The last issue of the first series of Artsens newspaper contains articles that provide a behind-the-scenes analysis of this year’s Art Encounters Biennial.

In art, the future will belong, above all, to those of us who go to exhibitions or take part in performances that commonly involve public intervention. Art will become more political, more social and more anchored in everyday life. It will deal with topics that bring us together, consume us, divide us and sometimes force us to take to the streets in protest.

The project is based on the filming method of the oldest proto-documentaries consisting of a single, continuous image, such as Workers Leaving the Lumière Factory or Arrival of a Train at La Ciotat, made by the Lumière brothers at the end of the 19th century. Farocki and Ehmann argue that, “These early films, made in a single continuous shot, declared that every detail of the moving world is worth considering and capturing […] The single-shot film, in contrast, combines predetermination and openness, concept and contingency.”

Contemporary art was born at a time of dissolving the concepts of value, tradition, morality, sacredness, which became irrelevant since they could not stop the outbreak of wars that dehumanized the individual irreparably.

The following is a short presentation of the art books that have been or will be launched during this year’s Biennial.

Contemporary art provides one of the pretexts for bringing people together. It does this through a combination of highly refined mechanisms that involve coexisting institutions, funders, curators, artists and their projects. Artists love being relevant to the community. At least to one community.