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土耳其伊斯坦堡双年展

International Istanbul Biennial

创始于1987年，它以宣扬国际多元文化发展方向，以促进各文化及国际艺术家、艺评家、研究策划者、文化机构之间以及所有与艺术有关人士的交流。是以第一届（1987）的国际艺术展即邀请国际名艺术家Marcus Lupertz, Michaelangelo, Pastoletto, Gilberto Zorio等蜚声国际的艺术名将。参展作品国内部分来自土耳其艺术家、画廊及收藏家，国外部分则为奥大利、瑞士、波兰、南斯拉夫等国。到目前为止，已历经五届双年展。由于该基金会为非营利事业，展出经费皆由参与国分摊。

第九届伊斯坦堡双年展 [2005.916-10.30]

The 9 th International İstanbul Biennial, one of the most significant contemporary art events in the world, will take place from 16 September to 30 October 2005. The "Biennial Pass" tickets provide unlimited access to the seven exhibition venues in Beyoğlu, Şişhane, Tophane and Karaköy during the biennial.

 

International İstanbul Biennial The International İstanbul Biennial is a forum for artists and audiences of diverse backgrounds to come together and communicate through the visual arts. Since 1987, the International İstanbul Biennial has drawn together a host of artists, curators and critics from around the world to meet within the Turkish artistic sphere. The 1st International İstanbul Biennial, was held in 1987. Directed by Beral Madra, it hosted world-renowned artists such as Jean Michel Alberola, Marcus Lüpertz, François Morellet, Michelangelo Pistoletto and Gilberto Zorio. This first Biennial was also honored by a number of special exhibitions from Austrian, Swiss, Polish and Yugoslav artists, and included a number of Turkish artists, galleries and collectors as well. The 2nd International İstanbul Biennial was soon to follow. Once again directed by Beral Madra, its theme was "Contemporary Art in Traditional Venues." Some major names among the participants were Sol LeWitt, Sarkis, Daniel Buren, Richard Long, Jannis Kounellis and Anne and Patrick Poirer. In this second Biennial, the artists displayed their creativitiy in venues ranging from the Hagia Eirene Museum to the Byzantine "Yerebatan" Cistern, as well as a section of the Suleymaniye Mosque. Meanwhile, there were exhibition groups comprised of German, Austrian, Italian, Spanish, Yugoslav, Greek, Russian and Turkish artists. Some İstanbul art galleries also contributed to the biennial event, organizing special exhibitions on their own premises. Producing Cultural Difference Vasıf Kortun was the curator of the 3rd International İstanbul Biennial in 1992, which assembled works around a theme of "Producing Cultural Difference." The 3rd Biennial became a platform where a series of races, ethnic identities and genders were represented, alternative approaches to history were shared, and the great effort invested in "Low Culture" was discussed. But that was not all. More importantly, the biennial revolved around the works themselves and the ideas that they conveyed. The venue for the 3rd Biennial was a 19th Century Textile Plant - the Feshane Building - where 65 artists from fifteen countries presented their works. In 1995, the 4th International İstanbul Biennial was directed by René Block. The guiding concept behind this year's event was "ORIENT/ATION, The Image of Art in a World of Paradoxes". However, the choice of artists was based on something deeper: Most of the artists invited to participate resided outside their home countries. 119 artists from 47 countries exhibited their works at Antrepo I, the Hagia Eirene Museum and the Byzantine "Yerebatan" Cistern, and once again transformed the city of İstanbul into a focal point for art lovers around the globe. In 1997, the 5th International İstanbul Biennial focused on the theme "On Life, Beauty, Translations / Transfers and Other Difficulties." The curator was Rosa Martínez. The main venue of the 5th Biennial was the Imperial Mint Complex in Topkapi Palace, with other works displayed at a variety of locations including the Hagia Eirene Museum, the Byzantine "Yerebatan" Cistern, and the Women's Library and Information Center. Atatürk Airport, the Haydarpaşa and Sirkeci Train Stations and the Maiden's Tower on the Bosphorus were among the other interesting settings for the artists' exhibitions. 86 artists from 45 countries, along with many curators, critics and art experts attended the 5th Biennial. Passion and Wave The curator of the 6th International İstanbul Biennial was Paolo Colombo. The event lasted from September 17 to October 30, 1999. Originally, the focus of the works was to be "Passion and Wave." However, in the aftermath of the terrible earthquake that devastated the Marmara Sea region on August 17, 1999, the İstanbul Foundation for Culture and Arts decided to shift the entire focus of the exhibition to practical aid to the survivors of the catastrophe. It was hoped that such efforts would contribute to the reconstruction and development efforts needed in the areas struck by the earthquake. The "Passion and Wave" concept underlined the significance of personal histories and of investing in emotions in our modern world. At the same time, it held a mirror to our times, reflecting the rapid changes that have come to define our worldly experience: technological advances, cultural clashes and the blurring of borders. The biennial took the emotional pulse of art through extremely individual works that were closely connected with the images that have set the artistic panorama of our day. The 1999 Biennial was honored by 56 artists from 32 countries. EGOFUGAL... Yuko Hasegawa was the curator of the 7th International İstanbul Biennial, with the theme "EGOFUGAL: Fugue from Ego for the Next Emergence". The biennial ran from September 22 to November 17, 2001. 63 artists from 22 countries displayed their works at the Hagia Eirene Museum, the Imperial Mint Complex, the Byzantine "Yerebatan" Cistern and the Beylerbeyi Palace. The event drew around 68,000 visitors. There were four open discussions titled according to the Biennial's central concepts: "Co-Existence," "Collective Consciousness," "Collective Intelligence" and "Common Dependency". Five of the participating artists were presented the UNESCO Award for the Promotion of the Arts, one whom was Turkish artist Ömer Ali Kazma. Dan Cameron was the curator of the 8th International İstanbul Biennial, held between September 20 and November 16, 2003. Based on the concept of "Poetic Justice", the Biennial welcomed 85 artists from 42 countries. In addition to the traditional venues, this biennial carried art into the heart of life on the streets through several "public space projects" on display at various locations around the city. The 8th İstanbul Biennial was well covered in the foreign press, and this gained the İstanbul Biennial recognition as one of the foremost artistic events in all of Europe. The 9th International İstanbul Biennial will be open from September 16 to October 30, 2005. In connection with the Biennial event, there will be a series of "9-B Talks" throughout the year.

　　在伊斯坦布尔这个城市举办的任何国际艺术活动都注定要将这个城市本身作为一个重要的参考点；自从八十年代晚期举办第一届国际伊斯坦布尔双年展以来，历届国际艺术盛事均把该城市作为其"获奖辅助因素"。伊斯坦布尔一直担任着主角，这既富于挑战性又回报丰厚；若把它比作一位正在变老的妇人并不足为奇："红颜已逝，风韵犹存"。我们如此这般描述那些被岁月消损了容颜，但仍然可辨当年美貌的妇人。这个城市具有丰富的传统，青春的心脏，及后天获得的"现代感"－它正从伊斯坦布尔摇摇欲坠的城墙后面冉冉升起——实际上，这个城市对于现代感很陌生，但却包含着这个陌生的东西。而这个城市注定要承担的绝不只是历史。伊斯坦布尔有一千多万人口，是商业、金融、媒体、旅游、文化和艺术的腹地，是土尔其的一颗明珠，没有任何法律能够阻止每年增加几个的摩天大楼侵入她的灵魂，没有任何政府行政机构能够对抗都市化、人口膨胀、腐败和污染带来的结果。在心脏病发作中蹒跚而行的伊斯坦布尔每天都更艰难地将自己跻身于现代化世界的一部分；在土尔其，它等同于西方的"特大都市"。

　　 记得R.D. Laing （兰恩）在另外一种情形中曾说过：无论你是当地人或外国人，在与伊斯坦布尔的关系中，很重要的一点是，我们不要去"狩猎一只其足迹只存在于猎手心中的兔子"。现在回顾以往在这里举办的六届双年展，伊斯坦布尔的魅力一直是艺术展的支柱，是的。但我一直在说，今天人们感兴趣的只会是伊斯坦布尔从研究东方专家们的幻想中游离了多远，而其现实状况与世界上任何其它国际化都市相比又是如何。正是这种令人猜测的、意想不到的因素或含义使它吸引着策展人、艺术家和作家的兴趣：它将自身作为一种象征出借，令人们的内心沉湎于漫无边际的各种臆想中。

　　近年来，"艺术界"似乎更热衷于参观其它地区的双年展，因为那些地区已不再只是一个"香料市场"。但这取决于那些地区的双年展如何"准备宴席"。我认为，与周边地区类似的双年展比较，伊斯坦布尔是独特的，这源于它能够仅仅通过其富于历史性的过去和历史遗迹来影响策展人——因而是这个城市，而不是双年展，秘而不宣地取代了主角位置。不过伊斯坦布尔的另外一个独特之处在于它的确有望成为一个可供选择的"中心"，最实际的原因是它在地理位置上确实局中。另一柄悬挂在周边地区双年展上的达摩克利斯剑是一种风险，Gerardo Mosquera在谈及哈瓦那双年展时曾提到：成为来自各中心的艺术批评家和策展人的商店橱窗，作为"第三世界"艺术人才的侦察力量。不过应当说，虽然由于伊斯坦布尔双年展，土尔其艺术家比以往任何时候都有机会结识更多来自各中心的批评家和策展人，但双年展本身并没有转向推介大量的土尔其艺术家。伊斯坦布尔双年展实际上已成为一个艺术活动场所，它不仅将年轻的或不知名的艺术家介绍给世界，也介绍给土尔其的艺术界。

　　首届伊斯坦布尔双年展举办于1987年，并成为土尔其共和国历史上最引人注目的艺术盛事。此前的一年，土尔其实际上已经举办了其首届国际双年展，即在安卡拉举办的国际亚欧艺术双年展，但此次展出却一败涂地，原因是当时的国家首脑认为其中的一些艺术作品有些淫秽，取消了其参展资格。是年土尔其正申请成为欧盟的正式成员国。这一事件必将收入有关土尔其不认同西方的论述中，但它被视为通往欧洲的必经仪式。

　　在土尔其举办的第一届和第二届伊斯坦布尔双年展（1989年）最重要的一个方面是，很多本地的当代艺术家第一次汇聚一堂（虽然是在城市的不同场所），展示土尔其艺术和文化的最新动态。最初的两个双年展为现代和当代艺术博物馆（和其它机构）带来了土尔其迫切需要的前景和希望。从这一点看，正如艺术展目录中所声称的，土尔其在举办第一届国际艺术双年展方面并没有"过分滞后"。已经过分滞后的都是其它的问题――网络－－它能够使当地艺术界了解并利用一个国际双年展的潜力。八十年代的土尔其正处于经济和政治的历史转折点，但是要在所有领域实现迅速和积极的改变，说起来容易，做起来难。 我们仍然缺乏一个能够改变这个地区艺术面目的网络。其结果是，"伊斯坦布尔双年展"承担着人们对艺术的很多期望，而这些期望通常是由一个国家艺术界的其它机构共同承担的。如果没有"伊斯坦布尔双年展"的主办单位，"伊斯坦布尔文化与艺术基金会"的努力和能力，这个艺术展可能已经消亡了。"伊斯坦布尔文化与艺术基金会"一直充当着土尔其非官方的"文化部"，引领伊斯坦布尔步入世界文化之都的行列。自七十年代早期，该基金会就一直在主办各种文化活动。现在这些活动已走向成熟，划分为音乐、爵士乐、戏剧、电影和艺术五类丰富的艺术节。如果你碰巧从整个春季到秋季都呆在伊斯坦布尔，那么你不仅可以饱览其历史遗产，而且还可尽享丰富多彩、琳琅满目的国际和最新的艺术作品。"伊斯坦布尔双年展"之所以崭露头角，也正是源于此。

　　第三届双年展于1992年举办。由于海湾战争，比计划延迟了一年。在这届艺术展中，探索了一种新的方式。新上任的艺术总监Vasif Kortun被指定负责艺术展中土尔其的一部分，并协调艺术展其它国家的展出工作，这包括15个不同的国家，分别由每个国家的策展人挑选的艺术家来代表。主要的变化是展览并不是零散地分布在城市的历史遗迹上展出，而是集中在一个空间，这里有望成为土尔其的第一个当代艺术博物馆。它被称为"大伊斯坦布尔直辖市Nejat F. Eczacibasi 艺术博物馆"，是从座落在金角湾的一个旧纺织厂改建而成的。然而，由于与市政当局意见相左，没有将它保留为博物馆，在双年展后几乎被荒废了。具有讽刺意义的是，这个差一点成为伊斯坦布尔当代艺术博物馆的地方，现在竟然变成一个旨在复苏土尔其传统的集市。

　　在某些方面，如教堂、蓄水池等的使用，伊斯坦布尔双年展在结构上仍然与过去类似，这也是因为在城市中还没有大型的、适合的场地来举办这类大型活动。在其它方面，如策展人和主题系统，及当地艺术家人数的减少，这一届双年展则呈现全然不同的特点。另外一个重要的变化是，赞助商数量激增。最初的两届双年展只有寥寥几个个人提供资助，其低预算也无法与其它的世界双年展相比，而最近的双年展，正如Beral Madra所说，已成了土尔其私营业界的广告牌。有一项免税法吸引着私营业主，但是对视觉艺术的赞助尚嫌不够。

　　在头三届双年展后，双年展又一次被延迟，接连两年中，几乎成了三年一度的展览。看来，除了保持前行的步伐，钱、资源和专有技术仍然欠缺。1995年举办的第四届双年展有了一个突破：这届展览由蜚声世界的勒内。布洛克负责主办。双年展有了一个新的总监，Fulya Erdemci及一批勤恳敬业的年轻队伍。

　　勒内布洛克的主导思想是把伊斯坦布尔当作一个讲席班，而把双年展视为一种研讨会。布洛克清楚地意识到，那种遵循民族表现原则的古典的、19世纪的双年展的丧钟早已敲响。布洛克的双年展着眼于将城市作为一个拥有不同风格的万花筒，它注定要在某一点上需要给自身定位：首先对自身的特点定位，然后对自身在世界上的位置加以定位。他的主题"定位"。"矛盾世界中的视觉艺术"是对这种态度的一个公开声明：定向的观念将被放到桌面上，将对定位及其含义进行讨论，将通过艺术成品对被称为全球化的矛盾世界进行质疑。

　　2001年举办的下一届伊斯坦布尔双年展将由Yuko Hasegawa总体负责，他认为20世纪的目标是"颂扬和捍卫个体和人类的权利及本体的概念"，而21世纪的主题则是建立在如何从自我和个体中挣脱出来的基础上。她说，亚洲由来已久就拥有的形形色色的和复杂的时间观念应当引入到艺术的讨论中，因此，人们猜测伊斯坦布尔可能会再次把自身作为一种象征出借，其自身具有变化无常而又永恒的素质。

　　土尔其既没有一个现代艺术博物馆，也没有一个当代艺术博物馆。支持当代艺术的文化机构寥寥无几，在这个庞大的城市中，仅有极少的空间用于我们这个时代艺术的展览场所。地区的赞助商对赞助音乐的兴趣日益浓厚，但当代艺术家仍然很难说服私营业界对视觉艺术提供赞助。没有严肃的、最新的杂志或艺术期刊对这个国家的当代艺术产品进行评价，或者为观众提供世界艺术的动态。艺术学校在性质上仍然很传统；大多数学习艺术或艺术史的学生对目前的艺术进展，或对整个20世纪的艺术不了解。在土尔其只有一两个有经验的艺术馆长（策展人），可能只有十来个撰写艺术文章的人。没有专门出版艺术书籍的出版商，许多有关艺术史、艺术理论和批评的基础课文仍然需要翻译。国家对艺术的支持大约为总预算的百分之零点五。收藏绘画和雕塑的国家博物馆的状况令人堪忧，国家美术馆的情况更糟糕。