CAFAM Biennale is an exhibition organized by CAFA Art Museum every two years, on the platform of an academy’s art museum. Starting with the first exhibition “Super Organism: A Particular Research View and Experiment” in 2011, the biennale was well received. As a trans-regional and trans-cultural biennale featuring horizontal curating practice, we particularly emphasize the experiential nature of the issues and topics presented by curators.
The International Çanakkale Biennial since 2008 is being realized by CABININ, a civil initiative founded for culture and art projects in Çanakkale. The biennial is financially supported by the Municipality of Çanakkale. In consideration to the conceptual framework, the 4th International Canakkale Biennial will invite curators, artists and special projects from the countries involved in WW1. The exhibition will be conceived in consideration of the war’s 100th anniversary and will focus on the contemporary visual interpretation of this human tragedy and its political, economic, social and cultural consequences. This date is also indicating the fall of the Ottoman Empire, Austro-Hungarian and the Russian Empire, which has radically changed the map of Europe and Asia and opened a new era which created a polarized world in 20th century.
When Pittsburgh industrialist Andrew Carnegie founded Carnegie Institute in 1895, one of his bold ambitions was to create a museum of modern art. The series of contemporary art exhibitions he established the following year became the linchpin of that scheme. Through the exhibitions, Carnegie sought to educate and inspire audiences, promote international understanding of art, attract the art world to Pittsburgh, and above all, to build a collection through the purchase of the “Old Masters of tomorrow” who would be represented in the exhibitions. Today, the Carnegie International is the oldest exhibition of international contemporary art in North America, and the second oldest in the world.
Chobi Mela, the first festival of photography in Asia, is one of the most exciting ventures that Drik has initiated. The first Chobi Mela – International Festival of Photography was held Dec.1999-January 2000. It is the most demographically inclusive photo festival in the world and is held every two years in Dhaka, Bangladesh.
Colombo Art Biennale
The Colombo Art Biennale aims to strengthen the platform and enhance awareness of Sri Lankan contemporary art and culture both within Sri Lanka and around the globe. It promotes local artists, both established and emerging, through innovative programs. The Colombo Art Biennale highlights the best of the best contemporary visual arts in its various mediums. The first edition, “Imagining Peace,” was launched to encourage peace between and within nations, communities, families and individuals. It was not so much about showcasing Sri Lankan art; but a project with a vision. The aim was to show the world that despite the fact that Sri Lanka being a seemingly politically, ethnically polarized society, artists can work together as collectives, a sign of peace in itself.
Contour Mechelen VZW
Contour Mechelen is an organization dedicated to art being made in the moving image. Its mission is to promote the creation and exhibition of art in the moving image. Contour is based in Mechelen, Belgium. Every two years, Contour Mechelen organizes the Biennial of Moving Image, also known as “Contour,” the project for which it has become most known. The biennial offers a platform to curators and artists working with different forms of moving image, from film and video to installation. The biennial also stimulates a dialogue between contemporary art and architecture in the city of Mechelen.
Copenhagen Ultracontemporary Biennale
Copenhagen Ultracontemporary Biennale is programmed to take place in 2017 activating several art institutions, public space and daily media. Its aim is to introduce internationally the importance of ultracontemporary (artistic capacity to express in sync with time and in closest possible proximity to “now”), emergency art (artistic duty to spot dysfunctions in the society, and act upon them before it is too late) and art format (artistic framework created to expend and be activated globally in different contexts).
Curitiba International Biennial
In 2015, the Biennial celebrates 22 years bringing the best of global, contemporary art to Curitiba. The Curitiba International Biennial 2015 will rely on the general curatorship of art critic Teixeira Coelho. This year’s edition chose light art for its theme and subject matter— light art, the art that appeals to light, in its purest and most simple essence, as its subject matter, form and content. The title, “World Light,” is taken from the eponymous novel by the Finnish author Halldór Laxness, the 1955 Nobel Prize winner.
The Dakar Biennale was conceived in 1989 as a biennale alternating literature and art; the first edition in 1990 focused on literature and 1992 on visual art. In 1993 the structure of the biennale was transformed and Dak’Art 1996 became an exhibition specifically devoted to contemporary African art. In 1998 the structure was consolidated and there was considerable change in 2000: Abdoulaye Wade was elected president of Senegal a few months before the opening of the event. The new president confirmed the support of the Senegalese government to the event and Dak’Art has taken place regularly since.
In 1955, documenta was held in Kassel for the first time on the initiative of Arnold Bode. Since then, it has come to define a key periodic moment when, at five-year intervals, contemporary art is generated, exhibited, and elaborated. The people who are interested in art and in its relation to the world meet in Kassel, assess the situation, and share their views. During the German civic reconstruction of the early 1950s, documenta was conceived as a direct response to the Third Reich’s policies toward “degenerate art.” Over the years, documenta came to signify, in the context of Western Europe, a space in which freedom of expression could be achieved. More recently, it has been a platform for a critique of Euro-Centrism. In contrast to other periodic international exhibitions that have emerged from the world fair models of the nineteenth century, a strong theoretical grounding and a sense of urgency in relation to the question of art’s place in society have characterized documenta.
Dojima River Biennale
The Dojima River Forum is set on the beautiful riverbanks of Dojima River, in the heart of traditional Osaka. At Dojima River, water plays an important part of the scene and the everyday life of the people here. In history, the rich culture and civilization in Asia arose along river valleys, where the development of agriculture, economy to poem and literature came to formation. Inspired by the beauty of flowing water and its significance in many different aspects.
Echigo-Tsumari Art Triennale
Echigo-Tsumari Art Triennale is one of the largest art festivals in the world and is held once every three years in the Echigo-Tsumari region since 2000. The Triennale provides an opportunity to present projects and initiatives developed in the Echigo-Tsumari Art Field. These projects aim to reveal existing assets of the region using art as a catalyst, rediscover their values, communicate these to the world and find a way to revitalize the region. The Triennale has been held for five times since 2000 and the preparation for the 2015 event is underway.
EVA International is Ireland’s Biennial of Contemporary Art. Every two years EVA International works with guest curators to create a 12-week program of exhibitions and events that engage with the people and city of Limerick, Ireland. Since its foundation in 1977, EVA International has worked with some of the world’s leading artists and curators, bringing outstanding exhibitions to audiences on the west coast of Ireland. Artists’ projects are selected through an international open and invited call for proposals and exhibitions take place in both gallery and non-gallery spaces.
At the end of the 1990s, having an art show in Florence, a city that owes its raison d’être to Renaissance art and culture, was a normal event. Hosting an international exhibition of contemporary art that allowed artists to interact with the public and compare different styles and experiences was a revolutionary event for the city. Even in a place with such an illustrious cultural heritage something new, and in particular something contemporary, was coming into being. This was thanks to Piero and Pasquale Celona. Along with a group of Italian artists, curators, and critics, they proposed to organize a new kind of bienniale, one where talented and accredited artists could exhibit their art freely and independently. The first Florence Bienniale took place in 1997 as a gathering of artists from all over the world.
The Folkestone Triennial is one of the most ambitious public art projects presented in the UK. Located in the seaside town of Folkestone on the south-east coast of England, artists are invited to use the town as their ‘canvas’, utilising public spaces to create striking new pieces that reflect issues affecting both the town and the wider world. Artists commissioned to take part in previous Triennials include Cornelia Parker, Tracey Emin, Jeremy Deller, Martin Creed and Richard Wilson. The Folkestone Triennial takes place every three years and is one of the five key projects of the Creative Foundation, an independent visionary arts charity dedicated to enabling the regeneration of Folkestone through creative activity. Working with the people of Folkestone, partners and other stakeholders, the Creative Foundation is transforming the town, making it a better place to live, work, visit and study.
What happens when First World art rubs up against Third World art? Does it bleed? In December 2009 Atis Rezistans, the Sculptors of Grand Rue, hosted their first Ghetto Biennale. They invited fine artists, film-makers, academics, photographers, musicians, architects and writers, to come to the Grand Rue area of Port-Au-Prince, Haiti, to make or witness work that was made or happened, in their neighborhood. In the words of the writer John Keiffer, it was hoping to be a “‘third space’…an event or moment created through a collaboration between artists from radically different backgrounds.”
Glasgow International is a world-renowned biennial festival of contemporary art. Glasgow International showcases the best of local and international art for wide-ranging audiences. The forthcoming seventh edition will happen in the city in April 2016, again under the guidance of Director, Sarah McCrory. The festival will continue to showcase Glasgow as a unique major center for the production and display of contemporary visual art. Taking place in various venues and locations across the city, including Glasgow’s major art spaces and cultural institutions, the Festival will be comprised of an ambitious programme which includes exhibitions, events, talks, performances and projects by international and Glasgow-based artists.
Göteborg International Biennial for Contemporary Art
Göteborg International Biennial for Contemporary Art (GIBCA) is held every second year and has today become one of the leading art biennials in the Nordic region. With the seven biennials that have taken place since the start in 2001, GIBCA has established itself as one of Sweden’s biggest art events and is internationally seen as one of the young and exciting biennials in Europe. Swedish and international artists are invited to present existing as well as newly produced site-specific art works where the local spirit of Göteborg and the west of Sweden becomes a major starting point. Göteborg is a city with a past of labor and harbor culture. The city has a dynamic history where both established and self-organized communities make an impact.
The first Gwangju Biennale in 1995 featured 660 artists from 58 countries, exhibiting over 817 artworks. The theme Beyond the Borders conveyed a message of global citizenship that transcended divisions between ideologies, territories, religion, race, culture, humanity, and the arts. Over the last 20 years it has grown to become one of the most influential biennials in Asia, and has been curated in recent years by Jessica Morgan, Massimiliano Gioni, Okwui Enwezor and Hou Hanrou.
Amid the celebrations for the 30th anniversary of the Havana Biennial, we present the curatorial proposal for its 12th edition to be held between 22 May and 22 June 2015. A journey through the history of different Havana Biennials allows perceiving how each of them leaves open questions and ways of doing things, taken up in previous editions. This time the curatorial team intends resize atomized strategies of work in previous meetings to explore different paths to the mega exhibition, though these result occasional exercises. This turn is part of what has been one of the most precious resources of the Havana meeting: feel the city and its people, equivalent to engage their communities and professional population, their micro-policies and micro-spaces of socialization. According to this area of debate on contemporary art, which focuses on the movement of autonomous object contexts and experiences, the Biennale aims to involve the architecture, the design, the phenomena of communication, science and the ways that the habitat is constructed, in order to promote the social inclusion of the proposals, which has historically been part of the aesthetic practices of called South.
The Honolulu Biennial Foundation (HBF) supports the local arts infrastructure with a global outreach by presenting a new arts festival, the Honolulu Biennial. The launch of Honolulu Biennial marks Hawaii’s first entry into the international biennial circuit. Honolulu Biennial will focus on art from the Pacific, the Asian continent and the Americas. Fumio Nanjo will serve as the Curatorial Director for the inaugural Honolulu Biennial, which will occur in the spring of 2017. Nanjo, who curates internationally, is also the Director of the Mori Art Museum in Tokyo, a position that he has held since 2006.
ifa (Institut für Auslandsbeziehungen)
The ifa (Institut für Auslandsbeziehungen) is committed to a peaceful and enriching coexistence of people and cultures worldwide. It promotes art and cultural exchange in exhibitions, dialogue and conference programs. As a center for foreign cultural diplomacy, ifa connects civil societies, cultural practices, art, media and science. It initiates, moderates and documents discussions on international cultural relations. The institute has a global network and counts on long-term cooperation. It is supported by the Federal Foreign Office of the Federal Republic of Germany, the state of Baden-Württemberg and its capital Stuttgart.
The Istanbul Foundation for Culture and Arts has been organizing the Istanbul Biennial since 1987. The biennial aims to create a meeting point in İstanbul in the field of visual arts between artists from diverse cultures and the audience. The eleven biennials İKSV has organized up to now have enabled the formation of an international cultural network between local and international art circles, artists, curators and art critics by bringing together new trends in contemporary art every two years.
Istanbul Design Biennial
Istanbul, a city undergoing rapid transformation, is a hub for alternative thinking about design and its relationship to daily life. It is therefore an ideal place for a biennial that will bring together a diverse cross section of design ideas for the emerging conditions of our world. Using the city as a dynamic space for projects, talks, workshops, publications, and actions (as well as generating online initiatives), the biennial will present an international range of projects that open up new attitudes and sensibilities, foregrounding underexplored or overlooked aspects of society, and prompting investigation and exchange about our designed, constructed and digitized age.
Jakarta Biennale (JB) is contemporary art exhibition held biannually in Jakarta, the capital city of Indonesia. JB presents various cultural activities to be enjoyed by Jakarta’s citizens as a way to perceive the “city,” an area that is moving and constantly changing. Jakarta, as one of the biggest cities in South East Asia, is strongly dynamic and becomes social, political, economical and cultural mirror of contemporary Indonesia. At the beginning, JB was held in 1968 under the name of Grand Exhibition of Indonesian Painting (Pameran Besar Seni Lukis Indonesia) at Jakarta Arts Center, Taman Ismail Marzuki. Along with major development and change in visual art realm as well as in society, the exhibition evolves by engaging more cultural activities all together with wider public. JB opens creative potentials in order to revitalize public spaces in the city through collaborative works between artists, creative workers and local citizens.
Kaunas Biennial is organized since 1997. In 2015 Kaunas Biennial will celebrate its 10th edition, which will take place through 18th September – 30th December at the National Museum of M. K. Čiurlionis and in public, (post)industrial spaces. We seek to make Kaunas biennial the significant event for contemporary art in Kaunas, Lithuania and Europe, which reflects analytically the art processes currently taking place all over the world, by bringing up the priorities of creative collaboration and openness in the processes of art creation and its perception.
Kobe has long thrived as a land and sea transport hub in Japan and has developed as one of Japan’s designated international ports. The opening of the Port of Kobe in 1868 made Kobe a pioneer hub for people, goods and information, which has led to its distinct culture of diversity. After the Great Hanshin Awaji Earthquake of 1995, as the people of Kobe struggled to recover from the disaster, the city experienced first-hand how art and culture can heal our hearts and minds, encourage us, and remind us of the importance of showing kindness to others. In light of such history and experiences, Kobe made its Declaration of Culture Creation City on the 10th anniversary of the earthquake, and has since made it known to all that Kobe is committed to creative urban development that draws upon culture. Part of that effort has been the establishment of KOBE Biennale, a biennial celebration of Art Culture that aims to rally the capability of Art Culture from across Japan and overseas and use it not only to promote arts, but also to contribute to the enrichment and environment of Kobe. Over the past eight years, the city has hosted four Biennale celebrations. Each time, KOBE Biennale provided more opportunities for people to experience the attractiveness of Art Culture, increased the levels of quality as an arts festival, and placed more emphasis on local lifestyle culture and characteristics, such as diversity and enterprising spirit. As a result, this festival has evolved into a unique Biennale that only Kobe can offer.
La Biennale de Lyon
The Lyon Biennale stemmed from a project by Lyon’s Museum of Contemporary Art, directed by Thierry Raspail since its inception in 1984. From 1984-1988, the Biennale was preceded by an annual event entitled “October of the Arts”, which ended with the exhibition “Colour Alone: The Experience of Monochrome.” This retraced the adventure of monochrome, from the beginnings of Impressionism and the historical avant-gardes to topical work by artists ranging from Malevitch to Anish Kapoor. Staged in various venues around the city, Colour Alone was highly successful, making its mark and illustrating Lyon’s potential for hosting an international event, following the Paris Biennale’s closure in 1985. The event gave rise to the inaugural Lyon Biennale in September 1991. The desire to create an event capable of artistic self-renewal while building a stable, long-term project that bonded with its host territory led to an organizational model specific to the Lyon Biennale: an Artistic Director builds the event’s identity over time, and for each edition chooses a curator/ curators with whom he collaborates closely to devise an artistic project. The Lyon Biennale is therefore truly an authorial biennale and, as Jean-Hubert Martin noted, “a clever way of having themes addressed through the personalities of others.”
Land Art Mongolia / LAM 360°
With LAM 360° the concept for the 1st international Land Art Biennial was hosted in the Gobi desert in August 2010. As is common for organic processes, the Land Art Mongolia project took years to coalesce. Inspired by a Land Art Symposium in the Gobi Village Bor Undur in 2006 the concept of a collaborative land-art exhibition series was first envisioned by the Mongolian Artists Dagvadorj Sereeterj and the Berlin-based Artist Marc Schmitz. In early meetings, members of the Society discussed a simpler effort to facilitate a partnership between the team in Berlin (KUNSTFORUM BERLIN) and one of Ulaanbaatar major art institutions: the UMA (Union of Mongolian Artists). In June 2009, when Puntsag Tsegmid , executive director of DUBTSUN, stepped in to take over the practical coordination in Mongolia, and an international team joined the Land Art committee with the tasks of curating, fundraising, marketing, and much of the program development directed by Marc Schmitz. Since 2012 the organization MNG360° is an official registered NGO in Mongolia with the aim to promote Land Art and the dialog of Art & Politics. Within the rhythm of a Biennial the festival is carried out every 2 years (2014/2016…) at different locations and held under various thematic issues.
Liverpool Biennial delivers the UK Biennial of Contemporary Art, the leading festival of visual arts in the UK, every 2 years. The Biennial is underpinned by a year-round program of research, education, residencies and commissions. The Biennial exhibition brings an international focus to our work. It is the moment when the world comes to Liverpool to engage with our thinking, and when we present art to the world. The next Biennial will be held in 2016. Founded in 1999, Liverpool Biennial has commissioned 266 new artworks from 424 artists around the world, including 34 collaborative neighborhood projects in the city. During the last 10 years Liverpool Biennial has had an economic impact of £119.6 million.
Manifesta The European Biennial of Contemporary Art
Manifesta, the roving European Biennial of Contemporary art, changes it location every two years – Rotterdam (1996), Luxembourg (1998), Ljubljana (2000), Frankfurt (2002), San Sebastian (2004), Nicosia (2006 – canceled), Trentino-South Tyrol (2008), Murcia in dialogue with northern Africa (2010) and Limburg (2012). Manifesta purposely strives to keep its distance from what are often seen as the dominant centres of artistic production, instead seeking fresh and fertile terrain for the mapping of a new cultural topography. This includes innovations in curatorial practices, exhibition models and education. Each Manifesta biennial aims to investigate and reflect on emerging developments in contemporary art, set within a European context. In doing so, we present local, national and international audiences with new aspects and forms of artistic expression.
In 2004 with the rise of global tensions, Vanessa Branson envisioned a cultural festival that would address social issues through the arts, using them as a vehicle for debate and discussion and to build bridges between diverse ideologies. The Marrakech Biennale has become a celebration of creativity in a city that has for centuries been the focus of artistic exploration but has had only limited emphasis on contemporary art. Beginning in 2005 as a gathering of arts enthusiasts who organized literary events and exhibitions, the Biennale has grown to become an internationally recognized event with a thriving visual art and literature program.
Media Arts Biennale
After the end of Franco Chilean Festival of Video Art, a milestone in the 80’s to the dissemination and development of the discipline in our country, by the will of a group of artists in 1993, founded the Chilean Video Corporation, with the aim of promoting an environment devoted to research and experimental video art practice in Chile. Directed until its tenth version by the artist and academic Olhagaray Nestor Llanos, artist, college professor, theorist and researcher in new media. He is the founder of the Biennale of Video & Media Art of Santiago held since 1993, the event opened a new moment for video art in our country, also incorporating other artistic inquiries related to the new technologies.
Mediacity Seoul is an international biennale of media art and contemporary art organized by Seoul Museum of Art (SeMA). Initiated in 2000 under the title “Media City,” the bienniale reflects the media-frenzy characteristics of Seoul and confers the identity of SeMA. Since its conception, the operation of preparing and realizing the Biennale had been commissioned to external agencies. In 2013, the Museum established a structure to organize the Biennale directly. Mediacity Seoul celebrated its 8th rendition in 2014, and aimed to introduce mostly contemporary media art works based on the idea of exchange and convergence of science, humanities and technology, to the citizens and international viewers.
The long tradition of mediation underlying the Mediations Biennale dates back to 1989, when a conference and series of international exhibitions under the name of “Civilization and Culture” was held in Poznan. The annual international festival INNER SPACES initiated in 1993 became the starting point for the realization of the exhibition ASIA-EUROPE MEDIATIONS, which took place in 2007. The presentation became the foundation of the first edition of the Biennale, held in 2008. The Biennale has had time to develop into one of the most important artistic events on the Polish calendar, attracting world-renowned curators and critics, and the most eminent artists from all over the world.
Momentum Nordic Biennial for Contemporary Art
Since its inception in 1998, Momentum has strived to present compelling works of art and outstanding artistic ventures in a Norwegian and Nordic context. The biennial has since become established as one of the most exciting platforms for contemporary art in the Nordic region.
The Moscow Biennale of Contemporary Art was established in 2003 as part of a federal program entitled “Culture of Russia. 2001-2006,” one of the most important cultural events organized under the aegis of the Russian government. The First Moscow Biennale (January 28 – February 28, 2005) generated critical acclaim, both in Russia and abroad, and made important headway in becoming an international event. The main exhibition, “Dialectics of Hope,” presented projects by 41 artists from 22 countries. The idea behind the project was in defining the 21st century visual-arts movement. There was also a number of projects introducing trends in Russian contemporary art. The Biennale’s special projects and parallel programs included over 50 exhibitions, providing an unprecedented showcase for Russian art, as well as European, American, and Asian visual artists.
National Heritage Board, Singapore
The National Heritage Board (NHB) was formed on 1 August 1993. As the custodian of Singapore’s heritage, the NHB is responsible for telling the Singapore story, sharing the Singaporean experience and imparting our Singapore spirit. The NHB’s mission is to preserve and celebrate the shared heritage of our diverse communities, for the purpose of education, nation-building and cultural understanding. It manages the national museums, heritage institutions and the Language Councils Secretariat. The NHB also sets policies relating to heritage sites, national monuments and the National Collection. Through the National Collection, the NHB curates heritage programmes and presents exhibitions to connect the past, present and future generations of Singaporeans. NHB is now a statutory board under the Ministry of Culture, Community and Youth.
Pittsburgh Biennial (Carnegie Museum of Art)
The Pittsburgh Biennial started at the Center for the Arts as a way to celebrate artists in the region. 20 years later it continues to grow in scope and location, becoming the largest survey of regional contemporary art in Western Pennsylvania. As a platform for established and emerging artists, the Pittsburgh Biennial speaks to the rich texture of our city and its increasing momentum as a dynamic incubator and catalyst for artists. With opening events throughout the summer and fall, the 2014 partner venues are The Andy Warhol Museum, Carnegie Museum of Art, Mattress Factory, The Miller Gallery at Carnegie Mellon University, Pittsburgh Center for the Arts, Pittsburgh Glass Center, Pittsburgh Filmmakers, and SPACE gallery.
Prague Biennale & Prague Biennale Photo
Prague Biennale, the biggest international art exhibition in the Czech Republic, held with the patronage of the Minister of Culture and the City of Prague, is held every two years. The Biennale was founded in 2003 by Helena Kontova and Giancarlo Politi, and is organized by Nadace Prague Biennale Foundation (established in 2004). The Prague Biennale Foundation also publishes Flash Art CZ&SK, the Czech and Slovak Edition of Flash Art magazine and organizes Prague Biennale Photo.
Project Biennial of Contemporary Art, D-0 ARK
The goal of Project Biennial, no matter its biennial form, is to establish unique institution—a hybrid museum as a result of the merger of military museum and contemporary art museum. Entire Project is inspired by the nuclear shelter a military object today, without any function, and thus no future. The organizers believe that contemporary visual art can save the bunker from the inevitable disappearance and thus save extraordinary artifact of Yugoslavia’s socialist past, Cold War era and global paranoia of nuclear war. The Object D-0 itself has intact infrastructure and up-to-date technology of the past, which makes it a ready-made museum of the military history. Together with artworks that accentuate its extraordinary features, ambience and cultural significance, it has evolved into phenomenon that attracts two kind of visitors to the city of Konjic. Those interested in military and political history and those inclined to arts. The artists from around the globe offer them simultaneous experience of hard fact and its reflections in the works. Atomic War Command (Object ARK) was built from 1953 until 1979. Cost for the construction of this object was 4.600.000,00 US Dollars. Object consists of 12 connected blocks and occupies a space of 6.500 square meters. Originally designed as an atomic shelter, an object of great historical significance, the context of this artistic project has more importance, providing the possibility of a new, non-traditional approach to the promotion of culture and contemporary art. Researching the relations (and mutual conditioning) between the divided global society in times of imposed peace, balance of blocks that in the same time meant division into the sphere of interests (sphere of influence, common identities, joint political systems…) and strategy of maintaining the balance conditioned by the imaginary scenarios of possible conflicts and new end of the world, and today’s world defined by global market logic, media society and generally accepted cultural patterns and identity, brings us to a whole range of interesting questions and dilemmas.
The Riwaq Biennale is named after an institution, not a place. It was initiated in 2005, to expand upon Riwaq’s approach aiming at the revitalization of historic centers of 50 towns and villages throughout Palestine. In other words, this biennale comes with an agenda. It is invested in Riwaq’s efforts to clarify the growing political and epistemic significance of architectural heritage in local towns and villages. With its concrete political outlook and its durational, discursive approach, Riwaq has always challenged what a biennale can be. This time, the 5th Riwaq Biennale (RB5) will span an entire two years, beginning in June 2014 and ending in May 2016. Its condition is chronic, as opposed to sporadic. A “chronic” condition—from the Greek chronos (time)—is persistent and enduring. There’s something about a two-year cycle that strikes a chord. Two years is the part of a relationship before things get harder; but it is also the standard warranty for consumer products.
The Santorini Biennale is the idea of artist, designer and economist Kikos Papadopoulos; supported significantly by many Santorinian and foreign entities. The idea for a meeting of artists from around the world in Santorini was born in 2001, when he first began to carefully observe the richness of this dramatic island.
Sharjah Art Foundation supports the flourishing arts environment in the Gulf by nurturing artistic opportunities and actively pursuing both a regional and international program of cultural collaboration and exchange. Sharjah Art Foundation builds on the pioneering role the Emirate of Sharjah has played in the artistic and cultural development of the Gulf region. Inspired by the cross-fertilization and rich cultural diversity of the Emirates, the Foundation provides both national and international leadership in the production and presentation of contemporary visual arts. Recognizing the central and distinctive contribution that art makes to society, the Sharjah Art Foundation cultivates a spirit of research, experimentation and excellence while acting as a catalyst for collaboration and exchange within the Middle East and beyond. Sharjah Biennial was first initiated in 1993.
Sinopale, International Sinop Biennial
Sinopale, International Sinop Biennial is the title of an international project that, in the context of local development, draws the civil society together with the purpose of building dialogue through culture and arts, within the framework of the “artistic production based on sharing” model. This project is realized biennially and aims at working at urban, national and international levels in order to make citizens of all ages perceive anew their own living spaces with a vision for the future, reflect on urban problems, share the historical collective memory and organize it by means of artistic production, and to create a better social living space.
SUD Salon Urbain de Douala
The Salon Urbain de Douala, a triennial festival of public art, is an event organized by Doual’art. SUD is part of a reflection on the place and role of art as revealing stories, but also as a creator of meaning in the city. The first edition in 2007 illustrated thematic and varied urban practices: economy, recycling and recovery, sounds of the city, urban mobility, history. The second edition in 2010 was devoted to the theme of water and the city. The third edition, entited “Douala, Metamorphoses,” was held in December 2013.
In the world of visual art, many events have come to the fore with a strong focus on the academy’s status in both the cultural and theoretical arena. Strikingly, these events all seemed to continuously draw attention to strict processes such as the introduction of the Bologna Accord or meticulous attempts to describe research and artistic knowledge production. Those often strict forms of quantifying and defining necessitate at their turn anew the investigation of what the academy is about. This time in multiple and fluid modes, where art academies can emerge as temporary, autonomous sanctuaries for artistic thinking; in fact the utmost and decisive factor in art education. In order to achieve this goal, CCA-Tbilisi has initiated an idiosyncratic dissemination platform: a Triennial not only implying visual art, but also including a focus on art education and its related forms of research. The first edition of this Triennial, entitled “Offside Effect,” took place from October 19 until November 20, 2012.
Thessaloniki Biennale of Contemporary Art
The 5th Thessaloniki Biennale of Contemporary Art is the third one of a three part program which started in 2011 and is funded under the Operational Program Macedonia-Thrace 2007-2013, co-financed by the European Union (European Regional Development Fund) and Greece. The organization is run by the State Museum of Contemporary Art, realized with the participation of the “5 Museums’ Movement of Thessaloniki” (Archaeological Museum of Thessaloniki., Museum of Byzantine Culture, Macedonian Museum of Contemporary Art, State Museum of Contemporary Art, Teloglion Foundation of Arts), supported by the Municipality of Thessaloniki and with the collaboration of many local institutions. Exhibitions, art events, a performance festival, workshops, symposia, meetings, guided tours and educational programs, consist the program of the 5th Thessaloniki Biennale of Contemporary Art, which will be held from June 23 till September 30, 2015.
Triennale di Milano
La Triennale di Milano, established in Monza in 1923 as the first Biennial of Decorative Arts, has been located since 1933 in Milan in the Palazzo dell’Arte, designed by Giovanni Muzio and built between autumn 1931 and spring 1933. Conceived by Muzio as an extremely flexible container, it represents an innovative multiuse organism for the period in which it was designed. Created in 1923 as a showcase for modern decorative and industrial arts, with the aim of stimulating relations among the industry, production sectors and applied arts, La Triennale di Milano has soon become the mirror of artistic and architecture culture in Italy. La Triennale di Milano is the main Italian event for the sectors of architecture, visual and decorative arts, design, fashion and audio/video production; it is a cultural production center that organizes and produces exhibitions, meetings, film festivals and traveling exhibitions.
Ural Industrial Biennial of Contemporary Art
In 2010, the 1st Ural Industrial Biennial of Contemporary Art took over factory spaces in and around Ekaterinburg to take on the problems of material and symbolic production, industrial and artistic labor, the industrial and the post-industrial in the context of the city of Ekaterinburg and the Ural region. Once the center of the Soviet industrialization drive and a world-renown destination for Constructivist architecture, now the region is defined by its “intermediate” economy. It is neither post-industrial Europe, nor industrial Asia, but rather, a hybrid that links the two, thereby giving a global significance to the local socioeconomic situation. The 2nd Ural Industrial Biennial of Contemporary Art develops the key concepts of set by the first, with a focus on the possibilities of going beyond the binary of production vs. consumption in artistic, cultural, and social spheres. The biennale will explore the potential of contemporary art as a means to appropriate and reconfigure (non) exhibition spaces and local audiences. With a roster of exhibitions in a variety of venues (including both operating and abandoned factories of the Ural region), the Biennial will both re-conceptualize the cultural forms of the industrial era and actualize the productive dimension of contemporary artistic processes.
The Vancouver Biennale is a non-profit charitable organization that exhibits great art in public space, creating a catalyst for learning, community engagement and social action. Our exhibitions are unique in the world in that we feature sculpture, new media, film, music and performance. We transform the urban landscape into an Open Air Museum, creating unexpected and globally inspired cultural experiences where people live, play, work and transit. With each exhibition, we demonstrate that great public art is an economic driver by creating magnetic cultural attractions for visitors, and foundational to creating livable, creatively inspired communities where installations become a social bridge for people of all ages, cultural backgrounds, educational levels and financial wherewithal to come together as neighbors to explore, learn, dialogue and imagine.
As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum’s key resource. The Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent developments in American art. The 2014 Whitney Biennial took a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversaw one floor, representing a range of geographic vantages and curatorial methodologies.
WRO Media Art Biennale
The WRO Art Center was opened in 2008 by the WRO Center for Media Art Foundation—an independent organization specializing in the areas where contemporary art and culture intersect with developing media. The WRO Art Center, which is supported by the Wrocław Municipal Authorities, is located at ul. Widok 7 (the View St.), in a building that’s partly newly built and partly a renovated historical site: the first electric coffee-roasting plant in Europe—the Otto Stiebler Kaffee Rösterei—opened here in the 90s of the 19th century. The WRO Art Center’s mission includes organizing exhibitions, screenings, lectures and workshops, and developing projects that encompass art, publishing, education and publicity—all in the realm of contemporary art. The Center’s activities are aimed at a diverse audience: art and media professionals as well as the general public, including children and teenagers. The aim of this multifaceted program is to support art and education, and to promote open international cultural and intellectual discussion via the WRO Media Art Biennale, through the expansion of the highly accessible WRO media archives, through the Center’s collaboration with international art institutions and galleries, and by running an international residency program for artists and curators.
The Yokohama Triennale is an international exhibition of contemporary art held in the city of Yokohama once every three years. The exhibition features both internationally renowned and up-and-coming artists, and presents the latest trends and expressions in contemporary art. Since its inauguration in 2001, the Yokohama Triennale has addressed the relationship between Japan and the world, and the individual and society, and reexamined the social role of art from a variety of perspectives, in response to a world in constant flux. The first three editions of the Yokohama Triennale (2001, 2005, 2008) were primarily organized and overseen by the Japan Foundation to enhance cultural exchange between Japan and other countries and cultures through contemporary art. Following a change of leadership in the national government in 2009, the City of Yokohama took charge of the triennale beginning with the fourth edition in 2011, and since that time, the Yokohama Museum of Art has served as the main exhibition venue. The triennale is currently the leading project in the Creative City Yokohama Policy and is also a national project supported by the Ministry of Cultural Affairs.