The upcoming Dallas Biennale, opening March 29 at Neiman Marcus downtown and later distributed among several venues is to be a “large-scale survey exhibition of international artists” organized by the Dallas Contemporary (“America’s Kuntshalle”) and curated by Florence Ostende, the new DC adjunct curator, hired last summer for just such internationalizing.
“However”, the contemporary’s press release is quick to point out, “it is not an exhibition of reviving the encyclopaedic format of other grand international surveys, but a critique of them,” intended to point out their “growing lack of intellectual clarity and international standardization,” by itself being unfocused and presenting unrelated solo projects by a roster of international players.
They’ve published a partial list of participating artists: Morehshin Allahyari (Iran); Nick Barbee (USA); Anthea Behm (Australia); Kim Beom (Korea); Michael Corris (USA); Zoe Crosher (USA); Sylvie Fleury (Switzerland); Pierre Joseph (France); Claude Leveque (France); Nicole Miller (USA); Gabriel Martinez (USA); Hugues Reip (France); Delphine Reist (Switzerland); Michael Smith (USA); Mario Garcia Torres (Mexico); and Clarissa Tossin (Brazil).
Venues for Biennale, spread over the five months, from March-August 2012, include the Dallas Contemporary, Neiman Marcus (Main Street), Dallas Art Fair, Goss-Michael Foundation and the Nasher Sculpture Center.
This season everyone’s got the urge to de-biennialize: with protest over big economic issues stagnating, and media attention turned towards the US presidential race and Syria, Occupy Wall St. has turned on a softer target than the global financial system: The Whitney Biennial. According to Artinfo, “the Arts and Labor group of the Occupy Wall Street movement has published a letter demanding an end to the biannual [sic] survey show in 2014.” Apparently, it’s not fair to “art workers,” and “encourages many young artists to incur debt from which they will never be free and supports a culture industry and financial and cultural institutions that profit from their labors and financial servitude.”
Maybe we can get this kind of artist-enslavement-for-fame deal going in Dallas!