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"Contemporary Art Biennials in Europe examines five urban situations in diverse parts of Europe. Roughly tracing a central horizontal strip from the western to the eastern edges of the continent, the events and cities covered are the Folkestone Triennial, UK, Münster Sculpture Projects, Germany, the Venice Biennale, Italy, Belgrade's Mikser Festival, Serbia and the Istanbul Biennial, Turkey. Whybrow establishes how public artworks operate in these contexts as part of a complex prescribed by the format of the biennial event. This means drawing out the extent to which biennial events seek to engage with the complexity of the city in question, in a manner that takes into account local socio-cultural ecologies, while also positioning the event itself within a globalist art world perspective. The book also considers how sited installations - which are very varied in form, as a reflection of a new, eclectic urban aesthetic - tell a particular story of a city, while the regional diversity of these selected cities and events in turn tells a composite story of European difference at a moment of high tension, centring on matters of migration, political populism and uncertainty around the future form of the European Union"--

Biennials (Art fairs) --- Art and cities --- Biennales (Art fairs) --- Art fairs --- History --- Art and towns --- Cities and art --- Towns and art --- Cities and towns

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Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.

Museology --- biennials [exhibitions] --- Art and society. --- Art --- Biennials (Art fairs). --- Economic aspects. --- Biennials. --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Art and society --- Biennials --- Economic aspects --- Biennials (Art fairs) --- Biennales (Art fairs) --- Art fairs --- activism --- art history --- contemporary art --- curating --- economics --- exhibition --- museum studies --- Occupy --- politics --- visual culture

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contemporary art --- exhibitions --- biennials --- art history --- visual culture --- art --- Art --- Biennials (Art fairs) --- Exhibition techniques --- Philosophy --- History --- Exhibitions --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Biennales (Art fairs) --- Art fairs --- Exhibition techniques. --- Exhibitions. --- Display techniques in art --- Exhibition techniques in art --- Display techniques