University of Leeds Art Biennales Paper

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Requirement ：Question (please read all points carefully)What issues were repeatedly encountered in the biennales we studied across weeks 7-12? Having read about biennales in weeks 7-12 —in material posted on Readings Online, subject guide, padlet page, and also from across the internet, online databases, and from searches through art magazines and other websites—you can see that particular issues were repeatedly encountered and talked about. What were they? Do you agree with the assessments about those issues that you read? How would you see things differently? You should focus on topics/biennials of AT LEAST two (2) of the weeks we have looked at (from W7-12) (so more than one week). Also, you need to refer to each week’s biennale (from week 7-12) to answer this question, even if your mention of a particular biennial is extremely brief.A good answer includes references to the biennales that we have discussed in weeks 7-12, and references to works of art included in these biennales in order to make your points. A very good answer might refer to yet other biennales, ones that we have not studied at all but which you can argue assist in establishing an interesting, good answer.Assignments must be typed in double-spaced 12pt text please!!!Assignments must have numbered pagesI choose topic ：WEEK 8Seminar: Exhibitions as an Extension of Regional Diplomacy: Manifesta 1(Rotterdam, 1996)Manifesta was created as part of the EC project to create a European identity. It was also initiated in the wake of the Cold War, and in the context at the time of the expansion of the EU, and bloody conflicts and traumas in Eastern Europe. Though Europe is a relatively small geographic entity, Manifesta has been preoccupied with questions of periphery and centre. How have curators negotiated this territory? Have artists done so too? What has this cycle of exhibitions constructed? To what extent did these priorities condition the art included, or were they an accurate reflection of European art of the period, or have the manifestos of Manifesta been peripheral to the art on exhibition? Note the artists included in the 1996 edition of Manifesta, and work out if the selections are consistent with those of other biennales we are studying.Question for discussion: Are the same artists included in other biennales we are studying? Is there a typical profile of a ‘biennale artist’?Manifesta 1 website: http://m1.manifesta.org/index.htmlManifestaWebsite: http://manifesta.org/manifesta-1/Reference format ：chigago Ahttps://library.unimelb.edu.au/recite/chicago-aReading ：http://tica-albania.org/TICAB/

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Requirement ：
Question (please read all points carefully)
What issues were repeatedly encountered in the biennales we studied across weeks 7-12?
Having read about biennales in weeks 7-12 —in material posted on Readings Online, subject
guide, padlet page, and also from across the internet, online databases, and from searches
through art magazines and other websites—you can see that particular issues were repeatedly
encountered and talked about. What were they? Do you agree with the assessments about those
issues that you read? How would you see things differently? You should focus on topics/biennials
of AT LEAST two (2) of the weeks we have looked at (from W7-12) (so more than one week). Also,
you need to refer to each week’s biennale (from week 7-12) to answer this question, even if your
mention of a particular biennial is extremely brief.
A good answer includes references to the biennales that we have discussed in weeks 7-12, and
references to works of art included in these biennales in order to make your points. A very
good answer might refer to yet other biennales, ones that we have not studied at all but which
you can argue assist in establishing an interesting, good answer.
Assignments must be typed in double-spaced 12pt text please!!!
Assignments must have numbered pages
I choose topic ：
WEEK 8
Seminar: Exhibitions as an Extension of Regional Diplomacy: Manifesta 1(Rotterdam,
1996)Manifesta was created as part of the EC project to create a European identity. It was also
initiated in the wake of the Cold War, and in the context at the time of the expansion of the EU,
and bloody conflicts and traumas in Eastern Europe. Though Europe is a relatively small
geographic entity, Manifesta has been preoccupied with questions of periphery and centre. How
have curators negotiated this territory? Have artists done so too? What has this cycle of
exhibitions constructed? To what extent did these priorities condition the art included, or were
they an accurate reflection of European art of the period, or have the manifestos of Manifesta
been peripheral to the art on exhibition? Note the artists included in the 1996 edition of
Manifesta, and work out if the selections are consistent with those of other biennales we are
studying.
Question for discussion: Are the same artists included in other biennales we are studying? Is
there a typical profile of a ‘biennale artist’?
Manifesta 1
website: http://m1.manifesta.org/index.htmlManifesta
Website: http://manifesta.org/manifesta-1/
Reference format ：chigago A
https://library.unimelb.edu.au/recite/chicago-a
Reading ：
http://tica-albania.org/TICAB/
WEEK 8 Seminar: Exhibitions as an Extension of Regional Diplomacy:
Manifesta 1 (Rotterdam, 1996)
Manifesta was created as part of the EC project to create a European identity. It was
also initiated in the wake of the Cold War, and in the context at the time of the
expansion of the EU, and bloody conflicts and traumas in Eastern Europe. Though
Europe is a relatively small geographic entity, Manifesta has been preoccupied with
questions of periphery and centre. How have curators negotiated this territory? Have
artists done so too? What has this cycle of exhibitions constructed? To what extent did
these priorities condition the art included, or were they an accurate reflection of
European art of the period, or have the manifestos of Manifesta been peripheral to the
art on exhibition? Note the artists included in the 1996 edition of Manifesta, and work
out if the selections are consistent with those of other biennales we are studying.
Question for discussion: Are the same artists included in other biennales we are
studying? Is there a typical profile of a ‘biennale artist’?
WEEK 9 Seminar: Eastern Europe’s Mega-Exhibitions: Tirana Biennale 1
(2001)
During the 1990s, the major sponsor of contemporary art throughout Eastern Europe
was the network of Soros Centers for Contemporary Art (headed by American
entrepreneur George Soros). This network closed after 1999, leaving Eastern
European artists and curators needing to find alternative infrastructural and funding
models to continue exhibiting contemporary art. In the early 2000s, the
Italian-American magazine Flash Art filled the gap created by the withdrawal of the
Soros Centers, with the magazine’s editors curating biennales in Tirana from 2001,
and Prague from 2003. This raised significant complications: what were the ethics and
expectations of a commercial art magazine hosting megaexhibitions in Eastern Europe?
Had mega-exhibitions simply become part of the commercial portfolio of magazines
such as Flash Art? And how did this affect the creation and presentation of art in
Europe after the fall of communism? Particular attention will be paid to the
reappropriation of the 2001 Tirana Biennial by the city’s enterprising mayor, Edi
Rama, who used Flash Art funds to repair and repaint numerous buildings throughout
the city, and enliven the city in the longterm for its residents, not just momentarily for
the exhibition’s international tourists.
Question for discussion: What is the role of the biennale exhibition catalogue?
WEEK 10 Seminar: Dispersed Curatorship?: Documenta 11 (2002).
This strategy was the crux of Documenta 11, which curator/director Okwui Enwezor
attempted to disperse across 5 connected “platforms” in different locations across the
world, rather than solely in Documenta’s usual home of Kassel, and between himself
and a panel of invited co-curators. The seminar will examine the tensions between
Enwezor’s postcolonial destabilization of any one intellectual or artistic authority –
what he called the development of “postcolonial constellations” – and corporate
discourses of delegated duties. This strategy will be further contextualized in the
following seminar by similar approaches developed in other, contemporaneous
mega-exhibitions (most notably, the 50th Venice Biennale, called Dictatorship of the
Viewer, directed by Francesco Bonami in 2003). A second tension thus ultimately
needs to be addressed between Enwezor’s desires to destabilize the authorial power or
hegemony of the curator, and the return of that authority through subsequent influence
on others.
Question for discussion: How can curators undermine power and privilege? Why
would they do this?
Week 11 Seminar: Delegated Duties: 50th Venice Biennale (2003).
This seminar develops curators’ strategies of adapting corporate discourses of
delegated duties identified by Enwezor in Documenta 11. Bonami’s exhibition, titled
Dictatorship of the Viewer, ostensibly recognized both the influence and authority of
the oldest biennale, the Venice Biennale, while at the same time announcing the
impact of the increasingly powerful and triumphant art market and its
commodification of every type of so-called resistant art.
Question for discussion: Must biennales always celebrate their artists? Especially
when new theories of art such as institutional critique art, relational aesthetics art and
more recently social practice art, suggest there must be other ways of thinking about
artists.
WEEK 12 Seminar: The Return of the Grand Tour: The Grand Tour (Europe,
2007),
Art Compass (Asia, 2008) In 2007 and 2008, a new mega-exhibition model emerged
to counter the global surfeit of biennales, the consequent sense of “biennale fatigue,”
and the ascendancy of art fairs at the expense of other display formats.
Mega-exhibitions located in particular geographic regions – first in Europe, then in
Asia-Pacific – were rescheduled to open within days of each other, coordinated to lure
as many international visitors as possible to these networked exhibitions. The
historical basis for this network was the Romantic-era paradigm of the Grand Tour,
updated for an age of so-called “global nomadism” and computer connectivity. This
seminar examines the return of the mega-exhibition format to its 19th century roots of
Romantic travel and World’s Fairs, and how the mega-exhibitions’ curators
(especially in Asia) responded to, and even critiqued, the colonial implications of this
19th century heritage. The stakes of this seminar are thus to present the reasoning and
challenges behind the networked coordination of mega-exhibitions, and to evaluate
whether this return to the Grand Tour extends or rejects the history of
mega-exhibitions presented in this subject: does it disperse or reinforce the authority
of the mega-exhibition (and its curator) after Documenta 11?
Question for discussion: Given the global circuit of biennales around the world, are
curators just staging spectacles for nonlocal audiences (as was argued about the 2008
Beijing Olympic Games, with which Art Compass was timed to coincide)? Can (or do)
these mega-exhibition networks present us with any new paradigms for exhibitions?

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Tags:
Art exhibitions

biennales

enlarging audience scope

triennials and quadriennials

Sao Paulo 1951

displaying works of art

Manifesta biennial

Documenta Biennale

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