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More than 400 journalists from 35 countries attended the press launch where guest speakers were the curators of WHW, Chairman of the Board of Directors of Koç Holding Mustafa Koç, Chairman of the Execution Board of Directors of European Culture Agency Şekib Avdagiç, IKSV General Director Görgün Taner and the Director of the International Istanbul Biennial Bige Örer.

A more optimistic Biennial to kick off Saturday

The 11th International Istanbul Biennial kicks off Saturday. The two-month-long event is much more optimistic than previous editions, as the participating artists not only reflect on war, stereotyping and prejudice but also suggest ways to overcome them Istanbul will shake off the last lazy days of summer when the 11th International Istanbul Biennial begins Saturday.

The international art fair, which lasts until Nov. 8, showcases works by more than 70 artists and art groups at three venues. The biennial is accompanied by parallel events including workshops, exhibitions and panels.

The three main venues are the Antrepo 3 in Karaköy, the nearby Tobacco Warehouse, and the old Greek High School in Feriköy. Venues are open from Tuesday to Sunday, between 10 a.m. and 7 p.m. and closed on Mondays, except Monday, Sept. 14.

The biennial’s guest curator, What, How & for Whom, or WHW, is comprised of four women based out of Zagreb, Croatia. For the biennial’s central concept, WHW selected the song "What Keeps Mankind Alive?" from Bertolt Brecht’s "Threepenny Opera," and posed the question to the invited artists. It appears that what keeps mankind alive is optimism and joy, as the works on display express these feelings even when the subjects they explore are very political.

The relationship between truth and media seems to be on the agenda of many artists participating in this year’s biennial. One case in point is the work of Georgian artist Vladimer (Lado) Darakhvelidze, who has turned his "classroom" at the Feriköy Greek High School into a reading room for newspaper articles. In an interview with the Hürriyet Daily News & Economic Review, Darakhvelidze said people appraise politicians through the media. "The media is the teaching tool of today. It is more aggressive; no one can compete with the media," he said. "I am very interested in the visual appearance of political leaders – how they appear to us. We wait, they appear like magicians. The media creates this illusion; we only know what the media shows us."

Work by the Buenos Aires-based art group Etcetera also questions the role of the media in shaping perceptions of reality and forming stereotypes. "We saw in the news Palestinian-looking men demonstrating. We were being given a fake image about that part of the world," said Federico Zukerfeld of Etcetera, referring to the stereotypical representation of angry Palestinians in the media.

One notable aspect of this year’s biennial is the relative youth of its participants – most are in their early 20s to early 30s. It seems that the artists’ youth is reflected in their work as energy, bursts of color and optimism.

The young artists have also been questioning what causes wars and how to avoid them. In a performance that is part of the exhibition, Darakhvelidze suggests that children should destroy war toys given to them by their elders.

Members of Etcetera believe that if stereotypes can be undone, then the world will become a more peaceful place where innovative ideas can flourish. In his idealistic representation of the Qalandia Refugee Camp in the year 2087, Palestinian artist Wafa Hourani eliminates the checkpoint that severs the camp’s ties to the outside world and converts the Israeli military airbase into a civilian airport. He also suggests giving each Palestinian a mirror so that they can reflect on themselves and take action to change their situations, pursue an education and communicate with the rest of the world.

In her installation work at the Tobacco Warehouse, Serbian artist Darinka Pop-Mitic comments on the contrast between the peaceful appearance of a typical home with landscape paintings of towns where massacres have taken place. "The war in Yugoslavia was based on ‘little house lies.’ At home, families would feel free to voice opinions that might have been considered racist outside," said Pop-Mitic, adding that this phenomenon turned living rooms into breeding grounds for stereotypes.

Paris-based Société Realiste also closely examines the reasons behind war. The group questioned the existence of the state from angles such as language and geography, concluding that the borders between countries exist with complete disregard for language and ethnicity.

It is neither the first nor the last time that artists participating in the International Istanbul Biennial will question war, peace and politics. However, compared to previous biennials, this year’s event not only condemns war, censorship and stereotyping but also presents ways to overcome them. This alone is enough to leave visitors to this year’s biennial feeling optimistic about the future.

http://www.hurriyetdailynews.com/n.php?n=a-much-happier-optimistic-biennial-kicks-off-2009-09-10