ANA PERAICA
Curator, Art Theorist/ Croatia
I’m a freelance curator and theorist, currently working between two
projects. I would just like to elaborate the gap between two projects: One of them is
a Festival of Film, Video and New Media which is one of the five largest festivals in
Europe. The second one is a project which is going to be produced in Amsterdam, a
project for the “Lab for Culture” which I won with a text that was criticizing Venice
Biennale. I want to elaborate on the relationship between festivals and biennials
and the curators problems.
Festivals, especially film and video festivals, which are showing works that can also
be presented in biennials (namely films and video and new media are closely
connected) are exploring the same media but at the same time they are having
completely different public and ways of producing. Namely, timing is completely
different. Besides timing and the ways of organizing the festival in competition to the
biennials festivals are not having such a strong impact on the cultural population as
biennials do with the exception that of the emotional impact of the cinema.
What I have noticed in the Venice Biennale - what was already kind of obvious before
- was the formation of a “theme park”; a theme park in a sense that we can read it
as Disneyland or by some authors as Auschwitz too. From the activist logics some
SESSION 1 / 1. OTURUM / ANA PERAICA 41
ANA PERAICA
Kürator, Sanat Kuramc›s›/ H›rvatistan
Ben serbest çal›flan bir küratör ve kuramc›y›m, flimdilerde iki proje
aras›nda faaliyet gösteriyorum. Sadece bu iki proje aras›ndaki ayr›l›currency1›
ayr›nt›land›rmak istiyorum: Bunlardan birincisi, bir Film Video ve Yeni Medya
Festivali. Bu, Avrupa’n›n en büyük befl festivalinden birisi. ‹kincisi ise,
Amsterdam’da üretilecek olan bir proje, Venedik Bienali’ni elefltiren bir metinle
kazand›currency1›m “Lab for Culture (Kültür Laboratuar›)”›n bir projesi . Ben festivaller ve
bienaller aras›ndaki iliflki ve bunlar›n küratörlere ç›kard›currency1› sorunlar› ele almak
istiyorum.
Festivaller, özellikle ayn› zamanda bienallerde de sunulabilecek ifller (flöyle ki,
filmler, video ve yeni medya birbiriyle yakinen iliflkili) sunan film ve video festivalleri,
ayn› ortam› araflt›r›yor ama bununla birlikte tümüyle farkl› izleyiciye sahipler ve
üretim biçimleri tümüyle farkl›. Yani zamanlama tümüyle farkl›. Zamanlaman›n ve
bienallere k›yasla festivali düzenleme yollar›n›n yan›s›ra, sineman›n kendisinin
duygusal etki gücü d›fl›nda, festivallerin kültür izleyicisinin üzerinde bienaller kadar
güçlü bir etkisi olmuyor.
Venedik Bienali’nde -daha önceden de az çok belirgin olan- fark›na vard›currency1›m fley; bir
“tema park›n›n” oluflumuydu, bir bak›ma Disneyland olarak okuyabilececurrency1imiz, hatta
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119