Editorial: The future of the biennial - experimental places to reinvent political space?

The Athens Biennale: A Reflection Towards the Future.

The last two editions of the Athens Biennale created a site of agonism, a site of negation, a site of experimentation. To its possible detriment, the fact that it has not become an institution is also its strong point.

Turning the tide: the oppositional past and uncertain future of the contemporary biennial

The idea of the contemporary biennial as a viable space for real-life political activism requires a great deal of imagination from visitors of large-scale recurring exhibitions around the globe

Learning from Bucharest. Rethinking ‘white spots’ of art production in Central and Southeastern Europe

The Bucharest Biennale epitomizes the intricate dynamics of art practice and art reception characteristic of the complex cultural texture of Central and Southeastern European as a whole, raising the question whether it might be time to venture beyond the traditional 'road maps' delineated by national boundaries and outdated modes of perception.

Elsewhere in time

With a focus on grassroots engagement, a decentralized public art biennial entitled Elsewhere intends to engage with homegrown models of public art, that are geared towards catalysing dialogue locally in urban spheres across varied contexts.

A focus once in a while on plans and projects that are at times not known

On the same basis as Kassel, why couldn’t there be a show, like a biennale or a triennale, of works by artists that deals with the specific problem of making the world a world with peace and harmony…

The Uto-pianist

Utopia does not have to be defined as an unattainable imaginary non-place but it can be thought of as a way of facilitating an unforeseen event. It is like a piano waiting for a pianist.

Connecting (Metaphorical) Spaces. A Thought Experiment on Spatial Theory and the Role of Biennials as Power-Political Relays

‘Why (still) biennial?’ is the question posed recurrently at symposiums, conferences, talks, panels and gatherings. To find a path towards a more fruitful answer, one should perhaps rather pose the question: 'Why do biennials function the way they do?'

Augmented Biennale: The Impact of Digital Technology on the Art and Politics of the Venice Biennale

While the virtual realm offers a site for potential resistance, as seen in the activities of Manifest.AR, it can also reaffirm the institutional power structures already in place, as is the case with Christie’s app. Both the digital mappings presented by Christie's and Manifest.AR complement physical place.

Dialogue: Jeanine Griffin and Jan Verwoert

'Even before the issue of the inclusion and exclusion of the local in an exhibition comes to figure on the level of representation, the collective subject of the local may in fact always already be included and implicated, present and represented in the show through its performance in the role of the collective host.'

Future objects/ Object futures

Following OOO (Object Oriented Ontology), an apple, a person, a corporation, a theory, and a dream may all be considered autonomous objects ontologically equal to each other.

Re-union / living landscape

During this stay in La Réunion, I was allowed to provide a space for research where I could engage in a more direct dialogue with people of a district of the city of Port, which was appropriated by immigrants and low-income people. In my work I proposed visuals-cartographies that re-contextualized and imagined new geographies both of territory and space.

> via seismopolite.com