00e9s a befogad\u00e1s szempontj\u00e1b\u00f3l irrelev\u00e1ns inform\u00e1ci\u00f3kat tal\u00e1lunk. Elnagyolt \u00e9s implik\u00e1lt \u00e1ll\u00edt\u00e1sokat kapunk a hatalom m\u0171k\u00f6d\u00e9s\u00e9r\u0151l \u00e9s az azzal szemben\u00e1ll\u00f3kr\u00f3l: a leggyakrabban haszn\u00e1lt szavak az elnyom\u00e1s \u00e9s szinonim\u00e1i, de oly egys\u00edk\u00faan, hogy szinte fel is lehetne \u0151ket egym\u00e1ssal cser\u00e9lni. Azoknak a l\u00e1togat\u00f3knak, akiknek nincsenek \u00e1tfog\u00f3 \u00e9s m\u00e9ly ismeretei a vil\u00e1g politika-, t\u00e1rsadalom- \u00e9s kult\u00fart\u00f6rt\u00e9neti \u00f6sszef\u00fcgg\u00e9seir\u0151l, nincs m\u00e1s v\u00e1laszt\u00e1suk, mint hogy elhiszik, hogy a kur\u00e1torok bizonyosan valami fontosat \u00e1ll\u00edtanak most itt ki. M\u00e1s szinteken sem vett\u00e9k priorit\u00e1snak a befogad\u00f3i \u00e9lm\u00e9nyt: itt sorolhatjuk fel a rosszul vil\u00e1g\u00edtott tereket, az esetleges install\u00e1l\u00e1st, a combmagass\u00e1gba ragasztott inform\u00e1ci\u00f3s t\u00e1bl\u00e1kat, vagy azt, hogy akik nem \u00e9rtenek spanyolul, portug\u00e1lul \u00e9s t\u00f6r\u00f6k\u00fcl, azok eg\u00e9sz egyszer\u0171en lemaradnak a m\u0171vek egy r\u00e9sz\u00e9r\u0151l a leford\u00edtatlan sz\u00f6vegek miatt.<\/p>\n

Van k\u00e9t alapvet\u0151 szempont, amely b\u00e1r n\u00e9h\u00e1ny munk\u00e1ban tematiz\u00e1lva van, teljesen kimarad a le\u00edr\u00e1sokb\u00f3l: a t\u00f6rt\u00e9nelmi perspekt\u00edva \u00e9s a gazdas\u00e1gpolitikai \u00f6sszef\u00fcgg\u00e9sek. Ezek nem csak els\u0151dleges analitikus szempontokk\u00e9nt megker\u00fclhetetlenek a kijel\u00f6lt t\u00e1rsadalmi k\u00e9rd\u00e9sek rendszerszint\u0171 \u00e9rtelmez\u00e9s\u00e9n\u00e9l, hanem a rengeteg k\u00fcl\u00f6nf\u00e9le narrat\u00edv\u00e1nak is olyan k\u00f6z\u00f6s h\u00e1tteret biztos\u00edthattak volna, amelyek seg\u00edtik a n\u00e9z\u0151t az eligazod\u00e1sban. Nem kell persze mindenkinek marxist\u00e1nak lenni, de \u00edgy viszont etnikai csoportok \u00e9s szexu\u00e1lis kisebbs\u00e9gek tagjainak szem\u00e9lyes \u00e9lm\u00e9nyeire reduk\u00e1lt le\u00edr\u00f3 eszencializmust kapunk. A kur\u00e1torok atomiz\u00e1lva prezent\u00e1lj\u00e1k a meg\u00e9lt h\u00e1tr\u00e1nyok \u00e9s elnyom\u00e1sok individu\u00e1lis t\u00f6rt\u00e9neteit an\u00e9lk\u00fcl, hogy k\u00f6zt\u00fck b\u00e1rmilyen kapcsolatot is v\u00e1zoln\u00e1nak az elnyomotts\u00e1ghoz t\u00e1rs\u00edtott mor\u00e1lis fels\u0151bbrend\u0171s\u00e9gen k\u00edv\u00fcl. \u00cdgy a queer ide\u00e1k mellett ki\u00e1ll\u00f3 kur\u00e1torok ultra-bin\u00e1ris k\u00e9pet festenek a vil\u00e1gr\u00f3l a \u201ej\u00f3 emberek\u201d k\u00e9pviselet\u00e9ben.<\/p>\n

K\u00e9pz\u0151m\u0171v\u00e9szeti bienn\u00e1l\u00e9r\u00f3l l\u00e9v\u00e9n sz\u00f3, mindezt m\u00e9g menthetn\u00e9 a vizualit\u00e1s, de a fentebb eml\u00edtett, a m\u0171vek egy r\u00e9sz\u00e9ben \u00e9s az install\u00e1l\u00e1sban is domin\u00e1ns amat\u0151r kivitelez\u00e9s nem eg\u00e9sz\u00edti ki, \u00edrja f\u00f6l\u00fcl a n\u00e9z\u0151 tud\u00e1s\u00e1ban l\u00e9tez\u0151 hi\u00e1nyoss\u00e1gokat valamilyen, a konkr\u00e9tumokt\u00f3l elemel\u0151 eszt\u00e9tikai \u00e9lm\u00e9nnyel. Ezzel kor\u00e1ntsem azt \u00e1ll\u00edtom, hogy a m\u0171vek \u00f6nmagukban \u00e9rt\u00e9ktelenek lenn\u00e9nek, viszont a gyenge kur\u00e1tori munka miatt kioltj\u00e1k egym\u00e1st. Egy okosan kompon\u00e1lt polif\u00f3nia helyett dinamik\u00e1tlan kakof\u00f3nia lesz a v\u00e9geredm\u00e9ny, ami a harmadik nagy ki\u00e1ll\u00edt\u00f3t\u00e9r v\u00e9g\u00e9re sz\u00fcrkezajj\u00e1 tompul a l\u00e1togat\u00f3 \u00e9rz\u00e9kszerveiben.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

5<\/p>\n

https:\/\/www.documenta.de\/en\/retrospective\/ documenta_13#<\/a><\/p>\n

6<\/p>\n

https:\/\/www.berlinbiennale.de\/en\/kataloge\/1355\/7th-berlin-biennale-for-contemporary-politics<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-cont-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”25778″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Delaine Le Bas: St Sara Kali George,<\/em> 2020, Mixed media; Installation view, 11th Berlin Biennale, daadgalerie, 5.9.\u20131.11.2020; Courtesy Delaine Le Bas; Yamamoto Keiko Rochaix, London; \u00a9 Fot\u00f3: Silke Briel<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\u00d6sszehasonl\u00edt\u00e1sk\u00e9pp az el\u0151z\u0151, 10. Berlin Bienn\u00e1le<\/em> k\u00f6zponti t\u00e9m\u00e1ja hasonl\u00f3 volt a mostanihoz, akkor legink\u00e1bb a WOC feminizmus \u00e1llt a f\u00f3kuszban.7<\/span> Az akkori kur\u00e1tori sz\u00f6veg mind\u00f6ssze t\u00edz sor\u00e1ban annyit \u00e1ll\u00edtott, hogy a hatalmi elnyom\u00e1sok sokr\u00e9t\u0171ek, \u00e9s mindig \u00e9s mindenhol l\u00e9teztek, \u00e9s erre voltak \u00e9s vannak \u00e9rv\u00e9nyes lok\u00e1lis ellen\u00e1ll\u00f3i strat\u00e9gi\u00e1k.8<\/span> Megk\u00f6zel\u00edt\u00e9s\u00fckkel \u00fagy siker\u00fclt dekonstru\u00e1lni az Eur\u00f3pa-centrikus kultur\u00e1lis hegem\u00f3ni\u00e1t, hogy k\u00f6zben nem ker\u00fclt\u00e9k meg a kolonialista m\u00falt terh\u00e9nek tematiz\u00e1l\u00e1s\u00e1t sem. Azt \u00edrt\u00e1k a vil\u00e1g kaotikus, \u00edgy a ki\u00e1ll\u00edt\u00f3t\u00e9r is az lesz, \u00e9s az is volt. Azonban j\u00f3l artikul\u00e1lt \u00fczenet\u00fck \u00edgy is \u00e1tj\u00f6tt: a megment\u0151kre \u00e9s h\u0151s\u00f6kre val\u00f3 v\u00e1rakoz\u00e1s helyett, a szem\u00e9lyes lehet\u0151s\u00e9gekhez k\u00e9pest re\u00e1lis felel\u0151ss\u00e9gv\u00e1llal\u00e1s jelent\u0151s\u00e9g\u00e9t aj\u00e1nlott\u00e1k a l\u00e1togat\u00f3k figyelm\u00e9be. A kur\u00e1torok szem\u00e9re lehet vetni, hogy kiz\u00e1r\u00f3lag tradicion\u00e1lisan kifinomult magas eszt\u00e9tikai kvalit\u00e1s\u00fa m\u0171veket v\u00e1logattak, ugyanakkor a befogad\u00f3i szempontb\u00f3l j\u00f3l m\u0171k\u00f6d\u0151 tereket hoztak l\u00e9tre.9<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

7<\/p>\n

People of Color (POC) illetve Women of Color (WOC), a nem feh\u00e9r emberekre, illetve a nem feh\u00e9r n\u0151kre haszn\u00e1lt terminus az angolsz\u00e1sz politikai \u00e9s t\u00e1rsdalami diskurzusban.<\/p>\n

8<\/p>\n

https:\/\/bb10.berlinbiennale.de\/about<\/a><\/p>\n

9<\/p>\n

Ld. Benedek Kata: Nem kellenek \u00fajabb h\u0151s\u00f6k. De akkor mi kell?, 2018. j\u00fanius 17., https:\/\/artportal.hu\/magazin\/nem-kellenek-ujabb-hosok-de-akkor-mi-kell\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”25787″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Delaine Le Bas: St Sara Kali George,<\/em> 2020, Mixed media, Installation view (detail), 11th Berlin Biennale, daadgalerie, 5.9.\u20131.11.2020; Courtesy Delaine Le Bas; Yamamoto Keiko Rochaix, London; \u00a9 Fot\u00f3: Silke Briel<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Visszat\u00e9rve a jelenbe, mivel egy bienn\u00e1le besz\u00e1mol\u00f3 sem lehet teljes egyes m\u0171v\u00e9szek \u00e9s m\u0171vek kiemel\u00e9se n\u00e9lk\u00fcl, \u00e9n is szeretn\u00e9k megeml\u00edteni n\u00e9h\u00e1ny, a mez\u0151ny f\u00f6l\u00e9 tornyosul\u00f3 munk\u00e1t. A legjobban siker\u00fclt terem egy\u00e9rtelm\u0171en az, amelyben a proto-feminista K\u00e4the Kollowitz<\/span> (1867\u20131945) rajzait, a neki hommage-t \u00e1ll\u00edt\u00f3 Dora Hoyer<\/span> (1911\u20131967) 1946-os, expressz\u00edv csoportos t\u00e1ncel\u0151ad\u00e1s\u00e1nak f\u00e9nyk\u00e9pdokument\u00e1ci\u00f3it, \u00e9s a kett\u0151j\u00fckt\u0151l inspir\u00e1lt kort\u00e1rs m\u0171v\u00e9sz-aktivista Katarina Zdjelar<\/span> vide\u00f3munk\u00e1j\u00e1t \u00e1ll\u00edtott\u00e1k ki. Gracia Barrios<\/span> chilei k\u00e9pz\u0151m\u0171v\u00e9sz 1970-ben k\u00e9sz\u00edtett nagym\u00e9ret\u0171 sz\u0151nyege (Multitude III<\/em>) \u00e9s a szint\u00e9n chilei grafikusok \u00e9s m\u0171v\u00e9szek agit-prop poszterei 1972-b\u0151l, kontextus n\u00e9lk\u00fcl is er\u0151teljesen kommunik\u00e1lj\u00e1k politikai \u00fczeneteiket. A lengyel Ma\u0142gorzata Mirga-Tas<\/span> Romani Kali Daj<\/em> (Roma Madonna<\/em>) c\u00edm\u0171 parav\u00e1njain csal\u00e1dtagjai \u00e9s ismer\u0151sei ruh\u00e1ib\u00f3l varrta meg a m\u00e1sodik vil\u00e1gh\u00e1bor\u00fat t\u00fal\u00e9l\u0151 nagymam\u00e1ja \u00e9s \u00e9desanyja k\u00e9peit, felt\u00e1rva ezzel a szem\u00e9lyes \u00e9s a kollekt\u00edv m\u00faltat. Delaine Le Bas<\/span> brit k\u00e9pz\u0151m\u0171v\u00e9sz St Sara Kali George<\/em><\/span> c\u00edm\u0171 install\u00e1ci\u00f3j\u00e1ban a cig\u00e1nyok v\u00e9d\u0151szentj\u00e9t, Sara Kalit \u00e9s Anglia v\u00e9d\u0151szentj\u00e9t, Szent Gy\u00f6rgy\u00f6t egyes\u00edti egy \u00faj, nemileg meghat\u00e1rozhatatlan, antikapitalista v\u00e1ndorpatr\u00f3nusban, aki Afrik\u00e1t\u00f3l Indi\u00e1ig v\u00e9delme al\u00e1 vonja az ellen\u00e1ll\u00f3kat. Az install\u00e1ci\u00f3t egy \u2013 az ismert magyar roma kultur\u00e1lis aktivista, Farkas L\u00e1szl\u00f3<\/span> \u00e1ltal anim\u00e1lt \u2013, a Sara George-ot kontextualiz\u00e1l\u00f3 vide\u00f3b\u00f3l \u00e9s a szent ki\u00e1ll\u00edtott ruh\u00e1ib\u00f3l \u00e1ll. A ruha hagyom\u00e1nyos \u00e9s \u00fajszer\u0171 r\u00e9szei egy \u00faj testet \u00e9s szem\u00e9lyt \u00e9p\u00edtenek, dekonstru\u00e1lva a t\u00f6rt\u00e9nelmet \u00e9s a kultur\u00e1lis sztereot\u00edpi\u00e1kat. Ahogyan Le Bas mondja, a ruh\u00e1val kifejezett non-konformizmus egyr\u00e9szt \u201eaktiv\u00e1l\u201d, m\u00e1sr\u00e9szt pajzsk\u00e9nt v\u00e9d. A bol\u00edviai Andr\u00e9s Pereira Paz<\/span> eg\u00e9sz termes install\u00e1ci\u00f3j\u00e1ban, Felipe Guaman Poma de Ayala<\/span> a f\u00e9lhom\u00e1lyos t\u00e9rbe beemelt \u00e9s megvil\u00e1g\u00edtott \u00e9gitest-rajzai k\u00f6z\u00f6tt, a guajojo (nagy \u00e1lmosmad\u00e1r) hangja sz\u00e1ll. A quechua Guaman Poma az d\u00e9l-amerikai spanyol t\u00e9rh\u00f3d\u00edt\u00e1s \u00e9s az \u0151slakosok ellen elk\u00f6vetett er\u0151szak els\u0151 kr\u00f3nik\u00e1sa volt a 17. sz\u00e1zad elej\u00e9n, a guajojo pedig az eg\u00e9sz kontinensen honos mad\u00e1r; dallamos s\u00edr\u00f3 hangj\u00e1hoz sz\u00e1mtalan legenda k\u00f6t\u0151dik az \u0151slakosok kult\u00far\u00e1iban. Az install\u00e1ci\u00f3 absztrakt univerzum\u00e1t \u00e1that\u00f3 transzcendens hang valahogy k\u00e9pes a d\u00e9l-amerikai t\u00f6rt\u00e9nelem szimb\u00f3lum\u00e1t a glob\u00e1lis metafora szintj\u00e9re emelni.10<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

A cikk l\u00e9trej\u00f6tt\u00e9hez k\u00f6sz\u00f6ntettel tartozom Dr. Vogel D\u00e1vidnak \u00e9s Bianca Lucchesinek, akik besz\u00e9lget\u00e9seink sor\u00e1n \u2013 a kur\u00e1torok hely\u00e9re l\u00e9pve \u2013 seg\u00edtettek a latin-amerikai m\u0171vek kontextualiz\u00e1l\u00e1s\u00e1ban \u00e9s \u00e9rtelmez\u00e9s\u00e9ben.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”25792″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]\n

Andr\u00e9s Pereira Paz: EGO FVLCIO COLLVMNAS EIVS [I FORTIFY YOUR COLUMNS],<\/em> 2020, Mixed media, Installation view, 11th Berlin Biennale, Gropius Bau, 5.9.\u20131.11.2020; Courtesy Andr\u00e9s Pereira Paz; Crisis Galer\u00eda, Lima; Galer\u00eda Isla Flotante, Buenos Aires; \u00a9 Fot\u00f3: Mathias V\u00f6lzke<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]V\u00e9gezet\u00fcl tegy\u00fck hozz\u00e1, hogy a fel\u00fct\u00e9sben v\u00e1zolt elv\u00e1r\u00e1sok mellett, a t\u00e1rsadalmi p\u00e1rbesz\u00e9dekben lezajl\u00f3 radik\u00e1lis v\u00e1ltoz\u00e1sokat, a nemzetk\u00f6zi diplom\u00e1ciai j\u00e1tszm\u00e1kat lek\u00f6vetni a m\u0171v\u00e9szet nyelv\u00e9n hatalmas kih\u00edv\u00e1s: lehetetlen j\u00f3l bev\u00e1lt recepteket tal\u00e1lni. Gyeng\u00e9n siker\u00fclt ki\u00e1ll\u00edt\u00e1sok term\u00e9szetesen vannak, de \u2013 mint b\u00e1rmilyen kutat\u00e1si ter\u00fcleten, itt is \u00e1ll, hogy \u2013 rossz k\u00eds\u00e9rlet nincsen, hiszen akik ezut\u00e1n k\u00f6vetkeznek, pr\u00f3b\u00e1lkoznak, a megfelel\u0151 konzekvenci\u00e1kat levonva, m\u00e1r nagyobb es\u00e9llyel tal\u00e1lhatnak jobb megold\u00e1sokat.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-cont-4-0 full-5-40-allo” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”25794″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Andr\u00e9s Pereira Paz: EGO FVLCIO COLLVMNAS EIVS [I FORTIFY YOUR COLUMNS],<\/em> 2020, Mixed media, Installation view (detail), 11th Berlin Biennale, Gropius Bau, 5.9.\u20131.11.2020; Courtesy Andr\u00e9s Pereira Paz; Crisis Galer\u00eda, Lima; Galer\u00eda Isla Flotante, Buenos Aires; \u00a9 Fot\u00f3: Mathias V\u00f6lzke<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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