Five Quick Answers To Frequently Asked Questions about 54

1. Where does the title "54" come from? 
It is named after the "54th" Venice Biennale.  The 2011 (54th) Venice Biennale and the surrounding city  is the backdrop of film and referenced in many of the artworks as well.  The number 54 is also significant to the central character in the film's narrative.

2. Why the Venice Biennale for the cinematic intervention, there are so many biennials?
It is considered to be one of the most prestigious cultural institutions in the world. It is the oldest biennial, beginning in 1895.   It is also situated in a beautiful and historically-rich city. Venice as a city and Venice the Biennial both have no shortage of controversy.  Designed as a speculative gesture, the original Venice Biennale organizers attempted attract the affluent to the island city and recharge their tourist economy with the lure of new contemporary art market.  The Venice Biennale has a complex exhibition model that increases the scope of  our critique. The model includes:  1. Nation/State-supported Pavillions (based on the World Fair and Exposition model. 2. A thematically-curated international exhibition. 3. Approved collateral exhibitions situated throughout the city.  4. A healthy history of interventions, demonstrations, and penetrations.  

3. What is the film's narrative about?
The film's dark nonlinear narrative and cast are linked together by a central character wandering through the landscape of Venice, Italy attempting to make sense of the system that has chosen him and the tasks set out before him. In this sci-fi inspired “art world” coded observations, memories, and fantasies intersect with reality. The film’s narrative and related artwork combine relevant La Biennale di Venzia histories and themes with our experiences in Venice during the 54th Biennale.   We want to present it first as an immersive installation, then as a traditional single channel film. The immersive film installation blends narrative, cinema vèrité, improvised experimental cinematic styles and interactive technology. Intervention, homage, appropriation, and collaboration are important tactics in the making of the film. 

4. How will the final installation work?
The installation technology is responsive to the movements, positions, and number of visitors in the space. These variables control the audio and visual and elements of the film including the sequence of the narrative. We want the audience to be positioned as the "editor" of the film and have a different experience each time they engage the work.

5. What are some core thematic concerns?
The project explores the growing global perennial exhibition phenomenon (biennials, triennials, pentennials, etc.). We are especially focused on the socioeconomic and political systems that control them and the effects these exhibition models have on art, artists, audiences and broader culture. As a cumulative project, 54 echoes questions raised by artists, curators, and writers regarding perennials deployed worldwide. Specifically, questions addressing access, perpetuity, communication, desire, power, place, affiliation, and participation. Questions like: Who has access to perennials and conversely who is excluded and why? Should they be doing this again and again? What are the messages communicated at perennials and can they be subverted? What do we really want from a perennial experience? Who controls perennials and how do they benefit?  Is it really one place after another? Can we play too?

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