ISMAIL ACAR

weAst

A new geographical, geopolitical and geocultural composition / deconstruction of the world
that accepts the diversity as a value founding of
the new era, developing the different ancient
and contemporary cultures of the East and West , building the future.
Constantinople, Byzantium, Istanbul, becoming
the father, mother and son, offering the planet
new values based on the Immaterialism,
the thread that binds the different cultures.
A globalization that refuses the homologation
and that contrary to claims the value of diversity.
Art is as vocation a land of crossovers and mixtures.
The artist is of course striving for the discovery
and research of his being together particular
and general.
He bows in front of the beauty and not ask
the source.
The artist is nomadic, scientist, philosopher,
born on earth but a son of the planet.
The Project propose reflections on these topics,
with the first anthological of Ismail Akar
that in addition to present his historical excursus
will propose the new artworks of the artist.

program ONE NOT NOT

SEPTEMBER 2009


27 Eddie Alfaro Usa Painting Performance

Washingon Square - 2:00-4:00 p.m.

28 John Bonafede Usa Performace
Battery Park - 12:00 p.m.

29 Paul Redfern Italy Video
Central Park Mall - 10:00 p.m.

30 Willem Fred Germany Video
Central Park Mall - 10:00 p.m.

OCTOBER 2009

1 Tamy Mike Laufer Israel Video
Central Park Mall - 10:00 p.m.

2 C.I.A. Not Nationality Performance
Corner 5th Ave @ 59th St - 2:00-4:00 p.m.

3 Benna Afghanistan Video
Washington Square Park- 10:00 p.m.

4 Eddie Alfaro Usa Painting Performance

Washington Square Park 2:00-4:00 p.m.

5 Jason N. Miller Usa Video
Union Square Park - 10:00 p.m.

6 W9 Vietnam Photography
Artbling @ Metropolitan Museum

7 Pietro Franesi Italy Seminar
Union Square Park - 3:00 p.m.


8 Marika Miorova Russia Video
Union Square Park - 10:00 p.m.

9 W9 Vietnam Photography
Artbling @ MoMA
4:00-6:00 p.m.

10 Chin Chih Yang Taiwan Performance
From New Museum of Contemporary Art to Chelsea Museum
12:00 p.m.

11 Eddie Alfaro Usa Painting Performance

Washington Square Park - 2:00-4:00 p.m.

12 Sabrina Locatelli Italy Installation
Before entering the Museum of Modern Art,
Guggenheim Museum, Metropolitan Museum, Whitney Museum,
New Museum of Contemporary Art and Chelsea Museum
4:00-6:00 p.m.

13 Sp 38 France Street art
Chelsea - High Line - 12:00 p.m.

14 Lan Hungh Taiwan Video
Topkins Square Park - 10:00 p.m.

15 Luisa Fabris Italy Insatallation
Riverside Park - 4:00 p.m.

16 Sabine Panossian Austria Photography
Soho - 10:00 p.m.

17 Chin Chih Yang Taiwan Performance
From Museum of Modern Art to Metropolitan Museum of Art
12:00 p.m.

18 Eddie Alfaro Usa Painting Performance

Washington Square Park - 2:00-4:00 p.m.

19 Jean Claude Pictet Swiss Perfomance

Chanel SOHO Boutique - 4:00 p.m.

20 Walter Van Beirendonck Holland Video

Diesel SOHO Boutique - 10:00 p.m.

21 Duty Gorn Italy Writing
Wall Street - 12:00 p.m.

22 Duty Gorn Italy Writing
Chelsea - 12:00 p.m.

23 Sarah Jones UK Digital Art
City Hall Park - 10 p.m.

24 Chin Chih Yang Taiwan Performance
From Whitney Museum to Guggenheim Museum
12:00 p.m.

25 Duty Gorn Italy Writing
Harlem - 125 St Apollo Theatre - 12:00 p.m.

Eddie Alfaro Usa Painting Performance

Washington Square Park - 2:00-4:00 p.m.

DIRECTOR

PIETRO FRANESI

Pietro Franesi doesn't remember
where he was born,
only that it was in a double nine year.

He began to collect art works
in Saint Petersburg, Russia.

His real schools were the Ermitage,
the State Russian Museum,
the State Tretyakov Gallery
and the studios of many russian artists.

In 2000 he was the Director
of some Contemporary Art Galleries
in Saint Petersburg and Moscow,
followed in Bologna and Venezia,
and in London in 2005.

In 2003 he began to study the NY art market
and in 2005 he opened the NY1art Gallery,
at 515 West 25th Street.

Today, he is organizing the NY Biennale Art 2009.

He loves to work with artists who search
new expressive forms and contents,
especially related to the immaterial values.
He believes in a current revolutionary moment,
effect of the crash between old values of
the material development ( business & blood )
and the new values of the immaterial development
( sustainability and love ).

The art has been accomplice and backer of
the old system.

Today he engages his full participation
to this new phase of the human history,
where immateriality and quality will prevail
on materiality and quantity.

MANIFESTO

Art takes its origins from a more or less stressed distance between its manifestations and reality, through the assumption of artificial shapes
that transcend the natural ones:
a picture, a poetry or a musical piece are always
an added construction that can overcome
the borderlines of contingent reality.

In the conception of the work of art, modern age creates a gap with the natural events.
If we look at the young "prostitute" Olympia of Manet, we notice that the author, by setting aside every emotional involvment, paints her in the way painters of the previous century would have painted a nude of noblewoman.
The work of art carries on the process of outdistancing which will become one of
the characteristics of contemporary art,
and which is regulated from what we can define
the "principle of indifference".
In the same way, the "Bottle Dryer" of Duchamp undertakes a revolutionary and epochal role.
How is it possibile that a normal tool of
everyday life can become a work of art?
Duchamp simply asks himself: "What is a work of art? If I took a bottle dryer from a wine merchant and put it in a gallery, would it be a work of art?"
Yes because the above mentioned bottle dryer would undergo what the surrealist movement
calls a "shock", a translation of reality:
that object is not used anymore to dry bottles
but it becomes a group of shapes that takes
a function alternative to the original one.
The anthropologist Lévi-Strauss, basing himself
on the assumption that usually someone visits
an art gallery to see works of art and not to drain bottles of wines for free, states that the fact of finding himself face to face to an object like this – dark and bristling with arms –
may let him be in awe of it.
This object, in fact, is not anymore what he has been built for, but becomes a kind of ghost,
an element that suggests something else,
and for this reason, gives rise to different feelings.

This suggestion, together with a more complex reflexion that detaches itself from the classical interpretation of the work of art, shows that
the decontestualization of an object may create
a work of art.

We may ask ourselves: what has all of this to do
with the materiality of the work of art?
But most of all: can we interpret history of art using
as main criteria the vision of something that doesn't exist, that cannot be seen, something that the work of art just evokes, recognizing in it the opponent function of the author in relation to the dominant values of every age?
Though been dominated by materialism,
nowadays we live in an immaterial world:
we buy symbols, not products, and we consume virtual entertainement.
Also history of art of last decades,
with the exponential development of digital, highlights the passage to more and more

dematerialized shapes.
The same idea of aesthetich event theorized
by H.G. Gadamer mainteins that the work of
art doesnt's exist thank to its 'materialità',
but thanks to the immaterial processes of information and interpretation which
the dialectics between the finite shape
and what it trascends involves.
We can add to this considerations also the current developments of applied sciences,
in which the democristian assumption of
a "full void" is substituted by a "tingling void"
filled with annihilation and creations of
"virtual" particles.
The physical reality in which we live
is not "complete", or in a better way,
is filled with elements which are difficult to entrust with a status of existence, unless we prepare ourselves – which we are willing to do –
to another idea of reality and materialità.

Immaterialism aims to be exactely this:
a kind of new Fibonnacci's Code which
interprets history of art in a new way,
revealing the contradictions and the different interpretation, taking on the research,
and so the doubt, as guide, and immaterial values
as main factors setting up an order
both ancient and contemporary.
Promoting the awareness of infinite potentials
of the immaterial and showing the ability of art
of filling up the gap between reality and ideal
is the historical task of our generation,
and the NY BIENNALE ART means to be
the Manifesto of this philosophy.

NYBA

With great pleasure
we wish to communicate to you that the next edition of NY BIENNALE ART ( NYBA ) will be held from:
September 27th to October 25th, 2009;
November 14th to December 31st, 2009;
July 1st to August 31st, 2009.

We have increased the duration of the Biennale to offer more cultural experiences, and to double

the exhibition space and the programs of the event.
Our dream is very simple. We wish for NYBA to become the biannual art show in the New York art system, beginning with connection to Museums, Foundations, Galleries and with the participation of the best international curators.
NYBA is an idea of Pietro Franesi, it is a logo, it is not any Association, it is not a company.

Title of the next edition:

ALL THAT IS SOLID MELTS INTO AIR
Our mission is to promote artists, established and emerging, that are working on the border line of the contemporary art, in any kind of visual art.
What is the immaterialism? It is intended to propose a new commitment of artists and more generally of contemporary society, to overcome the material values (supremacy of theeconomy, of the quantity, of the globalization) with those immaterial (supremacy of sustainability, quality, glocalization) .