Biennales in the conditions of contemporaneity
"Why is it that the biennale has become so important to international visual arts? How does it do its job now, compared to other types of exhibitions such as theme shows, historical surveys, retrospectives, open salons, competitions, art fairs and group shows organised by artists' cooperatives? Are biennales telling us more about the state of contemporary art than the writings of critics and historians?" Terry Smith - Autumn 2005 issue of Art & Australia.
You can read this article in more depth here: http://www.artaustralia.com/article.asp?issue_id=3&article_id=6
I think Terry Smith raises an interesting point:
What is the role of the Biennale?
To exhibit the best new work by contemporary artists?
Or to present a survey, contextualized by a general theme - such as 'Revolutions - Forms that Turn' - thus initiating / inciting new readings of older works together with more contemporary pieces - art presented as a tapestry of ideas?!
What does the 2008 Sydney Biennale say about Art today?
I think Terry Smith raises an interesting point:
What is the role of the Biennale?
To exhibit the best new work by contemporary artists?
Or to present a survey, contextualized by a general theme - such as 'Revolutions - Forms that Turn' - thus initiating / inciting new readings of older works together with more contemporary pieces - art presented as a tapestry of ideas?!
What does the 2008 Sydney Biennale say about Art today?
4 comments:
I'm not sure I can really say much about Biennales in general becuase embarrassingly enough the 2008 Sydney Biennale is the first one I've looked at in any real detail. However, considering what I've seen in Sydney this year, and the nature of the "other types of exhibitiions" Terry Smith mentioned (e.g. historical surveys being specifically for old works, competitions being specifically for new works), it seems that it's the Biennale's role to bring together both historical and contemporary works that deal with the same theme.
With the 2008 Sydney Biennale in particular, its inclusion of both historical and contemporary art seems to fit its theme of "Revolution", in terms of a revolution as a rotation - returning to the point of origin - it's an acknowledgement of the past and thus that origin. Also, the displaying of works from different time periods seems to allow a greater variety of readings of what "revolution" is, which is useful even if they refer to events which were very of their time, such as the Civil Rights movement in the US (there are illustrations from Black Panther magazines on display on Cockatoo Island).
Additionally, the display of historical works alongside contemporary art, in a contemporary art festival, does open them up to new readings as Amanda mentioned - new perspectives being an element of the idea of "revolution" that Carolyn Christov-Bakargiev seems to place emphasis on. (If I find where I read her talking about that, I'll post it on here.)
I still haven't decided whether the number of older works is overkill yet, though, seeing as the Biennale is described as "Australia's Festival of Contemporary Art" on its website - I just keep thinking about the works in the AGNSW - it seemed like it was too full of too many works that were only there because of their historical significance. Or maybe I was just in a bad mood that day. Who knows.
Okay, I'm rambling. I'll stop.
Rambling is great Meg!
I agree with you - I also questioned the need for so many older works within a survey exhibition that purports to show the best contemporary work.
In retrospect however - having seen much of what this years Biennale has to offer - I feel quite privileged ... excited about the fact these works are 'available' to me... Without traveling O/S, it is not often you have a chance to stand before a Dan Graham video installation or a Piero Manzoni. I mean really... canned 'shit' in the flesh. Amazing really!
http://en.wikipedia.org/wiki/Artist's_Shit
Yeah, that's a good point. It's really quite amazing to have all these works here - it says a lot about how Sydney and Australia are being viewed internationally now.
Also, the works on Cockatoo Island I mentioned are by Emory Douglas (http://www.bos2008.com/app/biennale/artist/34), and Christov-Bakargiev mentions perspective in relation to "revolution" in just about every publication the Biennale's put out this year.
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