First Venice Biennale Bogotá / 1995 < EXCLUSIÓN / INCLUSIÓN >
What is below, so above THE UNITED KINGDOM / COUNTRY GUEST OF HONOR
Bogota - London - Liverpool - Cardiff
CALL 2006 Opening: November 2005
Closed: September 15, 2006 intro
The universality of the local and local gray skies universalized
on both sides of the ocean, leaden rain, looks elusive.
brick Victorian home color color blood and bone windows
metal lattice windows and doors with flimsy chains
images to words and exceed the needs of their respective owners
Several races, many faiths, a port, a home We
to cross the sea with his hands, and looks with a smile
is time to open eyes and to address new ships.
not use only your mouth, use your hands also.
Good wind and good Tues Justification The Venice Biennale is done because it is considered of great importance through artistic expressions, develop educational processes and from the community. It is also expected to provide the district symbolic-cultural spaces where they can develop the potential cultural expressions and practices that have been simmering inside. Basic Objective
The Venice Biennale seeks to explore ways of approaching art and the Venice neighborhood of Bogotá, with articulated learning strategies within the context of the community. When we speak of education in the context of the Biennale, is understood as a space where they circulate and confront different knowledge about art, its role, their audiences. The Biennial aims to support the search for the community to transform their lifestyles, exploring new elements to her interpretation of everyday life, new standards for reading and experience their relationship with urban space, the neighborhood and themselves.
This Biennial seeks to contribute to efforts that have been made from different social sectors, public, professionals and academics to mobilize new concepts and practices of community. For artists this means a different commitment to the results of his work, since the proposed biennial search for "other" solutions, conditions and fields of action for their projects in a unique setting: the neighborhood. Review
The Venice Biennale Bogotá began in 1995. Given the impossibility of young artists to access important rooms worldwide, the group "Matraca" composed of students of Fine Arts, National University of Colombia, decided to open his own place in the Venice neighborhood, an area popular Bogota DC With broad community support is done well the first Venice Biennale. Today this group has evolved, securing new members thanks to his becoming multidisciplinary Tai / The Art Incubator ", a program that seeks to create leaders that efforts multi-purpose events and nomads, as well as strategies of merger-interaction between art, design, architecture and contemporary cultural management.
In the first version made use of the image and concept of the Venice Biennale in Italy, as part of our own culture. The Biennial is then initiated a work around regarding appropriation of universal and at the same time, ratification of our own local culture.
The Second Venice Biennial of Bogotá, DC continued this strategy refers to the Venice Biennale in Italy, but the projects, their content and their audiences were different. While the Venice Biennale Italy is directed to a social elite and international plastic, the Second Venice Biennale of Bogotá was the result of an administration that sought to reduce the distance between a neighborhood community and popular art forms. This approach was developed in two ways. On the one hand, the community approached the artistic expressions that had been provided outside or closed.
In addition, twenty of the most outstanding artists of the country came to a specific sector of our city to interpret the local reality and back to the community these impressions as artistic expressions.
The Venice Biennale will always focus on interaction between art and community art projects should draw on the social, economic and cultural reality of our Venice. View
extend this review in:
www.labienaldeveneciadebogota.com
www.bienal-venice-bogota.blogspot.com
The call The call for the sixth edition of the BVB is addressed to all those national and foreign artists of any age or training to carry out projects based on their approach to the Venice area and its inhabitants.
The theme for the sixth version This time the guest of honor will be The United Kingdom (Wales particularly), and the focus of the call is exclusion / inclusion, taking into account the recent activities of the Biennial and its working group TAI / The Art Incubator which was invited to the City Liverpool, to transcribe the exercise of Venice in Kensington, an area of \u200b\u200bLiverpool with similar characteristics to the Venice neighborhood in Bogota. The intention was and will present strategies, solutions or indications that address the concepts of exclusion / inclusion as a tool for coordinating minorities to new contexts, as a strategy of coexistence or simply the exchange of knowledge and experiences may qualify in some way, tolerance, community well-being and teamwork.
Project Profile invited to participate • Projects, routes and plays that involve the active participation of the community
• Projects, courses and works whose scope is the public space
• Projects, courses and work Travellers that can be applied to the context of the Biennial
• Projects, courses and works to promote the optimization of public space
• Projects, courses and works that qualify the quality of community life
• Projects, courses and work-centered new audiences and new audiences
• Projects, courses and works that suggest new links with the community teaching
• Projects, courses and works to promote the conservation of intangible heritage.
Guidelines for participation Venice Biennale VI
BOGOTA (The United Kingdom's guest of Honor) National Artists
1. There will be an invitation to all artists emerging artists, professional artists and local artists in Bogota, Colombia and Latin America, and this time the UK as a country Guest of Honour 2005.
2. The artists must send their proposals via the Internet with a written copy of the e-mail until the day bienalveneciabogota@gmail.com Biennial September 15, 2006.
3. Of all the proposals, the curatorial committee will select a maximum of 13 projects that form the Venice Biennale VI Bogota. If projects do not meet the requirements stipulated, the jury may choose a number less than 13 projects, if so may increase the number of participants.
4. The Venice Biennale VI Bogota will be subject, and will involve artists from other areas of arts and humanities, as well as professionals from other disciplines such as writers, filmmakers, musicians, publishers, architects, etc, who after learning the district, presented a project from concept < Exclusión / Inclusión > within the broader spectrum of possibilities both conceptual formal.
5. The criteria for evaluating proposals are: a.
Interaction of the work with the community of Venice. It looks that the proposals arising from the knowledge, interaction and experience of artists in Venice neighborhood. B.
Interpretation and recreation of reality in the community. Proposals are expected to propose new readings and interpretations of spaces, dynamic and representations of the neighborhood. C.
Ability to articulate the local project with a universal context, ie the clear reading of the work in any context within and outside the country, (translated and transcribed) d.
The proposed plastic. Be taken into account formal elements such as technical means, invoice, text, context, currency, etc.
6. The selected works must be delivered to the premises of the headquarters of the Venice Biennale VI Bogota, in the Venice area during the last week of October 2005.
7. Works produced will not be accepted in advance, unless the process is consistent with the curatorial line with the philosophy of the Biennale, despite this, such work must be prepared prior part and not in its entirety.
8. The jury awarded only two awards that will be delivered directly by the sponsoring companies or entities without the intervention of the Venice Biennale, but under its control, and the details will be announced during the launch promotion.
9. These works may make use of public space.
10. Implementation costs, transportation, material, warehousing, insurance, travel and so on., Shall be borne by the artist or artists' groups.
11. National and foreign artists can only participate in two consecutive versions of the Venice Biennial of Bogotá. For a third participation, they must wait for a version of the Local Hall or the Venice Biennial of Bogotá.
12. Registration will cost $ 20,000, (participation invidivual) $ 30,000 (groups of two members) and $ 50,000 for groups of three or more members.
- International Artists or foreign residents in Colombia
(invitation only)
1. International artists will make a reconnaissance trip before the presentation of the draft participation. Preconceived works will not be accepted, except for fragments that its execution time demand it.
2. International artists will stay in Bogota at least two weeks before the biennial assembly and up to eight weeks.
3. The costs of air tickets, insurance and international taxes, such as materials for the execution of the work borne by the participant or sponsoring foreign entities.
4. The organization of the Venice Biennial of Bogotá organizer of the Venice Biennale VI Bogotá, DC in association with the British organization WAI, Wales Art International and The Arts Council of Wales, will bear the cost of accommodation for up 3 artists for four weeks, the basic food, travel in groups, Internet access and special services required activities such as opening or planning meetings.
5. The basic inputs for assembly (paint, nails, tape, cables, brushes, etc..) Will be in charge of the Venice Biennale Foundation in Bogota.
6. The selected artists will be in Bogota from the last week of August and must remain until the third week of September. The artists may remain until the opening of the Biennale to install his work, attend the opening and conduct their workshops or conferences, or may delegate Biennial team for installation.
7. The foreign artists as well as nationals must carry an academic activity during the biennial conference either a workshop, a talk or a tour.
8. Registration will cost $ 20 for individual participation, groups of two people U.S. $ 30 and $ 50 for groups of three members on.
THE ARTIST WILL GET THE OFFICIAL ANNOUNCEMENT ON THE ITEMS LISTED AT THE END OF THE CALL, YOU CAN DOWNLOAD AS WORD DOCUMENT OR PDF FORMAT FOR PRINTING BUT SOLE IS ENROLLED IN THE DISTRICT OF VENICE COMMUNITY HALL, (personally and with his card) with proof of receipt signed by each artist.
this requirement are excluded from foreign artists who have previously visited the neighborhood, made formally endorsed by the institutions that support international participants of the Sixth Biennial of Venice in Bogota, coordinated by the Venice Biennale Foundation and the institution Bogotá WAI.
Each artist must have attended at least one of the briefings held every Saturday at noon at the Venice Neighborhood Community Hall from 12 August to 10 September 2006.
Please check schedules and extra meetings on the website of the Venice Biennial of Bogotá.
What to deliver? 1. The technical specs of the work (Author (s), title, technique, dimensions)
2. A page (or maximum 2) with project justification
3. A summary version of the resume
4. At least 3 images (maximum 5) on the project (two and three dimensional)
For video, performance or processual works, a DVD of more than 15 minutes.
5. A proposal for a workshop or conference (minimum 2 sessions)
Suggested theme, target audience, duration, materials needed etc..
6. Assembly diagram or list of installation tips.
7. Registration form with card, photo and fingerprint.
Collection of works During the last week of September, the Committee will make the final selection of works to participate in the Fourth Biennial of Venice, Bogotá DC Works will be received in the community hall during the Venice Neighborhood third week of October 2006.
Artists are responsible for setting up their works with the help of technical assistants of the Biennale. To this end, the artists must state in writing to the organizers of the Biennale before the third week of October 2006, spaces, electric wiring or special adaptations sean necesarias para el montaje de las obras.
Los organizadores del evento no se hacen responsables de las obras que los artistas no retiren después de la tercera semana de noviembre, la cual es la fecha límite después de haber desmontado la Bienal.
Los equipos y aditamentos técnicos serán vigilados por la organización por la Bienal pero no esta no se hace responsable por su daño, deterioro o pérdida.
Montaje y Desmontaje La Bienal será inaugurada el día viernes 4 de noviembre de 2006 en la sede de la Biblioteca Nacional y el sábado 5 de noviembre al medio dia en el Salón Comunal del Barrio Venecia.
Las obras deben be installed during the week before the inauguration. The biennial will be dismantled on November 25, 2006.
Committee The Committee consists of renowned people in the world of contemporary art: the director of the Liverpool Biennial Lewis Biggs, the art critic and curator Gerardo Mosquera, and Pablo León de la Barra, Mexican curator London-based, coordinated by the director of the Venice Biennial of Bogotá, Franklin Aguirre.
International coordination will be undertaken by Chris Ricketts and Ceri Jones from Wales Arts International, assisted by Metal Culture London and Liverpool.
Lectures and talks
will develop a series of workshops in schools and the local library in Venice, the Venice Neighborhood Community Hall, the complex urban Biblored Library and National Library of Colombia, from the month of September 2006 until the last week of November. Will seek to encourage the community to interact with the Venice Biennale.
View current programming on the web and blog during the last week of October. workshops and guided tours during the Biennial
up conferences will be held in the adjoining room to the main hall of the Board Community Action of Venice, as well as a series of guided tours must be booked by e-mail or telephone no later than the last week of October.
FINAL NOTE: The official schedule VI Bogota Venice Biennale will be in the Venice neighborhood community hall, on the website, the blog and the press.
Organisers may change the terms or dates timely warning to the participants.
firm entry implies acceptance of each and every one of the parameters set forth herein.
If additional questions please refer to organizers via Internet. Info:
e-mails: bienalveneciabogota@gmail.com
labienaldeveneciadebogota@gmail.com
bienalveneciabogota@hotmail.com
franklin.aguirre @ gmail.com Website
www.labienaldeveneciadebogota.com
INDUCTIVE WORKSHOPS TO THE COMMUNITY OF VENICE FROM ITS SIXTH BIENNIAL
Objectives To create and foster cultural groups of managers who are able to motivate the community to propose and cultural projects.
promote and propose to the Venice Biennale as a pilot project and also as a way to apply laboratory actual practice and theoretical assumptions seen in previous workshops and conferences that addressed content not only aesthetic, but also administrative and promotional. Fostering
climate for the free association of people interested in working full so attached to the Biennale, creating a constant support group will be able to lead other events to the needs of the community.
Contribute to formal and informal educational updated items about the teaching and importance of the area of \u200b\u200baesthetics focused today not only to the manual nature of the trade, but also to the planning and execution of projects cultural.
motivate and encourage local talent to guide their training in a timely and appropriate. Strategy
To ensure the continuation and coordination of the educational work, which will focus its efforts primarily in schools, colleges and local universities, the meeting point and also the operational center of the project will host the Community Action Board in the Community Hall.
initially convened several meetings with the intention of exposing teachers to the objectives and procedures of this project. The content of these meetings is the same but will be at different times to achieve capture the widest possible audience.
Such information will be presented by teachers to students, who in turn receive visits from our team, which will clarify doubts and deepen the nature and dynamics of this project.
emerge from these meetings people "voluntarily" go to the meetings at the Community Hall to point out even more tasks and procedures.
students' participation in this process will have an academic recognition in their respective institutions, having conducted an assessment to verify the effectiveness of the work and the accuracy of the results. Contents
To give structure to projects or actions generated, it will provide students and teachers simultaneously with elements of various disciplines in parallel. Here are some of the issues that will later be restructured and strengthened in agreement with the evolution of the project.
BACKGROUND: This area will work the conceptual structure of the projects under the action of the workshop or conference. In this way, the wizard will have the opportunity to receive a clear theoretical approach of a job, evacuating side problems by prioritizing goals.
Some suggested topics:
CULTURAL MANAGEMENT, MARKETING, ADVERTISING, ART HISTORY, THEORY OF ART, CONTEMPORARY THOUGHT.
FORM: In order to realize their ideas, participants also must handle materials and spaces, to practice and apply the theoretical content in tangible ways. Given the manual nature of the subjects, the sessions will last longer and will seek input from the materials sector companies.
Some suggested topics:
TECHNICAL DRAWING AND PAINTING, INSTALLATION OF EXHIBITS SIGNS OF SALES, PRODUCTION OF PRINTED MATTER, IMAGE CITY PRESENTATION PROJECTS, ETC.
© Bogotá DC or indications that address the concepts of exclusion / inclusion as a tool for coordinating minorities to new contexts, as a living strategy or just as the exchange of knowledge and experiences that may qualify in some way, tolerance, community welfare and teamwork.
The works were mostly in the neighborhood, cohabiting with houses, streets and people. Some also made use of closed circuit television, videorockolas shops and public televisions in the mall.
invited British artists: Alice Forward and Michael Cousin were in the neighborhood for several weeks, performing works from their experiences in the neighborhood and its relation to the context. Besides this, presented some of their previous works in public libraries and the Tunal Tintal Biblored network to bring even more viewers to their work.
In this sixth edition of the BVB was captured a large audience local, thanks to the decision to use as a local headquarters of a shopping center since the weekend, especially a large number of people entered the exhibition and took an active part of the Biennale. This raises the permanent inclusion of these new audiences in this space, which will continue the processes started yet, will strengthen the relationship with a wider audience and more active.
Despite the great successes, there is a lack of a broader working group specialized in each of the areas of the organization. In view of this, it will involve a call for a new group of volunteers, professionals in each of these disciplines. This is to optimize our processes and build sustainability into a project, which gradually despite great difficulties, has already earned a place in the Venice neighborhood of Bogota and the country's cultural field.
PARTICIPATING ARTISTS 
In this edition of the Biennale, a local neighborhood shopping center (Plaza Shopping Center Venice) was the headquarters of the exhibition. In this space, were exhibited the works relating to public space is appropriated by the district and in some cases private spaces to which they gave a friendly access some of the residents. 
In order to continue the process qualification program, the Biennial I implemented the creation of the Local Chamber of Venice, which now becomes the preamble to the Venice Biennale where local artists (local Tunjuelito VI, which owns the Venice area) pose works under the same parameters of the biennial, but are displayed in the Local Library Tunal, beautiful space with a large number of public that allows the works to be appreciated by a wide audience mostly students from local schools. Thanks to the Biennial Exhibition about the processes of local artists with more details, watch your performance and create links with participants of previous biennial artist, theorists and similar processes to achieve this pitch that was sought in previous editions. 
The high visibility of the Venice Biennale at this point was a series of very specific reactions in the middle. A large number of artists invited to participate in the Biennale sought whether to make the approach prior to the district which is entered in the official announcement, other artists posed works involving public places and certain communities apparently rhymed with the "spirit" of the Biennial. 
Thanks to the inclusion of the Biennale in the Nexus Project of the Andrés Bello, the Biennial was invited to an academic event in the framework of the Pirelli Salon of Young Art in Caracas in 2000. On this visit to take this opportunity to invite Venezuela as a guest of honor at this year's Biennale. At this point the Biennale became an international event with greater scope and more looks that come to enrich the initial process, and promoting linkages with important international cultural institutions. One of these entities confirmed its support and offered the gallery of Istituto Italiano di Cultura and alternative space for the realization of the Venice Biennale, so on this occasion the Institute graciously gave up his gallery display apparatus of some of the works and allowed that the Biennial is closer to other locations to interested public gold. 
Under the same general parameters of the first edition, Venice Biennale II was developed in the same space, the community hall of Venice, but with artists most widely recognized in the national art world, who wanted to appropriate the urban space. Thus, a high percentage of works were carried out in the park, shops, houses and all sorts of different alternative spaces Local Hall in principle, had a totally museum. 
Unlike the first edition, where participation it was considered a prize, the second edition five proposals awarded by popular vote through a ballot arranged in the entrance hall. 
The Venice Biennale I arose at a particular moment in art Bogota, where both official languages, as well as contemporary art spaces were worn, repetitive, and some foreign sobrepolitizados. 
sarcasm and paradox, as a result of mimetic reflection raised the Biennial with his Italian counterpart, La Biennale Di Venezia, became effective early on advertising hook for the media attending the event en masse. The impact was such that although many in the art world were not present at the event, remained aware of their day to day development, through articles and interviews from many angles recorded consistently performing the Biennial. 
