VENICE VENDING MACHINE 9 in association with Venice Agendas
Deadline: 12/11/2019
Application fee: NONE
CALL OUT FOR ARTISTS - INTERNATIONAL OPPORTUNITY
THE VENICE VENDING MACHINE 9
ART-E-MOTION IN ASSOCIATION WITH
VENICE AGENDAS 2019
Venice Agendas creates a critical international platform for debate with informed institutions, artists, critics, audiences from around the world. The project was founded by Bill Furlong and Mel Gooding and has featured at every Venice Biennale since 1999. Agendas grew out of audio arts, which began in 1973, the audio arts archive is now located at the Tate.
Since 2011, workinprogress, Clare Fitzpatrick and Terry Smith with Mark Segal have continued the series of topical, intelligent and informative discussions, talks, debates, events and artist commissions. Mel Gooding and Bill Furlong along with Vittorio Urbani of Nuova Icona continue to support and mentor the project.
THE VENICE VENDING MACHINE 9 "MERCATUS LIBER - FREE MARKET”
WILL TAKE PLACE AT HAMILTON HOUSE BRISTOL
22 NOVEMBER TO 24 NOVEMBER 2019
COINCIDING WITH THE CLOSE OF THE VENICE BIENNALE & IN ASSOCIATION WITH VENICE AGENDAS
DEADLINE FOR DELIVERY OF WORK MIDNIGHT 12TH OF NOVEMBER 2019
Artists are invited to create and submit 2 small pieces of work around the idea:
“MERCATUS LIBER – FREE MARKET”
The work, in any media, maximum dimension 8.8 cm diagonally will be packaged with the artists’ name and contact details in a 100mm transparent plastic sphere. This can include: Painting, Drawing, Sculpture, Photography, mini-Installation, Video in the form of memory stick & less than 3 minutes long. Musicians, Poets and Writers are also encouraged to collaborate with Visual Artists to present their works ensemble in a visual form.
The works will be placed in the Venice Vending Machine and will be available through random selection ONLY by engaging in a conversation with the curator of the machine who will actively promote the artists.
ARTISTS ARE ASKED TO ENTER 2 PIECES OF WORK. ARTWORK CAN BE EITHER ORIGINALS, MULTIPLES OR LIMITED EDITIONS.
The question “HOW DO YOU VALUE ART?” has been central to the Venice Vending Machine since its inception.
Please respond with your artwork to the following: What does the word “MARKET” suggest to you?
In a society where the art market is controlled by economic, political and social mechanisms influenced by capitalistic ventures, where does the artist stand, what is your aim in making art, what inspires you?
How do you perceive the idea of an art market? Is it a place that defines the opportunity for work, trade, is it transactional? Or, is it a forum, a piazza, a meeting point, where ideas, hopes, aspirations and dialogue are exchanged?
What makes you persevere with your work in such a harsh and competitive environment where life and risk run parallel to delivering an expression of the self or a new perspective of an ideal, a glimpse of who we are, a perception of a different reality?
• Are there new ways in which we can work as artists?
• Can art serve as a catalyst beckoning a new way forward?
• Can we think of new contexts where art can be appreciated for its genuine intrinsic value?
• Can we work together to inspire and support each other?
THE VENICE VENDING MACHINE 9 MERCATUS LIBER – FREE MARKET
www.venicevendingmachine.com
VENICE AGENDAS 2019 THE MARKET
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ART-E-MOTION, a Tate Exchange Associate member will transport & install the work, produce an online catalogue, market, promote & curate the participant artists.
The Venice Vending Machine project is a “collaborative, participatory, inclusive live art public installation”, conceived by Venetian artist Marina Moreno, and managed by ART-E-MOTION. Its aim is to question the role and the value of Art in our society, whilst aiming to promote emerging artists alongside some famous and established ones. It creates an intriguing game for the participants who feel compelled to enjoin and involve themselves in a dialogue with the artist Marina Moreno.
Since the first Venice Vending Machine installation in 2011, it has involved over 600 artists from every continent and arts field throughout the world and has attracted professionals such as curators, art historians and art collectors while extending the possibility of an encounter with people that normally would not be interested in “Art”.
VVM is a serious reflection on the dynamics of the market and the function of the gallery, whilst reestablishing for a moment the freedom of the use of art in its function of displacement, surprise and subversion of pre-established rules.
It is totally different from the other automatic art distributors because VVM is not a selling mechanism or a visualization of art works but it is a participatory experience of open dialogue on the value of art. Here, instead of paying to receive a commercial product, people are invited to negotiate with Marina on the value of art in order to acquire a small art work hidden in a recyclable small plastic ball dispensed at random by the automatic machine. They will never know which of the numerous art works will be acquired until the transaction is completed.
The Venice Vending Machine has travelled and been channeled through the performance of Marina Moreno at sites including the Venice Biennale, Tate Exchange Liverpool, Yan Huang Art Museum Beijing, Altonale Festival Hamburg, Art Hostel Leeds.
THE VENICE VENDING MACHINE 9
WILL TAKE PLACE AT
HAMILTON HOUSE BRISTOL
22 NOVEMBER TO 24 NOVEMBER 2019
DEADLINE FOR DELIVERY OF WORK MIDNIGHT 12TH OF NOVEMBER 2019
For further information visit:
www.venicevendingmachine.com or email to: contact@venicevendingmachine.com
Facebook @marina.moreno.7374 @venicevendingmachine
Instagram @marinamorenoartist @venicevendingmachine
Twitter @MachineVenice @artemotionco
Marina Moreno: cell +44 (0)7453278283
Facebook @VeniceAgendas
Instagram @veniceagendasartists @VeniceAgendas #va19themarket #va19_workinprogress
Twitter @Venice_Agendas
La naturale potenza di questa opera è nella maestria dell’uso delle immagini. Rä Di Martino è regista di una storia che coinvolge senza storia, e come in ogni film ci fa innamorare di uno dei personaggi, che appaiono per pochi secondi ma che in quel breve lasso di tempo dicono tutto di loro. Chi ha visto il video, sicuramente avrà il ricordo più forte per una delle creature, facendola diventare il proprio protagonista.
Ma oggi, e in particolare in questi giorni, gli spazi del Mattatoio sono tirati a lucido, o meglio sono proprio luccicanti: è in corso digitalive 2019 (seconda edizione del Festival che ha preso l’eredità di ciò che è stato digitalife) e l’arte che si fa tecnologica si mostra nel suo bagliore, a cominciare dall’installazione di Pascale Martine Tayou che mi mette davanti a una verità luminosa: l’ingresso è aperto e sono invitato ad entrare! Ovviamente fatto con una serie di insegne luminose (luccicanti) che l’artista ha raggruppato nel suo girare in tutto il modo.
O ancora la suggestione della società ipermediata, della tecnologia che si mostra nella sua bellezza: Umeda e Ultravioletto intrattengono con due differenti danze, la prima spettacolare per la despazializzazione che avviene non per mezzo del corpo ma per delle proiezioni che rendono visibile il concetto di virtuale, un corpo che sinuosamente danza in uno spazio destrutturato da molecole virtuali; la seconda che mostra le potenzialità di cinque bracci meccanici che danzano (benissimo fra l’altro) sulla base di una musica generativa (quella creata sul momento da un algoritmo, credo). Decisamente godibilissime entrambe.
Esco dal Mattatoio e mi lascio alle spalle le suggestioni, le luci, i rumori, i suoni, le danze degli eventi. Non riesco però a scrollarmi la sensazione di disagio di questi ultimi tre eventi di cui ho parlato. È un disagio salutare, è un disagio che mi mette di fronte al mondo e alle sue contraddizioni, al mio dover prendere una posizione perché i tempi sono feroci e l’eccesso di individualismo annulla proprio il mio essere individuo che sceglie di fare parte di una comunità. Mi accendo la solita sigaretta e ripenso a Fassbinder e alla sua capacità di perturbare il suo pubblico, senza suggestionarlo.
