Category Issue 08 – Biennale

Editor’s Note

In his paper at a seminar organized in 2006 by the International Association of Art Critics (AICA), ‘Art Criticism & Curatorial Practices in Marginal Contexts – Addis Ababa’, Henry Meyric Hughes looks at “the sudden burgeoning of biennales in number, scope and geographical diversity in the 1980s, and especially the 1990s onwards, when they have […]

The Shapeshifting Trajectory of the Biennale

by Ranjit Hoskote – Guest Editor 1. The Biennale, in Space and Time The biennale is the most widespread form of large-scale exhibition in the world today. It has already left the museum behind as the primary venue where an expanding global public can access the current manifestations and debates in contemporary art. Depending on […]

Specific to Site: An Artist among the Biennales

by PRANEET SOI Praneet Soi shares a ‘biennale diary’, evoking the scale, texture and experience of various biennale projects in which he has participated, including the 4th Riwaq Biennale in the Palestinian Territories, the 14th Vilnius Painting Triennial in Lithuania, the 1st Ural Industrial Biennale in Ekaterinburg, the Indian Pavilion at the 54th Venice Biennale, and, […]

Translation, treason, transfiguration: The biennale as an agent of political consciousness

RASHA SALTI in conversation with NANCY ADAJANIA In this email conversation, Rasha Salti, artist, scholar of Arab cinema, and co-curator of the 10th Sharjah Biennale/ ‘Plot for a Biennial’, discusses her preoccupations and the direction of her recent work with Nancy Adajania, critic, cultural theorist and joint artistic director of the 9th Gwangju Biennale. Nancy […]

Quintessential

by Deepika Sorabjee How enticing is it for an artist trained in museology to be invited to introduce his contemporary practice into a museum space that is hardly contemporary in its display or architecture? L.N. Tallur, who studied museology at M.S.U. Baroda, in his ‘Quintessential’ at the Dr Bhau Daji Lad City Museum, makes quintessential, […]