Biennials, triennials, and Documenta : the exhibitions that by Gardner, Anthony; Green, Charles

By Gardner, Anthony; Green, Charles

"Provides a entire worldwide background of biennialization from the increase of the eu star-curator within the Seventies and the emergence of mega-exhibitions in Asia within the Nineties to the present globalization of biennials"--

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This leading edge new background examines in-depth how the growing to be acclaim for large-scale overseas survey exhibitions, or 'biennials', has stimulated worldwide modern artwork because the 1950s. Read more...

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Szeemann had veiled the artists’ intentions. ”13 documenta 5’s title, Befragung der Realit¨at, Bildwelten heute, was a clear allusion not just to nineteenth-century German philosopher Hegel but also to the modish new discipline of semiotics (no matter that Szeemann disavowed any academic predilections in interviews or in the characteristically brief, two-page curatorial statement that opened the catalogue). The title was a development of the premise of Szeemann’s previous exhibition, When Attitudes Become Form.

It is the right of an artist to determine whether his art will be exhibited. It is the right of an artist to determine what and where he exhibits. 2. A work of art should not be exhibited in a classification without the artist’s consent. 3. 21 Haacke, LeWitt, Le Va, Rockburne, and Serra did exhibit their works; the others withdrew or, as with Smithson, appeared only in the exhibition’s monumental publication. “Therapy Has Changed and No Longer Encourages Copious Art Production” When the exhibition opened in June 1972, it was clear that documenta 5 was first of all, like Attitudes, a highly personal and at the same time deeply scholastic atlas of the late phase of dematerialized, conceptualist, and post-minimalist art from Europe and North America.

That complex, meta-exhibition model would be taken up by future biennial directors, not least by curator Okwui Enwezor at Documenta11 (2002), and then at the 2008 Gwangju Biennale. ” They were to become – or so it seemed – the sites where cultural and political change 42 Part 1: The Second Wave would be described and debated, as if these enormous exhibitions were cultural laboratories. This was a momentous change. Notes 1. ,” in Sandy Nairne, Bruce W. ), Thinking About Exhibitions (London: Routledge, 1996), pp.

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