Archive: Issue No. 74, October 2003

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EUROPE

15.10.03 Twelve Southern African artists on 'Videobrasil International Electronic Art Festival'
15.10.03 Williamson and van der Merwe in Cologne
15.10.03 Jürgen Schadeberg in Berlin
01.10.03 Robert Hodgins in London
01.10.03 Candice Breitz does body-karaoke in Berlin
01.10.03 Andrew Tshabangu in Cologne
01.10.03 Candice Breitz's 'RE-ANIMATIONS' at Modern Art Oxford
01.10.03 Chéri Samba in Berlin
01.10.03 'Next Flag' in Luxembourg
15.09.03 Ed Young in Ghent, Belgium
16.08.03 Langa, Charles and Ledochowski at Venice Biennale 2003

AMERICAS

01.10.03 Brett Murray in New York
15.09.03 Amaler-Raviv, Mthethwa, Nhlengethwa, Place & Yudelman on 8th Havana Biennial
01.09.03 Langa, Geers & Allen at Contemporary Art Museum St. Louis
01.09.03 Liza Grobler, from Cape Town, and Johannesburg's Michael MacGarry

EASTERN EUROPE

15.09.03 Geers and Mthethwa on 8th Istanbul Biennial, 2003

EUROPE

James Gregory Streak

James Gregory Streak
Shadow Boxing, 2003
video still


Twelve Southern African artists on 'Videobrasil International Electronic Art Festival'

The 14th Videobrasil International Electronic Art Festival is a show whose curatorial point of departure is the idea that the planet no longer has a "geographical zero point", and that this opens up the possibility of "inverting the global polarity and legitimating, at last, the production from the southern circuit of arts". The festival, which includes a special section on videos from Southern Africa, curated by the Angolan curator Miguel Petchkovsky, brings to Brazil over 60 video authors for a competitive show (selected from over 700 entrants) and over 60 guests including curators and jurors from all regions of the world under the broad thematic heading 'Displacements'.

Solange Farkas, curator of the festival, notes that even in the open competition the theme of displacement was strong and not surprising in a world of controlled borders and nomadism imposed by the hegemony of world powers.

The Southern Africa group of artists, under the title 'Re-presenting Time', interrogates issues of memory, cultural hybridism and the historical representation of time. They were asked to formulate a language that evolves from an inner necessity to exteriorise/exorcise time and memory. The artists are Andries Botha, Greg Streak, Jay Pather, Moshekwa Langa, Steven Hobbs, Bernie Searle, Antonio Ole, Jose Ferreira, Angela Ferreira, Gonzalo Mabunda, Berry Bickle and Virginia MacKenny.

'Re-presenting Time' is a curatorial gesture to acknowledge culture as a social catalyst and to emphasize the South/ South creative discourse as an element of contemporary cultural discourse. According to Petchkovsky the Southern African programme highlights the political-economical differences between regions: Angola and Mozambique, which suffered long periods of war, are still taking their first steps in video art circuits while South Africa has more experience in the field.

Previous participants in Videobrasil include Bill Viola, Gary Hill, Nam June Paik and William Kentridge - artists who are seen to represent a high end First World engagement with the medium of video. This time round, however, the festival has had to contend with a variety of formats including "Jurassic" technical means, which has obliged the organization of the festival to maintain the most varied kinds of exhibiting equipment.

The Brazilian Ministry of Culture and the Prince Claus Foundation sponsors the Festival.

Closes: October 19



Williamson and van der Merwe in Cologne

36 million people are infected with HIV worldwide, 70% of whom live in Africa. All groups and sections of the population are affected: government ministers and workers, employees and farmers, parents and orphans, police officers and nurses, doctors and soldiers, homosexuals, teachers, taxi drivers, prostitutes and street vendors.

'Sexuality and Death: Aids in contemporary African art' presents Aids as it is seen from the perspective of the African artist. At the beginning of the 1980s when the first AIDS cases were made public, art offered one of the few legitimate possibilities in Africa to express personal and social experiences with this illness. The starting point of the artists' works is as multifaceted as the illness itself.

On the one hand, artists such as Sue Williamson use their works as a means of communication in Aids prevention. On the other hand, myths, traditions, and resistance are reflected in their works, which all too often hinder the fight against Aids. 'Sexuality and Death' is the title and the didactic and structural leitmotif of the exhibition. The causes and consequences of HIV infection and Aids illness will form the core of discussion.

The show is curated by Dr. Kay Schaefer, a specialist in tropical diseases in Africa and "an expert in contemporary African art". Schaefer has selected 20 African artists from 11 countries. Amongst the 20 are Pascale Marthine Tayou, Hentie van der Merwe, Ingrid Mwangi and Sue Williamson.

Opens: October 19, 2003
Closes: January 25, 2004


Jürgen Schadeberg

Jürgen Schadeberg

Jürgen Schadeberg
Images from Invitation


Jürgen Schadeberg in Berlin

A protégé of the legendary 1950s Drum magazine years, J�rgen Schadeberg emerged as one of South Africa's foremost black and white photographers. Documenting the short-lived jazz years of Sophiatown, including notable portraits of some of its leading cultural figures, Schadeberg's works have become popular collectables. Alongside Bob Gosani and Peter Magubane, his work documents the vibrancy and self-assuredness of a period.

'Beyond Apartheid' comprises recent photographs from a six-month photo essay project on Kliptown, in Johannesburg. Shot in collaboration with four trainee photographers, the show explores familiar post-apartheid territory, the shack dwellings once rendered invisible by apartheid legislation and segregation. This show is a collaborative project of the Goethe-Institutes in Berlin and Johannesburg with the Arsenal/Friends of the German Cinema, Galerie Peter Herrmann and the Kalkscheune.

The show will open at the two venues on October 23, at 7pm at the Goethe Institute, and 8.30pm at Peter Herrmann Gallery. Mrs. Christina Rau, spouse of the German President, and Prof. Dr. J. Limbach, President of the Goethe Institute will open Schadeberg's show.

Opens: October 23
Closes: January 15, 2004


Robert Hodgins

Robert Hodgins
England's green and pleasant, 2003
Oil on canvas


Robert Hodgins in London

The ever mercurial, seemingly irrepressible Robert Hodgins has a major show of oil paintings in London's prestigious Cork Street art alley. Hodgins has been in London for three months preparing for the show, working on the show from a rented space on east London's Brick Lane. His new works are characteristic of his late period style: vibrant for their use of primal colours; populated with indistinct figures; and notable for their spare use of space. The exhibition has been facilitated by Hodgins's London dealer Simon Mee, who earlier this year included the artist on a group show at the JAK gallery.

SEE REVIEWS    SEE REVIEWS

Opens: September 29
Closes: October 11


Candice Breitz

Candice Breitz
Becoming Jennifer, 2003
Video filmstill

Candice Breitz

Candice Breitz
Becoming Drew, 2003
Video filmstill


Candice Breitz does body-karaoke in Berlin

In her latest installation Becoming (2003), and her first exhibition at Galerie Max Hetzler, Candice Breitz slips into the roles of seven popular Hollywood actresses: Cameron Diaz, Julia Roberts, Jennifer Lopez, Meg Ryan, Neve Campbell, Reese Witherspoon and Drew Barrymore.

Having cut-and-paste short sequences of these actresses out of various films (in the process isolating the actresses by eliminating the actors who appeared opposite them), Breitz re-enacts their performances as precisely as possible. Instead of mercilessly parodying the sequences that she copycats, Breitz mimics them earnestly and with feeling. The original soundtrack of each movie is preserved in the new footage, so that each new film starring Breitz might be described as a kind of body-karaoke.

Becoming is presented as a series of seven double-channel works. In each case, two monitors are set back-to-back: the first monitor displays the 'original' footage (for example, Julia Roberts excerpted from Pretty Woman, or Cameron Diaz extracted from The Sweetest Thing), while the second monitor plays back Breitz's re-performance. The back-to-back positioning of each double-sided installation frustrates the simultaneous viewing of the two pieces of footage, forcing the viewer to circle around the work in order to compare them.

Throughout her performances, Breitz wears the same simple attire (black pants, white blouse). The copycat films are all set in the same nondescript bright space, a stark white cube of sorts. The sober effect is heightened by the contrast between the lush colour footage of the Hollywood clips, and the simple black-and-white footage of Breitz.

Becoming raises many of the complex questions facing contemporary subjectivity, focusing in particular on the way in which identity increasingly takes its cues from media-produced prototypes. Inversely, the work might be read to suggest, that screen icons achieve stardom precisely because - beyond the clich�s that they perpetuate - ultimately, we imagine these stars as 'real' people.

Incidentally, the title of Breitz's installation alludes to an MTV program, in which teenagers are given the chance to re-perform a music video starring their favourite pop star.

Opens: September 6
Closes: October 18


Andrew Tshabangu

Andrew Tshabangu
Women at the crucifix, 2002
Photograph


Andrew Tshabangu in Cologne

Soweto born photographer Andrew Tshabangu has documented the lives of Bavenda tribe in the Northern Province, as well as the Himba of Namibia. Other subjects have included the urban peasants of Orlando East in Soweto, brides of the cloth in KwaZulu Natal and Zionists in various townships. His new work takes as its subject sacred places.

Tshabangu association with Dr. Ralf Seippel dates back to last year, when the artist appeared on 'Tracing the Rainbow-Kunst und Literatur aus dem neuen S�dafrika', a show curated by Seippel at Kulturverein Zehntscheuer, in Rottenburg.

Opens: September 13
Closes: October 18


Candice Breitz

Candice Breitz
Four duets series, 2002
Video filmstill


Candice Breitz's 'RE-ANIMATIONS' at Modern Art Oxford

Modern Art Oxford presents the first major solo exhibition in a UK public gallery by Candice Breitz. Breitz has established a growing reputation for her sound and video installations that examine the language of popular culture as it is mediated, objectified and assimilated through films, television and popular music. The exhibition will show recent work and a new video installation.

The Four Duets series (2000) is a sequence of installations featuring television monitors and coloured spaces in which sentimental love songs by Karen Carpenter and Olivia Newton-John, among others, are cut and paste into new loops, which are then played out in endless dialogue.

Drawn from cliffhanger episodes of the TV series Dallas, Breitz's Diorama (2002) is a multi-channel installation presented in a domestic setting. Breitz isolates nine archetypal family members from the series, and locks them into a perpetual modern day Greek tragedy. The characters are held captive in their repetition of everyday dilemmas: "I always cry at weddings�" (Miss Ellie), "But what about love�" (Pam), "I want a clean and fast divorce�" (Sue Ellen).

The Soliloquy Trilogy (2000) features three of Hollywood's most iconic figures in well-known roles; Clint Eastwood in Dirty Harry, Sharon Stone in Basic Instinct and Jack Nicholson in The Witches of Eastwick. In each of the three new films by Breitz, the Hollywood blockbuster is reduced to nothing more than the star's speaking parts.

Breitz has additionally produced a new installation for her exhibition at Modern Art Oxford. In Becoming, 2003, she slips into the roles of seven popular Hollywood stars. Having cut and paste short sequences of the actresses out of various films, Breitz re-enacts their performances as precisely and earnestly as possible. See her Max Hetzler Gallery listing for more comprehensive details.

A fully illustrated book featuring a newly commissioned essay by writer Jennifer Allen is being published for the exhibition. The exhibition will be presented at FirstSite in Spring 2004.

September 13
November 9


Chéri Samba

Chéri Samba
Fevrier, 1991
Acrylic on Canvas
200 x 150 cm

Chéri Samba

Chéri Samba
Loi en perspective, 1997
Acrylic on Canvas
130 x 195 cm


Chéri Samba in Berlin

Samba Wa Mbimba N'zinga Nurimasi Mdombasi, aka Chéri Samba, is a well-known Congolese artist based between Kinshasa and Paris. the content and form of his paintings are characterised by their immediate concern with Congo's social reality. His paintings, imbued with political awareness, are always representational and realistic. His canvases use a cartoon-like style together with the subtle synthesis of advertising images, verbal inventiveness, drawn especially from the cinema. His themes range from customs, sexuality, and illness to social inequalities and corruption.

Following his recent show at the Royal Museum for Central Africa, in Belgium, Samba shows new paintings at Peter Hermann's gallery.

Opens: September 19, at 8pm
Closes: October 18



'Next Flag' in Luxembourg

Billed as "an African sniper project for European spaces", 'Next Flag', featuring artists Olu Oguibe of Nigeria and William Kentridge of South Africa opens at the Casino Luxembourg under director Enrico Lunghi on October 4. The opening night is also DJ night from 9 pm. The project is a cooperative endeavour spearheaded by Fernando Alvim, and Simon Njami and coordinated by Iris Buchholz with a whole string of European art spaces including Camouflage in Brussels, the Migros Museum in Zurich, Palais de Tokyo in Paris and Circulo de Bella Artes in Madrid participating .

Opens: October 4
Closes: November 30



Ed Young in Ghent, Belgium

Following last years screenings of Matthew Barney's 'Cremaster ' films, the Flanders International Film Festival in Ghent-Belgium and the museum of contemporary art SMAK presents a collection of film and video works emphasizing the relation between visual artists and the moving image.

Curated by Cis Bierinckx, Cape Town-based Ed Young (of Bruce Gordon fame/ notoriety) will show a range of "subversive" video works, including Damn Those Bitches Represent, The European Collector Who Could Gaze Uninterruptedly, Killing Teddy and Breast, in an event titled 'Camera Lucida II'. Young's presentation will be followed by the world premiere of 'Untitled Sequences 2003' by New Yorker Jeff Preiss and will close with selections from a work in progress titled 'The Boulevard', by the Irish artists Denis Connolly and Anne Cleary.

Also participating in this event, in 'Camera Lucida I', is Jimmie Durham, whose 'The pursuit of happiness' features the Albanian video artist Anri Sala as a Native American artist and gallery owner Mario Pieronni. Other works on show include; Sharon Lockhart's time and space study 'No'; Alexander Sokurov's lyric reflection on art and harmony through the work of the French painter Hubert Robert and some early documentary work by Anri Sala.

Screenings are scheduled as follows:
'Camera Lucida I' - Studio Skoop, Sunday, October 12, at 8pm
'Camera Lucida II' - Studio Skoop, Monday, October 13, at 8pm



Langa, Charles and Ledochowski at Venice Biennale 2003

This is an updated listing: Moshekwa Langa, Clifford Charles and Chris Ledochowski are the three South Africans participating on this year's Venice Bienalle.

Langa and Charles have works on 'Fault Lines: Contemporary Art and Shifting Landscapes'. Curated by Gilane Tawardos, in collaboration with the Forum Africa Contemporary Art, the show brings together contemporary artists from Africa and the African diaspora. The works shown trace the outlines of fault lines that are shaping contemporary experience locally and globally.

Says Tawardos: "These fault lines have been etched into the physical fabric of our world through the effects of colonialism and postcolonialism, of migration and globalisation. Their reverberations echo through contemporary lived experience and in the work of these 14 artists working across a range of media from painting and sculpture through to these 14 artists working across a range of media from painting and sculpture through to architecture, photography and installation. Their works span five decades, four continents and three generations, resisting any notion of an authentic or one-dimensional African experience.

"The nationalist struggles of the first decades of the twentieth century gave rise in the second half of the century to post-colonial independence and a new self-determination in Africa and beyond that articulated itself in a heightened political consciousness but also in new forms of visual and architectural practices. These new practices sought to negotiate the difficult and, as yet, unexplored terrain between tradition and modernity, between formal concerns and political contingencies.

"We have become accustomed to thinking about modernism and modernity in Western terms as a decisive break or rupture with the past and yet it is almost always experienced as an uneven negotiation between past and future that can remain unresolved. This exhibition explores the ambivalent space where tradition and modernity, past histories and future possibilities are mapped out in the work of contemporary artists.

"This exhibition proposes a space where we can engage with these complexities of lived experience through the work of artists who have embraced the ambiguities and inconsistencies of the contemporary world through art works that are by turns witty and serious, monumental and understated," concludes Tawadros.

Langa already a well established personality on the international circuit. Less well known is Clifford Charles, a member of the Magnet collective (that comprises artists drawn from South Africa, Brazil, China, France, Britain, India, Mexico, and Puerto Rico). The first "non-White" student to attend the University of Witwatersrand School of Art in 1987, Charles has been involved in a number of local initiatives aimed at bridging the gap between community arts, practiced in the townships, and the work of professionals well established in existing gallery spaces.

NOTE: Despite being promoted in all the press releases leading up to the opening of this year's 50th Venice Biennale, artists Pitso Chinzima and Veliswa Gwintsa are not participating on Gilane Tawadros's show 'Faultlines'. See NEWS for details.

The photographer Chris Ledochowski shows his studies of the Cape Flats on 'The Structure of Survival', a show focussed on favelas, and curated by Carlos Basualdo.

Opens: June 15
Closes: November 2

UNITED STATES OF AMERICA

Brett Murray

Brett Murray
White like Me, 2002
plastic and wood
500mm x 275mm x 55mm


Brett Murray in New York

Brett Murray, Cape Town's foremost sculptor, will shortly be opening his first New York solo, at the Axis Gallery.

Details were unavailable at the time of update. Watch the Axis Gallery website for details: www.axisgallery.com



Amaler-Raviv, Mthethwa, Nhlengethwa, Place & Yudelman on 8th Havana Biennial

Although touted a biennial, the Havana event has long been a triennial. Only twice has there actually been two years separating biennials: between the first and second (1984 and 1986) and between the third and fourth (1989 and 1991).

This year's event will showcase more than 150 artists and groups. Three African states are represented, with the participant list including: Arlene Amaler-Raviv (South Africa), Luis Bastos (Zimbabwe), David Brazier (Zimbabwe), Calvin Dondo (Zimbabwe), Rehab El Sadek (Egypt), Tapfuma Gutsa (Zimbabwe), Hasan Khan (Egypt), Zwelethu Mthethwa (South Africa), Sabah Nacem (Egypt), Ousmane Ndiaye Dago (Senegal), Sam Nhlengethwa (South Africa), Rodney Place (South Africa), Dale Yudelman (South Africa) and Dominique Zinkpé (Benin).

The event is organised by the Centro de Arte Contemporáneo Wifredo Lam, and curated by Hilda María Rodríguez Enríquez (Director), José Manuel Noceda Fernández, Nelson Herrera Ysla, Ibis Hernández Abascal, Margarita S�nchez Prieto, José Fern�ndez Portal and guests Group RAIN. The theme is interchangeably interpreted as Art with Life, or Art and Life.

It is worth noting that the majority of invited artists have had to pay their own expenses (transportation, airfare, accommodations, materials, etc.). This is true of most of the South African participants.

In addition to the central event being held at several exhibition venues, a performance festival, a symposium, and various special exhibitions and projects will also be taking place. As usual Cuban art will be shown across Havana, and not only in official galleries, but certainly in private studios and alternative venues, too.

Opens: November 1, at 4pm
Closes: December 15, 2003



Langa, Geers & Allen at Contemporary Art Museum St. Louis

'A Fiction of Authenticity: Contemporary Africa Abroad' brings together an important generation of artists working in a variety of mediums - sculpture, painting, photography, installation, video and performance - exploring issues of authenticity.

Artists creating new work for the exhibition are Siemon Allen (South Africa/Washington DC), Fatma Charfi (Tunisia/Bern, Switzerland), Godfried Donkor (Ghana/London), Mary Evans (Nigeria/London), Meschac Gaba (Benin/Amsterdam), Kendell Geers (South Africa/Brussels), Moshekwa Langa (South Africa/Amsterdam) Ingrid Mwangi (Kenya/Ludwigshafen, Germany), Odili Donald Odita (Nigeria/Tampa, Florida), Owusu-Ankomah (Ghana/Lilienthal, Germany) and Zineb Sedira (Algeria/London).

All artists, born either near the end of colonialism or shortly after (with the exception of South Africa) are making new work in response to the thematic, a fiction of authenticity. As products of the 1960s and 1970s, this important generation of artists challenge the Western invented notion of an authentic Africa. Rooted in exile, diaspora and interculturalism, each artist is creating a new body of work that transcends past limitations of geography, culture, race, ethnicity and nationhood.

This exhibition considers their conceptual art practices, international perspectives and recent entrance into the global area that has created a shift in the way we consider post-modern/post-colonial art production.

Siemon Allen investigates how nation building and identity are created through media attention or the lack of it at specific historical moments. He collects information (stamps, books, newspapers and film) to reveal ways in which perception is formed over time. Interested in world opinion of the U.N. Conference on Racism, held in his hometown of Durban, South Africa, in the fall of 2001, Allen collected United States news coverage of this controversial event, including all mentions of South Africa. The conference coincided with the events of September 11, 2001, thus altering Allen's first impulse for the direction of his work. For 'A Fiction of Authenticity', he has created a new minimalist grid that presents his research over the course of two years. He illustrates this by weaving both the internal and external view of one nation (South Africa) as presented by the media during these coinciding events.

Moshekwa Langa is creating a new body of work combining his interest in the accumulation/dispersal of media, materials and perspectives to gain access to an understanding of home and home away from home. For him, home is rural South Africa and Amsterdam. Langa maps out the often-incongruent movement of the diaspora experience and for 'A Fiction of Authenticity', is creating a new series of expressive painting exploring fictional narratives about the origins of human existence. Culling from fables, mythologies and history, Langa presents non-sequential mappings combined with abstract and representational forms that illustrate various alternative creation myths.

Based in contemporary conceptual practices, Kendell Geers's videos, sound pieces, performances and installations challenge the structure of things, particularly institutional politics, language, history and cultural boundaries. For the Contemporary, Geers will create a neon sign - a single word, SLAUGHTER - near the grounds of the museum, under the name Geers & K.O. Lab. The "S" in the word SLAUGHTER will flicker slightly, change color and fizzle out to reveal the word LAUGHTER, illustrating words within words, and subliminal messages that exist within our daily modes of communication: written and spoken language. SLAUGHTER will be mounted on a building across the street from the Contemporary, making the off-site piece public art available to all.

'A Fiction of Authenticity: Contemporary Africa Abroad' is co-curated by Shannon Fitzgerald, curator, the Contemporary and Tumelo Mosaka, assistant curator, Brooklyn Museum of Art and will travel to venues in the United States - to be announced soon.

A fully illustrated catalogue, produced by the Contemporary, with essays by co-curators Shannon Fitzgerald and Tumelo Mosaka, as well as new essays by Orlando Britto Jinorio, Ery Camara, Okwui Enwezor, Salah Hassan and Gilane Tawadros, accompanies the exhibition.

An unprecedented six-part lecture series and symposium featuring all exhibiting artists, curators and catalogue essayists is being organized in conjunction with the exhibition. The schedule is as follows:

September 20, 2003 - Symposium 10am - 2pm
Gilane Tawadros with exhibiting artists Fatma Charfi, Godfried Donkor and Zineb Sedira Orlando Britto Jinorio with exhibiting artists Meschac Gaba, Ingrid Mwangi and Owusu-Ankomah

October 16, 2003 - 7pm
Salah Hassan: African Modernism
October 23, 2003 - 7pm
Ery Camara: Demystifying Authenticity
November 6, 2003 - 7pm
Tumelo Mosaka with exhibiting artists Siemon Allen, Mary Evans and Moshekwa Langa
December 11, 2003 - 7pm
Shannon Fitzgerald with exhibiting artists Kendell Geers and Odili Donald Odita

Opens: September 20
Closes: January 3, 2004


Low Rider

Invitation image


Liza Grobler and Michael MacGarry on 'Low Rider'

'Low Rider', curated by Jesus Macarena-Avila, celebrates contemporary expressions inspired by low rider cultural aesthetics in different mediums: painting, drawing, sculpture, photography, sound and installation work. The show celebrates the folk art aesthetics belonging to Mexican-American communities. From comical manipulations to specific cultural examinations, the artworks acquire socio-political agency and transmit the opinions and voices of the invited artists in respect to the folk tradition of Low-Rider aesthetics.

Liza Grobler, from Cape Town, and Johannesburg's Michael MacGarry represent South Africa.

Opens: September 26
Closes: October 26, 2003

EASTERN EUROPE


Geers and Mthethwa on 8th Istanbul Biennial, 2003

85 artists and groups from 42 countries will participate in this year's Istanbul Biennial. International circuit regulars, Kendell Geers and Zwelethu Mthethwa, will represent South Africa. Hassan Khan (Egypt) and Pascale Marthine Tayou (Cameroon/Belgium) are the only other two artists of African descent showing.

This year's biennale, themed Poetic Justice, is being held under the artistic direction of Dan Cameron, a Senior Curator at the New Museum of Contemporary Art in New York since 1995. The various works will be on display at four central exhibition areas, as well as at various locations in the city.

Cameron articulates his vision as follows: "In proposing this phrase [Poetic Justice] as the basis for a sustained investigation into the latest developments in contemporary art, the exhibition seeks to articulate an area of creative activity in which the seemingly opposing concepts of poetry and justice are brought into play together. The 8th Istanbul Biennial will raise the questions of 'What is justice? Why has justice emerged today as a question of pressing concern? Is justice possible in today's globalized world?'."

The four main venues are the Antrepo 4 Exhibition Hall; the Tophane-i Amire Cultural Centre (a war-cannon manufacturing facility and barracks that was constructed in 1451, now turned into an exhibition space); the Yerebatan Cistern (built by Justinian in 532 to store water for the Great Palace during Byzantine Empire); and the Haghia Sophia Museum (one of the greatest architectural landmarks of the world).

Panel discussions, at the Auditorium in the Mimar Sinan University, Faculty of Fine Arts, will take place from September 20 to 22.

The biennale will be officially opened at a gala event on September 19, at 7pm.

Opens: September 20
Closes: November 16, 2003

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