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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"--

Art and cities --- Biennials (Art fairs) --- History

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"En 1959, la première Biennale internationale des jeunes artistes ouvre ses portes au musée d'Art moderne de la Ville de Paris, rejoignant le cercle alors très restreint des grandes manifestations internationales spécialisées en art contemporain. Son ambition était de renforcer la place de la capitale française sur la scène artistique mondiale. Confrontée à maintes difficultés dès sa fondation, cette institution, dont l'organisation et le fonctionnement ne cessèrent de se transformer en vingt-six années d'existence, a néanmoins réussi à donner à voir l'art en train de se faire, à une époque où la guerre froide et de nombreux régimes dictatoriaux limitaient la circulation des gens, des œuvres et des idées. Fruit d'un programme de recherche initié à l'Institut national d'histoire de l'art en 2017 ayant réuni une trentenaire de chercheurs, cette somme inédite propose pour la première fois une réflexion globale et historique internationale et transversale sur la Biennale de Paris, ses espaces, ses engagements, ses paradoxes et ses impasses." --

Art, Modern --- Biennials (Art fairs) --- Young artists. --- Biennale de Paris.

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Global biennials have proliferated in the contemporary art world, but artists’ engagement with large-scale international exhibitions has a much longer history that has influenced the present in important ways. Going back to the earliest world’s fairs in the nineteenth century, this book argues that “globalism” was incubated in a century of international art contests and today constitutes an important tactic for artists. As world’s fairs brought millions of attendees into contact with foreign cultures, products, and processes, artworks became juxtaposed in a “theater of nations,” which challenged artists and critics to think outside their local academies. From Gustave Courbet’s rebel pavilion near the official art exhibit at the 1855 French World’s Fair to curator Beryl Madra’s choice of London-based Cypriot Hussein Chalayan for the off-site Turkish pavilion at the 2006 Venice Biennale, artists have used these exhibitions to reflect on contemporary art, speak to their own governments back home, and challenge the wider geopolitical realm—changing art and art history along the way. Ultimately, Caroline A. Jones argues, the modern appetite for experience and event structures, which were cultivated around the art at these earlier expositions, have now come to constitute contemporary art itself, producing encounters that transform the public and force us to reflect critically on the global condition.

Arts --- Art fairs --- Biennials (Art fairs) --- Art and globalisation --- Arts - Exhibitionsn

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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 Franz 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 IX, the new biennial embodies at once an ethos of avant-garde resistance and an industrialized politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question 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 explores how biennials both denunciate aesthetic value as a bourgeois category and simultaneously diffuse and replicate its form varyingly 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