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ten international curators

Harald Szeemann:
The artist's work is a seismograph of change in society. When contemplating an exhibition, the curator must have a finger on the pulse, aware of the collective concerns of the moment as the history associated with an artist and his or her narrative.
Hon Hanru:
Yes, my generation of Chinese has been fighting for more fundamental issues of humanity. For us, the firs necessity of at is never to return to the enclosure of the self. The second thing is to see how modernity rewrites the process of social transformation in different conditions, and then how it is visualized. Architecture and urban issues become important because they're the most general expression of this kind of project.
Yuko Hasegawa:
In Japan, we have a strong history in graphics, of long scroll paintings that tell a sequential story inch by inch. The style from the Ukiyo-e in the Edo period is one that you might know, since it inspired Japonisme in France in the 18th and 19th centuries. Japanese ceramics were exported to France wrapped in paper with the designs of this period, and the French, instead of discarding the paper, saved it.
Vasit Kortun:
When I did the third Biennial I wanted to be treated equally. There's a French term, "bon pourI'Orient," or "good enough for the Orient." I didn't want that attitude. That was fundamental. Second, I didn't want o use historical sites for exhibitions because they serve a touristic mindset.
Maria Hlavajova:
Manifesta will be an exhibition for artists with interesting artistic positions who are not yet established on the international scene. Yes, one could be "young" in this sense at 65. So, for a curator to find young artists here require profiled research through studios and other primary methods. In Eastern Europe, where the gallery system is not comparable to that in the West, the partners for this research are the locally based curators, critics, and art historians who can guide one to artists' studios.Rosa Martinez:
Rosa Martinez:
At the Istanbul Biennial, the decision to exhibit more women that men was an effort to balance the patriarchal tradition we all live under, which is particularly strong in Islamic culture. Women are renovating the discourse of contemporary art and critique of culture - to highlight this was a significant gesture. I think woman artists of the 90s are more fluid than before, finding their way like weavers, adapting to the obstacles and circumventing them, not destroying them. They are trying to construct together with the male.
Hans-Ulrich Obrist:
Alighieroe Boetti is a pioneer of the idea of the exhibition as a network, and he anticipated the artist's practice as both a global and a local one. He exhibited on an airline, with the assistance of the Museum in Progress[Vienna], and he worked with art that was sent through the mail, as an exchange with different communities.
Dan Cameron:
A journalist in Rio de Janeiro recently asked me if Americans still exoticise Brazilian art as a curiosity. I think it's just the opposite: Americans have a strong tendency treat Latin America as a lesser extension of ourselves, and still to see Europe as the ultimate cultural arbiter.
Barbara London:
In dealing with the durational sense of time, an artist like Bruce Nauman would work in his studio alone, and repeat dance-like movements in front of the camera of the length of the tape, which back in 1969 meant either thirty or sixty minutes. At the beginning, Nauman, Peter Campus, and other artists examined the complexities of time that resulted from the interplay between the viewer, the live camera, and pre-recorded video material. Time could be speed up… Film cannot do this, what you see in film has happened in the past.
Kasper Konig:
It is true, what he said, for music and poetry or any creative articulation. If art didn't exits, it would be difficult to think of the future. One could probably recall so many different kinds of things from Beuys. It's interesting to talk about what he did in Munster, actually. For Unschltt/Tallow[1977], first he said, "To fo something outdoors would be an aesthetic waste. " Then he managed a dialectical trick of finding a spot that was kind of a social alibi; later, it was transported into the museum.
© Copyright 2005. Carolee Thea.