Biennials, Triennials, and Documenta

Table of contents

1. Preface
2. Introduction
   1. Why Biennials?
   2. Part 1. The Second Wave
   3. Part 2. The Politics of Legitimacy
   4. Part 3. Hegemony or a New Canon
   5. The Cultural Geography of Biennials
   6. Notes
3. Part 1: The Second Wave
   1. 1: 1972: The Rise of the Star-Curator
      1. Introduction
      2. Preparation for a Walk-Through Event Structure
      3. “Therapy Has Changed and No Longer Encourages Copious Art Production”
      4. “The Most Important Exhibition of Recent Years”
      5. Conclusion
      6. Notes
   2. 2: 1979: Cultural Translation, Cultural Exclusion, and the Second Wave
      1. Introduction: Biennials as Models for Cultural Encounters
      2. Founding the Sydney Biennale
      3. White Elephant or Red Herring? Selecting the 1979 Biennale of Sydney
      4. Import/Export: Sydney and São Paulo
      5. Conclusion
      6. Notes
   3. 3: 1986: The South and the Edges of the Global
      1. Introduction: Origin Stories
      2. A Brief History of Southern Biennials
      3. The Second Bienal de La Habana
      4. Conclusion: The Stakes of Southern Histories
      5. Notes
4. Part 2: The Politics of Legitimacy
   1. 4: 1989: Asian Biennialization
      1. Introduction
      2. Experimental Versus Traditional Art: “Traditions/Tensions”
      3. Conclusion
      4. Notes
   2. 5: 1997: Biennials, Migration, and Itinerancy
      1. Introduction
      2. Manifesta and Critical Regionalism
      3. Locality Fails: The 2nd Johannesburg Biennale
      4. By Way of Conclusion: The Emergency Biennale in Chechnya
      5. Notes
5. Part 3: Hegemony or a New Canon
   1. 6: 2002: Cosmopolitanism
      1. Introduction
      2. The Five-Year Subaltern Plan
      3. Black Box, White Cube
      4. Conclusion
      5. Notes
   2. 7: 2003: Delegating Authority
      1. Introduction
      2. Tirana: “Opening Up the Conversation”
      3. Escape
      4. Curating by Delegation: The 50th Venice Biennale: The Dictatorship of the Viewer
      5. “Counterbalance the Decadence of the Ancient City”
      6. “Outmoded Structure of National Pavilions and Theme Exhibitions”
      7. Conclusion
      8. Notes
   3. 8: 2014: Global Art Circuits
      1. Introduction
      2. The Game of Comparison and Competition
      3. Negotiated Inequality
      4. Contemporary Play Time
      5. Coda: 2014
      6. Notes
   4. 9: Conclusion
      1. Notes
6. Index
7. EULA