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- Those are some references for me about the clothesline, I searched references on pinterest and sites like that, so I'm not sure where to find them. -

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The strongest one. It looks like the fabrics are hung by a wood, that's what I want to do. I'm not sure about its name, but it is from the artist El Anatsui.

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Canvas.

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Christmas lights.

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Pay attention to the color.

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The simple one.

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This is also something interesting made by Chantal Akerman, she used to install cameras in differents points of different cities and make a video mixing the capture from the cameras afterwards. It is a nice way of showing the passage of time and how not only people change but the environment they are due to their actions.
I was thinking that maybe I can install cameras in my installation to record people while they're seeing my work and shows it in some little screen at the same time.

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Tombée de nuit sur Shangai - Chantal Akerman, 2007

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They are works designed to transform the perception of a space, normally they are mixed-media constructions. What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, it is not a single artwork, it is everything in one. The focus in the installation is the viewer.

Tate. (2019). Installation art – Art Term | Tate. [online] Available at: https://www.tate.org.uk/art/art-terms/i/installation-art.

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Installation artworks (also sometimes described as ' environments') often occupy an entire room or gallery space that the spectator has to walk through in order to engage fully with the work of art. Some installations, however, are designed simply to be walked around and contemplated, or are so fragile that they can only be viewed from a doorway, or one end of a room. What makes installation art different from sculpture or other traditional art forms is that it is a complete unified experience, rather than a display of separate, individual artworks. The focus on how the viewer experiences the work and the desire to provide an intense experience for them is a dominant theme in installation art. As artist Ilya Kabakov said:

The main actor in the total installation, the main centre toward which everything is addressed, for which everything is intended, is the viewer.

Installation art emerged out of environments which artists such as Allan Kaprow, made from about 1957 onward, though there were important precursors, such as Kurt Schwitters's Merzbau 1933, an environment of several rooms created in the artist's own house in Hanover. In an undated interview published in 1965 Allan Kaprow said of his first environment:

I just simply filled the whole gallery up ... When you opened the door you found yourself in the midst of an entire environment ... The materials were varied: sheets of plastic, crumpled up cellophane, tangles of Scotch tape, sections of slashed and daubed enamel and pieces of coloured cloth ... five tape machines spread around the space played electronic sounds which I had composed.

From the 1960s the creation of installations has become a major strand in modern art. This was increasingly the case from the early 1990s when the 'crash' of the art market in the late 1980s led to a reawakening of interest in conceptual art (art focused on ideas rather than objects). Miscellaneous materials (mixed media), light and sound have remained fundamental to installation art.

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Tate glossary definition for installation art: Mixed-media constructions or assemblages usually designed for a specific place and for a temporary period of time

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Katharina Grosse The Horse Trotted Another Couple of Metres, Then it Stopped

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Katharina Grosse The Horse Trotted Another Couple of Metres, Then it Stopped

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[RANDOM REFERENCE]
It is a random reference, it has nothing to do with my instalation but it is something to think. She paints huge fabrics and creates an imersive environment in a way, maybe I can think about doing something with the fabric and not using just itself. There is a technique called "sublimação" where you can print things in the fabric and is mostly used to print texts and letters.
Maybe I can take fromn this only the idea to create an imersive space, something more intimate.

Barnes, F. (2019). This Huge Fabric Installation in Sydney Looks Like a Magical Dreamscape. [online] Culture Trip. Available at: https://theculturetrip.com/pacific/australia/articles/transformed-katharina-grosses-mega-fabric-installation-sydney/.

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This is one photographer that calls himself an everyday photographer, he photographs anything that he sees that catches his interest. The picture I uploaded for example is a part of some car, I don't know exactly what part it is but I can clearly see that it is a car, he just portraits it with a different eye that people usually see it. It contributes to my work because it is a reference on how to capture images with another eye but that people can still know what it is.

Usage, L., Brand, P. and Smash, C. (2019). The Everyday Photographer. [online] Scott Wyden Kivowitz. Available at: https://scottwyden.com/everyday-photographer/.

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This has a lot to do with my idea of recording the people looking my video, I drew in my Project Book this idea where it has a hidden camera projecting the images simultaneously in a small TV while they're watching my film. I just think if this was mine I would hide the camera and do something more delicate and artistic.

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Feedback: An Interactive Video Art Installation

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Douglas Gordon - Designing Video Installations

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Douglas Gordon - Designing Video Installations

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Designing Video Installations with Douglas Gordon

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Besides artworks and installations, Gabriel Orozco also makes videos and takes photos. This is one of the photos he took and it is interesting thinking about my work because it is an everyday scene with an everyday object, but he gave another meaning to it, by calling this work "Octopus", he makes people think and look at it with another point of view.

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Gabriel Orozco's multimedia works are philosophical investigations of form, medium, and installation. In his own exhibitions, he often employs sculpture, drawing, photography, installation, and video and recycles older work into sometimes new mediums and contexts. The readymade is central to Orozco's process. He frequently manipulates what he discovers by arranging found materials (a deflated soccer...

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This book is perhaps the biggest reference for my project, it talks a lot about the concept of the everyday and it shows all kind of artists (writers, paintors, designers, photographers, filmmakers) and their works that were based on the everyday. A lot of researches here are going to exist thanks to this book.

[THOUGHTS I HAD ABOUT THE BOOK AFTER READING IT]

I got very excited with this book when Carlos passed it to me as a reference, so excited that I read almost everything (I just didn't read everything because there were some things that hasn't a lot to do with my work and I thought I was wasting time). I can certanly say it changed my vision to a lot of subjects related to the everyday life. I was having trouble finding references for my subject and after reading that I realized it was because I didn't knew where to start, where to look at. This book is my project in a way. Now that I absorbed evetything I could from this book it is time to start researching from my own, now I need my own references to create something 100% mine.

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Guy Debord - The Society of the Spectacle

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Guy Debord - The Society of the Spectacle

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[FROM THE BOOK THE EVERYDAY]
He was the most influential figure in the Situationist International, he analyses the contradictions of the society we live in. Many films have provided a few insights into this or that aspect of modern society, but Debord’s is the only one that presents a consistent critique of the whole global system. Many radical filmmakers have given lip service to Brecht’s notion of encouraging spectators to think and act for themselves (Verfremdunseffekt) rather than sucking them into passive identification with hero or plot, but Debord is virtually the only one who has actually realized this goal.

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The fragile relationship of everyday objects to one another and to human beings is Orozco’s principal subject. In his early work, he placed such items in unexpected locations, documenting their presence in photographs. One of his works "Toilet Ventilator" is made by some toilet paper above a ceiling fan, it talks about the poetry of the everyday life through the movements of toilet paper.

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"Toilet Ventilator", 1999 by Gabriel Orozco

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Art you need to know - the world's best art on ArtStack

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It is a group of artists, writers, and social critics that aimed to eliminate capitalism through the revolution of everyday life.

"They argued that a revolution would take place in the realm of everyday life because the alienating effects of capitalism were pervasive in modern society."

I researched this only because there are a lot of artists I'm searching that made part of this group and I had no idea what it was.

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Comprehensive situationist archive and information resource, containing an exhaustive chronology, extensive links and virtually every situationist text available in the English language.

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It is the term used to describe a literary stylistic device that makes a familiar object look strange and unusual. They make the audience of the theater to be wrenched from their linguistic habits, from thought and interpretation to more clichés. In theory, this "shock" provoked by alienation results in an altered view of things: reality appears in a new light. It is very common in cinema and in Bertold Brecht plays, he likes to make the audience think, they feel like Chess players, based on their reality they know which move the actors will make,he makes the audience see themselfs in the stage, like they are the characters.

Buecher-wiki.de. (2019). Verfremdung: Alles über dieses beliebte literarische Stilmittel im Bücher-Wiki. [online] Available at: https://www.buecher-wiki.de/index.php/BuecherWiki/Verfremdung.

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[FROM THE BOOK THE EVERYDAY]
This artist has the kind of perception I'm having with my work, in this project called "Color Matching" Alÿs is in one war environment and he starts mixing colours to get to the color palette of the scene. This got my eyes because he sees the beauty in a really aggressive environment, also one feeling I like to pass to people with my project, some kind of confusion but also gracefulness.

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Mosul, Iraq 2016.
©©Francis Alÿs
Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist.

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Mosul, Iraq 2016. Color Matching Mosul, Iraq 2016. ©©Francis Alÿs Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author.

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[FROM THE BOOK THE EVERYDAY]
"Using a diverse range of media such as video, film, photography, sculpture and installations, the work of Fischli & Weiss offers a re-reading of the dynamics of our perception of everyday life, through the distortion of time."

It is is a three-monitor video installation. Each monitor shows a different two hour video. The work consists of four videos in total and the images on the three screens are not synchronised. I think it is a nice solution for my project, maybe it doesn't need to have a sequence because you can see it from any part. One thing that was getting thru my mind was how am I supposed to show a video to a lot of person passing thru an exposition.
They show sequences of still photo taken by the artists during their international travels.

"THIS STRATEGY OF RE-APPROPRIATING AND AESTHETICISING THE COOMONPLACE IS CENTRAL TO THE ARTISTS PRACTICE."

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Chronique d'un été - Jean Rouch + Edgar Morin

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Chronique d'un été - Jean Rouch + Edgar Morin

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"The film-makers are active participants throughout, and the interactions between themselves, and with other protagonists, create a space of exchange where the quotidian is approached from within an individual and collective matrix rather then from the outside"

"The film begins with a discussion between Rouch and Morin on whether or not it is possible to act sincerely in front of a camera. A cast of real-life individuals are then introduced and are led by the filmmakers to discuss topics on the themes of French society and happiness in the working class. At the end of the movie, the filmmakers show their subjects the compiled footage and have the subjects discuss the level of reality that they thought the movie obtained."

This is just one reference that I thought it would be nice to have, but I don't think I need to annalyse it since it is too deep talking about the concept of the movie.

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It's odd and yet exactly right to call Jean Rouch and Edgar Morin's 1960 film "Chronicle of a Summer"-the Criterion DVD of which was released Tuesday-one of the greatest, and perhaps the primordial, Holocaust film. It features an extraordinary first-person account of a Jewish person's experience of Auschwitz, an account that was filmed in a place (France) and at a time when such first-person accounts were not common. (For instance, Alain Resnais's 1955 film "Night and Fog" is about the concentration camps but doesn't include any individual's experience or testimony, and it mentions the word "Jewish" only once, in the course of a litany of persecutions by the Nazi regime.)

"Chronicle," of course, is also about much else, not least the filmmakers' own ideas about the film, which Rouch calls, in voice-over, "an experiment in cinéma vérité," a term that Morin had recently coined. It's one of the greatest, most audacious, most original documentaries ever made, one that poses-and, what's more, responds to-questions of cinematic form and moral engagement that underlie the very genre, the very idea of nonfiction film. Its ingenious reflexivity isn't the essence of its importance but is merely its source. (I've discussed this in the magazine, in a review of the DVD, and in a capsule review of the film itself.) From the start of the movie, the interviewers put themselves on-screen, revealing their role throughout the film as active participants and shapers of the events that unfold. "Chronicle" starts with a look behind the curtain and, even as it moves ahead, moves still further backward. As its investigations ripple outward, they also burrow deeper into the filmmakers' personal experience and artistic (and political) intentions, as well as into the collective history of France itself.

The premise of the movie is a series of interviews, in which the filmmakers' associates ask passers-by in Paris, "Are you happy?" From there, it veers into a series of discussions with participants chosen not at random but from the filmmakers' circles of acquaintances-including factory workers; African students who had recently taken part in Rouch's earlier film " The Human Pyramid " (itself a reflexive film, in which French and African students play their own roles and improvise, then analyze, their own dramas together); Parisian students facing the military draft and likely service in the Algerian war; one young woman, an Italian immigrant who suffers from poverty and isolation in Paris; a Saint-Tropez starlet; and even Morin's young daughters. Rouch, an ethnographic filmmaker, and Morin, a sociologist, set out to bring together people from sectors of society that seemed, to them, to bear the weight of the political moment, and to get them to play their own roles, self-consciously, in order to understand their positions all the better. But it's the Holocaust that takes over midway through the film.

I've watched the movie many times over the years and am still jolted by that shift. During a discussion organized at an outdoor café at an anthropological museum, the lead interviewer, Marceline, a woman in her early thirties, is shown to have a number tattooed on her arm. That number becomes a subject of discussion among the film's participants, several of whom-two young African men-were unaware of its connection to concentration camps, to the persecution of Jews, and to the Holocaust. There follows a scene-a moment of reality theatre, so to speak-in which Marceline walks through the Place de la Concorde and Les Halles while speaking, into a concealed microphone, an anguished, fragmented monologue of memories regarding the shattering of her family during the war, the death of her father in Auschwitz, and her return to Paris after her liberation. Those brief scenes definitively mark the film's place in history and cast a dark illumination on all the discussions that precede it and that follow.

"Chronicle of a Summer" challenged both the impersonality of cinematic history and the censorship, official and de facto, that prevailed in French politics-and linked that challenge to the film's prime subject, individual happiness. One of the subjects that comes up in the course of the film is the war in Algeria, which was the main cause of French censorship at the time. The French Army tortured Algerian prisoners-and, for that matter, French prisoners who sympathized with them-and news of torture was censored by the French government (newspapers were confiscated from newsstands, for instance). Jean-Luc Godard's second feature, "Le Petit Soldat," from 1960, which deals with the Algerian war (specifically, with the "dirty war" of secret agents in Europe) was banned by the French government, which threatened its producer, Georges de Beauregard, with grave repercussions if the film was shown anywhere, even outside of France. (It returns to Film Forum in a new restoration on March 8th.) Among the participants in "Chronicle of a Summer" are French students who faced the draft and who discussed their opposition to the war, albeit in abstract terms.

A noteworthy DVD extra, "A Summer + 50," directed by Florence Dauman (the daughter of the film's producer, Anatole Dauman), shows just how high the stakes of that political engagement-and of that silence-were. That documentary featurette includes interviews with some of the surviving participants (and with Morin) in 2010, along with outtakes from the film. One of the students in the film, Jean-Pierre Sergent, reveals that he was active in the famous "Jeanson network" (named for its leader, the philosopher Francis Jeanson) of French activists working clandestinely to support the cause of Algerian independence-in other words, subverting France's war efforts-and then worked directly for an Algerian militant group. He adds that most of the others in his group were arrested, and that soon after appearing in the film he exiled himself to Belgium. Morin explains that one of the key conversations among the students involved the question of desertion from the army, but that this couldn't be put in the film, which might have caused it to be banned and might also have gotten the students arrested.

As for Marceline, the agonized tension of her failing relationship with Jean-Pierre was filmed at length, in scenes that, Jean-Pierre says, are "close to fiction"-not in being false but in being self-aware in their emotional intimacy, rhetorical intensity, and psychological depth. The connection between her wartime experience and her later troubles is only suggested in the film, but in an early cut Rouch and Morin had made it explicit.

There's a fascinating book, published in 1962 in the form of a periodical ( Domaine Cinéma, volume 1), devoted to "Chronicle of a Summer," and it's an absolute treasure. It would be a fitting tribute to the film for the entire text to be republished in translation. It features a great long essay by Morin about the making of the film (and, true to the collaborative directorial partnership, includes Rouch's notes on Morin's text), an essay by Rouch, a transcript of the entire film, a transcript of selected outtakes, commentaries by participants, and a generous selection of contemporaneous reviews.

Among the notable details revealed there is the text of a lengthy discussion between Marceline, Rouch, and Morin that was cut from their preliminary conversation, at the start of the film, about the terms of the interviews she'd be conducting in the street. It turns out that the bulk of that talk was about something else: her deportation to Auschwitz and its devastating effect on her emotional life. She admits that she has been living "in disorder"; she confesses her "very bad depression... several years after my return from deportation"; and admits that, since 1946 or 1947, she had been spending most of her time drifting in Saint-Germain-des-Prés, especially at one café, the Old Navy (it's still there), as part of "a society of loners and people who aren't integrated."

I think that Rouch and Morin were right to edit this discussion out of the film. When, midway through, Marceline's tattooed number is revealed, the sudden arrival of the subject of the Holocaust carries a dramatic weight-as well as a power of implication-far greater than if it had been announced from the start. But the very existence of this footage proves that Rouch and Morin were aware, early on, of what would crystallize, implicitly but unambiguously, as the film's key idea: the basic question of a person's happiness, with which the film started, turned out to be intimately linked to politics and in fact to the ability to speak out clearly.

Silence, whether due to the official censorship regarding the war in Algeria or the social censorship of the experience of the Holocaust, comes off as a prolongation and repetition of trauma, a primary obstacle to self-realization and self-fulfillment. This is so, "Chronicle" suggests, whether the subjects are political or personal, romantic or historical-not least because these realms can never really be separated in the first place. In the notion of breaking down the barrier between the public and the private-of bringing the most intimate concerns into the public arena, and breaking the codes of social conduct to allow for the most brazen confessions-Rouch and Morin offered a methodical, theoretically ingenious, and amazingly powerful aesthetic precursor to the social revolution of May '68.

The cinematic practice of Rouch and Morin was uniquely tailored to make that discovery. They centered the film on the spoken word, which they captured at length by means of a technical innovation, the invention (by Stefan Kudelski, who died several weeks ago) of a portable sync-sound tape recorder, the Nagra, that could connect to a silent and lightweight 16mm movie camera. The image, for them, was the realm in which participants self-consciously take on a persona, one that they then recognize and analyze when-as they do, together with the directors, near the end of "Chronicle"-they gather to watch and to discuss the film in which they are depicted. The recursive, reflexive, self-analytical enterprise turns out to be intrinsically political. Rouch and Morin capture the voice that admits (to oneself), the image that reveals oneself (to oneself), and put forth a utopian vision of self-avowal plus self-recognition as self-transformation. For them, it's the voice that moves relentlessly forward in a perpetual present tense, the image that constantly and always embodies and retrieves the past and thrusts it into the present, that renders the present tense the perpetual revelation of history.

There's another remarkable DVD extra that encapsulates, in an offhanded and utilitarian short film, the power of historical testimony. When "Chronicle" was shown at the Cannes Film Festival, in 1962, Marceline was interviewed for French television by the veteran journalist François Chalais, who transformed the occasion into an astonishing mini-documentary. Most of the interview is a single shot, of nearly seven minutes, in which she talks, first, about the film-"I do the easiest thing, I talk about myself"-but then Chalais challenges her to say what it is that she talks about, and Marceline launches into a discussion of her having been deported, at age fifteen, to Auschwitz and Bergen-Belsen. Chalais, evoking the very social codes that made such discussions so rare, asked whether it was a kind of "exhibitionism of the soul" to discuss such things. But Marceline goes further, talking about the Eichmann trial, which was taking place at the time, and recalling the "selections," the decisions of life and death, by the "chief doctor" at Auschwitz (she doesn't mention Josef Mengele by name).

Marceline speaks with tears in her eyes, she trembles as she gives voice to these terrifying, traumatic memories-and Chalais switches the subject back to the event at hand, the movie world she's encountering at Cannes. This tiny, casual report for television is a miniature objet trouvé of genius, a casual and decisive follow-up to-and reproach to-"Night and Fog."

P.S. The cinematic reflexivity of "Chronicle" goes one odd step further. The young Italian woman in the film, named Marilù, had left a bourgeois household for a life of grinding labor and poverty in Paris. Her declamatory monologues about her troubled emotional and working life-and then the fulfillment she eventually finds through love-are actually set against a surprising cinematic backdrop. As "A Summer + 50" makes clear, Marilù Parolini had started working at a new job (which she got through Morin's good offices), as a secretary at Cahiers du Cinéma (the letterhead is briefly seen)-the magazine that sparked the French New Wave-and her new boyfriend, who is briefly glimpsed in "Chronicle" but not named, is none other than the director Jacques Rivette. The DVD extra shows Rivette at the office, passionately discussing one of the movies of the moment, Michelangelo Antonioni's "L'Avventura": "It's everything I hate in films taken to such an extreme that it's not bad." His interlocutor, Lydie Doniol-Valcroze, asks what he hates: "Literature, aestheticism, pretentiousness, sentimentalism." He adds, "I'll need to see it for a third time to know," but that, overall, "I prefer virile filmmakers."

P.P.S. The supplementary film "A Summer + 50" features an outtake in which Marceline Loridan tells a story that shows just how deeply repressed the discussion of the Holocaust was at the time:

I went up to a group of guys. Lots of them hang around, the disoccupati. I asked if they could get me some cigarettes. One ran off to get them and the others gathered around me. One of them noticed my serial number tattoo. He had no idea what it was, so in my broken Italian, I explained: "German concentration camp during the war." He goggled at me, then ran off and came back with ten other guys, He showed it to them and explained what it was, then took a pencil and paper and scribbled down the number. He said, "It's for the lottery!" I thought that was fantastic. First, this could only happen in Italy, and second, it's so different from the usual inanities: "Is your father a sailor?" "Is that your phone number?" Stupid things, or melodramatic, like: "Oh, my God, what is that? Tell me what that is!" But he copied it down as a lottery number. I hope he won.

I wonder whether the significance of such a tattoo would be widely understood in Europe now. Loridan made a film in 2002, "The Little Meadow of Birches," about a Holocaust survivor (played by Anouk Aimée), now living in New York, who visits Auschwitz; she co-wrote the script with Jean-Pierre Sergent, Jeanne Moreau, and Elisabeth D. Prasetyo. (I haven't seen it.)

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The Extraordinary "Chronicle of a Summer"

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It's odd and yet exactly right to call Jean Rouch and Edgar Morin's 1960 film "Chronicle of a Summer"-the Criterion DVD of which was released Tuesday-one of the greatest, and perhaps the primordial, Holocaust film.

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[FROM THE BOOK THE EVERYDAY]
"She trains her camera on the repetition of ordinary life"

"You can feel the camera"

This video shows exactly the structure that I want to do, the content and the way she films it has nothing to do with what I'm expecting, she has an aggressive way of filming, I want something more delicate, I don't like when the camera moves fast and the frames are too sharp - I think it bothers the eye and it is tiring. But it is a nice reference when talking about her showing a day of a person.

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Chantal Akerman -  Saute ma ville (1968)

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[FROM THE BOOK THE EVERYDAY]
"[...] rather, it connected to what we termed the 'infra-ordinary', i.e. what we do when we do nothing, what we hear when we hear nothing, what happens when nothing happens. Outside of the city nothingness can perhaps exist [...] but it certainly does not exist in the city. In the city there is never a void. There is always background noise, there is always a symptom, a sign, a scent. So we were interested precisely in those things which are the opposite of the extraordinary yet which are not ordinary either - things which are 'infra'. [...]"

He talks a lot about his project in this fragment, but he also comments about Perec's work, he contributed in one of Virilios works and he said that his style was in a way just like his. They both had the interest in the city, in the common things turning to something amazing. He also talks a lot about the process of the camera being introduced to the world of literature, which is funny because he basically describes what I want to do in my project: to record what we don't pay attention to and turn that into something remarkable (I'll glue the text in my project book, I need to read that everyday).

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[FROM THE BOOK THE EVERYDAY]
In the book I am reading for this project called "The Everyday" as I already said before, there is a little text of George Perec called The Street (1974). The interesting thing about Perec's reading is that he literally tries to pass to the readers everything that he's seeing. There is an exercise where he teaches you how to write "like him" (I mean the same style obviously) and when I go spend the day with people to get my material I'll try to do that to improve my work, I'll choose a time where "nothing" is happening and try to describe it with the most details possible. Maybe I can use that later in the exhibition or it will be just for myself. I might try to do one today just for fun, I'll write it down in my Project Book

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Nan Goldin is an American photographer specially known for documenting herself and her closest friends, especially in the LGBTQ community.
“I think that you can actually give people access to their own soul."
The uploaded picture shows a scene of a group of friends doing a picnic and it portrays their essence and the moment they were right when the photo was taken. That is the kind of essence I want to pass, the reality itself and some great moments that no one actually see it with an artistic point of view.

Artnet.com. (2019). Nan Goldin | artnet. [online] Available at: http://www.artnet.com/artists/nan-goldin/.

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"The curatorial approach (by Jonathan Watkins) was to attempt an understanding of the relativism of the every day, the differences between what is familiar, common or ordinary within the diversity of cultures represented. The aim was to communicate the nature of the every day and to be culturally specific, declaring differences without resorting to exoticism particularly in the presentation of non-Western art."

Some of the works that are here are from this Bienalle, they are not the most important references because I think they are too deep and dense due to their personal point of view, they have a more mature vision of the everytday and I'm still discovering, I'm still searching. I don't want to belittle my work and say it is childish, I'm just saying that I have more to do and 3 month work are not enough to improve my vision from this subject, besides that, we're talking about Bienalle it is HUGE, it has to be.

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Curated by Jonathan Watkins, the works selected in this Biennale were characterised by efficacy and unpreciousness.