Exoticizing and Deciphering the Caucasus

Taus Makhacheva: «The main element of the Moscow Biennale is the time you invest in it. This is the exhibition without the exhibition. This is the exhibition with no objects and where everything is in process, everything is done and everything is changing in real time. In this case, the ‘Caucasus’ Pavilion is a strange anthropological project that shows us a certain world excluded from the mainstream, or included without these explanatory texts».

Rediscovering the Power of the Voice

Hanne Lippard: «When you put yourself into the awareness of the performance, you lose your identity of whoever you are on the tax paper».

Faces in Crude Oil

Fabrice Hyber: «This exhibition is very important because you do not see things finished but you see things in the way to be done».

Gender and Totalitarianism in Ballet

Leon Kahane: «I’m using the art form of high culture, which is usually connected to perfection and years and years of training and just adapted it and transformed it into a contemporary art piece. So it is already a challenge to question the necessity of this perfection».

A walk with Keren Cytter

Keren Cutter: «I probably shouldn’t say this, but I think people are underestimating performances, because everything I see here is very weak on the performative level, and it always leans on something else. The artist puts himself in an uncomfortable situation, because he is continuing his work in front of the audience and the artist is talking and connecting with the audience face to face».

Behind the Third World

Augustas Serapinas: «When I came here, there were scaffolding and all these things around. I found the buzz before the beginning of the Biennale, all the workers were in such a rush. Everyone was very concentrated on one’s work. It was very beautiful. After a while I’ve gotten interested in the Biennale architectural scaffolding construction and I saw the possibility to go behind an artwork».