Categorie archief: Biënnale

ICONOCLASM: ‘The Extinction Of A Culture’

September 9 – October 9 : Spazio Thetis – Arsenale – Venice.

Pavilion 0 / GADhttps://pavilion0.net/

In the work, ‘ICONOCLASM: ‘The Extinction Of A Culture’, the audience is given the opportunity to throw stones at the heads of artists, musicians, architects, film makers, etc. All heads are equal, anonymously merged into the crowd. Yet there is a name tag under each head. On this name tag there is a name of one of the above mentioned creative minds. It is up to you, dear visitor, to throw a stone and participate in this artistic Iconoclasm.

Iconoclasm is the action of attacking or assertively rejecting cherished beliefs and institutions or established values and practices. Iconoclasm is most associated with religion. It heralded the beginning of Protestantism. But also in the Byzantine Empire there was already talk of Iconoclasm, even if this term was not used then. it literally means “image breaking” and refers to a recurring historical impulse to break or destroy images for religious or political reasons.
Some examples in recent history are the attack on the Twin Towers, the tearing down of the statue of Saddam Houssein, the destruction of the Berlin Wall and the end of the Soviet Union. The war in Ukraine is the result of the last example: the end of the Soviet Union. After the fall of the Berlin Wall, the USSR split into several countries. Control was no longer centralized and directed from Moscow. The West had won the Cold War. The Russians had to watch it with sorrow. Ex-Warsaw Pact countries were quickly annexed to NATO and the EU. This was a thorn in the side for the ex-KGB top of Russia.
The West promised Russia not to annex more countries. Yet they forgot about the fact that Ukraine, and other ex-Soviet countries, were actually tired of the way of life forced out of Moscow. The Ukrainians had seen their neighbor countries, including Poland with whom they
have a brotherly bond, making progress with help from the EU. The economic situation did not improve, they were tired of living in poverty and therefore wanted to join the EU. That was not at all to Putin’s liking. He considered this a threat to the sovereignty of Russia.
According to the West, Russia is signing its own death sentence by starting this war. Putin is said to be wiping out his own culture: ‘The Extinction Of A Culture’. The question is, of course, can you just erase a centuries-old culture? There is a big confusion here between culture and tradition: Culture can be defined as ideas, customs and social behavior of a particular people or society. Traditions can be defined ideas, beliefs that are passed down from one generation to another generation. Culture can be seen in a social group, while tradition can be reduced to a small group of people, for example a family. Culture is created by a particular social group of people, over a period of time. Traditions can be created by individuals. Russia has lived under a tradition of oppression since Stalin. In fact, this has nothing to do with the cultural identity of the country and the people. If we consider what a rich history Russia has in the field of art and culture, we can only conclude that this is an enormous patrimony. However fierce and brutal the dictatorial oppression was, somehow artists and intellectuals still managed to bring art and culture. They risk their lives for it.

We must also refer to the identity and origin of the artists. For example Malevich: He was born in Kiev, had The Russian nationality and also had Jewish-Polish blood running through his veins. The Soviets wanted to fully claim the cultural authenticity of the occupied countries. To finally erase the original identity. We can also refer to Eisenstein, the filmmaker. The man was born in Riga, Latvia, but his name suggests that he was actually of German descent.

Fear Industry

Taipei / Taiwan. 2020/11/14–2020/12/31

Museum of Modern Art, Taipei.

水谷藝術 Waley Art

waleyart  · Museum Modern Art Taipei – Taiwan.

Artists: Belu Simon Fainaru, Julia Kurek, Peter Puype, David Koronczi, Andrew Wasilewski, Thomas Wendland.

Concept: FEAR INDUSTRY. The title and poster are inspired by the work of Peter Puype. Fear has been one of the most effective tools for controlling people and entire societies. Fear of the facts. In becoming fact, it causes real actions, or lack of them, that push people into activity, or paralyze them physically and mentally.

* Work: ‘Communcation As Violece’ Video

Not For Sale / LICENSE / Hannover

‘Not For Sale’ is a part of LICENSE, Creating Fear As A Brand. This work is a critical remark on NGO’s as World Food Programme.

Kenyan economist James Shikwati says in an interview with Der Spiegel: “aid to Africa does more harm than good”.* According to him, the food aid increases corruption as local politicians have the opportunity to steal some of the aid to bribe voters or to sell the aid in the black markets killing the local agriculture.** He claims that the WFP people as an organization “are in the absurd situation of, on the one hand, being dedicated to the fight against hunger while, on the other hand, being faced with unemployment were hunger actually eliminated”. He suggests that WFP answers too easily to the calls of the corrupted governments, and supplies too much of food aid leading to reduction of the production of local farmers as “no one can compete with the UN’s World Food Programme”.  

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* SPIEGEL ONLINE; Hamburg; Germany (3 July 2005). “SPIEGEL Interview with African Economics Expert: “For God’s Sake, Please Stop the Aid!“. SPIEGEL ONLINE. Retrieved 17 May 2016.
** “Removed: news agency feed article”. the Guardian. Retrieved 17 May 2016.

Cairo Biennale 2018

‘license: creating fear as a brand. cairo / egypt :
this manipulation of the brain is reinforced by showing the ‘artwork’ (3 advertisement posters, arabic translation: ‘it’s the final countdown’ & ‘wealth in the west, chaos for the rest’) outside in the street and not in an art exposition room of the ‘something else’ / cairo biennale. a confusion arises, as the public sees these texts with a specific layout. the subconscious of the mind is also addressed here, because the public gets confused with this form of advertising, manipulation.

During the opening of the exposition, the Cairo Police took away the artworks.

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TRANSLATE

TRANSLATE (SOCIETY)

CC De Ververij / Ronse (2 februari – 4 maart)

Peter Puype / Daniël Dewaele

 

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De tentoonstelling confronteert de kijker met werken die betrekking hebben op contestatie, hooliganisme, frustratie, manipulatie, onvrede…

In hun werk benaderen beide kunstenaars deze maatschappelijke problemen bepaald niet op een ludieke manier (waardoor het protest zou worden afgevlakt, als grappig ervaren en aldus als “kunst” gelezen), maar houden ze er aan de onderwerpen duidelijk te benaderen, het protest afleesbaar te maken zonder daarom eenduidig en/of pamflettair te zijn.

Ongemak is wat de werken heeft gegenereerd: zowel wat maatschappelijke en ideologische fenomenen als evoluties in de wereld van de kunst betreft. Ongemak omtrent het toenemend liberalisme dat bepaalde kunstenaars in de schijnwerpers plaatst en andere de aandacht ontneemt. Een neoliberalisme dat zich weerspiegelt in het kunstenaarschap waarin succes getoetst wordt aan geldelijk gewin en statussymbool. In het discours van deze categorie kunstenaars valt amper kritiek te bespeuren. Ze zijn veeleer vertolkers van de gangbare codes die naar dit succes moeten leiden: de hogere treden van de maatschappelijke ladder en de egocentrische positie van de selfmade man. Alle pogingen die in de Romantiek ontstonden om de kunst te onttrekken aan de macht blijven dode letter. Kunst betekent voor velen nog altijd de verheerlijking van de macht. Wiens brood men eet diens woord men spreekt.

 

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Het werk van Dewaele en Puype gaat tegen deze stroming in.
Peter Puype maakt installaties en neemt heilige huisjes op de korrel. Soms zelfs door die letterlijk na te bouwen en te vernietigen. Of te laten vernietigen… Zijn beeldtaal is direct en trashy. Soms chaotisch en sterk verwant aan zijn eigen ervaringen en positie binnen het maatschappelijke veld. Voor de tentoonstelling TRANSLATE ontwierp hij 10 affiches die handelen over manipulatie, kwaadheid en verzet, straf en destabilisering. Daarnaast toont hij ook nog 4 video’s met “geweld” en “macht” als thema.

Dewaele’s werk is afstandelijker. Hij legt protesten vast. Of tenminste, tekens van protesten. Zo begon hij in 2005 met het fotograferen van zwarte vlaggen die her en der in het straatbeeld en in landschappelijke omgevingen opduiken. Zijn betrokkenheid bestaat erin die zaken onder de aandacht te brengen. In TRANSLATE toont hij dit vlaggenwerk of beter deze “Tekens van Onvrede”.
In het foyer presenteert hij op tafels een groot aantal taalinterventies in kranten en tijdschriften.

Dewaele’s oeuvre, dat uitgebreide fotoreeksen, teksten, video’s, documenten en interventies in het publiek domein bevat, ontwikkelde zich in de jaren zeventig. Het leunt aan bij het conceptualisme en de daaraan gerelateerde wetenschappelijke attitude. Puype is vormelijk vrijer, expressiever en agressiever. Deze twee posities vullen elkaar aan.

Wat beiden gemeen hebben is dat ze elk op hun authentieke manier de signalen vertalen die zich in de samenleving manifesteren.

De tentoonstelling TRANSLATE streeft dan ook een waarachtige dialoog na tussen twee oeuvres van twee geëngageerde kunstenaars van een verschillende generatie.

TURBULENCE / Biennale Odessa, Ukraine

http://2017.odesa-biennale.org.ua/

De Belgische kunstenaar Peter Puype is een virtuoos criticus van de moderne kapitalistische samenleving en zijn ondeugd: consumentisme, propaganda, media zijn slechts enkele van zijn vaste doelen.

Бельгийский художник Peter Puype – скандальный критик современного капиталистического общества и его пороков: консьюмеризм, пропаганда, власть медиа – вот лишь некоторые из его постоянных мишеней. 

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LICENSE: advertisement campaign

Establishing the brand, raising brand awareness, aggrandizing the rate of conversions/sales.

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Research: first step is to do a market research for the product to be advertised. One needs to find out the product demand, competitors, etc.
Know the target audience: one need to know who are going to buy the product and who should be targeted.
Setting the budget: the next step is to set the budget keeping in mind all the factors like media, presentations, paper works, etc which have a role in the process of advertising and the places where there is a need of funds.
Deciding a proper theme: the theme for the campaign has to be decided as in the colors to be used, the graphics should be similar or almost similar in all ads, the music and the voices to be used, the designing of the ads, the way the message will be delivered, the language to be used, jingles, etc.
Selection of media: the media or number of Medias selected should be the one which will reach the target customers.
Media scheduling: the scheduling has to be done accurately so that the ad will be visible or be read or be audible to the targeted customers at the right time.
Executing the campaign: finally the campaign has to be executed and then the feedback has to be noted.

 

LICENSE: creating fear as a brand.

The art project LICENSE® is questioning marketing and how the brain gets manipulated by commercials and product branding strategy.
There’s no such a big thing as FEAR in this contemporary society. Smart marketing campaings responding on the political, social and economical environment in which we are surrounded with.
The LICENSE® messages doesn’t bring a sparcle of hope. This is for most of the population difficult to swallow. All commercials we are confronted with are bringing us a ‘happy’ message, they fulfill our desires, to consume.
LICENSE® is itchy, irritating and crawles under your skin in it’s rawness. That makes LICENSE® unique. Since there is no such a thing on ‘the market’ nowadays.
The concept LICENSE® is an art project created by artist Peter Puype and is totally settled in his other art work.

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LICENSE® is using the biggest issue of this time: fear
LICENSE® is criticising the (art)market
LICENSE® is usuing Puype’s own slogans (see http://www.peterpuype.be)
LICENSE® is playing with the market, while it’s inside the market

 

Studio Peter Puype

We at ‘Studio Peter Puype’ are ready to challenge what the future holds.

atelier

“Nowadays, to say that we are clever animals is not to say something philosophical and pessimistic but something political and hopeful – namely, if we can work together, we can make ourselves into whatever we are clever and courageous enough to imagine ourselves becoming”.

Richard Rorty

“Human Rights, Rationality, and Sentimentality.” Truth and Progress: Philosophical Papers, Volume 3 (1998).

 

ICONOCLASM – Mediations Biënnale – Poznan – Poland.

An Iconoclast is someone who attacks and seeks to overthrow traditional or popular ideas or institutions. Mother Mary, the Holy Virgin, is in that sense a metaphor for the Westeren ideology. This work is not only an attack on the Christian Church, it’s symbolic attack on the West. On the vernisage of the group show ‘That’s All Folks’ (2010 / Bruges / Belgium / artists: Art and Language, Carlos Aires, John Isaacs, ) the visitors could throw stones to the plaster statues of the Holy Virgin. ‘Iconoclasm’ is now on view on the Mediations Biennale in Poznan, Poland.

The visitors who threw stones are unaware about the manipulation of the artist. It’s easy to play with the consciousness of the audience on an opening night of an exhibition. They just want to be a part of it and embody the artwork. A personification, as they have made it themselves. This is also the reason why some people want to pay so much money for an art work and how capitalism works. The same mechanisms of manipulation in ‘Iconoclasm’ is to be found in all religions.

Article in ‘Flash Art’: “The most intriguing highlights of the program include a show by Belgian artist Peter Puype”  http://www.flashartonline.com/2016/10/mediations-biennale-poznan/

Article in S Z U M: “Podejście kuratorów biennale do polityczności najlepiej oddaje instalacja Iconoclasm Petera Puype. Bazująca na prostej logice „daj się skusić i rozbij Maryjkę” religijna strzelnica operowała wymownym, ale łopatologicznym przekazem.”  http://magazynszum.pl/krytyka/poznanski-standard-5-mediations-biennale-fundamental

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