Bien Nal Ization
Bien Nal Ization
Bien Nal Ization
What biennaliza-
tion?: the documentation of biennials and other recurrent exhibitions.
Art Libraries Journal, 37 (1). pp. 13-23. ISSN 03074722 [Mass Com-
munications and Documentation i Information Management Mass
Communications and Documentation i Librarianship Mass Commu-
nications and Documentation i Curatorial studies Creative Arts and
Design i Others in Creative Arts and Design]
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The biennial exhibition … has arguably … proved to be This extraordinary proliferation of major
‘the’ medium through which most contemporary art comes recurrent international exhibitions is one of the most
to be known.1 significant developments in contemporary art in the
last two decades, and is closely related to the major
There seems to be no single publication devoted solely to the changes in politics, economics and the wider culture
subject of large-scale international exhibitions.2 often described as ‘globalisation’. However, the
success and long history of the format are also a
There are currently more than a hundred biennial consequence of its versatility, resilience and high
and other recurrent exhibitions3 of contemporary degree of popularity. In addition to being large-scale
art, with 30 to 40 taking place each year (almost one international surveys, biennials are defined by their
every ten days, on average). The oldest, Venice recurrence (biennial literally meaning ‘occurring
Biennale, was first held in 1895. São Paulo followed every two years’). Triennials, quadrennials and
in 1951, and a few more during the next three quinquennials are also held, with Skulptur Projekte
decades, the majority in Europe (Documenta in Münster, every 10 years, currently having the
1955, Paris in 1959, etc.), taking the total number to longest cycle. Annual exhibitions are not part of this
around 20 by the mid-1980s, when a process of phenomenon, and neither are art fairs.5
proliferation that would accelerate and become Created by local and central governments,
known as ‘Biennalization’ during the 1990s, started businesses and entrepreneurs, cultural and not-for-
to take place. Havana and three other new biennials profit organisations, or combinations of these,
were launched in 1984, and by the mid-1990s more biennials respond to different interests and contexts,
than 60 were in existence, mostly in cities and in all and can present very different characteristics,
five continents. Overall numbers have stayed above subject to change over time. Venice Biennale6 was
one hundred for the last decade and are still rising created by the Venetian local government, a year
(to 110 in 2011, see the list of current biennials on before the first modern Olympic Games, on a model
p.19-21), with newly created events vastly that borrowed heavily from that of the world fairs,
outnumbering discontinued ones.4 or international exhibitions, of the second half of the
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19th century. International relations and politics had well represented. In total, 51 countries currently
a primary role, through the use of the diplomatic host one or more of these events. Asia is the region
invitation to participate, a system that would be of greatest growth, and also investment, with
repeated in other early biennials like São Paulo, numerous examples of high-profile new biennials
Cairo or Delhi, but would later be abandoned in created since the mid-1990s (Gwangju, Shanghai,
favour of curatorial selection. This is the biennial as Busan, Guangzhou, Beijing, Singapore), following
a local and national showcase, and also as a way of wider economic and political changes. With very
connecting with and developing international few exceptions, biennials are held in cities, with
artistic, cultural and economic networks. The certain countries and/or regions benefiting from a
management of Venice Biennale was taken over by possible multiplication effect.7 The biennial is
the Fascist state in 1930, but since then government historically and culturally a western format and it is
involvement has gradually decreased, and it is now often debated whether it can adopt or serve non-
an independent foundation. western perspectives. Participation by non-
With combined visitor figures of many millions, occidental artists and curators has steadily increased,
biennials are often seen as spectacular events that originally via new ‘peripheral’ biennials (São Paulo,
mix art and education with entertainment, part of Cairo, Havana, Istanbul, Dakar, Gwangju, etc.),
the cultural industries of late capitalism, and closely more recently as all biennials have become ‘global
related to mass tourism. Giuseppe Volpi di exhibitions’, reflecting cultural and economic
Misurata, who presided over the expansion of the globalisation, and focusing on and questioning
Biennale during the 1930s, including the creation of globalisation itself as an idea, in contexts including
the Venice Film Festival, was also president of the post-colonialism and identity politics.
‘Italian Company of Grand Hotels’ (CIGA) and Given the differences in development factors and
developer of the Lido, where the Film Festival is still agendas (political, economic, ideological and
held. Many biennials are created as a way for cities cultural), biennials are enormously varied in size,
and even countries to develop their cultural assets aims and ambitions, funding, structure, numbers of
and to integrate themselves into the cultural tourism visitors, publicity, etc., and certainly not all of them
networks. Their dual positioning within the cultural are of historical significance, although they would be
and economic systems mirrors and highlights that of of interest as part of the larger phenomenon, which
contemporary art at large, as does the expansion of is sometimes referred to as ‘biennial culture’. In
recent decades. The economic role of art goes well addition to the major international contemporary art
beyond the significance of the art market (itself ever surveys that are the focus of this article, there are a
larger), including areas like urban development, number of associated sub-types. These can be
industrial renovation and many others, in a context defined, for instance, by a genre or medium
of high public and mass media interest, creation of specialism (print – very popular between the 1960s
new museums and galleries, rising visitor numbers and 1980s, film and video art, public art, electronic
to exhibitions, growing academic and professional art, etc.), or a geographical focus (regional: Baltic,
provision and output, etc. Mediterranean, Caribbean, Asia-Pacific; geopolitical:
‘Third World’, European Union; national; local;
Current biennials by region
etc.)
7 New biennials (current only) by date
4
23 Australia (4)
60
Africa (7) 50
America (21) 40
Asia (23) 30
Europe (55) 20
10
21 0
55 1890 1890 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000
production and its distribution. This can be seen, for exhibition catalogues are the main source of
instance, in the prevalence of ephemeral, conceptual information for these events, and the most
and site-specific artwork, and the popularity of authoritative. A catalogue in print was available for
formats like installation and video, but also in the the latest edition of 77 (70%) of the list of 110
development of new professional networks and current biennials, while for 33 (30%) it was not.10
unprecedented mobility, and the rise of the role of These figures seem to correspond with the situation
curator. elsewhere in contemporary art, with substantial
As early as 1910, F.T. Marinetti distributed anti- print catalogues being published as the main source
Biennale leaflets in St Mark’s Square (sadly not in of documentation for exhibitions in established
the ephemera collection of the Archivio Storico delle and/or larger public and commercial galleries, as has
Arti Contemporanee! – see p. 16). In recent years, been traditional since the first half of the 20th
the form and function of the biennial has come century and earlier (for instance, Venice Biennale
under sustained criticism, and a number of has published catalogues for all its editions since
significant events have been discontinued 1895), but not always by smaller ones or those with
(Johannesburg, Melbourne, Valencia, etc.).8 limited resources, particularly in recent years. In
Although data seem to suggest a small deceleration addition to catalogues, biennials will from time to
in the creation of new biennials (three in both 2009 time publish other substantial monographs,
and 2010), it is too early to confirm this as a trend, sometimes in partnership with commercial or other
let alone to declare the extraordinary proliferation of publishers, (artists’ books, historical or theoretical
the last two decades over, while the rate of works, sourcebooks, etc.) and, on a few occasions,
discontinuation appears to remain stable. More periodicals (Manifesta journal, La Biennale de Venezia,
significant are perhaps conceptual critiques of the etc.).
model, seen by some as ‘in crisis’, issues in its The range of other print materials produced varies
relationship with local art systems, or renewed substantially between different events, but
competition from art fairs. At its best, however, the handbooks, programmes, guides, maps and plans,
biennial has an experimental, self-reflexive and posters, press releases and announcements, listings,
questioning character, both in terms of its form and invites, leaflets, flyers, cards and stickers are among
its content, and this makes it a privileged vehicle for the most usual types of ephemera, often containing
presenting contemporary art in the first decades of much information not available elsewhere, for
the 21st century. instance of fringe or artist-run activities, and rich as
visual sources (photography, logos, typography,
etc.). For obvious reasons, this material is
Documentation particularly important for those biennials where no
catalogue is published.
Carlos Basualdo was in despair in 2002 about the Online sources in the form of multimedia websites
lack of literature devoted to the biennial are available for all 110 events, often including
phenomenon. In the same essay, he also wrote, podcasts and videocasts, and digital versions
(usually pdf files) of catalogues, programmes and
In comparison with the rivers of ink these shows press releases. Flickr (images), YouTube (video) or
unleash in both the specialised press and the Vimeo (video) channels are also common, as are
mass media, the academic critical literature social media (Facebook, etc.) and mobile device
specifically tackling these events is relatively applications (or ‘apps’). Some of this content is
scarce: barely a dozen books, in two or three created specifically for the web, like blogs, including
languages, published largely in the last decade.9 curators’ blogs (see, for instance, the very interesting
blog of the curatorial team of the 8th Mercosul
This paucity of published material does not only Biennial at http://bienalmercosul.art.br/blog). As
apply to secondary materials, as primary sources with other internet resources, long term access is
(exhibition catalogues, pamphlets, guides, etc.) are problematic, with content for previous editions
not always available, and many are of an ephemeral often not being maintained after the event.
nature, including online resources; this poses a Archival material (institutional records, accounts,
substantial obstacle to current and future research correspondence, proposals, original video and
across a number of areas within contemporary art, photography, etc., both in physical and digital
curating and art history. formats) is usually kept in personal (artists’,
In addition to reviews and reports in newspapers curators’) or institutional archives, as part of the
and magazines, and in specialist art journals, biennial management office or in more formal
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journal 37 / 1 2011
settings. Only a small proportion of all biennials collections and activities of the Archivio Storico
have been able to establish archives that are open to delle Arti Contemporanee (ASAC), to investigate
researchers in suitable conditions and/or run by and collect documentation in situ (printed ephemera
specialist professional staff, making discovery and particularly) from a range of exhibitions, including
access, and long-term preservation, matters of fringe or artist-run activities, and to survey and
concern for the future, particularly in the case of compare historical and official records, printed
discontinued events. publications, and other forms of documentation
A number of international documentation centres (including online), in the context of a long-
specialise in these materials, including the Archivio established, well documented and structured
Storico delle Arti Contemporanee (ASAC) (see biennial.
below), the Arquivo Histórico Wanda Svevo Established in 1928, ASAC holds documentation
(AHWS),11 Documenta Archiv,12 and the Asia Art of the Biennale since its creation, and a large
Archive (AAA).13 Other major contemporary art specialist collection of ca. 130,000 monographs and
libraries with significant holdings of biennial catalogues, 3000 periodical titles, 16,000 AV items,
publications include the British Council Visual Arts photographs, posters, press cuttings and other
Library in London,14 and MoMA Library in New ephemera, and artworks, on modern and
York. contemporary art, architecture, film, music, dance,
As discussed above, academic and professional and theatre.
literature has been slow to develop despite Historical material is deposited by the different
increasing scholarly interest in the subject and, with Biennale sections (Visual Arts, Film, etc.) In
almost no exceptions, these publications have addition to this, donations and exchanges are
appeared since 1995, when new historical and currently the main source of acquisitions. ASAC is
critical writing was commissioned and produced as managed by a Biennale Sector Director and is
part of the Venice Biennale centenary. The recently staffed by a small team of professional librarians and
published Biennial reader15 is an excellent others.
introduction to current debates and to the main The ASAC Archive, a repository for historical and
references and authors, many of whom are curators, non-book collections, has been housed since 2008 in
artists, critics, etc. directly involved with the modern facilities in a technology park in Porto
biennial industry. This may reflect, in part, the Marghera, open to researchers only. A print
difficulty for mainstream art historians and others in catalogue of Biennale historical material (Indice dei
accessing source materials, and could present issues fondi e delle serie, 2009) is available.
of perspective. ASAC has digitised and made available online on
The Biennial reader includes a useful, but not ASAC Dati a large number of items from selected
comprehensive, bibliography. Until one appears, it collections (posters, photographs, etc.) ASAC Dati
can be complemented by those in The Manifesta also provides comprehensive listings and
decade: debates on contemporary art exhibitions and information about previous Biennale exhibitions and
biennials in post-wall Europe,16 The art biennial as a events.
global phenomenon: strategies in neo-political times,17 and Opened in 2009 in new premises within the
Biennials: art on a global scale.18 Padiglione Centrale, the ASAC Library holds the
monographs, catalogues and periodicals collected
since the 1920s on the subjects covered by the
Producing and making documentation
different sections of the Biennale. It includes ASAC
accessible: the cases of Venice Biennale and and Biennale publications, and the most
Athens Biennial comprehensive selection of historical material
related to biennials anywhere in the world. A
The ARLIS/UK & Ireland Travel & Study Award proportion of the collection has been catalogued
funded a research trip to Venice and Athens in late since the 1990s (sadly, not including at present most
June 2011 to investigate the documentation of of the biennial and other exhibition catalogues), and
biennials. A full report is available: ARLIS/UK & these can be consulted online as part of the Polo
Ireland Travel & Study Award 2010: report on a research Venezia of the Italian national SBN catalogue
trip to Venice and Athens, 20th -28th June 2011 (2011).19 (http://polovea.sebina.it/SebinaOpac/Opac). The
library is open to exhibition visitors, researchers,
Venice Biennale students and the general public.20
The focus of the visit to Venice, coinciding with the 54th
edition of the Biennale, was to learn about the
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would be 30 per cent; 2000-10 saw 61 new ones, 20. For more information visit the ASAC website at
with a lower discontinuation rate of 20 per cent. http://www.labiennale.org/en/asac and ASAC
Eight only celebrated one edition (26 per cent). Dati at http://asac.labiennale.org/it. See also:
9. Basualdo, ‘The unstable institution,’ 51. V. Da Tos and R. Fontanin, ASAC strumenti:
10. These figures may not be completely accurate, catalogo periodici correnti (Venice: ASAC, 2004).
as it is possible that in some cases a catalogue has For the Biennale itself, see Lawrence Alloway,
been published for which I could not find out The Venice Biennale, 1895-1968: from salon to
details, but should be indicative. goldfish bowl (London: Faber, 1969); Enzo Di
11. See the São Paulo Biennial website for more Martino, The history of the Venice Biennale, 1895-
information: http://www.bienal.org.br/FBSP/ 2005: visual arts, architecture, cinema, dance, music,
pt/AHWS/Paginas/default.aspx. As part of the theatre (Venice: Papiro Arte, 2005); Robert Storr,
project ‘Bienais do mundo’ for the 2008 edition Where art worlds meet: multiple modernities and the
of the Biennial, the AHWS acquired some 650 global salon (Venice: Marsilio, 2007), and Clarissa
biennial catalogues to add to its collection, Ricci, ed., Starting from Venice: studies on the
which was made available in a reading room Biennale (Milan: Et al Edizioni, 2010).
open to visitors. Now comprising material from 21. For more information visit the Athens Biennial
200 biennials, it was showcased during the 2009 website at http://www.athensbiennial.org/AB/
Bergen Biennial Conference en/Enintro.
(http://www.bbc2009.no/default.asp?k=21&id= See also Suggestions for the destruction of Athens: a
101). handbook (Athens: Athens Biennial, 2007); Prayer
12. See the Documenta Archiv website for more for (passive?) resistance (Athens: Futura
information: http://documentaarchiv.stadt- Publications, 2007); 1st Athens Biennial 2007:
kassel.de/miniwebs/documentaarchiv_e. destroy Athens (Athens: Athens Biennial, 2007);
13. The Asia Art Archive is a pioneering institution Destroy Athens: a narrative (Athens: Athens
based in Hong Kong dedicated to the Biennial, 2007); and Heaven: 2nd Biennial Athens
documentation of contemporary art in the Asian 2009 (Athens: Athens Biennial, 2009).
region, and its collection has an emphasis on 22. For information about Chelsea’s Ephemera
biennials. See its website for more information: Collection, and general information on art
http://www.aaa.org.hk/home.aspx. ephemera and artist files in libraries, see the
14. The British Council is responsible for the ARLIS/NA online directory and best practice
British Pavilion at Venice and it was also documents, Artist files revealed at
involved with the UK representation at São http://www.artistfilesrevealed.com/tiki/tiki-
Paulo. The British Council Visual Arts Library index.php.
is an important collection for post-1945 British 23. For a more general introduction to cataloguing
art and includes rich holdings relating to Venice, exhibition catalogues see: ARLIS/UK & Ireland
São Paulo and other biennials. More Cataloguing and Classification Committee, Art
information, and its online catalogue, is available exhibition documentation in libraries: cataloguing
at www.britishcouncil.org/arts-art-architecture- guidelines (London: ARLIS, 2000), and the
design-library.htm. See also Sophie Bowness ARLIS/NA Cataloging Advisory Committee
and Clive Phillpot, Britain at the Venice Biennale, online guidelines:
1895-1995 (London: British Council, 1995), and Cataloging exhibition publications: best practice. Title
Britain and the São Paulo Bienal 1951-1991 (São and statement of responsibility,
Paulo: British Council, 1991). http://www.arlisna.org/pubs/onlinepubs/
15. Filipovic, van Hal and Øvstebø, The biennial cataloging.pdf;
reader. See reference1, above. Cataloging exhibition publications: best practice.
16. Barbara Vanderlinden and Elena Filipovic, The Notes, http://www.arlisna.org/pubs/onlinepubs/
Manifesta decade: debates on contemporary art cat_exhib_pub.pdf;
exhibitions and biennials in post-wall Europe Cataloging exhibition publications: best practice.
(Cambridge, MA: MIT Press, 2005). Name and title access points,
17. Thierry de Duve, The art biennial as a global http://www.arlisna.org/pubs/ onlinepubs/
phenomenon: strategies in neo-political times cepbp-ntap.pdf;
(Rotterdam: NAI/SKOR, 2009). Cataloging exhibition publications: best practice.
18. Vogel, Biennials. Subject headings, http://www.arlisna.org/
19. ARLIS News-sheet no. 215 (January/February pubs/onlinepubs/ cat_best_pract-subjects.pdf.
2012). 24. For more information on Multiscript MARC21
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