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6 7

RE THINKING B IE NNIALS: M ODE LS AND FORM ATS

302  Maria Hlavajova, “How to Biennial: A Consideration of the Biennial in Relation to the Art Institution”

XX  Ranjit Hoskote, “Biennials of Resistance: Reflections on the Seventh Gwangju Biennial”

XX  Elena Filipovic, “The Global White Cube” (2005)

XX  Vinicius Spricigo, “Changes in Strategies of (Re)presentation at the São Paulo Biennial”

XX   Bruce W. Ferguson and Milena M. Hoegsberg , “Talking and Thinking about Biennials: The Potential of Discursivity”

POLITIC S OF A GLOB AL ART WORLD

390  Charlotte Bydler, “The Global Art World, Inc.: On the Globalization of Contemporary Art” (2004)

XX  Thomas McEvilley, “Arrivederci, Venice: The Third World Biennials” (1993)

XX   Gerardo Mosquera, “The Marco Polo Syndrome: Some Problems around Art and Eurocentrism” ( 1992)

XX  Okwui Enwezor, “Mega-Exhibitions and the Antinomies of a Transnational Global Form” (2004)

XX   George Baker, “The Globalization of the False: A Response to Okwui Enwezor” (2004)

XX   Sabine Marschall, “The Impact of the Two Johannesburg Biennials on the Formation of a ‘New South African Art’” (1999)

XX   Oliver Marchart, “Hegemonic Shifts and the Politics of Biennialization: The Case of Documenta” (2008)

XX  Biographies of contributors

XX Bibliography on biennials

XX Acknowledgments

XX  Index

12 Forword by Solveig Øvstebø

16 Elena Filipovic, Marieke van Hal, and Solveig Øvstebø, “Biennialogy”

HISTORIE S, PRE C E DE NTS AND ORIGINS

32  Donald Preziosi, “The Crystalline Veil and the Phallomorphic Imaginary” (2001)

50  Marian Pastor Roces, “Crystal Palace Exhibitions” (2004)

66  Caroline A. Jones, “The Historical Origins of the Biennial”

88  Rafal Niemojewski, “Venice or Havana: A Polemic on the Genesis of the Contemporary Biennial”

106  Yacouba Konaté, “The Invention of the Dakar Biennial” (2009))

WHAT IS A B IE NNIAL? POTE NTIALS, FUNC TIONS AND IDE ALS

130  Carlos Basualdo, “The Unstable Institution” (2003)

XX   Lawrence Alloway, “The Biennial in 1968” (1969)

XX   Simon Sheikh, “Marks of Distinction, Vectors of Possibility: Questions for the Biennial” (2009)

XX  John Clark, “Biennials as Structures for the Writing of Art History: The Asian Perspective”

XX   Jan Verwoert, “The Curious Case of Biennial Art”

XX   Gerardo Mosquera, “The Havana Biennial: A Concrete ‘Utopia’”

THE C URATORIAL

220  Daniel Buren, “Exhibition of an Exhibition” (1972) and “Where Are the Artists?” (2004)

XX   Michael Brenson, “The Curator’s Moment: Trends in the Field of International Contemporary Art Exhibitions” (1998)

XX   Paul O’Neill, “The Curatorial Turn: From Practice to Discourse” (2007)

XX   Federica Martini & Vittoria Martini, “Questions of Authorship in Biennial Curating”

XX  Raqs Media Collective, “On Curatorial Responsibility”

C ONTE NTS

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1  Peter Schjeldahl, “Festivalism:Oceans of Fun at the Venice Biennale,”The New Yorker   (July 5, 1999), pp.85–86.

2  Confirming this, Maria Hlava- jova states: “We n ow know that it isundeniable that the exhibition format is the primary vehicle on which biennialsrest, but let’s acknowledge for the timebeing that the radically diverse projectsthat take place under this label, hand in

hand with the expanded field of con-temporary curating, involve not onlyproduction and display but also, andprogressively even more importantly,the production of discourse and thedistribution of knowledge. And whosays that biennials need to be exhibi-tions at all?” See her essay in this vol-ume.

3  One exception to this is theWhitney Biennial, founded in 1932,although initially it took on the termto mean not the frequency of the ex-hibition but the purview of the art itrepresented: in 1932 it was as annualexhibition that featured a panorama ofthe production of art in America overthe preceding two years. In 1973, itbecame a properly biannual event andthen, only in very recent years, an inter-national one.

4  The founding of several other

large-scale recurring contemporary artevents, although not properly speakingbiannual, could also help sketch a pic-ture of the landscape in which the cre-ation of new biennials emerged. Someof the most influential examples fromthe period before the wide prolifera-tion of the biennial include: the Carn-egie International, founded in 1896 inPittsburgh as a yearly survey exhibition,became a biennial event renamed thePittsburgh International in 1950 andthen a triennial event in 1955, only toreturn finally to its original name andmore anthological format in 1982, withshows occurring approximately everythree years; Documenta, founded in1955 in Kassel, began as a one-offmajor survey show lasting a hundreddays, but then went on to recur, withonly one exception, every four yearsbetween 1955 and 1972, finally takingon its current quinquennial or once-every-five-years format after Harald

Szeemann’s 1972 edition and retain-ing the hundred-day format; and theTriennial India, founded in 1968 in NewDelhi and from the start imagined asan event that would recur every threeyears.

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BiennialogyElena Filipovic, Marieke van Hal and Solveig Øvstebø

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1  Hans Haacke, Germania, Venice Biennial, 1993