Created in 1959 by André Malraux, the Biennale de Paris bears little resemblance, in either form or intention, to any of the proliferate number of identical art biennials around the world. An important force in the art world of the second half of the twentieth century, the Biennale de Paris is backed by an exceptional historical heritage, and is today, fifty years after its inauguration, once again reviving the fundamental principles of its creator, which include experimentation and inovation. In an art world that has become increasingly globalized yet more strictly policed, the Biennale de Paris aspires to be a space without walls or frontiers, where institutional authority is finally left behind. While the art world has become more standardized, the Biennale de Paris supports together those whose unformated production, and who now collectively, or through mutual exchanges, envisage practices that operate directly in the real world. In a world of entertainment, distraction, and market demands, the Biennale de Paris is at work, free from any notion of exhibition, public, or merchandise.
Stake : modifying the idea of art.
Objectives : identifying and activating invisual practices, being an alternative to established art values, asserting a new status for art, composing a critical mass, promoting potential.
Invariants : an art without pieces of art, an art without exhibition, an art without spectatorship, an art without curatorship, authors without authority.
The Biennale de Paris takes place when it happens. It exists in real time. Each biennial begins when the previous ends. Associated practices evolve over the course of successive editions. The participants set the dates for their own activities.
The Biennale de Paris takes place where it happens. Relocating itself, It looks for a reciproc ity with the practices locality, in order to ponder over and modify social, economical, political and ideological backgrounds. The participants set the places for their own activities.