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OverviewIn Biennial Boom, Paloma Checa-Gismero traces an archeology of contemporary art biennials to uncover the processes that prompted these exhibitions to become the global art world’s defining events at the end of the twentieth century. Returning to the early post-Cold War years, Checa-Gismero examines the early iterations of three well-known biennials at the borders of North Atlantic liberalism: the Bienal de La Habana, inSITE, and Manifesta. She draws on archival and oral history fieldwork in Cuba, Mexico, the US/Mexico borderlands, and the Netherlands, showing how these biennials reflected a post-Cold War optimism for a pacified world by which artistic and knowledge production would help mend social, political, and cultural divisions. Checa-Gismero argues that, in reflecting this optimism, biennials facilitated the conversion of subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite—all under the pretense of cultural exchange. By outlining how early biennials set the basis for what is now recognized as “global contemporary art,” Checa-Gismero intervenes in previous accounts of the contemporary art world in order to better understand how it became the exclusionary, rarified institution of today. Full Product DetailsAuthor: Paloma Checa-GismeroPublisher: Duke University Press Imprint: Duke University Press Weight: 0.703kg ISBN: 9781478026280ISBN 10: 1478026286 Pages: 328 Publication Date: 20 August 2024 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In Print  This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsList of Illustrations ix Acknowledgments xiii Biennial Conversions at the Borders of Liberalism: An Introduction 1 Part 1. Anticolonial Collaboration in the Bienal de la Habana’s Early Iterations, Havana, 1984–1991 29 1. Polyphonic Internationalism 29 2. Curating the Third World 53 3. An Aesthetics of Production 72 Part 2. Cosmopolitan Dreams at the US-Mexico Borderlands in inSITE94 and INSITE97: San Diego and Tijuana, 1994–1997 4. Sovereignty Claims over the Borderlands 99 5. Fears of Provincialism and the Desire to Be Global 123 6. Globalizing Mexican Art 146 Part 3. Art for a Unified Europe: Manifesta 1, Rotterdam, 1996 7. Manifesta: Placenta Europa 173 8. Curating Conflict 193 9. The Art of Belonging 217 Epilogue 241 Notes 253 Bibliography 285 Index 301Reviews"""Biennials are a definitive--some say, the definitive--exhibitionary form for contemporary art. This is a forensic study of three of the biennials that moved beyond the modern model of art battles between nations, staged at Venice since 1895, into contemporary modes. They laid key markers for the subsequent biennial 'boom.' Paloma Checa-Gismero combines archival research, personal experience, a wide-ranging knowledge of critical theory, along with an invigorating intolerance of cliché, to show the collisions between aspiration and reality in play at these times and places. She tracks how artists, critics, curators, and viewers from local communities responded to the 'aesthetic conversions' of social forces that these biennials enabled, paving the way for the multi-facetted phenomenon known as 'global contemporary art.'""--Terry Smith, author of ""Art to Come: Histories of Contemporary Art""" """Biennials are a definitive--some say, the definitive--exhibitionary form for contemporary art. This is a forensic study of three of the biennials that moved beyond the modern model of art battles between nations, staged at Venice since 1895, into contemporary modes. They laid key markers for the subsequent biennial 'boom.' Paloma Checa-Gismero combines archival research, personal experience, a wide-ranging knowledge of critical theory, along with an invigorating intolerance of cliché, to show the collisions between aspiration and reality in play at these times and places. She tracks how artists, critics, curators, and viewers from local communities responded to the 'aesthetic conversions' of social forces that these biennials enabled, paving the way for the multi-facetted phenomenon known as 'global contemporary art.'""--Terry Smith, author of ""Art to Come: Histories of Contemporary Art"" ""In this erudite, insightful, and immensely readable book Paloma Checa-Gismero puts her finger on how the profound inequality, chauvinism, Eurocentrism, and problematic space of the contemporary art world came into being. While others may wax poetic on contemporary aesthetics without necessarily being aware of the conditions of the art world, Checa-Gismero actually shows what makes contemporary art take on its cultural capital. Biennial Boom makes an important intervention into historicizing and making sense of the global art world.""--Tatiana Flores, author of ""Mexico's Revolutionary Avant-Gardes: From Estridentismo to ¡30-30!""" Author InformationPaloma Checa-Gismero is Assistant Professor of Art History at Swarthmore College. Tab Content 6Author Website:Countries AvailableAll regions |
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