This article reviews the Geneva Biennale de l’Image en Mouvement (Biennial of Moving Image) ’21 which was held at Geneva Contemporary Art Centre (Centre d'Art Contemporain Genève) in November 2021 to February 2022. Entitled 'A Goodbye Letter, A Love Song, A Wake-Up Call', the biennial was curated by DIS and Andrea Bellini. The article examines the curatorial ethos of 'edutainment' in relation to Pine and Gilmore's notion of the 'experience economy'
‘October’ is a special commission for the internationally recognized Brighton Photo-Biennial (BPB12)...
The first biennial that published a magazine was the Venice Biennale. The magazine la biennale di Ve...
This output consisted of a city-wide international biennial exhibition, a symposium and a publicatio...
This review article engages with the 12th Berlin Biennale which was curated by Kader Attia and a tea...
Biennales are no longer merely a question of the artworld, but a question of urbanism. Over the cour...
The exhibitionary complex in the 21st century is continually transforming due to the global shifts ...
Biennials are each in their own way a complex constellation of different economical and geopolitical...
The European Union’s media art initiative Connecting Cities and New York-based Streaming Museum are ...
© 2018 The Author(s). Basel and Frieze are largely commercial Art Fairs, and Venice is not, though i...
This single review of a sprawling international exhibition takes as a conceit the comparison of thre...
This article focuses on the overproduction of aestheticised digital content, a testament to social, ...
This article is a review of the 2019 Whitney Biennial, held at the Whitney Museum of American Art in...
Over the century from 1895 to 1999, we can measure the impact of biennials on themselves, and on the...
Dubrovnik Biennial doesn’t seek to reproduce a typical Biennial form which relies on the patronage o...
Cristina Baldacci (Università Ca’ Foscari Venezia) invites Cecilia Alemani (Director and Chief Curat...
‘October’ is a special commission for the internationally recognized Brighton Photo-Biennial (BPB12)...
The first biennial that published a magazine was the Venice Biennale. The magazine la biennale di Ve...
This output consisted of a city-wide international biennial exhibition, a symposium and a publicatio...
This review article engages with the 12th Berlin Biennale which was curated by Kader Attia and a tea...
Biennales are no longer merely a question of the artworld, but a question of urbanism. Over the cour...
The exhibitionary complex in the 21st century is continually transforming due to the global shifts ...
Biennials are each in their own way a complex constellation of different economical and geopolitical...
The European Union’s media art initiative Connecting Cities and New York-based Streaming Museum are ...
© 2018 The Author(s). Basel and Frieze are largely commercial Art Fairs, and Venice is not, though i...
This single review of a sprawling international exhibition takes as a conceit the comparison of thre...
This article focuses on the overproduction of aestheticised digital content, a testament to social, ...
This article is a review of the 2019 Whitney Biennial, held at the Whitney Museum of American Art in...
Over the century from 1895 to 1999, we can measure the impact of biennials on themselves, and on the...
Dubrovnik Biennial doesn’t seek to reproduce a typical Biennial form which relies on the patronage o...
Cristina Baldacci (Università Ca’ Foscari Venezia) invites Cecilia Alemani (Director and Chief Curat...
‘October’ is a special commission for the internationally recognized Brighton Photo-Biennial (BPB12)...
The first biennial that published a magazine was the Venice Biennale. The magazine la biennale di Ve...
This output consisted of a city-wide international biennial exhibition, a symposium and a publicatio...