Venice, Palazzo Zorzi (Castello 4930), June 1st, 2011
Trieste, Studio Tommaseo (via del Monte 2/1), June 3rd-4th, 2011
a CEI Feature Event
a Continental Breakfast project
an event under the patronage of Mrs Androulla Vassiliou, Member of the European Commission
The Forum is conceived and organised by the Trieste Contemporanea Committee, in collaboration with the UNESCO Office in Venice, under the patronage of the Central European Initiative (CEI), the Italian Ministry of Foreign Affairs, the Italian Ministry of Cultural Heritage and Activities, the Regione del Veneto, the Provincia di Venezia, the Provincia di Trieste, the Comune di Venezia Assessorato alle Attività Culturali, the Comune di Trieste and the University of Trieste. It is supported by the CEI, the Regione Autonoma Friuli Venezia Giulia, the Provincia di Trieste and the BEBA Foundation of Venice.
List of registered participants
How to reach Palazzo Zorzi
The working language will be English.
There is no fee for participation.
See the previous editions
Main 2011 Topics – Being an occasion to update the debate on the new curatorial practices of the CEE professionals and, as usual directed, in collaboration with the UNESCO office in Venice, to commissioners of national pavilions of the Venice Biennale, curators and experts of contemporary art, this CEI Feature Event will discuss in 2011 the concept of Public Art.
People have more and more gotten used to this particular working practice in contemporary art, with implications of site specificity, community involvement and collaboration. How is this term now used by specialists? How is it now related to the concepts of Memory and Monument? What are the best practices to be used when art is publicly committed?
When museums and public institutions’ policy in addressing general public is suffering, why has Public Art now taken such a wide (and unspecific/all-embracing) meaning? To investigate that, even if controversial, is useful in discussing how contemporary art can today be able to address public with social significance, in particular involving intercommunication and mutual understanding principles?
Dealing with publicly commissioned art, the discussion is intended also to tackle pressing issues of policymaking in the cultural field. I. e., in the very critical moment of actual deep financial cuts to culture, issues of appropriate uses of public funds, spaces, and resources for culture have to be addressed; budgeting for artworks in new buildings and Percent for Art policy have to be discussed, as well as more general issues of sustainability of Public Art.
‘Words Room’ Project’s Topics – In accordance with the Continental Breakfast mission and in order to find inferences with regard to the contemporary state of European society, the CB Words Room Project aims to compare how some particular concepts dealing with art and culture and the ‘relation with the other’ are defined in the European dictionaries – according to their specific significations in each country and its historical development. Are there important or small differences in the European languages with regard to the definition of selected words, or about the
relations between them and about the ideas which they express? And if yes, what does that mean?
The starting step of the project will be to translate into English some selected keywords from a number of European ordinary dictionaries. With regard to the chosen words and their correlative terms, the study aims also to enlarge to some European languages the comparative search of certain existing opposed ideas or intermediate ideas or deficiencies, which one can already remark in a particular language. The objective is to discuss and make a generally understandable compilation of a collection of words coming from a multilingual territory: a sort of Virtual European Thesaurus in visual arts that, we hope, can have the function of safeguarding the European intangible cultural heritage and can help put into practice and strengthen human sodality. The WR Project, that is expected to end in 2013, puts in its 2011 agenda, as a starting exploring term, the keyword MEMORY [and the chain of related ideas/words that the different languages and cultures associate to it, when speaking of art, i. e., memorial – monument – public – public space, etc.]
About ‘The Fragile Pedestal’. First Trieste Contemporanea Seminar of Art History – A section of the 2011 CEI Venice Forum reserved to the participants of ‘The Fragile Pedestal. First Trieste Contemporanea Seminar of Art History’ will be held in Trieste on June 3rd and 4th, 2011. Planning to create a non-academic collaborative platform for research in contemporary art history, Trieste Contemporanea launches this year, as a special section of the Venice Forum, a seminar on the ways scientific literature about contemporary art meets the requirements of the young generation of CEE critics and curators. The Seminar will be held in Trieste under the supervision of an international team of professors and is directed at 8 students and young researchers of contemporary art not over age 35 selected through a call for paper.
Topics: Forms of public art from World War 2 to our time. Historical evolutions in monumental art; social implications, identity expectations and communicative functions in the production of site specific art; new models of commissioned art with collective involvement.
Supervisors: Edith András (Research Institute for Art History of the Hungarian Academy of Sciences, Budapest, Hungary). | Piotr Piotrowski (Adam Mickiewicz University, Poznan, Poland). | Marquard Smith (University of Westminster, London, England).
Participants: Suki De Boer (The Netherlands) – Site-Specific Art in a Shifting Corporate Context: For or Before Corporate Employees? | Marco Hompes (Germany) – East European Situationism? On the Contemporary Art Scene in Slovenia. | Maros Krivy (Slovak Republic) – Public art and empty factory: two versions. | Anna Kwiatkowska-England (Poland) – The Public Camp Art in Poland. | Claudio Leoni (Switzerland) – Topography of Terror. | Gabriele Naia (Italy) – Walls and Spaces. Declinations of the Distance. | Clarissa Ricci (Italy) – Future Anterior as the Temporal Mode of Contemporary Monuments. (read the programme)