The 2nd Ural Industrial Biennial of Contemporary Art

Ekaterinburg, Russia

September 13–October 22, 2012

Main project participants: Adel Abdessemed, Kutluğ Ataman, Zbyněk Baladrán, Malevich's brigade, Lise Harlev, IRWIN, Anna Jermolaewa, Igor Eskinja, Adam Frelin, Peter Kogler, Olga Kroytor, Irina Korina, Agnieszka Kurant, Cristina Lucas, Boris Mikhailov, Elena Nemkova, Dan Perjovschi, Lia Perjovschi, Timofey Radya, Raqs Media Collective, Recycle, Vladimir Seleznev, Société Réaliste, Slavs and Tatars, Nedko Solakov, Monika Sosnowska, Anton Vidokle, Where Dogs Run.

In 2010, the 1st Ural Industrial Biennial of Contemporary Art took over factory spaces in and around Ekaterinburg to take on the problems of material and symbolic production, industrial and artistic labor, the industrial and the post-industrial in the context of the city of Ekaterinburg and the Ural region. Once the center of the Soviet industrialization drive and a world-renown destination for Constructivist architecture, now the region is defined by its “intermediate” economy. It is neither post-industrial Europe, nor industrial Asia, but rather, a hybrid that links the two, thereby giving a global significance to the local socioeconomic situation.

The 2nd Ural Industrial Biennial of Contemporary Art develops the key concepts of set by the first, with a focus on the possibilities of going beyond the binary of production vs. consumption in artistic, cultural, and social spheres. The biennale will explore the potential of contemporary art as a means to appropriate and reconfigure (non)exhibition spaces and local audiences. With a roster of exhibitions in a variety of venues (including both operating and abandoned factories of the Ural region), the Biennial will both re-conceptualize the cultural forms of the industrial era and actualize the productive dimension of contemporary artistic processes.

The Main Project of the Biennial will address the problem of artistic vision in today's world of the vanishing past and unsteady futures. The exhibition draws its title - "The Eye Never Sees Itself" — from Joseph Brodsky's "Report to the Symposium," written in 1989, just on the eve of the fall of the Berlin Wall. That historic event not only marked the collapse of the bipolar world but also kick-started neo-capitalism with its crisis of cultural models and the global migration of industries, people and financial capital. In her study of the potentialities of artistic vision, curator Iara Boubnova focuses on the interdependences between the eye and the world and explores art's ability to defuse the world from its dangers while reinventing its own specificity as art.