Bigindicator

tagged: biennial
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In the Shadow of Rusting Steel, Art Engages a City's Post-Industrial Legacy

by John Wilmes
In Pittsburgh, the ghost of industrial America is more unwieldy than in any city this side of Detroit. Abandoned buildings and machinery abound, with a lot less of this past repurposed than in more modern and populous places like Brooklyn or Chicago.  Alloy Pittsburgh’s bi-annual exhibition at Carrie Furnaces, just over the city’s border in Homestead, PA, looks to create a symbiosis between Pittsburgh’s heavy rustbelt legacy and the opportunities its rubble leaves. The furnaces stand as the... [more]
Posted by John Wilmes on 10/8/15
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Momentum 8: The Narcissist Biennial?

by Nadja Sayej
While all eyes are on Basel, there’s a different crowd who are skipping the annual summer commercial art fair route altogether. Some of them might have been at the opening of the Nordic Biennial of Contemporary Art this weekend, Momentum. The 8th edition opened its doors with live video of a performance from a Kurdish-Swedish pop songstress, Oculus Goggles, and an installation made of synthetic hair. Shoplifter's hair sculpture, Installation View. Photo: Nadja Sayej   Such things are... [more]
Posted by Nadja Sayej on 6/15/15
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Settling Unsettled Landscapes: Talking about SITElines

by ArtSlant Team
SITElines, the new SITE Santa Fe biennial… Natalie Hegert: A point that I want to talk about is how [SITElines] functions as a model for a biennial. How different is this from another themed exhibition you would encounter in any other museum, versus a biennial? Why does this necessarily need to be considered a biennial? It seems more like an investigation of a certain theme that includes artists from across the Americas. What is interesting about this show or this model that they’re trying to... [more]
Posted by ArtSlant Team on 7/21/14
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Everything is Near: Culture Softens Violence in Manifesta 10

by Sonja Hornung
The Cossacks are an East Slavic ethnic group who have long retained independence from the Russian territorial zone. They exist in Crimea, Ukraine, South Caucasus, and even China. Brutally persecuted in Soviet Russia, Cossacks have now reassumed their legitimacy in the Russian national identity, building on their previous historical role as paid militia for the Russian Empire. A 2005 law reinstated this role under Putin and it has been ascertained that Cossack paramilitary activities in East... [more]
Posted by Sonja Hornung on 7/7/14
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The subtle subversions of Manifesta 10

by Manus Groenen
Engagement with local contexts has been a strength of the Manifesta biennial from the outset. The nomadic biennial has been addressing the changing realities in Europe from its start in the early ‘90s, with each edition selecting a different European city or region as its host, with a preference for peripheral and contested areas; for instance, the last edition took place in an old coalmine in Genk, Belgium. For its 10th anniversary Manifesta has organized its easternmost edition to date in St... [more]
Posted by Manus Groenen on 6/30/14
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Me and You and Everyone We Kind of Know: Made in L.A. 2014

by Christina Catherine Martinez
Comedian Emily Joyce, dressed in a 14th-century bonnet and dress, rolls her eyes, hard. Sticking her thumb out in a gesture of one-dimensional 1990s sarcasm, she paces KCHUNGtv's makeshift set in the lobby of the Hammer Museum. The on-site camera editors are hushed. I walk in just as a big laugh is dying down.   “But seriously folks," she continues, "you gotta watch out who you're makin' out with these days ‘cause we got this Black Plague going around. Nothing more embarrassing than having... [more]
Posted by Christina Catherine Martinez on 6/24/14
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The Revolution Before the Rehearsal: 13th Istanbul Biennial

by Danyel Ferrari
To paraphrase Augusto Boal, art may not be the revolution but it is the rehearsal; in the case of the 13th Istanbul Biennial, however, the revolution arrived before the rehearsal. The Biennial’s focus, “the notion of the public domain as a political forum”, was announced in January, before the city it meant to take as both site and subject found more urgent occupiers with higher stakes. Fulya Erdemci who has curated past Biennials intended this year's “Mom, am I a Barbarian?” as a departure... [more]
Posted by Danyel Ferrari on 10/14/13