In partnership with the Artwork and Tradition Growth Basis of the Republic of Uzbekistan (opens in new tab)
The Republic of Uzbekistan returns to the Venice Biennale this yr with Dixit Algorizmi – The Backyard of Data, an set up designed by the group at Milan-based architectural and analysis studio House Caviar (Joseph Grima, Camilo Oliveira, Sofia Pia Belenky, Francesco Lupia) and curated by Sheida Ghomashchi.
The Pavilion of Uzbekistan on the 59th Worldwide Artwork Exhibition of La Biennale di Venezia presents a mirrored image on the seminal work of Muhammad ibn Mūsā al-Khwārizmī, a scientist and polymath born and raised within the metropolis of Khiva (in present-day Uzbekistan). Al-Khwārizmī’s treatise On the Calculation with Hindu Numerals (825 CE) was immediately liable for the introduction of Hindu-Arabic numerals to Europe, and was the Latin transliteration of al-Khwārizmī’s identify to Algorizmi that gave us the trendy, and more and more related phrase algorithm.
Al-Khwarizmi’s work highlights a fancy and multilinear course of that could be a historical past of concepts. ‘He is among the most outstanding students within the historical past of humankind, well-known throughout his lifetime and legendary after his demise,’ says Saida Mirziyoyeva, deputy chairwoman of the Council of the Artwork and Tradition Growth Basis of the Republic of Uzbekistan. ‘And but we have no idea a lot about him.’
Dixit Algorizmi units out to query the origin myths and narratives surrounding trendy applied sciences, utilizing the lens of latest creative practices to discover forgotten roots and missed resonances with distant locations, occasions, and cultures. The pavilion engages divergent interpretations of know-how as a medium, acknowledging the depth and complexity of its historical past to be explored by an intensive public programme.
Through the interval of the biennale, and notably in occasions corresponding to Hans Ulrich Obrist’s Brutally Early Membership and the Panoptic Backyard programme, the Uzbekistan Pavilion turned a spot of unification, new collaborations and a platform for the alternate of concepts – fairly actually, a Backyard of Data.
The pavilion’s scenography, conceived to accomodate gatherings and performances all through the course of the biennale, builds on the historical past of Islamic gardens as websites of mental manufacturing and alternate. Within the context of Biennale Arte 2022: The Milk of Goals, the pavilion capabilities as a spot of reflection on the histories and layers of which means embedded inside modern applied sciences.
Following the ultimate performative occasion to be held within the pavilion, the set up shall be dismantled and all its materials elements are destined for brand new makes use of, together with the development of future pavilions and creative commissions. Supplies can even be donated to rising designers and artists for reuse of their inventive apply.
The Venice exhibition is accompanied by educational and conceptual actions on the pavilion all through the biennale’s period, together with a sequence of panel talks, performances, and a conventional Uzbek poetry duel. The spotlight of the general public programme is Velocity0: transcode/transmute a specifically commissioned sound set up by Uzbek musician Abror Zaforov and French-Japanese artist and visible designer Charli Tapp. The venture feeds classical Uzbek compositions right into a computer-controlled piano to discover the notion of synthetic intelligence responding to knowledge units of non-Western music.
‘Impressed by the setting inside which al-Khwārizmī himself operated, we purpose for the pavilion to develop into an area of the manufacturing of notion and the alternate of concepts – a “backyard of data” during which heterogeneous voices, from inside and outdoors the sector of creative manufacturing, can converge and overlap,’ explains Joseph Grima of House Caviar.
‘We conceived this house as a spot of meditation but additionally of composition, during which it’s doable to query the better order of issues, and to think about the trajectory of the histories of artwork, science, know-how, philosophy, and innovation from new views. All through the course of the seven months of the Artwork Biennale, artists, students, historians, scientists, writers, and philosophers [are] invited to deal with the opportunity of various modernities, not a lot trying to switch the present picture of modernity as to increase it in recognition of its deep origins.’
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