La città panottica. Strategie di controllo e pratiche artistiche

Il saggio ricostruisce, nella prima parte, l'evoluzione dell'architettura carceraria a partire dal celebre Panopticon di Bentham (1786), e riflette su come il tema del controllo sia oggi parte integrante della città contemporanea travalicando i tradizionali confini che definivano il carcere come un luogo "altro". Oggi difatti siamo noi stessi a offrirci spontaneamente come elementi da sorvegliare e a fornire tutte le informazioni utili circa i nostri movimenti, i nostri spostamenti, i nostri orari, i nostri gusti e i nostri modi di vita, prigionieri volontari ed entusiasti di una ubiqua rete digitale dove le coordinate spazio-temporali sono tanto mobili quanto micidialmente monitorate e registrate. Questa inquietante situazione non può, ovviamente, non sollecitare la ricerca artistica contemporanea, ed è in particolare la video arte, proprio per la sua natura di sguardo mobile, che appare come il medium più adatto a relazionarsi con la città panottica e a intercettarne, criticamente e creativamente, le complesse strategie. La seconda parte del saggio infatti analizza le opere video più significative relativamente al tema della sorveglianza e del controllo, dalle pioneristiche sperimentazioni di fine anni Sessanta ai lavori degli ultimi anni

Gwangju Biennial

I was one two invited curators establishing the main theme, form and content of the fourth Gwangju Biennial, the largest art exposition in Asia. Together with director Wan-kyung Sung and co-curator Hou Hanru we established a concept and title ‘Pause’ focussing on the need for critical reflection on the current global situation of contemporary art, taking an Asian and European perspective. It examined, through the selection of work, art groups and critical presentations, the dynamic shifts flowing through contemporary art against the shifting context caused by globalisation and the fields within which artists position themselves. By focusing on artists’ groups, it was the first significant biennial event to feature the collective as a core player in contemporary art production. Combining this with an invitation to artists to make architectural interventions, the exhibition broke with the pattern of East Asian biennials (to introduce western art to a local audience) and established a production engine in Gwangju itself. It also led to many new networks between artist initiatives in the region that remain significant. ”Pause” explored the necessity of negotiating different systems of time and space, especially the tension between speed, duration, fullness and emptiness and, hence, between different reactions to the globalising world from regional cultures. Considering the geo-cultural position itself, the Biennale focused on inter-continental exchanges and negotiations between the Asia-Pacific region and the rest of the world. Working closely as a curatorial group we chose to present the dynamism of art in the Asian-Pacific and as a counterpoint, a second emphasis on the new European scene. In this aspect of the Biennial I drew heavily on my knowledge and research as director of the Rooseum Center for Contemporary Art in Malmö, Sweden. ‘Pause’ provoked strong and polarized reaction but its immediate and longer term impact was substantial