Feb 5, 2010 0
The GLOBAL BIENNIAL ASSOCIATION was started in 2009, by a group of international exhibition makers and art-historians who have been involved in the growing global rise of the art biennial phenomenon. The GBA has it’s main headquarters in Amsterdam, the Netherlands, but is active all over the world. We take on a fresh, young and critical approach towards the global art world, creating new, ambitious and successful formats.
Dec 12, 2009 0
“(…) From such formulated platforms we can relate to other spaces and spheres indicating that biennials are not predominantly to be seen as utopias, but rather as heterotopias, capable of maintaining several contradictory representations within a single space.”
Simon Sheikh
in ‘Marks of Distinction, Vectors of Possibility’
It is clear that biennials, triennials, art fairs, as art events are, undoubtedly, part of an
economic system dominated by structures of power that seek not only to brand a new
place or event but also to contribute for the legitimization of a particular art world and its
participants. More »
Dec 11, 2009 0
A few days ago, I sat in front of my laptop and placed my fingers over the keyboard with the intention of writing my opinion in relation to biennials. It was only then that I thought:
“How can I take a stand in relation to the biennial phenomenon taking into account that my personal experience on visiting these events comes down to… one?”
Dec 10, 2009 0
If we wish to train ourselves as cultural analysts, then cultural analysis, however, need not necessarily force us, as Marieke’s suggested question insists, to divide ourselves into two groups: Biennial Haters and Biennial Lovers.
I find Biennials interesting because they are a place where one can see art-documentary films and a documentary approach in visual arts such as video and photography. This is brilliant because such work can carry a nuanced truth about socio-political matters.
Dec 10, 2009 0
I agree with what sceptics bring forward: they have to many roots in city marketing and economical and political interest instead of artistic interests.
In the case of Manifesta however, I believe that the location, the history of occupation of Cartanega trough the people of Carthago and current events of immigration make it ideal for site- specific work.
Dec 10, 2009 0
Dear M.
Today I was invited to participate in a very prestigious biennial. They saw my show in D. last year and want me to make a new work for them. I always said I would never want to be part of a biennial, easy if you never get the chance to be involved. I asked if I could think about it, they were surprised to hear that, I guess nobody had to think before they accepted, but it was OK.
More »
Dec 9, 2009 0
As an artist I am an active part of the art world. I am just starting my art practice, and the art world in which I am working is mostly within the Netherlands. As an artist one tries to strive to make ones ideas knowledgeable within a wide audience. So for me working in a local context is a starting point; participating in the context of a biennial could be a goal. It is of course not a goal in itself. The main goal for me as an artist is to become more specific in my ideas. But art doesn’t exist if it has no audience, so in that sense art needs a platform. Locally, nationwide or internationally.
Dec 9, 2009 0
“…the big international circus goes on. The opening days of the Venice Biennale are now written-up as much in terms of parties and celebrities as the art. In 2007, the five–yearly Documenta in Kassel, Germany, and the once-a-decade Munster Sculpture Project followed Venice, and became part of an unseemly Grand Tour, which also took in the Basel art fair. Such migrations across Europe haven’t been seen since the 30 years war.” (i)
Nov 11, 2009 0
Looking at the phenomenon of the mega-exhibition expansion, at present, the biennial debate can be generally divided between sceptical and optimistic points of view.
