1.3 / Binaries

November 19 2009


Issue 3 ventures outside of the Bay Area to take a look at the Eleventh International Istanbul Biennial. Anthony Marcellini, currently on fellowship in Gothenburg, Sweden, critiques its curatorial strategy while Patricia Maloney recounts her recent conversation with the curators. Several of the reviews take into consideration how value is attributed, whether in the use of appropriated images and recycled material, or in the juxtaposition of anonymously crafted and artist-designed multiples. Additional pieces examine intertwined narratives—personal and historical, cultural and folkloric—Martha Colburn’s recent performances, and technological utopias. Enjoy!


Drifting and Navigating, Part 1

Drifting and Navigating, Part 1

By Anthony Marcellini

What Keeps Mankind Alive? This impossible question is the first event in our experience of the 11th International Istanbul Biennial, and it is an essential and primary one to our understanding of the show. This phrase confronts us everywhere: in the Biennial’s media, press releases, books, posters, and on banners placed throughout Istanbul. Conceived by the curatorial collective What, How & for Whom (WHW), from Zagreb, Croatia, this title performs the didactic strategy of this biennial.

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A Conversation about “What Keeps Mankind Alive”

A Conversation about “What Keeps Mankind Alive”

By Patricia Maloney

At the Creative Time Summit: Revolutions in Public Practices event held last month at the New York Public Library, I had the chance to sit down with Ana Dević and Sabina Sabolović, two of the four members from the collective What, How, and For Whom (WHW) who curated the 11th International Biennial. Serendipitously, a draft of Anthony’s critique was in hand, as I had spent the morning editing it, and I took this opportunity to ask of them some of the questions he posed in his essay.

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V By Stephanie Baker


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