I’ve been away on holidays over the Christmass – New Years break, but with 2011 well and truly underway, it’s time to dust off the WordPress passsword and get blogging again.
Kicking off this year is something I’m very excited about: an interview with University of Melbourne researcher Anthony Gardner. Gardner came to my attention as a outstanding early career researcher who late last year was awarded a prestigious Australian Research Council grant to study the international visual arts biennale circuit.
It’s a subject I’ve covered peripherally here before, and one that has been dealt with by some important recent books I’ve mentioned here such as Thornton’s Seven Days in the Art World and Thompson’s The $12 Million Stuffed Shark.
I emailed Anthony before Christmas with some questions in bold; below are his responses:
Can you tell me briefly what you’ll be researching?
The main and overt subject matter is the development of so-called “mega-exhibitions” worldwide since the Second World War: the biennales, triennales, quadrennials, quinquennials and so on that have emerged in places as diverse as Dakar in Senegal, Tirana in Albania or Guangzhou in China. These perennial exhibitions – perhaps we should really call them perennales, no matter how uglythe word – have been one of the main driving forces in the display, production and thinking of art in the last 40 years or so, and what I want to track with this project (together with my co-investigator, Charles Green at the University of Melbourne) are three (maybe even four) waves of biennialisation that have emerged since the development of the Venice Biennale in 1895. This wouldcomprise a first wave in the late 19th century, a second in the 1950s to the mid 1980s, a third from the early 1990s on, and if there is indeed a fourth, then it is only in recent years as biennales have supposedly begun to decline and become discursive, have reflected on their own conditions, as they age.
The more meaty subject, however, is the shift and changes that histories of exhibition and curatorship have brought (and on occasions wrought) on art history, and how the ideologies driving these exhibitions signify important shifts from “world art” and its grounding in internationalism, to globalism and globalisation in art and culture, and the re-emergence of regional and very localfoci amid the global. What complications do histories of art’s display present to our usual understandings of the history of art works as discrete entities? And how can a broad yet thorough understanding of these waves of biennialisation provide us with a richer of art’s globalisation through the twentieth century?