performance, alongside figures from
the western biennial circuit.
Regulars from
the western biennial circuit included a Félix González - Torres installation of wrapped sweets, a Fiona Tan film and a William Kentridge animation.
The foregrounding of installation, film and performance, mixed with the presence of names familiar from
western biennial circuits points to one thing: the class of curators who have become associated with biennials, and with criss - crossing the globe.
Many displayed a mixture of Asian artists using installation, film and performance, alongside figures from
the western biennial circuit.
Not exact matches
Western Australian Premier's Book Awards A
biennial award made available by the
Western Australian Government and are managed by the State Library of
Western Australia.
Manifesta 10 features a surprising number of formally minded artists for a
biennial born of political crossfire, having withstood calls to boycott Russia from
Western LGBTQ and pro-Ukrainian activists.
Looking to reinvigorate the
biennial model, in 2011, SITE reimagined SITE's
biennial exhibition to focus on the
Western Hemisphere, bring new perspectives to the curatorial table, and build a new infrastructure at SITE to support long - term research and new artist commissions.
If curators and
biennials are increasingly met with a weary sigh in a
western art world that remains insistent on privileging the white cube, they are playing a key role in enabling avant - garde artists to develop in Asia.
Most Asian
Biennials that were founded in the 1990s have used a judicious mixture of such high - profile
western curators interspersed with Asian curators, sometimes working in teams, possibly to avoid accusations of the neo-colonial gaze.
While the global art world has arrived on China's shores - including
biennials in Shanghai, Beijing, Guangzhou, and the annual Pingyoa Photography Festival - contemporary artists in China are still relatively isolated, by language and geography, from
Western influences.
Spawned by their more formal
Western predecessors and motivated by the forces of history and politics, the newer incarnations of the
biennial often occur in the cities of the postcolonial world and the Global South, as well as in former socialist countries.
Art and the Feminist Revolution, the Museum of Contemporary Art, Los Angeles (2007);
BIENNIAL Exhibition at the Whitney Museum of American Art, New York (1997); and INside the VISIBLE curated by Catherine M. de Zegher, Institute of Contemporary Art, Boston, traveled to the National Museum of Women in the Arts, Washington, DC, the Whitechapel Art Gallery, London, and the Art Gallery of
Western Australia, Perth (1996).
While she is concerned about how this expanding
western model of art exhibitions, fairs and
biennials might or might not stimulate social change, one could also argue that the deconstruction of
western - centric narratives is in fact aided by this outward expansion.
She discusses the ever more globalised art scene and the growing culture of biennales and art fairs, noting that many of the
biennials take place in countries «which are politically and economically problematic or in crisis, and it is about the projection of one context into another; trying to impose some
western idea of how inspirational art can be to those people and then leaving that place and not taking any responsibility for the idea of intellectual freedom they have proposed.»
Western Colorado Center for the Arts, International Call for Artists: Contemporary Clay 2018 Deadline: February 1st, 2018 From their call: The
Western Colorado Center for the Arts offers this international, juried
biennial in the spring of every even year.
His work has been exhibited across the United States and Canada, including View From Up Here: The Arctic at the Center of the World at the Anchorage Museum, Anchorage, USA (2016), All Together Now at the University of Toronto Art Centre in Toronto, Canada (2014); Beyond / In
Western New York (2007), a
biennial organised by the Albright Knox Gallery in Buffalo, USA;.