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The First Ural Industrial Biennal of Contemporary Arts «Shockworkers of the Mobile Image» became the event of unprecedented scale and importance for Ekaterinburg and the Ural region. With an exhibition space over 40,000 square meters, the main program and the special projects have unfolded in 6 operating and sustained industrial plants of Ekaterinburg and attracted about 60,000 visitors. The participants of the biennale included more than 250 artists from 59 countries. The biennial’s main project «Shockworkers of the Mobile Image,» curated by Cosmin Costinas (Amsterdam/Utrecht), Ekaterina Degot (Moscow), and David Riff (Moscow/Berlin), took place in a constructivist building of the former «Uralsky Rabochy» Publishing House. The curators have opted for a thematic exhibition with a wealth of historical material. The show has drawn together 59 artworks of 54 artists and groups in a dense narrative that unfolds around the themes of «Shockworkers,» «The Circulation of Images,» «Building Capitalism,» and «The Economy of Free Time,» among others. The main project featured a large number of new works made especially for Ekaterinburg. As the concept of the exhibition stresses the extreme mobility of contemporary art, most of the artworks were offered as duplicated prints and copies, reproductions, reconstructions, carefully made according to the artists’ instructions. As an example, a script, written specially for the exhibition by Ilya and Emlia Kabakovs, was performed by volunteers during the vernissage. Special emphasis was made on the video component and documentary chronicles provided by the Hungarian National Film Archive (Budapest) and the Film Archive of the Sverdlovsk Film Studio. One of the centres of the exhibition was the videoinstallation by Harun Farocki «Workers Leaving the Factory: eleven centuries». Aside from works by contemporary artists from Hungary, Germany, Israel, India, China, Lebanon, Lithuania, Peru, Russia, Romania, the USA, Thailand, Ukraine, Czech Republic, Croatia, and other countries, the exhibition included work by artists of the avant-garde and the epoch of cultural revolution in the USSR, Europe and the countries of Latin America (Tarsila do Amaral, Joris Ivens, Amshei Nuerenberg, Mikhail Okhitovich), underlining the role of Soviet film and architecture as one of the roots of international contemporary art. Artists: Yuri Albert, Tarsila do Amaral, Pablo Baen Santos, Yael Bartana, Bela Balazs Studio, Guy Ben-Ner, Blue Noses, Christian von Borries, Serguej Bratkov, Alex Buldakov, Cao Fei, Olga Chernysheva, Chto Delat, Evgenia Demina, Jimmie Durham, Harun Farocki, Daniel Faust, M.M. Fontenelle, Joris Ivens, Christian Jankowsky, Ilya & Emilia Kabakov, Nikita Kadan & Alexander Burlaka, Kolumne Links, Naroa Lizar, Roman Minin, Andrei Monastyrski, Rabih Mroue, Ciprian Muresan, Deimantas Narkevicius, Amshei Nuerenberg, Johannes Paul Raether, Araya Rasdjarmrearnsook, Andreas Siekmann & Alice Creisher & Max Jorge Hinderer, Sean Snyder, Praneet Soi, Hito Steyerl, Mladen Stilinovic, Taller E.P.S. Huayco, Avdey Ter-Oganyan, David Ter-Oganyan, Florin Tudor & Mona Vatamanu, V.M.Volovich, Lin Yilin, Vadim Zakharov, among others. The biennial’s program of special projects was curated by Alisa Prudnikova. These site-specific projects were placed in some of Ekaterinburg’s largest operating industrial plants, engaging the space of over 40,000 m2. Artists from Ekaterinburg and elsewhere in Russia as well as from Great Britain, Spain, Mexico, the USA, France, Finland, and Sweden have turned these production sites into a heterogeneous territory for experiments with the industrial environment. Among the highlights is «Favorite pictures» by self-educated artist Gennady Vlasov who had painted the iron tool storage lockers in the Uralmash factory with copies of famous artworks back in the 1970s and the 1980s. St.-Petersburg artist Tatyana Akhmetgalieva created her «Kloto» — embroidered portraits of female workers of the Sverdlovsk Worsted Factory — right in the factory’s premises. The Verkh-Isetsky Steel Works opened its territory for the projects like the «Lightning» by Ekaterina Pugach (illumination of the factory’s cooling tower) or Leonid Tishkov’s «Private moon». By placing contemporary art into a working industrial environment, into the immediate vicinity of workers and production lines, the biennial’s special projects program probed the possibilities for interaction between industry and contemporary art, material and symbolic production, creative and mechanical labor. Artists: Tatiana Akhmetgalieva, Gustavo Artigas, Tatyana Badanina, Irina Danilova, Viktor Davydov, Alexey Dyomin, Vladislav Efimov, Gleb Ershov, Carl Michael von Hausswolff, Alisa Ioffe, Olga Jurgenson, Olga Kisseleva, Anastasia Khoroshilova, Gleb Kosorukov, Sergey Leontyev, Pia Lindman, Tania Mouraud, «Mylo» group, Vladimir Nasedkin, Georgy Stephanov, Kirill Asse, Anna Ratafieva, Katya Pugach, Silvan Reynal, Stanislav Savitsky, Stefan Shankland, Vladimir Seleznev, Ivan Snigirev, Vladislav Tarik, Leonid Tishkov, Evgeny Umansky, Yury Vassiliev, Gennady Vlasov, «Where the dogs run». The parallel program of the biennial featured events and exhibitions in 20 leading cultural institutions (libriaries, museums, galleries, exhibition halls, etc.) in Ekaterinburg, Nizhny Tagil and Nevyansk. In addition, the public space of the city of Ekaterinburg was engaged in projects by German artist Andreas Golder («Nothing’s gonna be worse») and Alan Gignoux’s and Den Marino’s «Industreality». On the occasion of the opening of the biennial the Ural State university hosted an international symposium dedicated to discussion of the industrial past and the post-industrial present from philosophical, sociological, and artistic points of view. The participants included Evgeny Alekseev, Christian von Borries, Guy Ben Ner, Svetlana Bykova, Keti Chukhrov, Diedrich Diederichsen, Sergey Kropotov, Tatiana Kruglova, Maria Litovskaya, Aleksey Penzin, Sergey Postnikov, Georg Schoellhammer, Andrey Shcherbenok, Andreas Siekman, Praneet Soi, Joanna Sokolowska, Aneta Szylak, Lyudmila Tokmeninova, Astrid Wege, as well as the biennial curators. The biennial was also accompanied by a dense educational program that lasted for a month and was comprised of lectures, public discussions and round tables, which brought together leading specialists from the Ural State University, Ural Federal University, Arts & Architectural Academy, Central European University (Budapest), European University (Vilnus), Russian State University of Humanities. The program concluded with a seminar, «Industry at the Point of Bifurcation: Global Art, Local Geography and the (Post)Industrial Cityscape», a special session of the Cultural Geography training program of Central European University. This international and interdisciplinary group presented the results of their analysis of the Biennial’s project, incorporating them into a broader philosophical and cultural analytical discourse. The biennial was supported by 16 international foundations and diplomatic missions. Representatives of Embassies and Consulates of such countries as France, Germany, Spain, USA, Israel, Egypt have visited the Biennial. Among the partners of the Biennial are 80 organizations, including more than 30 national and foreign media companies. More than 1500 publicationsdevoted to the biennial appeared in Russian and international press, including FRIEZE MAGAZINE, Deutsche Welle, Frankfurter Allgemeine Zeitung fur Deutschland, Art Press, Kommersant, Vremya Novostej, Expert, and Russkiy Reporter. The biennial became a platform for the elaboration of ideas and programs on the development of contemporary culture and tourism in Sverdlovsk region. The importance of this platform was confirmed by the visits of such renowned representatives of Russian and international cultural, political and business elites as Pavel Khoroshilov (vice-minister of culture of the Russian Federation, Moscow),Josef Bakstein (commissioner of the Moscow biennale of contemporary art, art critic, director of the Institute of problems of contemporary art, Moscow), Mikhail Mindlin (director of the NCCA, Moscow), Alexey Badaev (minister of culture of Sverdlovsk region, Ekaterinburg), Kristina Steinbrecher (art-director of «ART-Moscow»), Rita Jansen (spouse of the head of the European Union diplomatic mission in Egypt Mark Franco), Simon Mraz (cultural attache of the Austrian Embassy in Moscow), Ilana Stein(cultural attache of the Israeli Embassy in Moscow), Nadezhda Agisheva (head of the «New Collection» foundation, Perm), Aneta Szylak (director of WYSPA center for contemporary art, Gdansk, Poland), Andreas Siekmann (artist, participant of the Documenta, Berlin, Germany), and others. An important outcome of the biennial is the invitation by the Ministry of Culture of the Russian Federation to present the Ural Industrial Biennial at the Moscow Biennale of Contemporary Art in 2011.