RECEPCIÒN y REVERB de M8

¿Qué quedará cuando hayan pasado los cien días de Manifesta 8? Santi Eraso, quien fuera director de Arteleku, escribió respecto de Manifesta 5, que tuvo por sede San Sebastián: «La Bienal Europea que, por fortuna, es nómada e itinerante, vino, se fue y casi nadie ha sabido como ha sido. Terminó como empezó, entre 'coktails', fiestas para 'vips' y mucho reparto de acreditaciones para profesionales del arte. Durante los cuatro meses que ha durado la actividad pública poco más ha ocurrido».

http://www.laverdad.es/murcia/v/20101017/opinion/burbuja-cultural-20101017.html


“Manifesta claims to thrive on criticism, so I certainly want to express my own criticism loud and clear.” Even some of Manifesta’s organizers were disturbed about the situation. Khalid Ramadan, one of the curators of the biennale, said that, as the exhibition approached, he had unsuccessfully lobbied Manifesta’s management to alter the wording of the exhibition’s theme. “It should at least have been called a mutual dialogue,” he said, “because if the strongest party is allowed to dictate the terms of the agenda, it becomes in fact an imposed dialogue.

http://www.nytimes.com/2010/10/23/arts/23iht-SCMURCIA.html


Su misión es estimular el papel del debate, reconstruyendo a la vez el papel del arte, su responsabilidad y su relación con la sociedad. Desde esta misión CPS piensa Manifesta 8 como una serie de «transmisiones», (incluyendo obras de arte e intervenciones en los medios de comunicación) que utilizan métodos artísticos y estrategias de negociación para explorar las estructuras geográficas y sociopolíticas específicas que definen la realidad y la historia contemporánea. Esperan descubrir y fomentar diálogos que ocupen e interrumpan simultáneamente las condiciones fronterizas básicas que definen el marco de Manifesta 8, trasladándolas al dominio público a través de prácticas propias de la producción en los medios de comunicación, el género documental, la investigación artística y el periodismo estético.

http://www.elargentino.com/nota-110769-medios-127-La-Bienal-de-Arte-Europeo-Contemporaneo-aterriza-en-Espana.html


This time, Manifesta want to create a dialogue between the region, Spain, other European and North African cultures. Not a bad ambition. And instead of inviting the three curators, they have chosen to invite three curator collectives; Alexandria Contemporary Arts Forum, The Chamber of Public Secrets and Tranzit.org. It is set for conflicts.

And it turns out that the artists have different fees. Some of them have also financed their own work, although the catalog says that it's Manifesta that accounts for the production.

http://www.dn.se/kultur-noje/konst-form/ambulerande-cirkus-dialog-med-nordafrika-uteblir-pa-manifesta-8-1.1188905


I was mostly wondering whether I had gotten into a theatrical performance that parodied the art world, or an art world that had become a parody of itself. It ended of course with no one being happy. The audience felt exploited, the artist felt belittled and the organizers felt completely misunderstood. They only wanted to find another way to talk about art. But to talk about art is an art that neither appropriate for the TV studio or trial form.
This year's Manifesta is largely disappointing. We will certainly visit the architecturally and politically interesting places as prisons, where inmates moved to "more effective prisons," derelict post office, casinos and theaters autopsy. But the art does not live quite up to the buildings.

http://www.kunstkritikk.no/kritikk/konsten-att-fly-konstfangelset/