Allison Rowe (CA)

(Untitled) RUBBLE

Untitled (Rubble) is a sculpture which responds to minimalism, post-earthquake living conditions in Haiti and the media fetishization of the country. During the Ghetto Biennale artist Allison Rowe will collect rubble, filing back-packs, crates and suitcases with unwanted cement, dust and debris from the 2010 earthquake. This rubble will be presented at the Biennale in minimalist rectangular and square formations on the ground. Following the Biennale Rowe will ship the collected debris in her personal luggage. If the rubble is able to exit the country and enter Canada it will be displayed in the same minimalist forms, on the floor in pristine gallery spaces.

Allison Rowe (CA)


I propose to continue working on Aid for USA and Canada participatory performance and archive of aid donations that citizens of Haiti have donated to people in Canada and the United States. I will perform the role of a contradictory foreign aid worker, collecting rather than distributing aid in Haiti. I will meet people by beginning conversations on the street and through word-of-mouth introductions. Donors will be asked to contribute physical objects or audio donations, for which they will receive a receipt, a thank you note and images of the donation.

Alphonse Sony (HT)


I am an artist who already participated at the Ghetto Biennale. For the new Ghetto Biennale I want to present a project with the title *Clothing Art Market*. I will realize a project with a number of t-shirts. I will make several photos of art objects and I will print these images on the t-shirts. I want to do this project in a way that I can present more Haitian art objects. I will present these t-shirts at the opening of the Ghetto Biennale. Therefore, this is the project I want to realize.

Mwen se yon atis ki abitye patisipe nan Ghetto Biennale ki te deja pase yo. Pou nouvo Ghetto Biennale sa, mwen vle prezante yon pwoje ke rele *MACHE VETMAN D’ART*. Mwen pral reyalize pwoje sa avek yon kantite mayo, mwen pral fe plizye foto Œuvre D’art e mwen pral enprime foto sa yo sou mayo yo. Mwen vle fe pwoje sa, nan yon fason pou mwen ka bay Œuvre atis ayisyen yo plis vale. Mwen pral ekspoze mayo sa yo nan jou venisaj nouvo Ghetto Biennale. Kidonk se pwoje sa ke mwen vle reyalize.

Anna Bruinsma (US)


The piece Laissez-Faire is named after Adam Smith’s economic theory stating that the pursuit of self-interest aids the growth of the nation more than it would if the individual were deliberately trying to help. The physical segment of Laissez-Faire is a floating sculpture made up of recycled tarp and materials found in the marketplace in Port-Au-Prince. It will be based on the form of an atomic bomb (symbolizing chaotic growth) made up of rainbow balloons covered in materials from the local marketplace. The second part involves the creation of ‘pricing’ for the Biennale based on the decisions made by 30 sculptors on the Grand Rue and members of the Atis Rezistans. The act is meant to firmly displace the visitors’ notion that worth of the art is non-subjective as well as fixed in a Western market and superimposed onto the Haitian market.

Annette Elliot (US)


I propose a site-specific video projection to illuminate the devastated architecture along Grand Rue. The video delineates the aerial geography of the marketplaces in Port-au-Prince. The 2012 earthquake mapped a new topography. From the ruins, tent cities emerged as geomorphic urban plans. The refracted growth of makeshift refugee camps of cardboard, tarp, string and sticks carved a new city form. The projection reflects the organic evolution of curved streets and randomly defined open spaces. Maps are sourced from Landsat satellite imagery. The looping 12-minute projection will play from sunset until midnight.

Arcade Fire & Vincent Morisset (CA)


Reflektor is an interactive film directed by Vincent Morisset, featuring the song Reflektor from Arcade Fire. The story follows a young woman who travels between her world and our own. It was shot in Jacmel with the help of the Cine Institute.

Asunción Molinos Gordo (ES)


The work I would like to propose revolves around the Haitian food market and the trading policies than shape it. Haiti has been constantly stigmatized as the poorest country in the Americas, nevertheless has a market. But, what does a poor country sells if it has “nothing” or “very little”? Following up with the theme for this year Ghetto Biennale: “Decentering the Market and Other Tales of Progress” I will like to elaborate on one of these tales, “The Tale of the Prosperity Gospel”. What I would like to call here “the prosperity gospel” is the set of dogmas and believes that the so-called first world countries propagate throughout the entire globe, under the name of “development”, in order to reorganize the access to natural resources in a “modern and more efficient way”. The project will involve the creation of a gospel choir-street band. The lyrics of these songs will tell us about the side effects of “the prosperity gospel”.

Atis Papa Da (HT)


I would like to do a project entitled ‘VODOU BIZANGO MARKET’. I am an artist and a Vodou priest and I would like to do a presentation of art with Vodou. What is ‘VODOU BIZANGO MARKET’ for me? It represents all that one can find in the mystical cosmos and therefore is like a market for me. In this sense, I want to make a huge Vodou and Bizango altar which will give protection to all the Haitian and visiting artists that participate in the Ghetto Biennale. I will exhibit some pieces that represent all the spirits within it the altar. In the name of the master, ‘Similor, good priest, president of Bizango’, in the name of ‘Ezili Danto, the queen of Bizango’, in the name of all that I can see and all that I cannot see this project will be realized for the 3rd Ghetto Biennale.

Pou 3zyem edisyon Ghetto Biennale la, mwen vle fe yon pwoje ki gen kom tit: *Mache Vodou Bizango*. Kom mwen se yon atis e mwen se yon ougan an menm tan, mwen vle fe yon prezantasyon avek art plis vodou. Kisa mache vodou bizango a ye pou mwen? Mache vodou bizango a se tout sa ke yon moun ka jwenn nan mistik lan, li reprezante tankou yon mache pou mwen. Nan sans sa, mwen vle fe yon gwo bagi vodou e bizango ki pral mete anpil pwoteksyon sou tout atis Ayisyen e Etranje ki pral patisipe nan ghetto biennale la. Mwen pral eskpoze kelke piyes tou ki pral reprezante tout espri yo anndan Mache Vodou Bizango a. Nan non met « Similo bon ougan, prezidan bizango ». Nan non « Ezili Danto,renn bizango ». Nan non tout sa ke mwen we, tout sa ke mwen pa we yo, se pwoje sa ke mwen pral reyalize pou 3zyem ghetto biennale sa.

Caribbean Intransit – Marielle Barrow (TT/US), Moira Williams (US), Hadiza Aliyu (TT/NG/US), Lori Lee (US), Kamilah Morain (TT/HT), Peter Maignan (US) and Floating Lab Collective - Jorge Luis Porrata (CU/US), Elsabe Dixon (ZA/US), Edgar Endress (CL/US)


Caribbean InTransit and Floating Lab Collective propose to create a dialogical platform (an “office”) that could take on the form of a media lab. The “office” serves the goal of creating an interface between Floating Lab Collective artists, Caribbean InTransit artists and scholars, and the Haitian community (artists, scholars, and the public). This project, which will be called In Situ, will be based at the Ghetto Biennale and will take the form of an organic project of social engagement evolving from dialogue with the community. We will be in the “office” within the Biennale, creating a special issue of Caribbean InTransit. This journal will take multiple forms that will be dependent on the dialogue that takes place and the cultural context of their creation and exhibition. Some possibilities, for example, of some forms the journal may take are journal pages that are transferred to silk screen and posted on the walls of the city, becoming part of the fabric of the city; narratives transmitted through radio programming; material recorded on DVDs or through ring tones that will be distributed for free.

Chery Jerry Reginal aka Twoket (HT)


For the 3rd edition of the Ghetto Biennale I want to make a collective piece involving all the Haitian artists and foreign artists. I want to do this to show that all artists are really from the same family. Art is a universal language in which everyone can express themselves. This piece will be represented as a ‘Mache d'Art International’, because it will have joint inspiartions of Haitian and foreign artists. I will exhibit this work at the opening. I have a student who is a girl, she called Laforet Roselord. I want her to exhibit some new work under the same title. Finally I want to make rap music with two other Haitian artists called: Patrick Elie aka Kombatan and Pierre Adler ak Kadiak. The text of this music will be based on the same theme as the Ghetto Biennale.

Nan twazyem edisyon Ghetto biennal sa, mwen vle fe yon pyes kolektif ak tout atis ayisyen ansanm ak tout atis etranje yo tou. Rezon ki fe ke mwen vle reyalize pyes sa, se pou‘m ka montre tout moun ke tout atis nan mond lan se yon sel kod fanmi yo ye. Paske *Art* se yon langaj inivesel kote tout moun ka esprime yo. Pyes sa pral reprezante tankou yon Mache d’Art International, paske li pral gen espirasyon ni atis ayisyen, ni atis etranje. Mwen vle ekspoze pyes sa nan jou venisaj la. Mwen gen yon elev ki se yon ti fi, li rele Laforet Roselord. Mwen vle fe li ekspoze kek nouvo travay sou menm tit *Mache D’art* la. Apre sa mwen vle fe yon mizik ak 2 lot atis ayisyen ki rele : Pierre Adler AKA Kadiak e Elie Patrick AKA Konbatan. Text mizik sa pral baze sou menm tem Ghetto biennale la. Kidonk se tout bagay sa yo ke mwen vle reyalize pou 3zyem edisyon Ghetto Biennale sa.

Diedrick Brackens (US)

I plan to arrive in Haiti with a seam ripper, a needle, and thread. I am interested in the textile economy of Haiti, I would like to spend my time in the country attempting to understand what types of textile production and exchange are taking place and how a global economy has influenced its markets. I have spent some time researching “pepe” and I want to produce sculpture and fabricate new garments out of this existing resource. I would like to alter garments by amassing these marks of status onto the surface of sculptural forms, creating highly decorated and charged textiles that, perhaps, render singular logos and brands illegible. I am interested in deconstructing the ideas of status, branding, and cloth as skins; while also investigating notions of fantasy and power implicit to the ritual of dress. It is my hope that I will be able to find participants to wear my constructions and places in the community to install my sculptures.

Elizabeth McAlister (US)


McAlister will sit across from whomever choses to join her so they can look directly into each others' eyes, for a mutually agreed-upon number of minutes. What does it mean to look directly into another's eyes without looking away? Youth in Haiti are often told not to look directly into the eyes of their elders. American youth are often taught to look others in the eye. The eyes are the window of the soul, say the poets. President Preval said in his 2006 inauguration speech, "Gade'm nan je ma gade w nan je." (Look me in the eye, I'll look you in the eye.) This simple performance piece sparks discussion about visual relationships between people, and the possibilities for emotional contact and communication beyond language.

Emeka Udemba (NG/DE)


Most cultural brokers especially those in the West are primarily concerned with promoting their own definition of authenticity through the cyclical assimilation of culture between the local and the global. Organising and marketing ‘non-western’ art forms into a one-size fits all category by Western cultural brokers reflect a desire to localise itself by associating with the minority or the periphery and promoting a fee of artists from the periphery to make the jump to ‘the global’ by exhibiting them with artist from the (centre) West. As global markets continuously attempt to homogenise local cultures and art through a process of de-localisation, non-Western cultural institutions are also seeking to heterogenise global art genres by assimilating them into their work and programmes through a process of cultural adaptation. A cube like construct will be installed right in one of the low income neighborhoods. This work creates a space that not only interrogates the hierarchical commodification of art using a familiar form and context but also of life within a wider social, economic and political context.

Emilie Boone (US)


On a quick walk from Andre Eugene’s atelier to what used to be Claudel Casseus’ family home in Port-au-Prince’s Grand Rue artist community, visitors always pass an area where vestiges of an ignored economy are still busy at work. What would it mean to pay attention to these invisible craftsmen in light of the celebrated status the sculptors of the Grand Rue have brought to the entire community? How can we critically think about where the practices of the craftsmen and Atis Reszistans intersect with and depart from each other? I hope to create an installation using the mass-produced wooden vases created by this often forgotten Grand Rue artisan community. In deciding on the installation’s location and organization, I plan to spend time mapping the ways in which visitors and residents of the Grand Rue navigate the spaces in which these artisan and their crafts exists. Aside from observing, my project will very much depend on conversations with artisan about how they perceive their practice and role within the larger project of how the Grand Rue community positions and represents itself to outsiders.

Evel Romain (HT)


MARKET DEVELOPMENT is a market for all artists who want to develop their talents. Looking at their work and how it functions within other artists and their families and art collectors. Because I think if we want our artistic movement to develop, we must give artists more value. I will present this project, through my sculptures and paintings. I want to expose several small collections of my work in my home culture, which will explain why my project is titled "Market Development". I have a group of women that I work alongside and we all present some work will be based on the same theme.

Yon *MACHE DEVLOPMAN* se yon mache pou tout atis ki vle devlope talan yo. Soti nan travay yo ak jan y’ap fonksyone nan mitan lot atis ak fanmi yo e vizite ak kolekte yo. Paske mwen panse si nou vle ke mouvman atistik la devlope, nou dwe bay atis yo plis vale. Mwen pral prezante pwoje sa, sou eskilti ak tablo penti’m yo. Mwen vle ekspoze plizye ti kolesyon sou kilti lakay, ki pral esplkike tit pwoje mwen an ki se : « Mache Devlopman ». Mwen genyen yon gwoup fanm ke mwen ap fome, mwen pral fe yo prezante kek travay ki pral baze sou menm tem nan tou. Se tout bagay sa yo ke mwen vle fe nan pwoje pam nan pou nouvo ghetto biennale sa.

Fallen Fruit - David Burns (US) and Austin Young (US)


Fallen Fruit is an art collaboration that began with creating maps of public fruit: the fruit trees growing on or over public property in Los Angeles. Our work includes an ongoing series of narrative photographs, videos, public events or collaborative performances, fruit tree plantings and public fruit parks, public-service posters for bus shelters and other media as well as interactive installations and murals. Using fruit as our lens, Fallen Fruit investigates public space, ideas of neighborhood and new forms of located citizenship and community. One part of our long-term project The Colonial History of Fruit, is an archive of individual Fruit Stories that are recorded.
Fallen Fruit is an art collaboration originally conceived by David Burns, Matias Viegener and Austin Young. Fallen Fruit uses fruit as a common denominator to change the way you see the world.

Fanel Ducé (HT)


An exhibit based on the culture of Haiti, a question that puts much doubt and fear into the heads of many people, do zombies exist? Well for those who believe I hope this exhibit can communicate with them, that they will take their time to look and made comments. I will produce seven zombies who will be dressed in many different ways, each identified by a different scarf, which proves that each has a master. I will make an arrangement with painted material involving members of Atis Rezistans. I will use cords, bottles, matches cloth and many other ritual objects. Like this, they will be gross. And I hope that everyone understands and is satisfied.

Yon expozisyon ki baze sou kilti peyi a, yon chwa ki a chak fwa mete yon paket dout nan tet yon paket moun, zonbi eske sa egziste ? Ebyen pou sila ki kwe yo mwen espere ke expozisyon sa a rantre nan yo menm, pou yo pran tout tan yo pou gade e fe komante selon yo menm. Mwen gen poum fe set zonbi k’ap abiye nan plizye fason diferan, epi kelke mouchwa pou jistifye ke chak zonbi sa yo gen met. Mwen ap fe yon aranjman tol k’ap pentire e travay an abstre. Ap gen touch plisye atis nan rezistans ladan’l. Mwen ap sevi ak kod, boutey, alimet moso twal ak yon paket lot obje anko. Ki donk, angwo se sa. E mwen espere ke tout moun a konpran e satisfe de expozisyon sa.

Filles de Hirohito – Jean-Bastien Tinant (BE) and Daniel Bajoit (BE)

Nous sommes un duo multidisciplinaire de Bruxelles travaillant autour de la correspondance des arts. Au départ, il s'agissait de mêler textes et musique. Nous avons progressivement, au gré des rencontres et des propositions,élargit notre travail vers l'écriture, la réalisation audio et visuelle ainsi que le travail d'illustration. Conscient du contexte difficile que représente le centre de la ville basse, nous proposons deux actions durant une période de trois semaines. Une action directe dans la réalisation d'une fresque, en noir et blanc, qui sera le résultat de la poursuite de notre enquête. Travaillant sur un type de représentation hybride qui mêlera image fantasmatique et réaliste, mêlée à des textes en créole, cette fresque sera créée et donnée là-bas. L'idéal serait qu'elle puisse s'adresser autant au touriste amateur d'art et d'artisanat qu'une trace de notre présence. L'idéal serait qu'elle recueille dans la forme les limites et les frontières de représentations où ici et là-bas, selon où l'on se place, intègre le même plan. Une action diffuse sera dès lors menée à partir des différentes connaissances que nous avons pour tenter d'aboutir à une performance possible autour de cette fresque. La possibilité pour nous de continuer un travail scénique déjà entamé lors de notre précédent voyage nous permet d'aller trouver d'autres sources de financements qui nous permettrait de rétribuer les collaborateurs. L'action directe proposée, la fresque, s'inscrit dans un travail formel de rencontre et de métissage des manières de représentations, tandis que l'action diffuse nous permettra de travailler le contexte dans lequel cette fresque s'inscrira, dans sa forme et dans son sens.

Getho Jean Baptiste (HT)


‘A Progressive Market’ is which is situated at the base of progress between artists and collectors. We rarely have art collectors visit us here in Haiti, which makes many of us often discouraged. This situation often makes up obliged to find other methods of supporting ourselves which are easier. Because in Haiti artists have many responsibilities, including apying for rents, sending children to school, finding food to eat every day, and many other things that can unexpectedly happen. Thus if the artist cannot function properly , this will hamper hurt their artistic progress. As artists, if we get more visits from collectors, we will have the best inspiration. In this regard, I will present ‘A Progressive Market’ in the form of a sculpture, I will make this work in collaboration with a welder who lives in the neighbourhood.

Yon « Mache Pwogresis » se yon mache ki chita sou baz pwogre ant atis ak kolekte. Pa bo isit atis pa telman jwenn vizit kolekte, se sa ki fe anpil nan yo konn dekouraje. Sitiyasyon sa fe yo oblije chache yon lot bagay ki pi fasil pou yo fe. Paske nan Haiti Atis yo gen anpil responsablite, tankou : yo gen kay pou yo peye, timoun pou voye lekol, manje pou bay chak jou, e anpil lot bagay ki ka rive. Kidonk si Atis la pa kabap fonksyone, l’ap mal pou li pwogrese. Nou menm atis, si nou jwenn plis vizit, n’ap gen pi bon enspirasyon. Nan sans sa, mwen pral travay pou’m ka prezante « Mache Pwogresis » la sou fom eskilti ‘m, m’ap fe yon piyes avek fe an kolaborasyon ak yon boss soudi ki rete nan menm zona k mwen. Mwen vle prezante « Œuvre » sa nan jou venisaj 3zyem Ghetto Biannale 2013.

Gina Cunningham (US) and Emmy Eves (US)


My ghetto Biennale project would be an extension of the multi-media mango projects and performances I have been working on and exhibiting during the last two years entitled Holy Mango, Mango Mania and Mango Madness. Mangos are important to many cultures and sold in almost all tropical markets. Mangos are the national fruit of India, the Philippines and Bangladesh. Haiti is unique in the fact that mango season is year round. In addition, the Haitian “Francique” mango is an exceptional piece of fruit prized for it’s intense tropical flavor. The Haitian trees are not sprayed or treated, they grow as nature intended. Mangos in the ubiquitous Haitian markets are a sensory pleasure for almost all Haitians. Haitians love and venerate mangos. My plan is to work with the young artists of the Grand Rue to create pictographic documentation of mangos. Mangos depicted in and out of the market by people who have grown up eating mangos and buying mangos in their local markets.

Hiroki Yamamoto (JP)


The project I will realise at the 3rd Ghetto Biennale, titled ‘Reproducing Arte Povera in the Third World’, is an attempt at making a radical encounter between First World art and Third World art. In this project, I propose to reproduce works of Arte Povera (e.g., Alighiero Boetti, Jannis Kounellis, Pino Pascali, Giuseppe Penone, and Michelangelo Pistoletto) with artists in Haiti by using local materials available. The movement of Arte Povera, was originally intended as a resistance to late capitalism and aimed to attack the existing values of established institutions, industry and culture. By reproducing works of Arte Povera, which means literally ‘poor art’, in the Third World with people living and working there is both the re-enactment of the nature of the movement and the ironical intervention from the Third World to the First World. I would like to see ‘the marginality’ of the Third World as a site of resistance and present a subversive process that ‘the periphery’ encroaching ‘the centre’. An act of remaking works by Arte Povera artists will address issues surrounding capitalism, the globalized art market, exploitative and uneven globalization and the nature of First World hierarchy.

Irina Contreras (US)


My project looks to the Ghetto Biennial’s theme of Decentering the Marketplace as a way in which to explore the complex and layered relationships places share by virtue of colonialism, shared oppression and exploitation. Rather than think about the ways in which places may share these historical or contemporary moments, I am interested at looking at one person’s involvement. Smedley Butler was a major general in the US Marines for 34 years. He is largely responsible for the history and continued occupation of the Philippines as well as the Banana Wars, an event that further connects places like Haiti and DR to Central America. When he left the Marines, he embarked upon more touring as a person outspoken against the military industrial complex. For the purpose of the Biennial, I would like to propose an ongoing performance and installation in any public space in the Grand Rue area where I could build a countermonument. The creation of a countermonument, which by virtue might imply a counternarrative is integral to a way of thinking about how and why Smedley’s presence should be memorialized.



As my project for the 3rd Ghetto Biennale, I propose to make my skills and services available to the institution of the biennale, the participating artists, and the host community in the Grand Rue, all through an organization I created in 2012, Multiversal Services. This project was born out of a realization that my skills, abilities, and interests are varied and extensive, and out of a desire to utilize these skills and interests while extending the boundaries of my practice. For Biennale, rather than solely creating an artwork that would be explicitly tied to my authorship, I will assist anyone involved in the biennale with their production - whether it be artistic, documentary, curatorial, administrative, critical, or related to matters of viewership. If a party desires to contract me for work, there must be an exchange of goods or services. I will not accept money. The price of this exchange will be determined by negotiation.

Jean Claude Saintilus (HT)


Working together for life is a term that is precious to me because I always love when everyone works together. The Ghetto Biennale in Haiti is a festival of arts that brings many foreign artists and Haitian artists together. The theme this year is the market. I want to imagine a market where all the arts dealers put their heads together to understand how best to serve the Haitian population. For this project I'll do two sculptures that will represent art dealers. I will exhibit these sculptures in my backyard, and I will invite a member of the street vendor community to sell Kreyol food Kreyol All the foreign artists and the Haitian artists, will come together to share food in my yard.

Pwoje *Mache tet ansanm pou lavi* se yon tem ki gen anpil vale pou mwen, paske mwen toujou renmen le tout moun mete tet yo ansanm. Ghetto Biennale Haiti se yon festival atistik ki toujou reyini anpil atis etranje ak atis ayisyen, kom tem biennale la ane sa se : *MACHE A*. Mwen vle prezante yon mache kote tout machann yo mete tet yo ansanm pou yo ka sevi popilasyon ayisyenne nan. Pou mwen fe mache sa, mwen pral fe 2 eskilti ki pral reprezan machann yo. Mwen vle ekspoze eskilti sa yo nan lakou lakay mwen, e mwen pral pran youn nan machann ki nan kominote a pou vin vann manje Kreyol. Konsa tout atis etranje ak tout atis ayisyen yo, pral ka mete tet yo asanm pou manje nan menm lakou.

Jean Daniel (HT)


I'm an artist Jean Daniel already familiar with working with numerous artists that have participated in the past Ghetto Biennales such as Claudel Casseus, and Racine Polycarpe. What does * RALLY MARKET ART* mean? It is a market that mixes various kinds d'art. For example, where you can find a marriage between classical art and recuperation art…but many other styles too…you can find anything inside this market. This is to show that you can take many different art forms and finally form one unique style. Thus, this what I will introduce for the new Ghetto Biennale. I will work with wood, tires, paint on canvas, paintings on wood, and metal. These are the kinds of material that I will use to create * RALLY MARKET ART *.

Mwen se Jean Daniel yon atis ki abitye travay avek plizye lot atis nan Ghetto Biennale ki deja pase yo. Tankou : Casseus Claudel, e Racine Polycarpe.Kisa ki *MACHE RASANBLEMAN D’ART* la? Se yon mache ki melanje ak plizye kalite d’art. Egzanp, kote wap ka trouve yon maryaj ant yon art klasik plis yon art rekiperasyon wap ka jwenn tou, yon paket lot bagay anndan’l. Anfen, se pou montre ke ou ka pran plizye art diferan epi ou fel ba ou yon sel stil ki inik. Donk, se pwodwi sa yo ke mwen pral gen pou’m prezante nan nouvo Ghetto Biennale sa. Mwen pral travay ak bwa, kawotyou, penti sou twal, penti sou bwa, e metal. Kidonk, se jan de materyel sa yo ke mwen pral itilize poum ka prezante *MACHE RASANBLEMAN D’ART* sa.

Jean Robert Palenquet (HT)


I chose the title "market environment", because the area where I live there are many artists who create artworks which sell at the market. They create objects out of materials that most people overlook to create lot of wonderful art. With this practice I think we will save the environment from destruction in our zone. For the next Ghetto Biennale, I want to expose my piece, "market environment", and with this I can exchange ideas with foreign artists. I will learn from them, and they will learn from me at the same time that artists live in the ghetto. Though we come from different countries, I think that will be a wonderful occasion to work and collaborate together.

Rezon ki fe mwen chwazi tit sa ki se : « Mache Anviwonman », se paske nan zon kote m’ap viv la gen anpil atis ki kreye des « Œuvre d’art » pou vann nan mache. Yo chache obje ke moun neglije pou yo kreye yon paket bel bagay atistik. Avek mwayen sa, mwen panse ke anviwonman zon nan pap detwi. Pou nouvo Ghetto Biennale sa, mwen vle ekspoze piyes mwen yo sou tit “Mache Anviwonman”, konsa mwen pral ka fe echanj avek atis etranje yo. Mwen pral aprann yo, epi yo pral ka aprann de mwen tou etan ke atis ki rete nan ghetto a. Menm si yo soti nan diferan peyi, mwen pans eke sa pral yon bel okazyon pou nou kolabore ansanm.

Jefferson Kielwagen (BR/US) and Ryan Groendyk (US)


One of the trademarks of colonial exploitation is an uneven relationship of exchange in which one side always takes more than what it gives back. This imbalance often leads to the degradation of the colony's economy and the depletion of its resources. After Aristide's overthrow in 1994, Haiti was forced to drastically reduce its rice import tariffs. Soon the local agriculture was all exported. Today Haiti is in a state of permanent food crisis, fully dependent on foreign imports, mostly from the Dominican Republic. MONOLITH is an attempt to reverse on a poetic level this historically-rooted colonial relationship, by restoring to Haiti that which has been take from it, in the form of a monument that invites local consumption. It becomes an active taking back of what was once theirs. The monument could be built with other Haitian agricultural products, like coffee, mangoes, sugarcane or corn products. We feel like rice is the best choice, since it relates to recent historical events and is the most affordable.

Joseph Constant (HT)


I am a painter and have worked in collaboration with artists from the last two Ghetto Biennales, such as John Cussans, Nadine Zeidler, Claudel Casseus, and Michel Lafleur. For the next Ghetto Bienanle, I want to introduce a new experience that I would like to call ‘WALKING COIFFEUR D'ART’. Walking Coiffeur D’ART is a hairdressing project that I would like to present the Ghetto Biennale for artists in general, regardless whether they are Haitian or foreign, that promotes and offers an Œuvre d'art of hair, beards and eyebrows. I want to organize it during the exhibition. I am already the hairdresser for many of the local artists including Celeur Jean Herard, Andre Eugene, Evel Romain, Claudel Casseus, Romel Jean Pierre, and Racine Polycarpe. Thus, I hope that everything will be extremely well organized with the collaboration of all the artists.

Mwen se yon atis pent ki abitye travay an kolaborasyon avek kek lot atis nan 2 denye Ghetto Biennale ki deja reyalize yo. Men kelke non atis kom egzanp : Jhon Cussans, Nadine Zeidler, Casseus Claudel, e Lafleur Michel. Pou nouvo Ghetto Biennale sa, mwen vle prezante yon lot bagay nouvo ki se *MACHE COIFFEUR D’ART*. Mache Coiffeur Dart se yon coiffeur ke mwen vle prezante nan ghetto biennale la pou tout atis an general,kelkeswa Ayisyen ou Etranje ki vle fe yon *Œuvre d’art* nan cheve yo, bab yo, e sousi yo. Mwen vle oganize sa pandan jou ekspozisyon an. Rezon ki fe ke mwen vle reyalize pwoje sa, se paske mwen ta renmen fe yon bagay de nouvo ki diferan ak tou sa ke mwen te konn fe déjà. Men kek non Atis ke mwen abitye koupe cheve yo: Celeur Jean Herard, Andre Eugene, Romain Evel, Casseus Claudel, Romel Jean Pierre, e Racine Polycarpe. Kidonk, mwen swete ke tout bagay pral oganize tre byen avek kolaborasyon tout Atis yo.

Joseph Winter (UK)

ISTWA II – Chabon

I want to work with charcoal. Haiti’s countryside is deforested by it and its cities rely on it. It is the most profitable fuel that Haitians can harvest themselves. In Port-au-Prince, men squat blackened in amongst a sea of the stuff, as they sell it on to city dwellers. It is the combination of charcoal’s place in Haiti’s market, its materiality and its use as a mark-maker that have drawn me to suggest a response at the Biennale. Over the past year I have constructed public pieces of work in London. The scultpures’ publicness emerged from a desire to escape the stagnancy of what I have increasingly felt in galleries, and, instead, to call for the attention of the public – passers by, art lovers, art haters, people; to make them look, and to make them register something outside their norm. I hoped that consequently onlookers may become less passive in the way they interact with their everyday landscape. I intend to bring this methodology to Haiti. Notably, my previous experience of PAP has presented me with a people in tune with their environment, less bored, and perhaps more capable of fun. Sadly, however, it is important to recognise that this is greatly tinged by tragedy and poverty. At the Ghetto Biennale I would work impulsively, fluidly and collaboratively; principally with my friends Racine and Claudel with whom I have discussed the idea.

Kantara Souffrant (US)


I have had to fight for my feelings. Growing up, my Haitian mother (as well as other mentors) often told me to “lock my heart up,” that it was best to “love with my head and not my heart” because my heart would make me suffer. The lessons seemed clear, that love was not something that we Haitians did love was for those who suffered, for the weak-willed, and for the romantics who lacked practicality. These sentiments remind me that “no one thinks of love when they think of Haiti,” that “resilient,” “tragic,” and “poor,” are easier characterizations of Haitian people than “loving” and “love-filled.” In the years following the earthquake, my artistic and scholarly practice has moved towards rethinking these early anti-love sentiments. Might there be such a thing as “Haitain-Love” and if so, can it be described, felt, and performed? My Ghetto Biennale project, “Think.Love.Haiti.” traces “love” as a concept and action in Haiti through a series of embodied performances.

Katy Beinart (UK)


Salt as a material has both shaped trade and migration routes and become part of ritual, preservation, ceremony and the everyday in many cultures, which is manifested in the many poetic and metaphoric uses of salt in language. I've been working with salt for the past three years, initially during a residency in Cape Town in 2010. For the final stage of my PhD, I am working with several individual narratives collected in and around Brixton market which link salt and its use to places of origin. My work has already used the 'Memory Preservation Salts' we made as an imagined product based on “Jinx Removing Salts” purchased in a religious and spiritual aids shop in Brixton Market, which advertises itself as Haitian and has a production facility in Port-Au-Prince. Taking this as a starting point, I am interested in the uses of, and connections, to salt in Haiti, initially through magic and religion. In vodou salt has a powerful role; for example it is a way in which zombies can be 're-awoken' from the dead. It is also used in other Haitian rituals in marking or cleansing spaces/thresholds, and Veves. In terms of the contribution to the themes of the 3rd Ghetto Biennale, my proposal explores the politics of the local to global – linking what is happening in Brixton, another site of cultural capital, with Grand Rue. The marketplace of Brixton is a literal market (which connects to Haiti); and it faces different but parallel issues of cultural capital, cultural tourism, and the meaning of ghetto and ghettoization in different scenarios.

Kendra Frorup (BS/US)


Hands. Handshake. Holding hands. Hands are often the introduction of intimacy and touch is the most personal of the five senses. My project proposal for the 2013 Ghetto Biennale: Decentering the Market and Other Tales of Progress is to create hand molds of citizens in Haiti and to cast the molds in local soap. I would like to work with an artist of the Atis Rezistans in the Grand Rue during the three week residency period. I would like to go to the Iron Market in Port-au- Prince, and other markets and street fairs and to visit churches, people in their homes and meet builders, vendors, mothers and a wide range of people of all ages. I would like to ask if I could make a mold of their hands and talk with them throughout. When I make a hand mold, it is an intimate experience. I sit or stand close to the individual and must hold the person’s hand in my own hand. Through the process I talk to them the entire time to reassure them and perhaps learn a bit about the person’s story or life.

Kuratorisk Aktion (DK)


Kuratorisk Aktion (English: curatorial action) is an all-female curatorial collective engaged in decolonial-transnational feminist work. It was formed in 2005 by Danish independent curators Frederikke Hansen (b.1969) and Tone Olaf Nielsen (b. 1967) with the aim of taking curatorial action against the injustices and inequalities produced and sustained by the order of global capitalism. This has resulted in an ongoing curatorial investigation into the complex relations between capitalist globalization and historical colonialism, and the ways in which coloniality’s catastrophic race- and gender-thinking continues to structure the nationalized, racialized, classed, gendered, and sexed divides of globalized corporate capitalism. In 2009, Faroese art historian and researcher Mirjam Joensen (b. 1979) joined the collective, offering a crucial perspective from inside the postcolonial condition. The collective is currently doing research into issues of just sustainability and will come to Port-au-Prince for the last week of the biennale. We of course want to see the entire biennale, and to be present at the various performances and events taking place while we are there. Also, we are looking very much forward to being part of the discussions about sameness and diversity in an allegedly de-centered art by sharing some of our experiences doing decolonial work in the global North and Scandinavia in particular. Finally, we hope to set up studio visits with locally based artists engaged in just sustainability.

Kwynn Johnson (TT) & Pascale Faublas (HT)


Today Coffee, after oil, remains the second largest commodity traded in the world. In Haiti, another commodity is Haitian art, which a large amount of work supplies the art market's demand for themes of eroticism, naive/primitive, Voudou, recycled, fair-trade etc. Another Commodity is a collaborative project between Kwynn Johnson (Trinidad) and Paskal (Pascale Faublas) (Haiti). Concerning the biennale’s theme: Decentering the Market, or project looks at how as Haitian coffee has supplied a world a market, so too have ‘types’ of Haitian art become another commodity supplying the art market. However, this commodity and its producers are tasked with fulfilling specific themes in order to supply the demands of the market led gallery sector and the tourist art market. Thus, it can be argued that to some extent, this demand has impinged on the creation of Haitian art. This project will begin with the production of 30 papier-mâché coffee-bean sculptures made in Jacmel. Each ‘coffee bean’ will have an inscription of a theme common to Haitian art, such as VOUDOU, SEX, NAIVE, FAIR-TRADE. Each bean will be placed in an indigo-blue Jute bags (indigo being another agricultural commodity during the Colonial period/Plantation economy), along with a small market scene painting purchased on the streets of Port-au-Prince. These packages, with packs of Rebo coffee, will be installed on our custom-made vending stand, for sale -Coffee and art.

Laura Heyman (US)


Learning how to package and present oneself as an artist is an essential requirement for participation in the international art world. Any artist who wants to play on this field must understand how to navigate and address a wide range of art institutions and their gate-keepers; galleries and directors, museums and their curators, funding agencies and grant officers, artist residencies and admittance panels. And of course before addressing any of these institutions and individuals, there are artist statements to write, curriculum vitae to fill and format, artwork to document, and endless other small tasks.

Artists who are unfamiliar with these processes are essentially barred barred from participating in the market. Workshop addresses this knowledge gap through a series of discussions and presentations on professional practices in the arts, conducted on-site in the Grand Rue, with a translator, in English and Kreyol. At the end of the series, all participants will receive a document summarizing all of the topics discussed, along with links to galleries, museums, artist residencies, grants organizations, and scholarship programs.

Laurent Guerly (HT)


For the 3rd Ghetto Biennale I want to make a project with the name «Market : Help me to carry». What is this project about? It is a market that will represent all Haitian artist in difficult living situations, because of many relentless problems and hunger. I am planning to show a number of art works which explain all of these problems. Because I would love for everyone to know who have the means to help the artists from these kind of problems. This is the project I have in mind for the new Ghetto Biennale.

Pou twazyem Ghetto Biennale sa, mwen vle fe yon pwoje ki rele « MACHE EDE’M POTE ». kisa mache ede’m pote a ye ? Se yon mache ki pral reprezante tout Atis Ayisyen ki nan difikilte ak lavi a, akoz de yon bann pwoblem lavi di ak grangou. Mwen pral ekepoze yon kantite Œuvre D’art ki pral eksplike tout jan de pwoblem sa yo. Paske mwen ta renmen pou tout moun ki gen mwayen ede atis yo soti nan jan de pwoblem sa yo. Kidonk se Pwoje sa ke mwen genyen pou nouvo Ghetto Biennale sa.

Lee Lee (US)


I would like to spend three weeks developing artwork rooted in social engagement around the theme of nourishment. In particular, I would like to work with local grandmothers who are maintaining food traditions to build platforms of discussion and collaboration over the breaking of bread together. Through the common language of food, we can explore how our food systems are tied in ways which are destructive to the Haitian community as well as how our food justice movements parallel each other. During the Biennale, I envision a series of dinners occurring two or three times a week. I would like to work with local women from getting the ingredients at market and directly from local farmers. As we prepare traditional meals together, I aspire to learn from the women who demonstrate love through nourishment. Through the process, I would create portraits of both the food producers and mothers/grandmothers, as well as record the traditional preparation methods in order to preserve their wisdom.

Leonce Syndia aka Bebe et Aristil Guerline (HT)


I am planning with this project to show that the resistance has a lot of different types of crafts made from recycled materials which is our local production but if you could find them in the global market too we could sell them to tourists too. We have sandals, leather, chains, earrings made out of coconuts and many other things we like to see at the biennale.

Mwen vinn ak pwoje sa-a poum montre ke nan rezistans gen lot bagay atizana rekiperasyon ke nou konn fe kise toujou pwodwi lokal men ke yo jwen nan mache global la tou pa latremiz de touris yo kap achte yo. Tankou sandal po kwi,chenn ak zanno ki fet ak po kokoye ak yon latriye lot bagay ke nou konn fe ke nap gen chans we nan byenal sa-a. mesi

Londel Innocent (HT)


Why I chose a market that benefits all artists? It is because I find it important when all artist assemble and express and share ideas that they have to get great results. We have many artists coming from many different countries. The theme this year is the market, I decided to do some sculptures from dolls and tyres and expose them on Grand Rue where everyone can see them without problems, and I would like to poze several questions about what these works mean in different cultural worlds. The reason I chose this project is because I didn’t feel that I did anything serious for the 2nd Ghetto Biennale. And I thank everyone who participated in the past and the future. Thanks and welcome!

Poukisa mwen chwazi yon mache nan avantaj tout atis? Se paske mwen twouve li enpotan le tout atis reyini yap esprime et pataje ide ke yo genyen pou jwenn de bon rezilta san pwoblem. Nou gen anpil atis ki toujou soti nan plizye peyi diferan, ki rantre isit ayiti. Kom tem biennale la ane sa se mache a, mwen deside fe kelke skilti avek poupe kawotchou et ekspoze yo nan gran rue kote tout moun ap kapab we yo san pwoblem, e nap kapab pozem plizye kesyon sou eskilti sa yo nan lide pou nou ka konnen kisa travay sa yo reprezante nan monde kiltirel la. Rezon ki fe mwen chwazi pwoje sa, se paske apre 2eme ghetto biennale la mwen pat retrouve ke mwen te fe yon bagay serye, se rezon sa ki pousem ekri pwojet sa. E map pwofite remesye tout moun kap vinn patisipe avek nou. Mesi et byenvini!

Mabelle Williams (HT)


Let us calculate the difference between the local market here and the global market there. For the same biennial theme [local market and global market], I will prepare a project so everybody can understand the difference between these different markets. I will prepare a series of photos and explications about each of these markets and products who people can buy on these markets.

Annou kalkile difereans any mache local la-a ak mache global la-a. Sou menm tem byennal la-a kise {Mache lokal ak mache global}, mwen prepare pwoje sa-a ki gen pou pemet tout moun konprann epi fe diferans ant de sot de mache sa yo. Men kijan pwoje sa-a pral reyalize, se dapre yon seri de imaj foto ak eksplikasyon sou chak mache yo ak pwodwi ke moun jwenn piplis nan mache sa yo.

Malin Tivenius (SE)


The aim is to make a botanical lexicon. A lexicon of plants perhaps mixed with other things, as common trash or smaller things that can be found on the ground. I will document the items with color drawings and hopefully through conversations with people who knows the area, to get information on any name, area of uses or other knowledge. The work will be a number of fanzines. A small release party will be held on the street when the lexicon is ready, and the fanzine will be distributed there. The result will to a great extent be depending on the meetings and conversations that take place.

Marilena Crosato (IT)


H.I. is an artistic work-in-progress taking place in Haiti. Marilena Crosato is an Italian artist who lives in Haiti. This project aims to address the following issues:
How can a woman respond to the dominant logic of power?
How can a woman succeed?
What are the dynamics that govern the interaction between women, trade and power?

H.I. is an interactive performance: it starts from a concept proposed by the artist and it develops in the form of a dialogue and crowd-interaction. The whole process is recorded and every evening fragments of the work will be shared on public wall surfaces within the neighbourhood, opening up the creation process to the others artists involved in the Ghetto Biennale, as well to the general public and passengers. This heterogenic audience will be asked to leave some “messages” for the artist, in the form of commentaries, tweets, text messages, songs, objects...
The inhabitants of downtown PaP will have the chance to engage in a dialogue and to mould the image of the artist/woman throughout her research process.

Michael Massaro (US)


I would like to create and install a collaborative sculpture with a local artist. It is my intent to form a connection, and create dialog by sharing process, philosophy, experience and perspective with a local artist to create a visual statement using our two voices. It is this connection between people and cultures that interests me. I see this as a wonderful opportunity to learn from and share with others, to exchange ideas, converse, and celebrate local culture with the community of viewers, and artists from Port-Au-Prince and the international community. Markets are places of great personal connection for a community. Everyone comes to this centrally located place and pour into it their culture, rituals, talents and relations. I would like to explore and understand this connection to a greater degree. The sculpture which I propose as a point of departure uses materials found in the market to create it. It is a 3 foot high form which is 20 to 40 foot long. It has a central area to be filled with a colorful material.

Michel Lafleur (HT)


My project will be to make artists that come to visit more mystical. The objective of the Ghetto Biennale, it is a meeting of artists from all around the world to share the different knowledge and ideas. I will prepare an empty surface by painting it white where all artists can create something which traces their spirit. In this fashion that I can show that all the person produces is good. Thus we will have a surprise because when the spirits are involved there are always surprises. Thus my objective is to show this collective painting called ‘Mystical Works’.

Pwoje pa’m nan se rann atis yo vini pi mistik ke jan yo mistik la. Kom objektif aktivite Ghetto Biennale la, se reyini tout atis nan mond lan pou yo ka pataje diferan konesans yo genyen. Mwen pral prepare yon sifas vid ki ap pentire an blan kote tout atis ap ka fe yon bagay ki soti nan lespri yo. Se yon fason pou’m ka montre ke tout sa yon moun pwodwi li bon. Donk ap gen yon sipriz, paske depi gen miste, gen sipriz. Kidonk, objektif pa’m nan se reyini tout atis nan yon sel tablo ki pral rele « MACHE MISTE ». Se pwoje sa ke mwen genyen pou nouvo ghetto biennale sa.

Patrick Elie aka Konbatan (HT), Ronaldo Duborgne aka Sakala (HT) & Katelyn Alexis (HT)


For this next Ghetto Bienal, "gwoup atis ansanm" decided to put our heads together to present a project called * RECOUPERATION MARKET *. This is everything that people throw away into the street, all those things that do not have importance in people’s eyes. " gwoup atis ansanm " will take this material and give it value. We will make an artwork with everything that we collect, and expose it to onlookers. Like this we will take this opportunity to sensitize the people in the community so we can stop them throw litter.

Pou pwochen Ghetto Biennale sa, “gwoup atis ansanm” deside mete tet nou ansanm pou prezante yon pwoje ki rele *MACHE REKIPERASYON*. Kisa mache rekiperasyon an ye? Mache rekiperasyon an se tout bagay moun jete nan fatra nan lari, tout bagay moun pa bay enpotans nan zye yo. “gwoup atis ansanm” pral pran bagay sa yo pou mete an yo vale.Nou pral fe yon bel “Ouvre D’art” avek tout sa ke nou ranmase nan fatra, epi nou vle ekspoze “Œuvre d’art” sa nan jou kote tout atis pral prezante pwoje pa yo. Konsa nou pral pwofite okazyon sa, pou nou sansibilize tout moun nan kominote a pou nou ka fe yo sispann jete fatra nan lari.

Reginald Centatus (HT)


‘PHILOSOPHICAL MARKET’ is a market where all people (Haitian and foreign) can ask questions. When a person asks questions they have the right to an explanation for the sense and signification of every work of art that I imagine. That is the reason that I want to present this project is because according to myself, drawing a picture, painting a piece, is a very easy thing. But when a person put their faith, their soul, their heart, their spirit and their mystical eye into the work then you can find better inspiration. ‘Philosophical Market’ is a market to put light into your heart with the questions we pose – this is the basis of philosophy. I will expose 30 works made from painted tyres in Andre Eugene’s yard and I will show 40 more in my own home. Each piece will have a philosophical significance which will allow the audience to pose many different questions. I gave thisw project the title ‘Philosophical Market’ because I consider that everyone’s lives has philosophy at the heart of it.

“Mache Filozofi” a se yon mache kote tout moun (Ayisyen ou Etranje) ap ka poze kesyon. Le yon moun poze kesyon, li ap gen dwa ak yon esplikasyon sou sans ak sinifikasyon chak grenn « Œuvre » ki sot nan panse’m. Sak fe mwen vle prezante pwoje sa, se paske selon mwen menm, trase yon tablo, penn yon piyes, se pa yon bagay ki fasil. Men le yon moun mete lafwa'w, nanm ou, ke’w, panse’w, lespri’w ak zye espiritiyel ou nan sa w’ap fe ya, Sa ka lokaz ou jwenn pi bon enspirasyon. « Mache Filozofi » a se yon mache ki pou mete limye nan ke nou ak nan kesyon n’ap poze, sa se baz Filozofi a. Pou mwen ka reyalize pwoje sa, mwen pral ekspoze 30 ti tablo ki fet ak penti e kawotyou nan lakou kay Eugene, mwen pral ekspoze 40 tablo nan lakou lakay mwen tou. Chak tablo sa yo pral gen yon sinifikasyon Filozofik kote tout moun pral kapab poze kesyon pou yo ka konnen kisa yo vle di. Mwen vini ak tit « MACHE FILOZOFI » a, se paske mwen konsidere ke tout sa yon moun ap fe nan lavi sa, li gen Flozofi ladann.

Robert Dimin (US)


The Western Way of Shipping is a conceptual work where I will be teaching the “Chelsea standard” of packing and shipping art to Haitian artists. The project is both an empowerment tool so Haitian artists can control the export of their own works and a means to openly discuss post-colonial ideas and the harsh truths represented in Haiti. Through open dialogue I want to explore ideas of power from both sides. My hope is for progressive forward momentum to begin from the discussions with local artists and others involved in this year’s biennale. The culmination of my project will involve the shipping "works" out of Haiti, first to be exhibited at the Fluxus Foundation in New York and later at the Mediations biennale, in hopes of continuing the discussion outside of the Caribbean.

Romel Jean Pierre (HT)/Racine Polycarpe (HT)/Claudel Casseus (HT)


After the earthquake Haiti has become overrun with photographers and journalists, then, Haitians began to distrust the media as they didn’t know how these images would be used by either newspapers or NGOs. Our project is inspired by these stories, we chose to change places and become the photographers and the visitors will be the subject. The difference is that we will not take these photographs with a humanitarian or fundraising agenda. We will transform the photographs into a unique work of art collaging the image with recycled materials. The photos will be displayed and we will invite the subject to purchase the final works.

Apre tranbleman de tè Haiti te vinn ranpli ak fotograf epi journalist, te telman gen jounalist nan Haiti, ke ayisyen yo te vinn pè le yon lot moun fe foto yo, paske yo toujou panse foto yo pral nan jounal ak nan fundraising. Proje nou an inspire de istwa sa yo, nou chwazi chanje plas nou tounnen fotograph epi vizitè yo tounnen subject la, men a la sèl diferans n foto ke nap fè pou mounn yo se pa foto ki pral patisipe nan yon fundraising ni yon foto ki pral nan program humanitare, men se foto ke nou pral transfome an art unique ki ka tounnen yon pyès de koleksyon pou subject la. Kijan nou pral fe sa : Romel ap pran foto chak patisipan nan byenal la. Epi Claudel ak Racine ap travay foto yo pou transforme yo nan yon still mixed-media. Avek materyo resiklaj.. foto yo pral ekspoze epi nou ap envite subject yo pou achte foto yo si yo vle.

Sarah Delaney (AU)


For the 3rd Ghetto Biennale I propose, to Ti Moun Rezistans, a collaborative project entailing a suite of comic strips which describe and respond to the local art market. Whether utopic in nature and offering up visions for an idealized Artland, or whether in possession of journalistic tendencies with actual observations of the everyday, the comic form in this instance shall yield tales of ‘The Market’ a la Port au Prince. The comic medium is accessible to both local and global audiences, both with its illustrative nature and lo-fi capabilities. Throughout the Biennale, the work will be realized in two differing formats. The tangible, editioned comics are to be designed and printed by hand, bound and mounted for exhibition on site and beyond… Additionally the works will connect as digital comics and be installed online, thus engaging a global art audience with local narratives brought forth in cyberspace.

Simeon Yvens Junior and Guyvens Isidor (HT)


We will buy second-hand jeans and trousers, which are called Pepe here in Haiti, so we can recycle to form shapes and designs that I will cut from them and then I will sew them onto t-shirts to show at the Ghetto Biennale

Pwoje ke mwen genyen an se kisa: se achte vye jeans ak pantalon nan sa yo rele pepe – a poum resikle sou fom desen ke map taye epi desen say o map koud yo sou yon paket mayo kem pral ache pou mwen resikle epi eks. Poze yo nan byenal la. Mesi.

Ti Moun Rezistans (HT)


Ti Moun Rezistans have a project that we want to achieve . The title of this project is "MARKET WITHOUT PEERS" and our ideas for new Ghetto Biennale are:

1 . Make a nice display with our " Oeuvre d' art "This year a good colleague died very young, not yet twenty, he was called Winder Thelisma. We want to make a big homage to the memory of this great artist that we have lost. This exhibit will be called " MARKET WITHOUT PEERS " where everyone can take this opportunity to purchase for final quality work that Winder Thelisma made before he died . And if we have the chance to sell his artworks the money will go directly to Winder’s mother. Because Winder’s mother has many other boys to look after.

2 . Ti Moun Resistans would like to look different in this new Biennale. We would want to make a big collective artwork with 2 or 3 of the foreign artists. When we say that we want a different Biennale this is because we want new things for Biennale so it can become even better.

Ti Moun Resistans wish the members of Atis Resistans good success and good luck. Let’s not forget a lot great people that have worked very hard to realize that the Biennale.

Nou menm Timoun Rezistans, nou gen yon pwoje ke nou vle reyalize. Tem pwoje sa se : « MACHE SAN PAREY ». ide pa nou pou nouvo Ghetto Biennale sa se :

1. Fe yon bel ekspozisyon ak tout «Oeuvre d’art » yon bon koleg nou kite mouri pandan ane sa ki rele : Winder thelisma. Se yon fason pou nou ka rann yon gwo omaj nan memwa gran atis sa ke nou te pedi an. Ekspozisyon sa pral rele « MACHE SAN PARYE » kote tout moun ka pwofite okazyon sa pou yo achete denye kalite travay ke Winder Thelisma te fe avan li te mouri. E si nou ta gen chans pou vann Œuvre li yo, kob sa pral ale direkteman nan men manman Winder. Konsa manman atis la pral ka okipe lot tipitit gason ke li rete a.

2. Timoun Rezistans ta renmen paret diferan nan nouvo biennale sa. Nou ta vle fe yon gwo « Œuvre D’art » kolektif avek 2 ou 3 Atis etranje. Le nou di ke nou vle diferan nan biennale sa, se paske nou vle de nouvo bagay pou biennale la ka vin pi bel.

Timoun Rezistans ap swete tout “Staff Atis Rezistans” yo bon sikse e bon chans. San nou pap ka bliye yon lot gwo moun ki toujou travay tre di pou biennale la ka reyalize ki se : Leah Gordon. Mesi !!!!

Tom Bogaert (BE)


When I first went to Africa in 1996, I had a Heart of Darkness image in my head. I expected to find straw huts, tribal masques, outrageous banana beer parties and naked voodoo dancing. Instead, I ended up working in Kinshasa, an enormous anarchic city of 8 million inhabitants. I soon realized that my initial expectations were hopelessly wrong. There was hardly any banana beer available. However, even in the midst of the civil war, there was always plenty of ‘Primus Qualité Export’. Although the beer was never intended for export; it seems that the export quality label added to its enormous popularity.
'Prestige' is a brand of American-style beer produced by the Heineken-owned 'Brasserie Nationale d'Haiti' in Port-au-Prince. It is the best-selling beer in Haiti with a 98% market share and so far the only locally produced beer. Prestige beer is available in some parts of the United States and the Caribbean under a special 'import' label. In Haiti I will invite local people to think with me how we can alter the 'Prestige' beer label and link it to iconic Haitian objects or situations thus contributing to the ongoing discussion about import, export, local and global. We will indeed nobly attempt to combine art and non-art, the high and the low, and the ordinary with the extraordinary.

Vision Forum - Per Huttner (SE/FR), Sara Giannini (IT/NL), Jean-Louis Huhta (SE), Sandrine Nicoletta (IT/UK) and Wooloo – Sixten Kai Nielsen (DK), William Rawlings and Martin Rosengaard (DK)


Vision Forum, in collaboration with Wooloo, will set up a participatory space focusing on the creative potential of misunderstanding. It will be a place for exchange where people together can witness, account, investigate and collect misunderstandings recognized as a valid form for communication and a vehicle for knowledge transformation. The project will open a room for debating the issues raised by this edition of the Ghetto Biennial, reflect on the meeting between different worlds and also draw from the specific forms of knowledge in Haiti and in Haitian culture. The space will take the form of a TENT.

Wesner Bazile (HT)


‘POOR MARKET’ is a market that I want to present the most poor. When I say poor people, I want to talk about those who can not afford to purchase even a single meal a day. So, I want to make an exhibition of work that can speak about this situation. The ‘POOR MARKET’, has three categories of people living within it, the people in the distance provinces that bring a little commerce to try to sell in Port-au-Prince, in Port-au-Prince there are dealers have to wait to buy from the people travelling from the provinces. The third category is the most poor. I am making a display with several artworks that will represent these three categories. I want to send a greeting to all those working for the new Ghetto Biennale. Because "elbow to elbow, we are all in brothers in resistance.”

*Mache Malere* se yon mache ke mwen vle prezante pou moun ki pi pov yo. Le mwen di moun ki pi pov yo, mwen vle pale de tout moun ki pa gen mwayen pou achete menm yon plat manje pandan yon jounen. Donk mwen vle fe yon ekspozisyon pou m ka pale de sitiyasyon sa yo. Nan *Mache Malere* la, gen 3 kategori moun ki ap viv anndan’l, gen moun ki al nan pwovens pou yon al achte ti komez epi pou yo retounen vin vann nan potoprens, gen machann ki rete potoprens pou yo tann le moun ki te al nan pwovens yo retounen pou yo ka achete nan men yo. 3zyem kategori a, se moun ki pi pov yo. Mwen pral fe yon ekspozisyon ak plizye « Œuvre d’art » pou mwen ka fe yon diferans ak plizizye kategori moun sa yo. Donk, se pwoje sa ke mwen genyen pou nouvo Ghetto Biennale sa. Mwen vle voye yon gwo salitasyon pou tout moun ki ap travay pou nouvo Ghetto Biennale la ka ryaleze an byen, espesyalman : Leah Gordon ki toujou ap travay tre di pou lakoz biennale la pozitif. Paske «koud a koud, nan Rezitans nou tout se fre»

Wilerme Tegenis (HT)


I am an artist born in the area where the Ghetto Biennale be held. This year I want to participate with a project with title: "ONE MARKET HAND IN HAND". I chose this title is because I want to show everyone that "hand in hand" that we can achieve a lot of great things. Because without working together artists will never succeed. I'll do some sculpture to be presented this project, I want to expose these sculptures at the opening. Thus I will give an explanation with each work to show people how we should be united so we can advance.

Mwen se yon atis ki abite nan zon kote Ghetto Biennale la pral fet la. Ane sa mwen vle patisipe ak yon pwoje ki gen kom tit : « YON MACHE MEN NAN MEN ». Rezon ki fe mwen chwazi tit sa, se paske mwen vle montre tout moun ke se ak “men nan men” ke nou ka reyalize yon paket bel bagay. Paske san “men nan men” atis yo pap ke reyisi. Mwen pral fe kelke eskilti pou mwen ka prezante pwoje sa, mwen vle ekspoze eskilti sa yo nan jou venisaj la. Kidonk mwen pral bay yon esplikasyon avek chak “Oeuvre” pou montre tout moun kijan nou sipoze mete “men nan men” pou nou ka avanse.Mwen ap pwofite okazyon sa pou mwen voye yon gwo salitasyon pou moun ki pral patipe nan nouvo Ghetto Biennale sa, espesyalman Leah Gordon ki toujou travay tre di pou lakoz ke festival sa reyisi.

Wooloo (DK)


Wooloo's work for the third ghetto biennale proposes a momentary view into the material realities of the international art world taking place inside the local art market. For one hour during the biennale opening on Friday December 13, Wooloo will display every personal Apple product (iPhone, iPad, iMac, etc. ) brought with them into Haiti and will ask their fellow participating artists to do the same. The Apple products will be on display in an empty room in the atelier of Atis Rezistans KOMBATAN & KATELYNE (KBT & KTL) next to the artists' own works.»

XKLUB - Roberto N Peyre (SE), Joyce Ip (SE), Nanna Dalunde (SE) and Jean-Louis Huhta (SE)


The XKlub was established in 2011 as an event space run by BLOT (artists Joyce Ip and Roberto N Peyre), artist/musician Jean Louis Huhta and Filmmaker Nanna Dalunde. The club operates the borderlines between night club, festival, seminar, temple and exhibition with a ritualistic fervor. Screening programs, visuals, food, drinks, installations, live performances and other in conjunction serve as the fundament of extraordinary experiences. For the 3rd Biennale in Port au Prince, XKLUB wants to take on some alternative strategies to the site specific urban complexity and its inhabitants. XKLUB intend to set up something like a mobile club space in the guise of something like a mobile catwalk gone sound system possibly gone carnival float. The intention is to facilitate a platform where the creative impulse is expressed through gesture, appearance and musicality rather than art objects, imagery, workshops or talk. For Ghetto Biennale 2013 we rather walk the walk, where body language and made up music instruments do the talk. This could be seen as an attempt to introduce a somewhat minimalistic take on “the processional” within the biennale area at the Grand Rue. A wholly dedicated runaway where the cats of the Grand Rue and the Biennale are invited to show off and freak out.

Zaka (HT)


For the new Ghetto Biennale I want to make a project with the name *Market to See*. There is a proverb that says : *Everything that is shown publicly is good, but just sitting down does not mean you see everything that you supposed to see. You have to work hard to reveal everything that is hidden* At the crossroad of the new Ghetto Biennale, I want to make an exhibition where I can meet every visiting artists to discover differences that every Haitian artists has and to admire the talent of every single artist and to bear testimony to our identity. I choose the idea *Market to See* to discover our rich country.

Pou nouvo Ghetto Biennale sa, mwen vle prezante yon pwoje ki rele *MACHE POU WE*. Gen yon pawol ki di : *Tout sa ki bon pa kwoke sou plas piblik, chita pa pemet ou we tout sa’w ta sipoze we, men fok ou mache pou’w ka dekouvw tout sa ki kache men ki poko devwale*.
Nan kalfou nouvo Ghetto Biennale sa, mwen vle yon ekspozisyon pou’m ka fe tout atis etranje yo dekouvwi diferans ke chak atis ayisyen genyen, vin admire talan nou chak ki se temwayaj idantite nou. *MACHE POU WE* a, se sije ke mwen chwazi nan lide pou fe dekouvwi riches peyi a.