A special report in the June 2013 edition of The Art Newspaper delves into the question of diversity, or lack thereof, of artists in the international art olympics that is the 55th Venice Biennale. The data suggests that the main Biennale exhibition may be becoming less diverse though the number of national pavilions are increasing (88 in 2013 vs. 64 in 2003). On the bright side, the regions that are poorly represented in the Biennale’s main exhibition, including Africa, Asia, and Latin America and the Caribbean, are benefiting from a pavilion presence at the event.
Does this data suggest a reaction against diversity? Perhaps, but curator Massimiliano Gioni has already gone on recording about the difficulty of pulling together a show of 155 artists from 38 countries in a 10,000-square meter space (~107,000 sq ft) on a budget of €1.8 million (~$2.4). He also is quoted in a Frieze interview of saying:
There was a period in the early 1990s when the idea of site-specificity was key to biennials. Later, the biennial became a kind of art-world Internet – an energetic festival of things from around the globe — and I felt that model also got a little tired. Even the common conception of a biennial as a showcase of current leading artists is quite a recent development. I think of biennials as the shows that cannot be done anywhere else so, in that sense, integrating more heterogeneous and historical material proves interesting.
In his defense, he offers the following statistics about his The Encyclopaedic Palace exhibition:
The show includes works by artists from 38 countries (compared to 22 countries in 2011 and 30 countries in 2009), with more Asian and South American artists than in 2011, and with artists from Nigeria, the Ivory Coast and Senegal. In terms of gender balance, the total number of women artists is higher than in either 2011 or 2009, and their works are installed in prominent locations.
Now playing the Cannes Film Festival, the new film from the director of The Square embarks on a luxury cruise that goes to hell.
By enshrining her memories into sculptural form, Juárez celebrates her emotional pilgrimage through the growing pains of childhood to adulthood.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
These university museum leaders are bridging cultural chasms through elaborate and generative work with their students.
Curators at the Maidan Museum in Kyiv are sifting through the rubble for items that “tell the story of ordinary people’s lives, of their deaths.”
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The cube, which has fallen into disrepair, was strapped in place by supportive metal implements at its base.
Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
Author M. T. Anderson walks us through a sonic gallery of Vasily Kandinsky’s musical influences, which guided the painter’s pursuit of art that reveals a mystical, inner truth.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.