Star of Venice to Rise over the 2013 Venice Biennale

by the-biennial-project 6. April 2013 15:54

 

Stylish and au courant, with just a soupcon of irreverence, that’s Star of Venice, the intoxicating new fragrance of The Biennial Project.

perfume11

A talented Design Team of Leading Olfactory Experts led by the Renowned Perfumier Samantha Marder traveled the globe in search of the perfect ingredients for this unparalleled fragrance. 

perfume13

No expense or endangered species was spared in their effort to bring forward the planet’s most dazzling aroma  - the first fragrance designed specifically for the visual artist.

perfume20

This feat of Pure Art Alchemy will make the wearer instantly irresistible to everyone of significance in the art world.

perfume14

From curators and critics….

perfume16

to collectors and patrons,

perfume15

this seductive aroma will open the doors to success and fame that most artists can only dream of.

raise

No more toiling in poverty and anonymity, or experiencing your family’s palpable disappointment in your life,

perfume18

Star of Venice is your ticket to the big time.

perfume17

 

 

Star of Venice – for those who are ready to take the next step.

 

Star of Venice Caviar & Champagne

European Launch Party

by invitation only

June 2nd 2013

Palazzo degli Angeli,

Venice, Italy

In conjunction with

the Opening Week

of the 2013 Venice Biennale

 

(A limited number of advance orders for Star of Venice

will be taken during this Launch Event.)

 

 

 

Tags:

Other Campaigns and High-jinks | Venice Biennale Campaigns

“Just don’t be a Dickhead” Boston Policeman explaining the rules of The Irish Day Parade in Southie

by the-biennial-project 21. March 2013 04:51

BPirishparade2012-2437BPirishparade2012-2481BPirishparade2012-934

The Biennial Project had always heard about the cheerful confluence of outright racism, homophobia and xenophobia that takes place at Boston’s Annual drunken Irish soiree known as ‘The Southie St. Patrick’s Day Parade’. Needless to say we stayed away for many a moon. This year, upon hearing about an alternative, inclusive march called The Peace Parade, The Biennial Project decided it was our duty as citizens of the great City of Boston to show up. The only way to change opinion on race and gender is through exposure.

“We’re here we’re queer, we’re fabulous don’t fuck with us!”

 On top of the activism, honestly, we went because we love love love a big party.

 BPirishparade2012-2390BPirishparade2012-456
BPirishparade2012-353BPirishparade2012-2430BPirishparade2012-2417

Well, from what we witnessed, we were totally wrong about the attitude of the main event. Though the crowd was predominately white and Irish (it is their day) there were many ethnicities guzzling Vodka out of water bottles along side the pale skinned ginger haired crowd doing the same. Even with the shame of the gays still not being allowed to march, we saw a little bit of everything mixed in with the Bag Pipers, step dancers and drunken union workers. There were ghost busters, Storm Troopers, Renaissance people, Rat Pack impersonators, Latin Salsa dancers, skipping bananas, Hip Hop Clubs and a flat bed truck of what we think might have been Russian Strippers. It resembled the array of characters that show up for Biennial Project events. At times it felt like the color altered acid days of our teen years. We went to make a statement but in reality whole day was big green, foolish fun.

BPirishparade2012-2391BPirishparade2012-2434

BPirishparade2012-2497BPirishparade2012-2500

For our global fans who might not know anything about our town’s history, here is a little lesson. In the 19th century Irish immigrants started to come to Boston in droves.

 boston imigrants3irish immigrantsirish imigrants2

The Biennial Project is not sure of the exact figures. We are far too lazy to look them up, but trust us; lots and lot of Irish came. So many that Boston still takes on the personality and flavor of the old country. With communities as tight as the Irish were in Boston intolerance formed. In the Early 1970s there were outright riots when the city started to bus school children from one neighborhood to another to harbor diversity and equality of education. For over 20 years Gay groups have had their applications rejected by Allied War Veterans Council who host the parade. In 1995 the rejection was taken all the way to the US Supreme court in the case Hurley vs. Irish-American Gay, Lesbian, Bisexual Group of Boston, which ruled parade organizers do have a legal right to decide who marches in the parade.

. schoolriotsirish gay

We never attended the Parade because of the outright
prejudice and also, lets face it, a big drunken Irish posse can seem scary.

sisters from fighter

BPirishparade2012-2432BPirishparade2012-2533 BPirishparade2012-2522

Last year an organization called Veteran’s for Peace started their own parade, after the big parade, to let the rejected groups march. Yes, it is sort like crumbs from the table but it gives visibility to the fact that the host organization still has fear in their hearts. The Biennial Project tries to conjure up some compassion for these old men who are living a life time of shame for that blowjob they gave as a teenager - but really. Is it too hard to admit you enjoyed it? Anyhow, The Biennial Project went to support The Veteran’s for Peace and stand up for our own rights. Kara Suffredini, executive director of MassEquality, said it well -

“I think this is the work we do every day of changing hearts and minds. There will be a day when we will be welcomed in this parade.”

irishparade-2460irishparade-2458 BPirishparade2012-2470

So enough with the politics, we went to stand up for our rights but we were really surprised by the inclusive, positive, fun and slightly weird energy of the big green party. What does this have to do with art? As usual we don't know or care - we had a friggin good time. Witness though our (fine art) photos.

BPirishparade2012-2508BPirishparade2012-2492BPirishparade2012-2519

BPirishparade2012-2407BPirishparade2012-2495BPirishparade2012-2404

BPirishparade2012-2388BPirishparade2012-2395BPirishparade2012-2444

BPirishparade2012-2428BPirishparade2012-2449

BPirishparade2012-2392BPirishparade2012-2441

BPirishparade2012-2430BPirishparade2012-2483

The whole day was cool as shit, with the coolest moment among many coming when one of the GORGEOUS AND FRIENDLY black cops charged with keeping the peace demonstrated the cool new boston with his chill handling of a drunk who stumbled dangerously close to the parade route. "Hey, don't be a dickhead", he gently warned the guy. The guy immediately changed course - trouble averted. None of the old-fashioned scary Boston cop I-bet-his wife-has-a-restraining-order-against-him posturing needed. And did we mention that these very same cops are currently starring in a nationally televised TV show produced by Dorchester boy Mahk Wahlberg called 'Boston's Finest'. There may be hope for our little seaside village yet.

Scranton with clams indeed!

Tags:

Guys We'd Fuck | Other Campaigns and High-jinks | Our Important Work with the Irish

The Save Ireland from the Curators Project (TM)

by the-biennial-project 26. January 2013 10:47

THE BIENNIAL PROJECT AWAKES TO FIND THAT WE HAVE ATTRACTED THE ATTENTION OF A MAJOR CURATOR:

Dear Mr Hess, Ms Rollins and Ms Salmeron,
I'm writing to you in connection to photographs on your Facebook page - namely Nos 18 and 19 from "Shit we liked at The Venice Biennale 54".
Corban and I would be grateful if you could remove these, as permission to stage/use these photographs was not obtained from us and the images present the artist, his work and the Pavilion in a less than favourable light. Also we find the captions rather derogatory, in particular: 

  • It is deeply offensive to refer to Corban as "a little person from Ireland"
  • Despite your claims he is not married
  • You comment about "Irish Slaves" is rather crass

Whilst we fully respect your artistic intention, we don't feel these photographs project a positive image about your work or that of a fellow practitioner.
I look forward to you response.
Kidnest,
Eamonn Maxwell
Curator
Irish Pavilion @ Venice Biennale

ireland1

 

WE REPLY:

Dearest Mr. Maxwell:

First and foremost, let us say how deeply honored we are to have received this notice from you. Finally, The Art World is paying attention to us.

Secondly, we would point out that putting one's work in the rather public forum of the Venice Biennale unfortunately does open one up to the possibility of being responded to by others in a less than a "positive image".

Thirdly, upon reflection, the "little person" reference was perhaps not our very finest moment. The artists of The Biennial Project are passionately committed to complete and total human and political rights for all of society's oppressed minorities, and this of course includes the height-challenged. Our comment was made in the context of praising Mr Corbin's work, and we thought that it was clear that we were poking fun at a stereotype rather than reinforcing it.

Which brings us to Fourthly - taking offense to the "Irish Slaves" reference. Really? Have you no sense of humor whatsoever?

We're from BOSTON for Christ's sake - we get the history of the Irish.
We arethe history of the Irish, a part of that history anyway."Irish Slaves"  built this town, swim deep in our personal gene pools, and have given Boston so very much of what we hold near and dear about our little seaside village. 

We're the ones after all who were insulted when Jack Nicholson did his usual crazy shtick while wearing a "kiss me I'm Irish" t-shirt in The Departed.

And way back when there were politics in the world, we're the ones who went to fundraisers in Dorchester for Noraid. (When the U.S. government bombed Afghanistan on the pretext of wanting to root out support for al-Qaeda, Noam Chomsky said it that was like the English government bombing Boston to defeat the IRA.) Hey there FBI agents reading this - finally something you can nail us with!

Not to mention that The Biennial Project usually plays well in Ireland - our website gets more hits from Irish users of the internet than any other country per capita. We have always attributed that to the Irish having a more developed ability to comprehend irony than most. 

Apparently there are exceptions to every rule. And because we know that manners apply even to those one believes to be misguided, we will take down the offending pics of Corbin.

More's the pity, we really do like his work.
XXOO,

The Biennial Project

  lucky2-1 lucky6  luckylucky celtics3   

A CURATOR FRIEND OF OURS ALSO REPLIES:

Dear Sirs,
I am writing as a fan and supporter of the conceptual artist group known as “The Biennial Project.” As attendees at the opening reception for the Venice Biennial (with legitimate press credentials I might add) they took photos and published an edgy and satirical entry on the Biennial Project blog aptly titled “Shit we like…”

As luck would have it, The Biennial Project  had stumbled upon the Irish Pavilion. They really enjoyed the work presented there and loved chatting with the exceptionally friendly staff. When it came time for them to write a witty and sarcastic blog entry, they couldn’t help but to express sympathy and solidarity for these lovely ladies (and all behind-the-scenes art worker bees) by referring to them as Irish slaves. Perhaps it would have been more accurate to say (as they usually do in their writing) “gallery slaves”, but they were so excited to share with the world what they had seen that they couldn’t resist hitting the send button before the editor arrived.

And yes of course, they couldn’t let well enough alone and decided to have a bit of fun with Corban Walker by referring to him as a “little person” in their post. I will admit it: they and I love his work and are extremely jealous. We may be physically taller, but he is “culturally” taller than we’ll ever be.

In light of the above, The Biennial Project artists and their fan base were quite surprised to receive a “friendly” note from the curator of the Irish Pavilion which essentially represented a “cease and desist” order r/t the blog post referred to above. Apparently, as press-pass carrying visitors to the Biennial, they are not allowed to take pictures of the Irish Pavilion and present them in a way which didn’t show the artist and his work in a pre-approved light.

But wait a minute!  Aren’t we talking about Corban, the self-same artist who consistently references his bodily dimensions in sculptural work? Aren’t we talking about the fun-loving Corban who posed with Shaq in a picture which is readily available on the internet?

Yes all supporters of The Biennial Project were tickled. Yes we felt very important. Believe it or not, they don’t hear from upper-echelon international curators every day!  But ultimately we were sad. If freedom of speech and expression didn’t exist, Corban would not be having his 15 minutes…and neither would anyone interesting.

Truly in Art,
Cleah Saraholi,

WE ARE SAD:

irishcousins

 

 BUT  AFTER A SUITABLE MOURNING PERIOD WE GET OVER IT:

boxingmakeup boxing3  boxing7boxing fun Boxing4

TEXT AND PHOTOS FROM THE CORBAN WALKER LIMITED EDITION ARTIST TRADING CARD THAT WE PRODUCED FOR THE 2011 VENICE BIENNALE:

Ireland Corban Walker

Born, June 23 1967 Cancer in Dublin (Baile Átha Cliath) (IE)

Lives and Works In New York

Parents were architect Robin Walker and the art critic Dorothy Walker,

Mr. Walker, 43 years old, is a minimalist sculptor and installation artist known for layering and stacking industrial materials like glass, steel and LED lights into precarious arrangements.

Mr. Walker's work plays with mathematical rules of order and scale, yet he occasionally adds a distinctive twist by making pieces that stand around his own height of 1.2 meters.

He has his own App for The Venice Biennale

clip_image002clip_image004

clip_image006clip_image008

Tags:

Guys We'd Fuck | Our Important Work with the Irish | Venice Biennale Campaigns

What MUST be accomplished in 2013 for the world to live as one

by the-biennial-project 1. January 2013 12:59

 

BIENNIAL PROJECT TO DO LIST TO MAKE

2013 VENICE TOUR A FABULOUS SUCCESS

1.  Organize logistics for The Biennial Project Assault on Venice 2013 Tour with Stunning Germanic Precision.

2.  Publish our limited edition Venice Biennale 2013 Artist Trading Cards earlier than last time and give the art public the chance to snap them up.

3.  Get our press credentials in order so that we can see the show early and hang out with other important art world figures.

4.  Redouble our dedication to The Patented Biennial Project Less Of Us Program so as to lose at least 30 lbs between now and Venice to maximize our photogenic capabilities during the trip.

5.  Fly over the pond to Venice with a minimum of fuss, arriving at our Fabulous Vacation Villa Palazzo Angeli rested and ready to take the city by storm.

6.  Organize The Live Biennial Project Video Feed from Palazzo Angeli that eluded us last time.

7.  Have a fantastic time, soak up art, hang with friends.

8.  Get out on the streets (and canals) - meeting cool artists and movers and shakers while furthering international name recognition of The Biennial Project Brand.

9.  Organize the best Venice Biennale Art Exhibit And Party ever:

The Palazzo Angeli Biennale 2013.

 

10. Clean up afterwards.

11. Produce lively and ever more technically sophisticated video work/photography/writing on a variety of subjects including but not limited to: us/our friends/people we meet/art we like/art we don't like/parties, parties, parties/whatever Important Themes the Biennialist folk are discussing this time/anything involving nudity or questionable taste/butt running/Justin Getting Arrested/etc.

12. Get back to states without losing above video/photography/writing.

13. Spend rest of summer editing and publishing and following up on new contacts and projects. Do some of this from Maine. Use summer as a verb whenever possible.

 

OK, there you have it.

Let's get this party started!

 

XXOO,

 

The Biennial Project

 




Tags:

Venice Biennale Campaigns

Come All Ye Faithful

by the-biennial-project 23. December 2012 09:04

Sometime living as an artist makes you feel like you live on the Island of Misfit Toys.

island of misfit toys2 (2)

 

We especially can feel this over the holidays when we are forced to co-mingle with our families - who don't quite understand why we do the things we do, and why we don't have much money to show for it.

 

Well for those of us creatives who either did not go to their families of birth this holiday or simply forgot to make plans, The Biennial Project is inviting you to celebrate this blessed holiday with us.

Please join The Biennial Project at The Boston Biennial 2012 exhibit being held at The Gallery at Spencer Lofts at 60 Dudley Street in Chelsea, MA on Christmas Day (that’s December 25th) from 3pm-5pm.

island of misfottoys3 (1)

  

Come and drink the milk and eat the cookies Santa didn't get to because he choose not to visit you this year either because you behaved poorly (yes you are a drunken tramp) or simply because he doesn't exist.

 

 

 The Gallery at Spencer Lofts


60 Dudley Street


Chelsea, MA


3pm-5pm


FREE

Tags:

Adult Content | General | Other Campaigns and High-jinks

The 2012 Boston Biennial is HUGE!

by the-biennial-project 14. December 2012 11:49
THE 2012 BOSTON BIENNIAL 
 
 
"Illuminating Worlds"
a Survey of Contemporary Art 
 
 
presented by
 The Biennial Project

at The Gallery at Spencer Lofts
60 Dudley Street, Chelsea, MA

Gala Reception 
December 15th 6-9PM
 
 


 

 

Tags:

Our Biennials

How To Build an Art Movement

by the-biennial-project 20. November 2012 07:54

alec1

 
Hey Artists and Art-Lovers out there!

When The Biennial Project Team was participating in the 2009 Venice Biennale, one
of the coolest of the many cool folks we met was German-born film-maker Alec Onsemska (seen at left mugging for the camera the day we met him). He's ridiculously talented, speaks about a million languages, and travels the world like a true jet-setter. He's also very insightful about the art world.

 

As luck would have it, Alec is spending this year teaching film history at Harvard - and recently wrote a super interesting article about the Boston art scene. Even though he wrote it in response to his experience here in Boston - it's relevant to artists everywhere, so we wanted to share it with our readers. So here we go:  

 

 

An Open Letter to Boston Artists

By Alec X. Onsemska

 

"So here I find myself, a European artist and art-lover teaching in Boston this winter. I wanted to offer a few impressions on the local art scene from the perspective of a visitor, in the hope that they could be of some use to the multitudes of great artists who call this fiercely gorgeous city home.

 

Yes, multitudes of great artists and gorgeous city. I know, you're shaking your collective heads now, wondering where I got off the plane, and that's exactly the problem.

 

Boston artists have internalized the general Bostonian characteristic of trash-talking their own town, and their own art. Now don't get me wrong, I get the tell-it-like-it-is, a-million-stories-in-the-cold-city esthetic that permeates your hard-ass Boston soul, making the display of anything resembling enthusiasm as un-hip as betraying the neighborhood or talking to the cops, and it is one of the many qualities that makes me feel at home here. I am German after all, and we are a people also acquainted with the night.

 

But really, enough is enough. There is a point where embracing the middle-of-the-night futility of it all passes over from being recognition of reality to causing said reality to suck worse than it does already (something we Germans alas also know a thing or two about).

 

So, although it's not as familiar as lamenting how the art scene here sucks, and that anything that's worth happening only happens in New York, let's take a moment to talk a little truth about this town that doesn't suck for a change. 

 

To start, Boston is an amazing, one-of-a-kind city, the kind they don't make anymore, what's more, and you know it. That's why you came here or decided to stay.

 

Everywhere you look is this ridiculously majestic blue ocean, and it's not vapid vacation-land ocean - it's the take-no-prisoners cold Atlantic, with giant tankers approaching and receding on the horizon like dream cities. Talk about your end-of-continent sadness. Boston's ocean is a working ocean, and Boston is a working city - where being the real thing matters, and how. The only city I know of where local boys get rich getting Hollywood to tell its story from the side of the 'townies".

 

Boston is at the centre of the most progressive region of this country, and has been at the forefront of innumerable important intellectual, social and political movements. 

 

Tell the truth - you didn't have to live here - you could have moved to New York, or la la land, or wherever hip people were supposed to go - but you chose to live here. Not to deny New York it's due, but every not-born-rich person I know who lives there actually lives two towns away or works 3 jobs to pay for their little scrap of paradise.

 

And the NY art scene, yes, it's cool, cool, cool, but so is the Berlin art scene, and the Peking art scene, and the San Paulo art scene, and undoubtedly a lot of art scenes that most people have never heard of.

Because that's the thing about cool scenes - their key quality is their ability to define their coolness on their own terms. And cool art scenes that exist in the mainstream consciousness are usually not as cool as they are thought to be, because once the mainstream comprehends and begins to absorb them, the independent people start to move on.

 

For art to be meaningful, we must be truly the avant-garde of society, defining our own terms, rather than chasing advertizing agency notions of hipness. Berlin, once an extremely unlikely art-world mecca, became "cool" because its artists stopped chasing Paris or any other art "centre", and instead spent their time creating art and art communities on the ground where they lived.

 

Why do I tell you this Boston?

 

Because of all the places I've visited in the states, you have the most potential to stop chasing the commercial centre and just be great. A great city, with great art schools, where cutting-edge artists live in droves - you have the power to be cool on you own terms.

 

Among the many artists I love here are the innovators from the Boston-based (yes!) art collaborative known as The Biennial Project - who, by doing a fantastic parody of artist success-seeking at the pillars of official art-dom, and by demanding to know why they (we) are not good enough to succeed, point the way for artists to just get down to work in the here and now. 

 

Their upcoming 2012 Boston Biennial is exactly the sort of project that's needed - riffing on the lure of the 'biennial" world, while placing the carrot right here at home where it should be, and cutting out the "critical" intermediary by organizing an artist-controlled biennial. We need more of this.

 

Boston, to your places!"

 

bostongwhgreat

 

logo
 
OK, it's us again. He's right you know. To find out more about entering The 2012 Boston Biennial - OK, it's us again. He's right you know. To find out more about entering The 2012 Boston Biennial - 
 
logo
 
 

Tags:

General | Guys We'd Fuck

Shit We Saw at The 2012 Whitney Biennial!

by the-biennial-project 29. October 2012 13:43

Shit We Saw at The 2012 Whitney Biennial

clip_image002clip_image004

OK, so we know The Whitney Biennial 2012 closed months ago. And we know we should have told you on our blog about the shit we saw right when we returned from the ‘Special Friends of The Whitney Biennial Preview Party’ that we, The Biennial Project, attended. Well if that bothers you - ‘Eat Us’ (we’ll enjoy it). This can only mean that you have not gone on our Facebook page and joined ‘liked’ The Biennial Project Page because we did report on the exhibit there. So that this doesn’t happen again please like us at:

http://www.facebook.com/pages/The-Biennial-Project/208168052547147

clip_image006

In presenting ‘The Shit we Saw Whitney Biennial 2012 Edition’ we would like to add the precursor that some of what is written are our own opinions and words and some of the text we used has been lifted directly from other people’s articles. We do not know anymore where most of this came from because we keep terrible track of our footnotes. If we plagiarized you please take this as the compliment that it is meant to be. It means we like your voice - imitation is the sincerest form of flattery, right?

clip_image008

Anyhow let’s start off by mentioning Tom Thayer’s reddish room of puppets and crane paintings. These make him a modern mythographer by way of William Kentridge and Balinese shadow-plays. Thayer’s work lyrically combines elements frail and feeble in nature, crudely parroting reality, in an effort to reveal the poetry that underlies our own existence. The very kind lady in the wheelchair pictured below told us all of that. She also said his work feels most at home alongside the ostensibly shambolic music of freewheeling experimental Brooklyn groups like the No-Neck Blues Band and Amolvacy. She then asked if we would kiss her pineapple. We liked the portable children's record players so much we bought one on EBay later that week. They turn and make playful music from playful record albums. So much fun!!

clip_image010

Next let us visit the exhibition of Dawn Casper who set up her studio on the 4th floor of The Whitney for the duration of the show. She made a deep statement about society not supporting artists or something like that, or maybe just the bad economy in general, we’re not entirely sure. She is very smart. What a great way to get free rent and great exposure for a few months. Everybody asks her where she goes to the bathroom. They ask all day, really. The Biennial Project didn't ask her where she goes potty. We simply asked her to sign one of the 'Limited Edition Whitney Biennial 76 Artists Trading Cards' we made of her, to honor her Whitney Biennial Achievement. She almost signed, then read that we listed her old LA address on her card and was like totally freaked out because some of her friends, who according to Dawn, are nice girls, are living there now. I mean we got this address off the Internet. If we wanted to stalk Dawn we know where to find her. She can be found at THE FUCKING WHITNEY MUSEUM OF AMERICAN ART where she works everyday. The stupid little docent even told her not to do anything she didn't “feel comfortable with”. Really! Like we were going to watch her TAKE A DUMP or something. REALLY!!

clip_image012

Next we thought Fluid Employment by Sam Lewitt was neato!! He directs ferroliquid across a magnetic plane, shaping bubbles on a darkly oiled path.
There is little explanation accompanying the work. This nice Tibetan Monk pictured below told us that the title’s significance, in lieu of Kasper and Frazier’s work, may suggest a quest for direction and connection in a world low on fiscal fuel. We just thought it was really rad because it moved and changed shapes and seemed a little toxic and dangerous. Also The Biennial Project enjoys chemicals, A LOT!!

clip_image014clip_image016

The Biennial Project loves a 'What the Fuck Moment'. Kate Levant gave this to us. You all probably remember when in September 2009 Kate set up a Blood Drive at Zach Flreur Gallery in NYC. This was really cool but Biennial Project member Eric felt left out because he still, in the good old US of A can not donate blood because he is a man who 'sleeps' with other men’. All this even though he is HIV negative and isn't nearly as slutty in his 40s as he was in his 20s

Kate Levant scavenged the materials for her 2012 Biennial installation from a burned-down house in inner-city Detroit; an area often associated with economic distress and daunting foreclosure rates. Sheets of foil insulation lining, cardboard, and other materials found in the insect-infested ruins are transformed into a strange, visually powerful sculpture that suggests the eternal oscillation

between life and death. Each element strikes a tenuous balance between cohesion and dispersion, disintegration and growth. Describing these components as “wrecked, still trying to contend,” Levant sees this makeshift sculpture as a reflection of the landscape of Detroit, which amid its crumbling structures and faltering social systems is mutating into something new and unknown.

clip_image018clip_image020clip_image022

Kate likes cooking. She likes making soup from scratch, especially stock. She also likes making funky salads. She is quite prolific. "Kate Levant takes audience participation to a new level.” She like breaking things …for the physical act and for the result. Kate likes cleaning things up and packaging things. If she could be anywhere doing anything right now she might be in Houston with her friend Jacques sipping syrup, driving a convertible, and letting off firecrackers. Her junior year Kate dressed up like an Ewok. They’re awesome. A group of little dudes that can’t communicate but are like, “What’s up!”

The psychedelic, avant-garde rock band from Houston, Texas, RED CRAYOLA, performed on April 13th but we and any other visitor were able to talk to them live in The Whitney. They were so COOL!! The band was once paid ten dollars to stop a performance in Berkeley. When we returned in May they were still there, very tired but still speaking to strangers.

 

clip_image024clip_image026

We were hoping that Kai Althoff's work would be more homoerotic sexy. We like to be a little turned on when looking at art. A half woody or semi in a museum is sort of pleasurable after all. His piece shown here looked different each time we went. Granted it was cool looking, but we once again were not part of the in crowd who knows when all the dam performances and movies were to take place at this Biennial. We live in Boston and New York is like 4 hours away (3 if Anna drives). They did give us a schedule and posted it online and everything but we can't even get to work on time let alone get to NYC to see thousands of performances.

Anyhow, Kai Althoff neither owns nor rents a studio.

Kai Althoff's paintings, installations, and mise-en-scènes reflect a struggle with complex and dialectical notions of love and hate, sexuality, and interior and exterior worlds. The German artist Kai Althoff is a second-generation Neo-Expressionist storyteller whose works constitute what might be called a scattered surrealist symphony of both youthful anomie and bohemian optimism. He is most notorious for vibrant, vaguely homoerotic scenes that could have been painted by the love child of Edouard Vuillard and Egon Schiele

clip_image028

We are sure Mayra Davey is a very nice lady and all but these mailed photographs seemed like something we did in art school. WE also can see them anytime we want at Boston’s ICA. We liked what famous Czech painter and sculptor Bo Petran said -"Big fucking deal”.

clip_image030

 

Lutz Bacher’s “Pipe Organ” (2009-11) evinces a distrust of modern technology via an aging Yamaha synthesizer organ tinnily played by robotic apparatus. The organ is decked out with huge tin pipes that bring to mind missile shells.

We spotted Lutz outside with her gallerist and we did not take her photo because she does not like her photo taken. Even The Biennial Project can play nice with people who play nice with us. Sometimes.

clip_image032

Hometown Boston boy Luther Price’s work!! He is neighbors with Anna in Revere, MA and often comes over for green tea and small town gossip, but it is a totally unfounded rumor that they are lovers. Wicked Sick!!

clip_image034

We spent some time with Werner Herzog’s five-screen digital projection of details from etchings by Hercules Segers; We enjoyed the visuals and cello music performed by Ernst Reijseger enough but we were more happy to rest our tired, dirty, throbbing feet and grab a five minute nap in this chamber of solitude.

clip_image036

Wu Tsangs installation and movie was our favorite thing at the whole biennial and she/he is not only one of our favorite artists but also one of our favorite personalities and LGBT leaders. We'd love to tell you more about the work but we're tired of writing for tonight and want to watch TV. We'll fill you in later.

clip_image038clip_image040clip_image042

XXOO, The Biennial Project

Tags:

Whitney Biennial Campaigns

Boston Gal Sarah Sze picked to represent The USA in The Venice Biennale!!!

by the-biennial-project 14. October 2012 20:32

We know it has been February 23rd since The Bronx Museum of the Arts
announced that Sarah Sze was chosen to represent at The Venice Biennale for The
USA
at the upcoming 2013 Venice Biennale. The Biennial Project did not report to you about this then because we were busy that week doing our thing
at The 2012 Whitney Biennial and throwing ‘a time’ at The First Windsor-Whitney Biennial.

sarah sze1sarahszebostonsarahh4
The Biennial Project is all balls out not only because we love, love, love her work - we are doublly proud because Ms. Sze (pronounced ZEE) is, you
know
, a Bostonian, born and raised right here in capital city of the Bay
State
, the home base for us, The Biennial Project.

Wicked fuckin’ pissa!!

Let’s make a Packie Run and buy some scratchies,and get retarded.

sarahszebostoniansarahhblanchsarahhredsox
Sarah is no average chowder head. She comes from a notable family. Her great Grandfather, Dr. Alfred Sao-ke Sze was the first Chinese ambassador to the
US and her Grandfather Szeming Sze confounded The World Health Organization.
Grandma Bessie Li was a pianist. Her Dad Chia-Ming Sze is a
Chinese-American architect whose firm is located at 326 A Street in Southie.
He designs lots of municipal projects around town. He can be reached at
chiaming@szearch.com or by phone 617-451-2727. Sarah’s Mummy is Judy Sze and
like most of Boston is of Irish descendent and is a retired schoolteacher.
We would never want to label her Lace Curtin. Judy's father was Alexander
Mossman,
known as Sandy, an advertising executive who was Brookline Rat born on December 28th, 1897. Her Bother David Li Ming Sze  attended Buckingham, Brown & Nichols in Cambridge and is now a general partner at Grey Lock Partners a private Equity firm located in San Mateo, CA and sits on the boards of Facebook, LinkIn, and Pandora to name a few.

sarahszedralsarahszesarahszefathersarahszemothersarah Sze brother
Sarah grew up on Beacon Hill in a 4 bedroom, 1890 mansard-roofed house
located at 44 Pinckney Street. According to Zillow the 3.242 sqft house is
valued at $2,165,447 and the 2012 property taxes were $24.197. Her folks
still live there. It's not the Triple Decker we are used to but we are sure
it has tons of chacta ­you knows.

sarahpicker2sarah sze pickersarah szetripple decker
Sze attended the Beacon Hill Nursery School with the other Brahmins at 74
Joy Street.
Beacon Hill Nursery School which was founded in 1955and whose primary mission is:
"to nurture our students' innate curiosity and lay the foundation for a
lifelong love of learning. We believe that children who develop strong
self-concepts and social and emotional skills are most successful both in
school and later in life."

Sarah left the Hill to further her education on the other side of the
Charles
at The Shady Hill School at 178 Coolidge Hill in The Peoples
Republic of Cambridge
. When Sarah Sze started as a Beginner at Shady Hill in
1973, a teacher described her as being "good at imaginative play." When she
graduated from the school's ninth grade in 1984, a teacher commented on her
"considerable artistic ability."

sarah szecharlessarahszeshady hill schollsarahszepeoplesrep
After Shady Hill, Sarah went on to Milton Academy which is a coeducational
independent preparatory boarding and day school in Milton, Massachusetts
consisting of a grade 9­-12 Upper School and a grade K­8 Lower School. Milton
is noted for its prestige and strong academic programs, having produced many
notable alumni, including Nobel Laureate, T. S. Eliot, several members of the
United States Congress, Governor Deval Patrick of Massachusetts,
Saturday Night Live comedian Jenny Slate, James Taylor and a handful of
Kennedy's
.

 The Biennial Project knows of this institution as Mouth-on Academy because of the oral sex scandal that happened there a few years back when a 15 year-old female student gave head to five boys on the Hockey team, one right after another.

We like to think of Sarah as a teenager in the 80s hanging out in the Pit in Harvard Square or The Rat in Kenmore. She’d be rockin’ out to Tracy Chapmen or The J Geils Band, spraying her locks into a Hair Wall otherwise known as The Quinzee Claw or the Revere Claw.

sarahszemiltonviewersarahszebadhair
Sarah Sze was invited back to Milton in 2007 to be the graduation speaker
when she gave the students permission to fail or be failures. Sarah’s sick
nasty
work entitled ‘The Edge of One of Many Circles’ is a permanent
installation at Milton Academy’s Schwarz Student Center. Sarah installed
it in 2006.

sarah SZe4sarahszethepitsarahszehairwall
After graduating Summa Cum Laude from Yale University in 1991, Sarah spent
a year in Japan working in Television and studying ikebana, which is Japanese
flower arranging. In 1992 she once again donned her skally and returned to
Taxachusetts where she worked in a Boston public school art-education
program and painted on weekends.

sarahhjaptv sarahhskallysarahhikeabana

It was that she met her Barney husband Siddhartha Mukherje while he was at Harvard Medical School. He then worked at Man’s Greatest Hospital, MGH .He authored the 2010 book, The Emperor of All Maladies: A Biography of Cancer, which won the Pulitzer Prize for General Nonfiction, and was described by TIME Magazin, as one of the 100 most influential books of the last 100 years, and by the New York Times magazine as among the 100 best works of non-fiction.

sarahszehusbandsarahhmghsarahszeboston1
Unfortunately New York City attracts Boston artists like flies on shit and
Sarah and Siddhartha moved down to the big apple so she could attend SVA.

Whateva!!

In 2002 Sarah hopped on ‘the Pike’ and returned back home to Boston as
the second resident artist to participate in the series RSVPmfa, in which
artists are invited to respond to and work among the collections,
architecture, and grounds of the Museum of Fine Arts. At the MFA she selected the
activity-filled West Wing entrance, which extends to a second floor that is
visible through an elliptical balcony. Fascinated by the energy of the many
distractions in this area, as well as by the movement of the viewer through
space via escalators, Sze had a field day constructing her piece to unite
the first and second floors. It was anchored on a corner of the second floor
and swept up into the barrel vault above spanning the space above the first
floor and descending from a supporting column to the floor of the lobby. On
the first trip home Sze was greeted by Beacon Hill neighbors at a party
sponsored by the Beacon Hill Village.

sarahszethepikesarahsze mfa sculpturesarahhredsox2
Maybe she was craving a Regulah at Dunkies! Because Sarah banged a U-ie again in 2004 and returned to Red Sox Nation to put up the permanent installation ’Blue Poles’. This piece is a whimsical miniature fire escape on the front of MIT's Sidney-Pacific Graduate Residence. The work, commissioned by MIT's Percent-for-Art Program, is titled "Blue Poles", in honor of Jackson Pollock's 1952 drip painting by that name. This is totally ‘the shit’ and it is made of small blue steel ladders, balconies and stairways welded into fire-escape-like clusters, "Poles" climbs to the roof of the six-story building from just above the front door. In designing "Blue Poles," Sze said that she was inspired by her childhood memories of fire escapes on apartment buildings near her home. Those rickety iron or wooden structures, used both as places to relax and as escape routes, are rarely found on new buildings; "Blue Poles" reconnects the Sidney- Pacific residence to its urban past and to the myriad ways people adapt to crowding, anonymity and summer heat. Sze made "Blue Poles" during a yearlong residency at Alexander Calder's former studio in Sachet, France. Sze described her own work as related to Calder's in its focus on gravity and air and play. Some people thought this looked sketchy but we, The Biennial Project say that Blue Poles is The Pissa!!

sarahszebluepolessarahszedunkiessarahszebluepoles2
Sarah must have been craving some jimmies from JP Licks and candle pin bowling because once again she took the Salt and Pepper Bridge ‘across The River’ to install ‘Model for Corner Plot’, Agassiz House, Radcliff Yard,Cambridge, MA.

This was Wicked Frickn’ mad

.sarahszecornor plot2sarahszecornor plotsarahszecornorplot2

So don’t we know that Sarah loves that dirty water because last year she returned once again to Boston not only to root for Da Broons, but also to do a residency with The ICA with Trajai Harrell in which she produced The Untitled
Still Life Collection
, a dynamic exchange between visual art and dance. This
was made possible by the Contemporary Art Centers (CAC) network administered
by the New England Foundation for the Arts (NEFA).

sarah sze5sarahhicasarahhbruins

Tags:

Venice Biennale Campaigns

Enter the 2012 Boston Biennial

by the-biennial-project 4. October 2012 14:22
 

 
THE 2012 BOSTON BIENNIAL 
 

The Boston Biennial 2012
Juried Exhibition of Contemporary Art
Presented by The Biennial Project
The Gallery at Spencer Lofts
December 2012

The theme of The Boston Biennial 2012 is Illuminating Worlds

We The Biennial Project have light which we pass onto others (that's you). As The Biennial Project's own light shines, we give other people permission to do the same. Our spotlight spills over to all around us and we want the world to see you through us.

Did you ever turn on the kitchen lights and watch the roaches scatter in all directions. Things lurk in the dark and when the lights go on shit gets exposed. Whether you worship the sun or think Jesus is the Son of God, we all know we can't live in the dark. Expose your inner self to the world around us. 

Remember we are only as sick as our secrets.

Also don't be beholden to the theme. We just needed to come up something that sounded important.

Eligibility
Open to all artists.  Open to all media, including 2-D, 3-D, sculpture, photography, performance, video, installation mixed media, and art from a kit. All works must arrive properly labeled with name, address, phone, email, and title of work, medium, and price, if applicable.  All work must be secured with appropriate hanging hardware in place and ready to hang.  Entry and release forms must be completed, signed, and accompanied by appropriate fee.

Reproduction of Art Work
The Biennial Project reserves the right to reproduce submitted works for Biennial Project printed materials, advertisements, electronic media, internet, television, catalog, DVD, and magazine.  Copyright and other rights remain that of the artist.
 
Selection Process
Work will be selected from actual art.  Jurying will involve viewing the entries individually and making determinations on the basis on the work.

Juror
Branden Harrington III, noted Boston artist and all around cool guy.
The Biennial Project - a world-renowned artist collaborative.
Someone else - We are working out the details with a very, very important Boston Art Big Shot.
 
Drop Off, Notification and Pickup of Art Work
All entries will be juried from actual work dropped off at Spencer Lofts Gallery, ground floor, 60 Dudley St, Chelsea MA, Sunday and Monday Dec. 2-3 from noon to 6pm. Notification of acceptance will be posted on our blog by 5pm Wednesday Dec 5th. All art not accepted can be picked up at the gallery on December 15th from 3-6pm.
 
Fees
There is a non-refundable $25 entry fee for one submission per artist. Make checks payable to The Biennial Project, memo "The Boston Biennial." Sales are encouraged.  A 20% commission will be deducted to support the very important work of The Biennial Project.

Calendar
December 2-3 noon to 6pm            Drop off art work
December 5th                                   Notification of acceptance on our blog
December 15th from 3-6pm            Pick up of work not included
December 15th 6pm-9pm                Exhibition opening and award ceremony
Friday December 28th, 2-6 pm       Pick up all exhibited art work
    
Contact Information
The Biennial Project
80 Border Street
East Boston, MA 02128
617 913 1871
BostonBiennial2012@gmail.com

Here's an entertaining and instructional video with more info on entering the 2012 Boston Biennial:
 
THE2012BOSTONBIENNIAL
THE2012BOSTONBIENNIAL

 
 

 

Tags:

Our Biennials

Powered by BlogEngine.NET 2.8.0.0
Theme by Mads Kristensen