Table of Contents Shifting Gravitiy The Crisis and Opportunity ofBiennials Yongwoo Lee '10 Bringing the Biennial Community Together Marieke van Hal 14 The Inaugural World Biennial Forum Elke aus dem Moore 16 Shifting Gravity Ute Meta Bauer and Hou Hanru IS Keynotes Rethinking Equality: WangHui 28 The Decline of Representation The Cosmos in Aesthetic Cosmopolitanism Nikos Papastergiadis 34 Democracy, Human Rights, and Chantal Mouffe 46 Cosmopolitanism: An Agonistic Approach Case Studies Asia Pacific—Part A 58 Asia Pacific Triennial ofContemporary Art Caroline Turner Biennale ofSydney Jonathan Watkins Biennale Jogja Alia Swastika Moderator Ursula Zeller Asia Pacific—Part B 64 Taipei Biennial Fang-Wei Chang Shanghai Biennale Zhang Qing Yokohama Triennial Eriko Osaka KOBE Biennale Ritsuko Taho Moderator Zheng Yang Architecture— Design —Infrastructure 70 Shenzhen & Hong Kong Bi-City Biennale of UrbanismYArchitecture Ou Ning Gwangju Design Biennale Hyungmin Pai Guangzhou Triennial Wang Huangsheng Moderator Ute Meta Bauer Emergent—Alternative 78 Emergency Biennale Evelyne Jouanno Kochi-Muziris Biennale Riyas Komu Land Art Mongolia 360° Marc Schmitz Tbilisi Triennial Wato Tsereteli Chobi Mela Shahidul Alam Moderator Marie Le Sourcl http://d-nb.info/1033856444 South Korea SS Gwangju Biennale Yongwoo Lee Mediacity Seoul JinsangYoo Anyang Public Art Project Beck Jee-Sook Moderator Kim Hong-Hee "Asia"and Its Margins 94 Istanbul Biennial Bige Orer Meeting Points Tarek Abou El Fetouh Ural Industrial Biennial ofContemporary Art Alisa Prudnikova Sharjah Biennial Hoor Al Qasimi Moderator Hou Hanru Special Guests We Hop On, We Hop Off: The Ever-faster Rene Block 104 Spinning Carousel of: Biennials Interview with MOON Kyungwon Hans Ulrich Obrist 110 and JEON Joonho Questionnaires The Role of Biennials? 120 The Function and Potential of Biennials? 130 The Challenges Faced by Biennials? 137 Are Biennials Alternative Sites for Experimentation and Resistance? 145 The Financing of International Contemporary Art Biennials Istanbul Foundation for Culture and Arts (iKSV) 153 World Biennial Forum N" 1 Participating Biennials 1/5 Contributors 201 .

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METRO PICTURES Isaac Julien PLAYTIME November 7 - December 14, 2013 Opening Reception Thursday, November 7 from 6 - 8 PM
METRO PICTURES Isaac Julien PLAYTIME November 7 - December 14, 2013 Opening Reception Thursday, November 7 from 6 - 8 PM Metro Pictures presents a special presentation of Isaac Julien’s “PLAYTIME,” an exhibition that explores current debates on the relationships between capital, the art world and the individual. The exhibition comprises the large film installation, PLAYTIME, a two-monitor flat-screen installation,KAPI- TAL; a single-monitor film,PLAYTIME (Auctioneer); and four photographic works. Consisting of three chapters, PLAYTIME is set across three cities defined by their relationship to capital: London, a city transformed by the deregulation of banks; Reykjavik, where the 2008 crisis began; and Dubai, one of the Middle East’s burgeoning financial markets. Following the five main characters identified only as The Collector, The Houseworker, The Artist, The Auctioneer and The Reporter, PLAYTIME asks how these diverse characters are entangled in capital and how they are implicated in the global financial crisis. All the characters in PLAYTIME are based on real individuals whom Julien interviewed and researched extensively. The work blurs the line between documentary and fiction by mixing dialogue performed by actors with excerpts from the interviewees themselves. KAPITAL presents Julien and David Harvey, author of the book “The Enigma of Capital,” in conversation with theorists, critics and curators at the Hay- ward Gallery in London. The film opens by asking how we can visualize modern capital. As the conversation progresses it becomes
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Art History: International Art Exhibitions
FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected.
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Colecionismo De Arte Moderna E Contemporânea No Brasil: Um Estudo
1 UNIVERSIDADE FEDERAL DE MINAS GERAIS ADRIANO CÉLIO GOMIDE COLECIONISMO DE ARTE MODERNA E CONTEMPORÂNEA NO BRASIL: UM ESTUDO BELO HORIZONTE 2014 2 ADRIANO CÉLIO GOMIDE COLECIONISMO DE ARTE MODERNA E CONTEMPORÂNEA NO BRASIL: UM ESTUDO Tese apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Doutor em Artes. Área de Concentração: Arte e Tecnologia da Imagem Orientadora: Profa. Dra. Maria Angélica Melendi de Biasizzo BELO HORIZONTE ESCOLA DE BELAS ARTES DA UFMG 2014 3 Dedico este trabalho aos colecionadores que, nas entrevistas, me ensinaram uma outra perspectiva sobre sua atividade, e que, com suas aquisições e coleções mantêm uma importante parte do sistema de arte brasileiro funcionando. Gomide, Adriano Célio,1963- Colecionismo de arte moderna e contemporânea no Brasil [manuscrito] : um estudo / Adriano Célio Gomide. – 2014. 2 v. : il. Orientadora: Maria Angélica Melendi de Biasizzo. Tese (doutorado) – Universidade Federal de Minas Gerais, Escola de Belas Artes. 1. Arte – Coleções particulares – Brasil – Teses. 2. Colecionadores e coleções – Brasil – Teses. 3. Arte – Comercialização – Brasil – Teses. I. Biasizzo, Maria Angélica Melendi,1945- II. Universidade Federal de Minas Gerais, Escola de Belas Artes. III. Título. CDD: 790.132 4 AGRADECIMENTOS Agradeço a Deus, À Piti – Dra. Maria Angélica Melendi de Biasizzo – pelo acolhimento do meu projeto de pesquisa, pela orientação e pela amizade, Aos meus pais Eglé e Célio e ao meu irmão Rodrigo, Ao Diogo, pela amizade constante, À minha avó Neném, a André Bandeira, a Romeu Scarioli, a Antônio Scarioli, a Regina Barroso, a Priscila Freire, a Hélio Nunes, a Olímpia de Souza, a Janaína Melo, a Márcio Vasconcellos, a Tânis Parasin, a Rosângela Rennó, a Eduardo Reis, a Consuelo Salomé, a Noeme e Ricardo da Biblioteca da Escola Guignard e a Cristina, Néia e Symon da Biblioteca de Inhotim.
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ART AND IMMORTALITY: Anton Vidokle and Xiaoyu Weng Anton Vidokle, Immortality and Resurrection for All (still), 2017. Courtesy the artist. Tuesday, February 19, 7:00 pm SVA MA Curatorial Practice, 132 West 21st Street, 10th floor, New York, NY Guggenheim curator Xiaoyu Weng speaks with artist and e-flux founder Anton Vidokle about his research and films on Russian Cosmism and the theme of her forthcoming Ural Industrial Biennial, Immortality. ______________________________________________________________________ Anton Vidokle (b.1965, Russia) is an artist based in New York and Berlin. As founder of e- flux and e-flux journal, he has produced projects such as the Martha Rosler Library 2005- 2006, Pawnshop 2007, unitednationsplaza 2008-09 and Time/Bank 2010. Vidokle’s work has been exhibited internationally at Documenta 13 and the 56th Venice Biennale. His films have been screened at Bergen Assembly; Shanghai Biennale; Istanbul Biennial; Witte de With, Rotterdam; Museum of Modern Art, Warsaw; Berlinale International Film Festival; Stedelijk Museum, Amsterdam; Gwangju Biennale; Locarno Festival; and Centre Pompidou, among others. Xiaoyu Weng was appointed to spearhead The Robert H. N. Ho Family Foundation Chinese Art Initiative in 2015. At the Guggenheim, she has cocurated the exhibitions Tales of Our Time (2016–17) and One Hand Clapping, on view from May 4 through October 21, 2018. Previously she served as the founding director of the Kadist Art Foundation’s Asia Programs, Paris and San Francisco. She launched the Kadist Curatorial Collaboration, which organizes exhibitions that stimulate cultural exchange, and she oversaw artist residencies and the building of the contemporary Asian art collection. From 2009 to 2010, she worked as a curator at the Wattis Institute for Contemporary Arts at the California College of the Arts (CCA).
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JANUARY/FEBRUARY 2011 VOLUME 10, NUMBER 1 INSIDE Reviews of Taipei Contemporary Chinese Biennial, Shanghai Art and the Waning of Biennale, Ai Weiwei, Criticality and Cui Fei Interviews with Chinese Art in Spaces RongRong, Asia Art and Places Archive, GraphicAirlines, and Start From Zero US$12.00 NT$350.00 PRINTED IN TAIWAN Long March Vol. 10 No. 1 1 www.yishu-online.com New Archive Web Site launched on August 15, 2010 2 Vol. 10 No. 1 8 VOLUME 10, NUMBER 1, JANUARY/FEBRUARY 2011 CONTENTS 4 Editor’s Note 32 6 Contributors 8 What Goes Around Comes Around: Taking a Spin Around the 2010 Taipei Biennial Pauline J. Yao 21 The 8th Shanghai Biennale: Rehearsal Xhingyu Chen 32 Big, Small, and Potential: Chinese Art in 52 Spaces and Places Robin Peckham 52 GraphicAirlines: Going Back to Basics in the Twenty-first Century Metropolis Stephanie Bailey 56 Start From Zero: The Street Revolution in Hong Kong Stephanie Bailey 60 60 Materials of the Future: Documenting Contemporary Chinese Art from 1980 to 1990 An Interview with Asia Art Archive Chunyee Li 68 How Three Begets Many Things: RongRong & inri and the Three Shadows Photography Art Centre Alice Schmatzberger 78 Lost in Translation: Contemporary 84 Chinese Art and the Waning of Criticality Paul Gladston 84 The Harmonization of Ai Weiwei Voon Pow Bartlett 95 Cui Fei at The Warehouse Gallery, Syracuse University Jonathan Goodman 106 Chinese Name Index 95 Cover: Ai Weiwei, the making of Sunflower Seeds at Jingdezheng, 2010, photograph. Courtesy of the artist. Vol. 10 No. 1 3 Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien legal counsel Infoshare Tech Law Office, Mann C.C.
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DING YI Born Shanghai, China, 1962 Lives Shanghai, China
DING YI Born Shanghai, China, 1962 Lives Shanghai, China EDUCATION 2001 Artist in Residence, Künstlerhäuser Worpswede, Worpswede, Germany 1990 BFA, Shanghai University, Fine Arts Department, Shanghai, China 1983 Shanghai Arts & Crafts Institute, Shanghai, China SOLO EXHIBITIONS 2015 Ivory Black, ShanghART Singapore, Singapore, Singapore 2014 Scintillement, Galerie Karsten Greve, Paris, France 2013 2013 Art Changsha, Changsha City Museum, Changsha, China 2012 Appearance of Crosses, Galerie Karsten Greve, St. Moritz, Germany 2011 Specific • Abstracted, Minsheng Art Museum, Shanghai, China Ding Yi: Appearance of Crosses, Galerie Waldburger, Brussels 2008 Ding Yi, Galerie Karsten Greve, Cologne, Germany Ding Yi, MAMbo, Galleria d'Arte Moderna di Bologna, Bologna, Italy Appearance of Crosses from 1989-2007, Museo d'Arte Moderna di Bologna, Bologna, Italy 2007 Ding Yi, Galerie Karsten Greve, Paris, France 2006 Graticule, Ding Yi's Works from 1989 to 2006, ShanghART H-Space, Shanghai, China 2005 Ding Yi, Ikon Gallery, Birmingham, UK 2004 Crossed Vision, Works by Ding Yi, China Art Archive & Warehouse, Beijing Small Works, ShanghART Gallery, Shanghai, China 2003 Ding Yi: Appearance of Crosses, Galerie Urs Meile, Lucerne, Switzerland 2002 Ding Yi: Appearance of Crosses, Galerie Waldburger, Berlin, Germany 2000 Ding Yi: Fluorescence Paint on Tartan, China Art Archive & Warehouse, Beijing 1998 Ding Yi: Crosses '89-'97, International Art Palace, Beijing 1997 Ding Yi: Crosses '97, Shanghai Art Museum, Shanghai, China 1996 15 x Red, New Works on Paper
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Press Release
NOME is pleased to present Navigating Polarities, new solo and collaborative works by Marjolijn Dijkman, opening December 14th. Marjolijn Dijkman’s artworks operate as speculative fictions rooted in scientific reality. Exploring perception and worldviews through the lens of diverse fields of thought, the artist asks: How can shifting between the macroscopic and the microscopic help us to imagine complex systems that are otherwise hard to grasp? The immersive video installation Navigating Polarities (2018) spans the cosmic to the cellular, from the forcefields of the universe to the balance – or imbalance – between mind and body, humanity and ecology. Projected on a dome-shaped screen, like the concave of the globe, combinations of historical materials related to physics, navigation and astronomy summon philosophical speculations into the future directions of life in the Anthropocene. Reclaiming Vision (2018), a film made in collaboration with Toril Johannessen, focuses on aquatic life forms that are invisible to the eye but that have been affected by human activity. The artists place microorganisms and pollutants from Norwegian fjords under the microscope in choreographed sequences, blurring the boundary between nature documentary and fiction. A series of photographic prints in heightened colors, composed from the film’s raw footage and titled Aberrations (2018) – a biological term for defect or deviation from the norm – zooms in on the timely concern of global marine pollution. Navigating Polarities measures the blind spots of anthropocentric perspectives alongside – in underwater filmmaker Jean Painlevé’s words – “the mysteries and miracles of nature.” Navigating Polarities was commissioned by the 21st Biennale of Sydney. The work Reclaiming Vision was commissioned by the Munchmuseet in Oslo.
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Brook Andrew: Biography
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Expanded Curatorial Programs and Third Annual Art Critics Forum for Seventh Annual Expo Chicago, Including Unprecedented International Initiatives
MEDIA CONTACTS: EXPO CHICAGO Press Agency: Francesca Kielb/Jenelle Davis [email protected] [email protected] 773.969.5034/872.315.2323 David Ulrichs, David Ulrichs PR [email protected] +4917650330135 For Immediate Release: June 8, 2018 EXPANDED CURATORIAL PROGRAMS AND THIRD ANNUAL ART CRITICS FORUM FOR SEVENTH ANNUAL EXPO CHICAGO, INCLUDING UNPRECEDENTED INTERNATIONAL INITIATIVES EXPO CHICAGO and Independent Curators International (ICI) Present the Curatorial Forum, Led with a Keynote by Jochen Volz, and Expanded Discussion Sessions for Participating Curators on Topics ranging from “Accessibility,” to “Labor Conditions,” “Race, Representation, Social Justice,” and More. EXPO CHICAGO Launches Inaugural International Curatorial Exchange Program with Leading Curators from China, Denmark, France, Italy and The Netherlands Art Critics Forum, “Criticism and the Image,” to Feature Leading International Writers and Editors, Including Ann Binlot, Robin Peckham, William S. Smith and Diego Del Valle Ríos; Moderated by Julieta Aranda CHICAGO—EXPO CHICAGO, The International Exposition of Contemporary and Modern Art, announces the fourth annual Curatorial Forum and third annual Art Critics Forum to take place during the seventh annual exposition (September 27 – 30, 2018). In addition, EXPO CHICAGO presents the official launch of the Curatorial Exchange program in conjunction with China, Denmark, France, Italy and the Netherlands, allowing curators to engage with the more than 135 international exhibitors and organizations participating in EXPO CHICAGO, while getting exclusive access to Chicago’s thriving art scene. “We are thrilled to be expanding our 2018 core Forum programming alongside the official launch of the Curatorial Exchange, since the success of the pilot program that led to the major off-site exhibition of the Palais de Tokyo and the Institut français during last year’s exposition,” said EXPO CHICAGO Director of Programming Stephanie Cristello.
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Bortolami Gallery
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The Beijing Biennale: the Politics of Chinese Characteristics
The Beijing Biennale: The Politics of Chinese Characteristics Wang Meiqin INTRODUCTION he inauguration of the first Beijing International Art Biennale in the fall of 2003 was a significant official undertaking in China. Sponsored by the Chinese Artists’ Association (CAA), an official organization that has dominated the Chinese art world for five T1 decades, in collaboration with many top state ministries, the first Beijing Biennale was brought to the stage by a series of spectacular opening ceremonies that no official art exhibitions in China had ever mounted before. The first Beijing Biennale, Originality: Contemporaneity and Locality, showcased 405 paintings and sculptures by 270 artists from 45 countries, not counting the series of concurring thematic exhibitions in eight other important venues throughout Beijing. Collectively curated by a large committee composed of twenty-seven curators, under the direction of three high-ranking Chinese cultural officials, Feng Yuan, Jin Shangyi, and Liu Dawei,2 the Beijing Biennale maintained a strong accent that is particular to the official Chinese art world. In addition, the artists presented in the domestic section were mainly from art academies and art institutions in China, and their works, though diverse in terms of artistic language and subject matter, fell into the category of art that had already been officially sanctioned and often shown in various art exhibitions and magazines since the 1990s. Many works would be familiar to domestic audiences who had been following the kind of art presented at the National Art Work Exhibition.3 This is apparent when we take a quick look at the three winners of the Award for Chinese Young Artists’ Work, which is a prize especially set for honouring talented young Chinese artists.
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