NIRIN

NIRIN: the 22nd Biennale of Sydney

Our correspondent Michaela Bear had a chance to visit the 22nd Biennale of Sydney days before it closed to the public on Tuesday, 24 March 2020. Her reports describes an exhibition giving voice to under-represented communities, issues and histories…
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Al-Ula

The biennial franchise has arrived – in Al-Ula and on Instagram

by Melissa Gronlund

When Desert X – a young biennial from California – announced it would be producing an exhibition in the Saudi desert site of Al-Ula, it ignited a firestorm of international opposition. Three board members resigned, including Ed Ruscha, in order to protest the collaboration with the Saudi state. Discussions about boycotts dominated coverage…
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Slavs and Tatars

Tell a joke and shame the devil: 33rd Ljubljana Biennial of Graphic Art

by Vladimir Vidmar

Plagued by problems direr and darker than ever before in history, and more disillusioned than ever, we turn to our everyday to find fragments of inspiration that could potentially ignite the spark of change. Such is this case with the 33rd Biennial of Ljubljana, entitled Crack up, Crack down, where its curators, the artist collective Slavs and Tatars pose a question: In the era of post-truth, can a joke set us free?
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Dak'Art 2018

Getting INto Dak’Art 2018

by Kara Blackmore

The 13th edition of the Dak’Art Biennial explores the contingencies of exhibition-as-novel, the curatorial approach taken by its Artistic Director Simon Njami. Known as one of the luminaries of the contemporary African arts and the founder of Revue Noir, Njami often positions himself as a writer, aspiring to emphasize a narrative thread and literary rhythm of the exhibitions he undertakes…
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documenta 14

The Art of the Possible: With and Against documenta 14

by Andrew Stefan Weiner

The obvious reason that some critics have cast Szymczyk and his team as morally superior “social justice warriors” is that it is much easier to fling stereotypes than it is to work through the complex implications of the fundamental message that this documenta means to communicate. At the core of this sprawling, wildly ambitious, sometimes incoherent, but certainly worthwhile exhibition lies a deceptively simple proposition: that art can and should serve the cause of justice, but not always in the ways we might expect.
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