At the request of Chiara Parisi, director of the cultural programs of the Monnaie de Paris, which motto is « Ici, on frappe la monnaie et les esprits ! », Ghislain Mollet-Viéville invites twenty persons for a « Spaghetti alla carbonara » party, a true pretext to gather people around the ideas the Biennale de Paris disseminates.

Monnaie de Paris
11 quai de Conti
75006 Paris

Participations
Robert Storr, François Hollande, Caroline Keppi, Ghislain Mollet-Viéville, Jacques Salomon,
Nathalie Heinich, Alexandre Gurita, Nicolas Sarkozy, Jean-Baptiste Farkas,
Muriel LeLys, Lus Dualas, le musée des nuages, Alain Farffal, He Qian, Sophie Lapalu,
Auguste Legrand, Luc Alcary, Philippe Pataud Célérier, Alain Chareyre-Méjan, Pauline
Klein, Hassan Afnakar, Markus Prosper, Alfred Jarry.

Date of the next edition, pagination, format, frequency of publication and distribution
The 17th April 2012
12 full colour pages, Berliner format
Bi-monthly
Published by the MLP, available in the kiosks in Paris and its surroundings. 20 000
copies.
http://www.journaldeparis.com

“Public life, Private life : where are the limits?”
Caroline Keppi-Gurita

Sunday, April 29, 2012
From 7 PM

The House of the People
The Presidential Candidate/Postspectacle Shelter/FRR/kunsthalle.ro

Die Kunsthalle is proud to invite Alexandre Gurita (the director) and Caroline Keppi-Gurita (assistant director) of the Biennale de Paris to Bucharest at the end of April as part of a major event. With this in mind we would like to announce our official invitation to Alexandre Gurita – the director of the Biennale de Paris and a true mentor for us all. In these dire times when one has lost any hope of prevailing against an unbeatable and all-powerful system, his success story is not only specifically Romanian but of world wide concern. Describing himself as a “stratège dans le secteur de l’art”, Alexandre Gurita can teach develop our skills and show us trough his personal example how to apply Sun Tzu to the extended field of contemporary art in 2012 and beyond.

E-mail : contact@kunsthalle.ro
Access : Calea 13 Septembrie, E4 Wing, Bucharest.

More information
http://postspectacle.blogspot.com/2012/04/presidential-candidate-invites-you-to.html

Annabela Tournon

La Xe Biennale de Jeunes de Paris invite en 1977, cinq groupes d’artistes basés à Mexico au sein de la section « Amérique latine ». Cette participation provoque un conflit avec les autorités, notamment autour de la question d’une définition de l’art latino-américain. La production des Grupos va apporter à ce débat des réponses concrètes, à inscrire dans le prolongement d’une réflexion déjà engagée par de nombreux intellectuels latino-américains. Un retour sur ce cas méconnu de l’histoire de l’art mexicain permettra de s’interroger sur les rapports entre art et politique à partir d’une histoire du travail des artistes, notamment intellectuel. Il s’agira également d’ouvrir des perspectives sur ce que la mise en histoire de ces épisodes « décentrés » peut apporter à l’histoire de l’art.

Institut National d’Histoire de l’Art
Séminaire Mondialisation

Exposition de documents extraits du fonds d’archives de la Biennale de Paris

Jacques Charlier, Pinchas Cohen-Gan, Marianne Heske, Sehrat Kiraz, Jaroslaw Kozlowski, Bruce McLean, Cildo Meireles, Antonio Muntadas, Adrian Piper, Présence Panchounette, Grupo Proceso Pentagono, Tamas Stjauby, Goran Trbuljak.

Décrite comme « Manifestation internationale des jeunes artistes », la Biennale de Paris se tient de 1959 à 1985 dans différents lieux de la ville. Elle a pour critère initial de limiter l’âge de ses participants à 35 ans. Les propositions soumises et dossiers de candidature envoyés témoignent donc d’années de jeunesse, parfois prometteuses, parfois sans suite. Intuitions fondatrices ou fausses pistes, elles engagent toujours la projection rêveuse d’une œuvre à venir. Les documents présentés en vitrine proviennent du fonds d’archives de la Biennale de Paris, conservé en partie à la Bibliothèque Kandinsky, en partie aux Archives de la critique d’art de Rennes. Ils proposent différentes alternatives – poétiques, hermétiques ou parodiques – à l’art conceptuel le plus orthodoxe.

Formulaires et correspondances : bien que relevant de procédures habituelles, certains documents administratifs se voient contaminés par une forme de critique institutionnelle. Par courriers interposés, Jacques Charlier décline ainsi l’invitation à participer à la biennale de 1973, prétextant un manque d’informations sur le système de la manifestation. A l’inverse, Goran Trbuljak récolte la même année auprès de différents lieux parisiens une majorité de « non » à la question suivante : « Voulez-vous exposer ce travail dans votre galerie ? ».

Ecrits, manifestes et schémas témoignent de l’attention portée aux systèmes qui régissent l’identité, le langage et les idéologies. Cildo Meireles élabore des stratégies d’Insertions dans les Circuits Idéologiques en transférant des messages subversifs sur des bouteilles consignées de soda : « Yankees, go home ! ». Adrian Piper incarne une figure grimée, occupée à taper à la machine des extraits de Kant, tandis que Jaroslaw Kozlowski donne dans son livre Reality une version expurgée de la Critique de la raison pure, dont seule la ponctuation persiste.

Enfin, certains projets proposent d’intervenir de manière monumentale sur le paysage. Mais souvent, les propositions sont plus spéculatives que vraiment réalisables. Pour la biennale de 1980, Serhat Kiraz suggère par exemple de déplacer la cité antique d’Ephèse à Paris tandis que Pinchas Cohen-Gan entreprenait en 1975 d’établir une perspective mentale entre Israël et l’Asie en ralliant le Mont Hermon à l’Himalaya.

En 1971, la 7e Biennale de Paris consacrait l’une de ses sections au « Concept », invitant aussi bien ses représentants les plus évidents – Art & Language, Robert Barry ou Joseph Kosuth – que ses émules les plus stimulantes, avec notamment la participation de plusieurs collectifs yougoslaves, tel que le groupe formé par Goran Trbuljak et Stobodan Dimitrijevic étrangement baptisé « le retraité Tihomir Simcic ». Choisis dans un intervalle allant de 1972 à 1980, les documents exposés participent de cette seconde option : celle d’une alternative ironique et spirituelle qui viendrait déranger l’aridité conceptuelle. Il s’agit alors de déplacer des définitions initiales en venant troubler la transparence supposée du langage, ainsi que le fantasme d’identités et de frontières immuables.

D’autre part, selon Boris Groys, philosophe et critique, avec l’art conceptuel « l’art n’est plus compris comme production d’œuvre, mais comme production de projets ». Partant de cette hypothèse formulée en faveur du projet, les documents présentés en vitrine montrent des plans qui n’ont parfois jamais été réalisés ou témoignent d’interventions dont seule la documentation persiste. Ainsi, qu’elle anticipe une réalisation à venir ou qu’elle témoigne d’une pièce déjà concrétisée et à présent invisible, cette documentation soulève toujours la même ambiguïté : ces projets sont-il en même temps des œuvres ?

Ces vitrines ont été réalisées par Hélène Meisel dans le cadre d’une bourse d’étude accordée par le Programme Recherche et Mondialisation du Centre Pompidou et au sein du Cercle de Réflexion sur les Archives Contemporaines. Elles marquent l’aboutissement d’une réévaluation globale du fonds d’archives de la Biennale de Paris. Ce fonds, conservé à la Bibliothèque Kandinsky depuis 1990, couvre les six dernières éditions de la Biennale de Paris (1973-1985). Il témoigne de la participation internationale de plus de 1000 jeunes artistes. Les Archives de la critique d’art de Rennes possèdent pour leur part un fonds d’archives couvrant la totalité de la Biennale de Paris (1959-1985), cumulant plus de 6000 dossiers de participation.

Hélène Meisel
Doctorante, Sorbonne – Paris IV
Boursière du Centre Pompidou 2010/2011
Programme Recherche et Mondialisation / Histoire de l’art

Public Meeting with :
Rose Ndayiragije, President of the East Africa Art Biennale
Arthur-Cyriac Dekougbonto, Executive Secretary of the Art Biennale of East Africa Community
Jean-Michel Feffer, Deputy Director of the French Institute of Bujumbura

April 20, 2012
André Éric Létourneau, manoeuver, art teacher and criminologist
Presentation of Manoeuver Standard II
A conference about the art manoeuver. He particularly will approach the “Standard” project, an intersubjective manoeuver to which he invites anyone who would like to participate.
Duration of the manoeuver : one week.

24 April, 2012
Conference at University of Burundi
The inscription of art by the manoeuver in the daily life :
the Intangible Cultural Heritage and the oral tradition

28 April, 2012
Video conference of Alexandre Gurita, Strategist in the field of art, Director of the Biennale de Paris.

Partners:
National Radio Burundi
University of Burundi
French Institute
City of Paris
International Association of the Art Critics
Conseil des Arts et des lettres du Québec
Art Council of Canada
Ministère de la Culture et de la Communication
International Organisation of Francophonie
French Society of terminology

Each second, about twenty works of art are created in the world,
according to an estimation realized by Caroline Keppi-Gurita
in 2009, as part of the Biennale de Paris. Until today,
artists have embellished the world with more or less convincing
art products. Today, the best effort an artist can make
is to lighten down the world.

http://jbf.biennaledeparis.org

Project Manager
Caroline-Keppi Gurita

Secretary
Felice Canaglia

Agent of art
Ghislain Mollet-Viéville

The Amicale of the Biennale de Paris
Chairman
Jean-Baptiste Farkas

Adviser
Jacques Salomon

Strategy
Manuela Manzini

Archives
Laurence Le Poupon

Adviser for the Political and Social Prospecting
Gonzalo Belmonte

Graphic Design
Tom Bücher

Development
Rafael Bücher

European Affairs
Philippe Eylenbosch

Documentation
Sylvie Chan Liat

Law
Francis Tartour

Admissions Office
Markus Prosper

External Operations Office
(United-States)

Robert Storr
Dean of Yale University School of Art

Marek Bartelik
President of the International Association of Art Critics – U.S.

Jill McDermid
Director of Grace Space Exhibition Space & Gallery

Nancy Barton
Director of New York University School of Arts

Hitomi Iwasaki
Director of the Exhibitions at Queens Museum of Art

André Éric Létourneau
Agent for North America

Bernard Brunon
Agent for the U.S.

Isabelle de Maison Rouge
Teacher at New York University / Paris

Lectures

New York University
Steinhardt Art Department
34 Stuyvesant Street
NY, 10003
1 block Northeast of 3rd Ave and 9th Street
http://nyu.edu

Contact :
Isabelle de Maison Rouge
0033-(0)6-6042-0648
imaisonrouge@orange.fr

A series of lectures that present the Biennale de Paris and its associated practices.

Introduction
Nancy Barton

What New Artist’s Figures Could We Propose?
Isabelle de Maison Rouge
Whether he is really involved in the social sphere or soberly present in the art circuit, the artist refuses the narcissistic withdrawal and takes the present time’s issues head on. So it is essential to rethink our economy, its condition and to question the future of the artist’s position. This is the subtlety on which the issue about this new artist’s figure is based on, and which we still have to construct. Non exhaustive typologies of contemporary artist’s figures: The artist-entrepreneur, the critic enterprise, the worker-artist, the strategist-artist, the consultant-artist, the maneuver-artist, the teacher-artist.

The Biennale de Paris, a Strategy for Practices which Disobey the Regime of Mainstream Art.
Alexandre Gurita
The Biennale de Paris is a biennale without art objects, exhibitions, spectators, curators. It is without set dates and set venues. The artists are considered partners, and they are therefore play a role as decision-makers in the Biennale de Paris.

Did The Borders Of Art Become Art Itself?
Ghislain Mollet-Viéville
Ghislain Mollet-Viéville did research about new position artists who take part in “outer” activities. In 1975 he initiated the notion agent d’art, which describes a professional whose activities are about managing art in its relation to society. Increasingly the question now arising is no longer “What is art?” but “When, how, why and where is there art?”

The less
Jean-Baptiste Farkas
“The abundance of everything disturbs me. This is why the less plays a vital role in the approach I have gradually elaborated. In my opinion, the less is a way out (an exit), or — even, maybe — THE way out. This is why in the present context, removing is a major gesture. This idea can be summarized in a few words: Too much of everything? Lust for less!”

Non-Standard Artistic Practices In The U.S.
Karen Atkinson and Bernard Brunon
Presentation of contemporary strategies of artists who push back the boundaries of artistic practice and explore ideas that go beyond producing art objects. While redefining the role of the artist these artists take their work out of the traditional system of presentation.

How to Spot Actuarial Art?
André Éric Létourneau
Can the notions of “actuaries” (statistical operations whose objective is to estimate risks in the fields of finance and insurance) and “actuarial practices” be implemented in art, through an attempt to define the concept of “actuarial art”? This could be described as the production of works that refuse symbolic risk-taking or actions that are culturally transgressive.

Tuesday, Sept. 27, 2011
10:00 AM – 12:00 AM

New York University
Steinhardt Art Department
34 Stuyvesant Street
NY, 10003
1 block Northeast of 3rd Ave and 9th Street
http://nyu.edu

Download the entire program of the Biennale de Paris in the U.S.
PDF, 55 pages

Contact :
Isabelle de Maison Rouge
0033-(0)6-6042-0648
imaisonrouge@orange.fr

Recognizing that education plays a decisive role in the future of art, the Biennale de Paris has devoted a section to it since 2009. Its origin lies in the desire of sustainably redrafting the relationship between art and education. It is an open-ended school composed of cells which graft themselves onto other art schools. At the occasion of their venue in New York University/ Fine Arts, the members of the Biennale de Paris propose a series of speed workshops at the end of which the students would have completed a concrete project.

Non-Artistic Art
Ghislain Mollet-Viéville
Starting from Lawrence Weiner’s “Statements”. (Collection Public Freehold), this workshop proposes that students create works of art that aren’t art objects and don’t necessitate any particular talent. As Malevich’s “Black Square”, Marcel Duchamp’s Readymades, Daniel Buren’s industrial stripes, etc., they will have to demonstrate that the creation’s context and the presentation make the work. The aim of the operation consists in envisioning applications in the field of art that are free of superfluous artistic intent.

The Invisual
Alexandre Gurita
This workshop proposes that students carry out an invisual project. The invisual is visible but not as art. It refuses the art object and does not need to be seen to exist. It is furtive by definition, as established art can not spot it. It is an artistic invisibility.

IKHEA©SERVICE No. 15
Jean-Baptiste Farkas
Handmade corrections of the world around us Service profile: Correcting what exasperates us on the spot. Remaks : The details of a project entitled “Arbeiten für Molotov” will give an idea of the application of this service. Although it was carried out under other auspices, it constitutes a prototype in its desire to tongue-tie reality. Summary: the “Molotow” (a discotheque on the Reeperbahn in Hamburg) was renamed “Molotov”. Without anyone noticing. The transformation of W into V was carried out wherever the name Molotow appeared (neon sign, programmes, posters plastered from floor to ceiling nearly everywhere in the discotheque). Owner: Fond Régional d’Art Contemporain Poitou-Charentes, France. (2001) Phase 1: proposal of the service profile, discussion.

That’s Painting Productions
Bernard Brunon
This workshop will ask the students to choose an everyday activity (doing the dishes, painting the bathroom, taking the subway, etc.) and to bring their full awareness to it. They will give a report of the experience, from every aspect, physical as well as conceptual.

Management of the Artist’s Life
Karen Atkinson
This workshop presents the idea of a hybrid career for artists, taking on the idea of running a business as an art project, creating a hybrid practice that allows artists to remain on the cutting edge. It will address the strategy of a vertical vs. horizontal practice, or a combination of the two (hybrid). Atkinson will address ways to accomplish a DIY practice.

Maneuvers and Distortions
André Éric Létourneau
This workshop questions actuarial practices in art through the creation of series of distortions (ephemeral interventions in galleries, museums, or other exhibition’s places). The objective is to briefly modify the link between the work of art and the viewer. These distortions question the mode of constitution of the works of art, in a critical way, using the institutional presentation’s context as material for the development of an “applied criticism”.

* “Actuarial practices” comes from the notion of “actuaries” (statistical operations whose objective is to estimate risks in the fields of finance and insurance) and describes the production of art works that refuse symbolic risk-taking or actions that are culturally transgressive.

Exposure to the Psychological Dangers
Emmanuel Germond
This workshop proposes that students participate in the New Yorker EPD awareness campaign against psychological dangers, in September 2011: Posters and slogans, map of the risks, Facebook and Twitter, etc. Or how to interrogate the hidden face of the happiness postulates or of situations considered to be “normal”: love, success, owning something… The students will have to answer to the following question: “What is the border between «creation in art» and “creation of reality”?”