Established in 1998, the berlin biennial has become a major international event for contemporary art. Located in Berlin, in the midst of the vibrant cultural scene in the fast-changing capital of Germany, the berlin biennial has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show.
P/ACT FOR ARTP/Act for Art: Berlin Biennale Zeitung is released. It refers to Berlin’s cultural politics currently being highly debated in the city. Since its founding the Berlin Biennale is connected to the city and takes local topics as a trigger for own activities. Thus Artur Żmijewski and the 7th Berlin Biennale asked international cultural and knowledge producers to weigh in on the current debates. P/Act for Art: Berlin Biennale Zeitung gathers around 50 statements expressing different, future orientated opinions and aiming to stimulate a creative exchange with the politically responsibles of Berlin. Anh-Linh Ngo perfectly defined the common task in P/Act for Art: Berlin Biennale Zeitung: “Get involved, take position, make demands”.
1. Should art consciously participate in current debates and serve as a critical voice in society respectably to generate democratic processes within society?
2. How should the situation be assessed in which almost the entire budget of existing art institutions is spent on infrastructure, with no money left for new experimental approaches, programming, new productions, or acquisitions?
3. What are possible alternative sources of cultural funds and how can they be realized in order to generate reliable and independent funding for cultural and artistic production?
4. How should topic-specific funding and funding connected to a particular federal state—which is made available based on the need for political representation—be dealt with?
5. What responsibility does the commercial sector within the art system have with regard to competition among artists? Does the non-commercial part of the system contribute to it »innocently« and how?
6. Should commercial galleries co-finance new »non profit« art production and exhibitions?
7. What is the responsibility of artists towards the city and society in which they live?
8. Why don’t the politicians responsible work together with art and cultural professionals, and why are there not any advisory committees for this field?
9. Have artists lost their trust in art institutions? Why do they so often feel manipulated?
10. How is it possible to involve international cultural producers based in Berlin in the debate about culture in Berlin and resolve existing language problems?
The statements are also online: please click to read them.