THE 12 TH ISTANBUL BIENNALE

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1 THE 12 TH ISTANBUL BIENNALE The Istanbul Biennale is rapidly becoming one of the most established international exhibitions of contemporary art alongside the revered Venice, Sao Paolo and Sydney Biennales. Initiated in 1987, the Istanbul Biennale strives to create a meeting point between artists and their audiences, exhibiting the work of renowned and emerging artists from Turkey, the region and the greater International sector. Under the guidance and direction of joint curators, Jens Hoffmann and Adriano Pedrosa, the 12 th Istanbul Biennale has taken a different turn by introducing a muse as the framework for the exhibition: Cuban American artist, Felix Gonzalez-Torres. The result is a poignant and eloquently subtle exhibition of international artists that has brought the Biennale ideal back to its origins of the exhibition and meaning of art. This essay will analyse each of the five sections within the Biennale, which echo specific works and themes by Gonzalez- Torres, in an effort to recognise this curatorial decision by Hoffmann and Pedrosa as a substantial and realised reference in the exhibitions. The Istanbul Biennale commenced in 1987 and in its relatively short history has attained a highly regarded reputation in the art world as a premier institution for the exhibition of international contemporary art. In past years, the Istanbul Biennale has exhibited works in several sites and buildings throughout the bi-continental city, however this year the entire exhibition resided in two adjacent former warehouses in Tophane on the edge of the Bosporus. The location, a mere minute s walk from the Istanbul Modern, is a convenient and unimposing structure that enables the audience to become immersed in the works exhibited inside. The interior of the buildings, known as Antrepo 3 and Antrepo 5, had the potential to be an overwhelming space with little direction for the audience to manoeuvre through the works. Japanese architect, Ryue Nishizawa has constructed a unique space that privileges the works in both the five group and 50 solo exhibitions, which negates this issue. His unobtrusive architectural design complements the minimalist undertones of many of the works in this year s Biennale and also brings to mind the highly theorised concept of the white cube complex. The spaces Nishizawa has created do not overwhelm the artworks; on the contrary they provide a platform for the artworks to be exhibited without conflict or hindrance from the surrounding spaces. This Biennale has enabled the artworks to stand alone, unimpeded by acts of grandeur and spectacle. The architectural design has aided the curators attempt to initiate a discourse between artwork and audience, much like the artistic practice of their muse. It is in this regard that the audience can begin to appreciate the subtle references to Gonzalez- Torres. In line with many of Gonzalez-Torres artworks, Hoffmann and Pedrosa titled the 2011 exhibition, Untitled (12 th Istanbul Biennial). According to the curators, this decision not only aptly reflects the practice of Gonzalez-Torres, but it also reflects their own ideals and aspirations for how they intended the exhibition to be publicly perceived. The curatorial duo is quoted as saying in the Biennale catalogue: 1

2 [It] is also a critique of how many biennials are titled these days in a manner so wide open and imprecise that the effect is to obscure rather than inform with respect to what the topic of the exhibition might be and the basis for the selection of artworks. 1 Hoffmann and Pedrosa outline that their motivation for taking this unique approach is to further comment on Gonzalez-Torres practice and the titling of his own works of art as Untitled with a description following immediately after in parentheses. In Gonzalez- Torres case, as with the curators of the Biennale, this method has been employed as a means of communicating the idea that meaning is always shifting in time and space. 2 The five categories within the Biennale follow the same format and are titled as follows: Untitled (Abstraction), Untitled (Ross), Untitled (Passport), Untitled (History) and Untitled (Death by Gun). Though absent from the exhibition, the five works which influenced each category are clearly evoked through the curators choice to title the exhibitions in this manner. The decision to create five different frameworks within the Biennale, which echo the life and work of Gonzalez-Torres, could have been a restrictive decision hindering the audience s interpretation of the works. It has, however worked to the curators advantage, by allowing for the open interpretation of many of the artworks, whilst providing a certain structure and flow to the exhibition as a whole. The division of the Biennale in this manner aptly reflects the inspiration for this international exhibition, and the themes Gonzales-Torres addressed in his works. These five categories manage to accomplish what the curators and their muse aspired to achieve by creating a public awareness for important political and social issues through an artistic and minimalist aesthetic. The concept for Untitled (Abstraction) comes from Gonzalez-Torres 1994 work, Untitled (Bloodwork Steady Decline). This section of the Biennale aims to reflect on Gonzalez-Torres method of taking a traditional artistic mode of practice and infusing it with themes and subjects excluded from its repertoire, particularly subjects relating to that of the quotidian. 3 In this work, Gonzalez-Torres has used the most basic and recurrent minimalist geometric form, but has weighted it with emotional and political significance, that the audience cannot help but contemplate a greater meaning than simply taking the face value of its form and structure. This is the work which shapes the downstairs group and solo exhibitions in Antrepo 5. In this section, the curators have managed to subvert minimalism by investing it with life and a deeper meaning. This is evident in the work of Mona Hatoum s Untitled (Hair Grid with Knots 6) (2003) [See Figure 1]. Hatoum s work depicts a simple geometrical grid, constructed by weaving human hair through paper. The curators have described Hatoum s work as a metonymical representation of the body. 4 Here, Hatoum has used a minimalist and abstract method for creating art, however has diverted its meaning away from the purely structural. Hatoum has injected 1 Jens Hoffmann & Adriano Pedrosa, The Companion, Untitled (12 th Istanbul Biennal), Istanbul Foundation for Culture and Arts, Istanbul, 2011, page 25 2 Ibid, page 25 3 Ibid, page 33 4 Ibid, page 37 2

3 life into the seemingly stagnant work, through the delicately intertwined strands of hair, which cause the viewer to stop and consider a deeper meaning. Perhaps the most poignant work of the Untitled (Abstraction) exhibition is 180 Seconds of Lasting Images by artists, Joana Hadjithomas and Khalil Joreige. In this work, the audience views what appears to be small tinted squares of paper compiled together on the wall, creating one larger square. Not until the viewer approaches the work is it made obvious that the tonal variations within the squares form faded silhouettes of people. This piece is loaded with emotional significance for the artists, and highlights the void that is created when family and loved ones go missing (such is the case for Joreige). The minimalist mosaic square offers much more to the viewer than simply a reading of structural formation. It enables the audience to read into greater possibilities of human emotion and the frailty of our existence. In addition, this work inadvertently draws connections with the culture of Istanbul, with similarities between the mosaic formation of the work and the decorative element of many Mosques throughout the city. A subtle but powerful work, it clearly resonates with the ideology of Gonzalez-Torres, and is evocatively transposed into the context of the Istanbul Biennale. Untitled (Ross) is both the title for the second group exhibition of the Istanbul Biennale and the work by Gonzalez-Torres, which acted as inspiration for the curators. Untitled (Ross) (1991) is one of Gonzalez-Torres famed candy works and is a commentary on the artist s personal life with his partner, Ross Laycock who succumbed to the AIDS virus in Hoffmann and Pedrosa explain that this section pays homage to the relationship and special bond shared between Ross and Gonzalez-Torres. They outline: Ross becomes an emblem of themes of gay love, relations, family, identity, desire, sexuality, and loss, all of which are addressed in different ways by the works in the show. 5 Though this section of the Biennale requires some background knowledge into the personal life of Gonzalez-Torres and what he endured with Ross, the end result is a wellexecuted compilation of artworks that come together to create a harmonious exhibition that clearly identifies with the practice of Gonzalez-Torres. The motif of the bed is a recurrent theme throughout this particular group exhibition. It acts as a symbol for relationships, family and love; all of which Gonzalez-Torres expressed in his works made specifically about his partner, Ross. The bed is also an identifiable motif used before in works by Gonzalez-Torres, specifically in the billboard he created of an empty bed following Ross death. A notable example in this exhibition can be identified in the work of Kutlug Ataman s Forever (2011) [See Figure 2]. This work consists of an actual bed that the artist shared in a past relationship, converted into a sculpture within the Biennale. Tammy Rae Carland s Lesbian Beds (2002) [See Figure 3] are another example of using the bed as a metaphor for the complexities of relationships and which strongly echo the work of Gonzalez-Torres. Though slightly more obscure to an uneducated audience, this group exhibition is perhaps the most directly linked with the artistic 5 Jens Hoffmann & Adriano Pedrosa, The Companion, Untitled (12 th Istanbul Biennal), Istanbul Foundation for Culture and Arts, Istanbul, 2011, page 49 3

4 practice of Gonzalez-Torres due to the delicate and affecting nature of the subject matter. According to Hoffmann and Pedrosa the Untitled (Passport) exhibition is a showcase of works, which revolve around subjects such as national identity, trespassing, mapping, statehood, economic migration, and political and cultural alienation. 6 These themes directly relate to and expand on the ideas presented in Gonzalez-Torres 1993 work, Unititled (Passport #II). Gonzalez-Torres plays with ideas of travel and flight in this work, however manages to communicate a deeper meaning by questioning ideas of personal and political freedom. The ideas raised within this exhibition at the Biennale are not only referential to the practice of Gonzalez-Torres, but they also manage to comment on an increasingly globalised society and the freedoms (more importantly the restrictions on certain freedoms), which are ultimately affixed to this ideology. The works in this particular group exhibition, and the surrounding solo exhibits clearly resonate with Gonzalez-Torres exploration of traversing borders and the beauty of expanding horizons. 7 Many of the works deal with shifting boundaries, such as Hank Willis Thomas installation A Place to Call Home (Africa-America) (2009) [See Figure 4]. This artwork plays with the idea of a reconfigured geographical global identity, which in turn poses an alternate historical narrative for African migration. Joaquin Torres Garcia also imaginatively tackles this subject by creating a new topographical order, inverting the American continents thereby making the South American continent the land of wealth and freedom. Baha Boukhari s My Father s Palestinian Nationality (2007) [See Figure 5] is a noteworthy example of the tribulations of identity and freedom within certain areas. This work is a collection of identity documents and passports, required for the artist s father to move freely in his own country. 8 This is an interesting work, which highlights issues of borders within borders and further explores themes initially raised by Gonzalez- Torres in his works in the early nineties. Evocative and insightful, Hoffmann and Pedrosa have managed to encapsulate the essence of Gonzales-Torres in a current and contemporary rendition of the themes originally raised in Untitled (Passport #II). Untitled (History) aims to explore the idea of historical narratives, and art s role in the writing of history. Hoffmann and Pedrosa have curated this group exhibition with inspiration drawn from Gonzalez-Torres work, Untitled (1988). Though not directly linked with the work as in other sections of the Biennale, this exhibition reflects Gonzalez-Torres methodology of constructing an historical narrative, which is evident in his work. Hoffmann and Pedrosa explain: Untitled (History) focuses on the writing of history, history s writing, and the history of writing. 9 6 Jens Hoffmann & Adriano Pedrosa, The Companion, Untitled (12 th Istanbul Biennal), Istanbul Foundation for Culture and Arts, Istanbul, 2011, page 56 7 Ibid, page 55 8 Ibid, page 59 9 Ibid, page 67 4

5 Many of the works in this group exhibition carry political undertones, with significance placed on the possibility of governmental interference and intervention concerning historical records and official documents. This is noted in the work of Johanna Calle s series of drawings, Version Oficial (2008), which consists of illegible handwritten transcripts of accounts issued by the Colombian government concerning the deaths of individuals. The artist has identified several inconsistencies within the documents, which questions the validity of it as an official historical record. The fleeting nature of time in relation to history is also addressed in this well designed group show. Taysir Batniji s Suspended Time (2006) [See Figure 6] conveys the subject of time, and the human desire to stop time from inevitably passing. It highlights the transient nature of time and emphasises that the past will become history. This work consists of an hourglass on its side, stopping time and creating an infinite symbol, which echoes Gonzalez-Torres Untitled (Perfect Lovers) (1991) [See Figure 7]. The ability to stop time is a concept that can be inextricably linked to Gonzalez-Torres practice, particularly with his works directly concerning Ross. The ability to appreciate and understand the ephemeral disposition of time is universal. It is this concept of time in relation to differing historical narratives that makes this particular exhibition widely accessible to a diverse audience, and is the inextricable link joining the two worlds of Gonzalez-Torres and the exhibition of contemporary artists at the Biennale. Finally, Untitled (Death by Gun) is titled after Gonzalez-Torres 1990 work of the same name. Gonzalez-Torres created the work, which is a horrific and confronting piece containing the images of 460 people killed in the span of one week throughout the United States at the hand of a firearm. This work, designed to raise awareness to gun violence in America, also has a strong contemporary significance with war and violence increasing on a global scale. Considering the saturation of violence in the media, the curators could have faced their audience being anesthetised to the shock value that Gonzalez-Torres had initially envisaged for his own work. The array of historical and contemporary works in this exhibition, however create a different effect, which draws the audience in and guides them from one death to the next. Many of the works in this exhibition take the literal meaning of the title, which can be viewed as slightly restrictive from an audience s interpretation and perception of the works; however as a whole, and considering the curatorial framework of the Biennale, works to the advantage of the overall exhibition and adequately reflects the practice of Gonzalez-Torres. The audience s inability to escape from the macabre images and representations of death by guns is effectual, with memorable works by Eddie Adams and Weegee, which brazenly paint the reality of gun violence, captured eternally through the harsh reality of the medium of photography. In an alluring attempt to entice the audience, what appears to be a glistening installation of gold tinted objects are in fact the remnants of destruction in Kris Martin s Obussen II (2010) [See Figure 8], consisting of more than 700 empty Howitzer shells from World War I. Hoffmann and Pedrosa explain that these shells, 5

6 positioned in an aesthetically appealing manner, symbolise wartime casualties. 10 Untitled (Death by Gun) is a confronting group exhibition within the Biennale. The organisation of the works in the space and the overall execution of the group exhibition create a substantial and poetically realised reference to the work and artistic practice of Gonzalez- Torres, whose ambition was to emphasise the importance of ceasing the use of guns in conflict. Untitled (12 th Istanbul Biennale) has managed to circumvent the in vogue universal theme, which many contemporary Biennales have been known to adopt, in favour of a more subtle and poignant approach. Jens Hoffmann and Adriano Pedrosa have curated a monumental international Biennale that has attempted to reignite the connection between audience and artwork. By using the life and work of the late Felix Gonzalez- Torres as a Biennale muse, the curatorial duo has created an exhibition that is infused with emotion. The scaled back nature of this year s Biennale not only comments on the grandeur of many contemporary Biennales, but it also echoes the practice of Gonzalez- Torres, whose works always carried with it a subtle, understated significance and elegance. The five uniquely and beautifully curated exhibitions within the Biennale create a framework, which the audience can interpret and understand in relation to Gonzalez- Torres. The execution of the curators ideas is readily identified throughout the Biennale, with each group exhibition starting with a solid foundation through specific reference to a particular work by Gonzalez-Torres. Through these five exhibitions, the curators have managed to simultaneously construct a poetic and cohesive narrative whilst showcasing contemporary international artistic talent. It can therefore be ascertained that the references made to Felix Gonzalez-Torres throughout the separate exhibitions, which unified form the 12 th Istanbul Biennale, are most certainly substantial, and are expertly realised by curators, Jens Hoffmann and Adriano Pedrosa. Emily Sinclair Jens Hoffmann & Adriano Pedrosa, The Companion, Untitled (12 th Istanbul Biennal), Istanbul Foundation for Culture and Arts, Istanbul, 2011, page 77 6

7 Bibliography: Biennal Foundation, Istanbul Foundation for Culture and Arts, 2011, available at: Accessed 5/12/11 Fowler, Susanne, A Secretive and Simplified Istanbul Biennal, The New York Times, 14 th September 2011, Available at: Accessed: 4/12/11 Gibbons, Fiachra, 10 of the best exhibitions at the Istanbul Biennial, The Guardian, Wednesday 21 st September, 2011, Available at: Accessed 6/12/11 Hoffmann, Jens & Pedrosa, Adriano, The Companion, Untitled (12 th Istanbul Biennal), Istanbul Foundation for Culture and Arts, Istanbul, 2011 Milliard, Coline, The Istanbul Biennial Reinvigorates the Big International Art Festival by Thinking Small, ArtInfo, 20 th September 2011, Available at: Accessed 30/11/11 7

8 Appendix 11 Figure 1 Mona Hatoum Untitled (Hair Grid with Knots 6) (2003) Figure 2 Kutlug Ataman Forever (2011) Figure 3 Tammy Rae Carland Lesbian Beds (2002) 11 Images in Appendix are author s own. 8

9 Figure 4 Hank Willis Thomas A Place to Call Home (Africa-America) (2009) Figure 5 Baha Boukhari My Nationality (2007) Father s Palestinian Figure 6 Taysir Batniji Suspended Time (2006) 9

10 Figure 7 Felix Gonzalez-Torres Untitled (Perfect Lovers) (1991) Figure 8 Kris Martin Obussen II (2010) 10