Four wooden constructions welcome the visitor to what looks like a modern agora. On the walls are photographs of political graffiti, religious processions and historic monuments, while the screens offer over 400 interviews with passers-by in the streets of twelve Latin-American cities. These conversations recorded in Bogotá, Buenos Aires, Caracas, Guatemala, La Paz, Managua, Mexico City, Panama, Santiago, San Salvador, São Paulo and Tegucigalpa bear on American interventionism and the notion of democracy, and modes of government the countries concerned are currently trying out with varying degrees of success. The decision to show "The Good Life" within a forum indicates that what it has to say is directed at a very large audience: like a documentary film maker out to influence his interlocutor or his audience, Carlos Motta offers new ways of reliving the world’s great political events. He is also showing "Untitled (Graffiti Cuts)" at La Sucrière.
With the support of Youcast.
From 16 September 2009
We are living in the society of the spectacle. In spite of its alienating effects on our life and social relationships, it’s one of the very fundamental conditions of our existence. We perceive the world and communicate with each other through the spectacle – a system of image production and representation dominated by the logic of market capitalism which tends to “develop” our faculties of perception, imagination and reflection towards a “one dimensional model” formatted by the language of consumerist ideology. This is also the very contemporary condition of our self-identification and social order “guaranteed” by the established power system. As a main typology of artistic and cultural events of our time, biennials of contemporary art are no doubt an ultimate form of expression of such a tendency...
The first three Lyon Biennials - in 1991, 1993 and 1995 – were part of a largely historical perspective, from which problematics, stakes and themes were derived. The first one, called “The love of art”, chose to assess the situation of creation in France. Resolutely going against the trend, this biennial noted that since the so-called “Pompidou exhibition” (Paris 1969), no such far-reaching project had been imagined in France.
The European Biennial Network is a collaborative structure that aims to promote dialogue, interaction and collaboration between contemporary art biennials in Europe.
For more information : www.europeanbiennialnetwork.org
The Biennale of Lyon is a Les Biennales de Lyon event