LEADER 03848oam 2200685I 450 001 9910508506803321 005 20240505220831.0 010 $a1-317-29082-8 010 $a1-315-64504-1 010 $a1-317-29083-6 024 7 $a10.4324/9781315645049 035 $a(CKB)3710000001140312 035 $a(MiAaPQ)EBC4834177 035 $a(OCoLC)994515571 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/74459 035 $a(EXLCZ)993710000001140312 100 $a20180706d2017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe politics of contemporary art biennials $espectacles of critique, theory and art /$fPanos Kompatsiaris 205 $a1st ed. 210 $cTaylor & Francis$d2017 210 1$aNew York :$cRoutledge,$d2017. 215 $a1 online resource (198 pages) $cillustrations 225 1 $aRoutledge Advances in Art and Visual Studies 311 $a0-367-37668-7 311 $a1-138-18458-6 320 $aIncludes bibliographical references and index. 327 $a1. Introduction : biennials, politics, critique -- 2. Histories, values and subjectivities -- 3. The biennial-form, social visions and curatorial authorship -- 4. Gaps between words and deeds, social movements and legitimacy crisis -- 5. 7th Berlin biennale : enacting dissent, forget fear and occupy -- 6. 3rd Athens biennale : reflective indeterminacy, MONODROME and the failure of the nation -- 7. Conclusion : on being contemporary. 330 $aContemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity. This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes. 410 0$aRoutledge advances in art and visual studies. 606 $aBiennials (Art fairs) 606 $aArt and society 606 $aArt$xEconomic aspects 610 $aactivism 610 $aart history 610 $acontemporary art 610 $acurating 610 $aeconomics 610 $aexhibition 610 $amuseum studies 610 $aOccupy 610 $apolitics 610 $avisual culture 615 0$aBiennials (Art fairs) 615 0$aArt and society. 615 0$aArt$xEconomic aspects. 676 $a701/.03 676 $a701.03 700 $aKompatsiaris$b Panos.$01033075 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910508506803321 996 $aThe politics of contemporary art biennials$92451356 997 $aUNINA