The curators of "Beyond Mediations" are: Tsutomu Mizusawa – the director of Yokohama Triennale and Deputy Director of Museum of Modern Art, Kamakura & Hayama
and prof. Ryszard W. Kluszczyński - expert in media and culture studies.

On the occasion of the 2008 Biennale, we, the curators, considered the concept of exhibition, and decided that the second Biennale should entail the word “Beyond”.

All the more so that this word implies the will to go further, to take another step. Still, it does not mean that we would attempt to accomplish something better that the first Biennale. Similarly, the word “mediation” implies a distance, which needs to be comprehended in its broadest sense, and where we should try to understand the mutual relations of things. “Beyond” is intended to mean that only art can bridge gaps that exist between people. Because sometimes the gaps may reach too far to be mediated by any means. If the arrangement includes “immediacy”, then no mediation is actually necessary.
The human being is essentially deprived of this immediacy, which can easily be visualised when one recalls the distance dividing us from those that around. Many myths and religions feature the motif of banishment from “paradise”, where people and animals could perfectly coexist in nature. Man was destined to be exiled, since the very moment he received the medium of language. One could paradoxically claim that had it not been for the language, the primal misunderstanding would not have taken place.

The distance that separates us is conditioned by a vast number of factors. Ironically, the process of globalisation made it all even more complex, while many people became more conscious of the fact, sometimes even obsessed with its burden. The division lines are countless. Among others, we are separated by biological conditioning (sex, skin colour) and social issues (nationality), or geopolitical limitations (borders). The cultural tradition, which would be expected to be more flexible and fluid, not infrequently transforms into narrow-minded nationalism. Overcoming, going beyond those limitations might be difficult. The farther one goes the harder it becomes to shake off the anxiety of alienation from the self.
Without doubt, art is the most sophisticated cultural medium created by human, and only art will be able to lead us beyond the distance. The “banishment from paradise” could be the archetype of everyday poetry known to every human being, which is a means of cognition and a source of profound solace. It would not be an exaggeration to say that art is hope, the last thing found at the bottom of Pandora’s box. The discovery of new areas, which we so ravenously crave, equally powerfully demands mutual communication.
The difference between art and entertainment, such as sport, consists in the fact that although both lead to catharsis, only art awakes the desire to return to the starting point, regardless of how painful was the initial experience. We need to return from the realm of “beyond” to the place from whence we set out, and which had already become a new “beyond” in the meantime. In fact, this is not the relinquishment of one’s self in one adventure, but a ceaseless journey in the search of self.

This time, the curation attempting to go „beyond” will be based on the cooperation of two curators – one from Poland and one from Japan. It is my deep conviction that art has not lost its capacity to join curators, artists, organisers and the audience in the common journey “beyond”."

The exhibition Beyond Mediations 2010, will be curated by: Tsutomu Mizusawa – director of Yokohama Triennale and the MOMA in Kamakura and Hayama in Japan, and Professor Ryszard W. Kluszczyński – an eminent expert on media art.

Mizusawa Tsutomu
Deputy Director of Museum of Modern Art, Kamakura & Hayama

Born in Yokohama in 1952. Obtained MA from Keio University, Japan and joined the Museum of Modern Art, Kamakura as curator in 1978. Specializes in German modern/contemporary art and Japanese modern/contemporary art and its encounter with foreign culture.
Author of Kono Owari no Toki ni mo (Even at the End) (Shicho-sha, 1989) and Tenzai-suru Chushin (Interspersed Center) (Co-author/editor, Shunjusha, 1995), among others. Curated many exhibitions, including "MOBO, MOGA / Modern Boy, Modern Girl: Japanese Modern Art 1910-1935" (1998/co-curation with John Clark, Jackie Menzies etc.), "Isamu Wakabayashi" (1997), "Antony Gormley - Still Moving" (1996), "Asian Modernism" (1995 co-curation with Akira Tatehata, and Junichi Shioda), and "Katsura Funakoshi" (1993).
He was appointed as the Japanese commissioner of the "Asian Art Biennale Bangladesh" in 1993 and 1997, and of the São Paulo Biennale in 2004. Lives in Kanagawa prefecture.

“Beyond Mediations“ exhibition, situated in the already familiar mediative field of Poznań Biennale, introduces new structural and issue keynotes. Above all, it establishes a space of co-presence for both the traditional kinds of contemporary art (painting, sculpture, drawing etc.) and the digital art of new media, thus surmounting the ever-extant division of the two. The latter art is usually presented in projects limiting their scope to the new media, and organised by institutions which specialise in work of that nature (Ars Electronica Center in Linz, Zentrum fur Kunst und Medientechnologie in Karlsruhe or Intercommunication Center w Tokio), while the classical artistic forms are shown to art lovers in numerous, traditional institutions of art of the museum-gallery type. The division incessantly persists, in spite of the progressing digitalisation of the contemporary world, which embraces all its domains, art included. Even festivals or biennials of art, which have been spreading worldwide in recent years, despite being characterised by greater freedom in the design of their programmes, chiefly present works typical for the gallery system (although it is worth noticing that that the part taken up by video art continually increases). „Beyond Mediations“, on the other hand, combines within its space numerous forms and genres of art which feature on the landscape of contemporary work, also those which utilise new media technologies.
A direct product of this symbiosis of genres is the simultaneous presence of various kinds of experience that art provides. Apart from artworks which engender experience engaging one in a profound, contemplative penetration of autonomous worlds that these works call to life, there are also realisations offering experiences which possess the structure of a network connecting various aspects of reality, which invite to enter a social and political discourse (as well as actions), which encourage to perceive art as a tool with which to analyze the present. The works of artists invited to the exhibition reveal that contemporary art is ready to abandon the autonomy it had had until recently, that it enters into elemental relationships not only with media technology but also with the worlds of science, creating new, multidimensional languages of expression, which are adapted to the hybridity of the contemporary reality, to the complexity and multiformity of the world in which we live.
The works presented at the exhibition, and the experience they provoke, display transitive, multidimensional, often hybrid character. Thus they remind that the processes of crossing boundaries, also those which are instituted in order to develop the desired relationships with others, the processes that shape the spaces of mediations, situate us in transitional worlds, worlds “in between”. They remind us that the very notion of mediation entails a fundamental separation, a tension between separate states and forms, and an inner desired conflict. They remind also that this state of separation, the conflict, presents a challenge not only with regard to the actions which aim to overcome it, but also those that strive to legitimize it. That the mediation consists in analyzing, civilising and valorising differences. That it could be (should be) the task of discourses concerning hybridity and hybridization of the contemporary world to make them apparent and to tend to them – not to overcome and abolish.

The works presented at the „Beyond Mediations“ exhibition are situated in diverse dimensions of the issues discussed here. They engage in discourses found between artistic and scientific-research creation ą (Paul Gaetano Adi, Ken Feingold, Eduardo Kac, Wade Marynowsky, Zbigniew Oksiuta, Paul Vanouse). They penetrate the realms stretching bewteen the present and the past, between individual and social dimensions of memory (Inga Fonar Cocos, Masaki Fujihata, Sanja Iveković, Julien Maire), between the aesthetic and the ethical dimension of experience (Anna Orlikowska, Konrad Smoleński). They take up the reflection which concerns the multidimensional, often conflicting complexity of individual identity (Konrad Kuzyszyn, Magnus Wallin), which exposes the complicated structure of social relations, intercultural references and their representations (Adrian Paci, Michelle Teran, Ultra–Red, Paul Vanouse) or the emergent multidimensional, expanded realities (Dorota Chilińska/Andrzej Wasilewski, Luc Courchesne, Masaki Fujihata, Bart Koppe, Mateusz Pęk, Jeffrey Shaw)”.

Prof. dr hab. Ryszard W. Kluszczyński
Expert in media and culture studies.

Born in 1952. Read literature, theatre, film, philosophy and aesthetics at the University of Łódź, where he currently heads the Department of Media and Audiovisual culture. Also, a lecturer at the Academy of Fine Arts in Łódź (Faculty of Visual Education) and Academy of Fine Arts in Poznań (Intermedia Unit).
Specializes in the studies of electronic media and interactive art. His scientific interests include the issues of information and network society, cyberculture, the art of (multi)media, problems of the contemporary theory of art, alternative art (avant-garde) and art criticism.
His lectures concern theory of art, contemporary culture, film (multi)media, communication theory and the issues of information society. Many American and Western European universities featured him as a guest lecturer.
Kluszczyński is an author of numerous books and publications dedicated to the history of avant-garde film, video-art, multimedia, and the cultural transformations in the age of electronic communication and interactive art.
As a curator, presented avant-garde film and video art programmes, as well as exhibitions of installations during numerous festivals, in galleries, museums and art centres around the world. 1990-2000 Chief Curator of Film, Video and Multimedia at the Centre For Contemporary Art Ujazdowski Castle in Warsaw.
Jury member of a number of media art festivals, including the International Media Biennale WRO, Wrocław, International Short Film Festival, Oberhausen, International Video Festival, Locarno, International Biennial Film + Architecture, Graz, International Video Festival, Bauhaus-Dessau.
Editor of „Art Inquiry” yearbook, contributor of numerous art periodicals, expert to the Cinematography Committee, member of councils and programme committees of international symposia, museums and galleries.
A respected member of many prestigious cultural associations, such as the Inter-Society for Electronic Art, Polskie Towarzystwo Kulturoznawcze (Polish Society of Culture Studies) or the International Association of Art Critics (AICA).