Marc Schmitz is a conceptual multi-disciplinary artist based in Berlin and Ulaanbaatar. He explores the foundations of the different media that he is in use with, by challenging their limits. His works convey sensuality and thought, inviting the viewer to enter into a mutually constructive dialogue, while addressing the limitless space with all of the viewer's basic senses. Marc Schmitz participated in international Biennials such as Busan Biennale 2004, Beijing Biennial 2005, Venice Biennale 2017, T-Rio Bienal, Brasil 2018, Marrakesh Biennale 2016 and Bangkok Art Biennial 2019 beside others. His works have been exhibited internationally in Museums in Pingnan in Fujian China (solo 2018), or Zendai MoMA 2009, Shanghai and at the Concert Hall in Perth Western Australia (solo 2012) are represented in private and public collections and have been remarked with several international awards. (Award of Cairo Biennale, Busan Biennale, world Expo 2000 etc). He was residence artist in Korea, at Peace Art Hotel in Shanghai or the Goethe Institute Hong Kong, and Nakanojo, Japan. Marc Schmitz is founder and Director of Land Art Mongolia LAM360°. He serves as network partner of the Prince Claus Fund, is member of IBA (International Biennial Association) and CIMAM.

11.21 Has Biennale been reshaping the artistic landscape?

1. The perspective as participating artist at Biennials Marc Schmitz has been participating artist of more than a dozen international Biennials worldwide. He will present a brief introduction to his project spaces, and the personal experience working in the context of Biennials.
2. The development of an escape road to Gobi desert becoming a biennial, Land Art Mongolia LAM Land Art Mongolia was initiated 2010 as an artist run project, since then LAM has invited more then 200 international artists to participate. LAM focuses on Land Art as a form of spatial visualization of the relations between nature, culture and social policies. It strongly promotes freedom of expression in joining people and institutions from all sectors of Mongolian society by meshing their respective backgrounds and perspectives through collaboration and networking actions of regional and global scope. By doing so, the organisation would like to incite an advanced discourse on cultural and social policy which will take up environmental and social sustainability with a strong emphasis on the most vulnerable sectors of society in Mongolia (such as: nomadic people | ethnic minorities | non-commercial cultural organizations and youth) in the broader perspective of cultural transformation in Central Asia.
3. Why Biennials (?) perspective & production, a double bound play for artists within the framework of biennials.. Questioning the function of a Biennial, while focussing on climate change and natural recourses, the challenging shift could be to question the human resources itself. In what way organizations, curators, artists and the participating public share their values? What are the measurements for well being and wealth in the art industries? What are the standards, and how would be a perspective look like?