web On line ,by the artist , 18,33 pm...7 de Octubre 2006 , to Sao Paulo , Bienal 3000
web On line , actualizada , 11,33 pm...9 de Octubre 2006 , Poa , RS ,brasil ,
web On line , date, 12,15 pm...October 11 2006 poa , Rs.
web On line , link by the artist , 12,15 pm...January 8 2007 poa , Rs.



Vivendo Junto

BLOG : 9.11.06 postado por Itaulab às 4:46 PM

We publish the text first hand the provocation Boulbi Etienne, critic of independent art, in the Biennial one of Sao Paulo 3000, the last prank of Fred Forest.

The Biennial one of Sao Paulo 3000 is an event that will go on to the history of the art as a new model for your production, diffusion and relations with the public in the information society and the communication in which we live.

The Biennial one Biennial 3000 is the global one and the digital one, and the forecast of participation that takes place in the physical space of the MAC (Museum of Contemporary Art of São Paulo) and in the virtual space of Internet.

Several critics of art met in Paris for your International Congress in October, 2006 already your importance is recognized. In addition to 27 ª Biennial of that it was your point of anchoring, the Biennial one of Sao Paulo 3000 critically questioned the circuits of the contemporary art and your functioning{operation}. On November 1, 2006 to share Biennial of 3000, designed and constructed by Fred Forest, at the same time official of 27 ª Biennial of Sao Paulo, who can already be considered to be a particular success. It is necessary to point out that this project will keep on developing until December 15, 2006. Therefore, the viral communication induced by the artist in Internet across{through} its own networks, this success has not been capable of reaching even more important dimension. Till now there were more than 1.000 developments, the majority of them in Brazil and Latin America but also in France, Portugal, Canada, Belgium, Italy, Slovenia, Austria, Poland, etc. There is paintings, drawings, photos, videos, performances, sculptures, poems and a theoretical reflection on the art that show a big diversity of represented disciplines.

This participation is in yes it is already impressive, but what stands out is the vision of set, really " quality " of the work proposed by Internet! The experience of Fred Forest is an enriching experience since it allows us to put in question, in the contemporary art, the importance of the judgments{opinions} of the critics (the healers of biennial and other events{cases}) of which to choose, to push back or to ignore the artists who request to present your works to the public.

The International Congress of the AICA (International Association of Critics of Art), which not long ago in Paris, a crisis shows in the profession before the difficulty of the selection, which only grows. Congress perceives an increasing displacement{trip} of the esthetics to the sociology and the anthropology. The problem that we want to mark Forest, who has a doctorate of the Sorbona and, therefore I support to comment on this situation, even as{like} a sanador of any official exhibition, it is the omnipresence of the market it is in Sao Paulo, in Documenta of Kassel, in the Biennial one of Venice or the FIAC in Paris - that he{she} contributes{pays} to the arbitrariness{outrage} and the prerogatives that, direct or indirectly they influence the selection of the works. Then: who would be the economy, ultimately do they determine that it legitimizes the values and symbolically of the contemporary society? To know the bases, it might say that it is already not Kant who decides, or Arthur Danto, but Bill Gates today and tomorrow, Google!

If 27 ª Biennial back to Roland Barthes to legitimize your founding concept, if he{she} was going to be sick reflects French university, which could do the opposite and happen to another philosopher, Jean Baudrillard, who had the opportunity to end in a high tone to the contemporary art as{like} a farce.

The second point that he{she} wanted to indicate is how the action of the Forest 27 emphasizes the defeat of ª Biennial of meaning that, without precaution, and supported by the publicity and the preparatory chats, to be the popular biennial one, in the periphery, disperse, etc. The negative result is edifying and it will not be the union of two or three political groups-, used like limited, that is going to change anything. Lisette Lagnado is much more intelligent than this to know that the question of the art is not a question of good feelings, but the education, the social environment and the transformation of the superstructure, as would say Marx. In this case he is not a philosopher of the School of France, that you could change anything anyhow, a politician of Lula's one, if not the top of your pedestal.

The action of Fred Forest has the intention of your critical point for the demonstration, on one hand, the arbitrary election of the biennial ones and other officials, they show that the networks of Internet and your virtual spaces to be constituted in a digital alternative that can indicate one cultural inexorable change. In the biggest action of the forests, the artists and also he{she} refused to comment. There were the cases of Eduardo Kac, Padín Clemente, Maurice Benayoun, Miguel Chevalier, Lucas Bambozzi, Meadow Gilbertto, Trivial Roland, Roland Sabatier, Laszlo Jean-Noel, and dozens of others. But in the Biennial one of 3000 also it counts with numerous other artists who were never invited to the biennial one, the production does not leave anything to wish what we see in galleries of New York, London, Milan or Berlin, or even in any museums of contemporary art that often are contained to continue{follow} the movement and the adjustment of the market. A market that, in the shape of cultural marketing, it does and one breaks the reputation and the values like{as} in the handling of the bag{Stock Exchange}.

Forest shows us, with the Biennial one
3000, that the alternative routes are opened to the artists since they can for
proper use of the technologies of the communication. In
to go, Fred Forest asked cortésmente to the possibility of Lisette Lagnado
to organize a public debate with him{it} on these threads, but
the only response of the commissioner of 27 ª Biennial of the measurement is
a silent, prudent denial and shame .

Anyway, to conclude, it is important to say that Fred Forest has an installation in the MAC of a device for which your Biennial Year 3000, so minimalista, that allows a small hole, which to discover the immensity of the world. The immensity of an infinite world, where the images, sounds, words, videos, to spread for a virtual space adapted by the current art. If 27 ª Biennial of official Sao Paulo does not show even a plant connected to Internet, Fred Forest shows that he{it}, yes, has managed popularly Biennial, peripheral and the official of the Biennial one dissolved two we wanted to manage. We have to hope that this education is adapted for the official year of the Biennial one 3000 ...