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By Gardner, Anthony; Green, Charles

"Provides a entire international background of biennialization from the increase of the ecu star-curator within the Seventies and the emergence of mega-exhibitions in Asia within the Nineteen Nineties to the present globalization of biennials"--

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This cutting edge new background examines in-depth how the becoming acclaim for large-scale foreign survey exhibitions, or 'biennials', has stimulated international modern paintings because the 1950s. Read more...

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Both encapsulate almost a decade during which the Swiss film director – along with a host of other film-makers – had already struggled for years to embody social commitment in a self-critical work of art. Szeemann’s own approach was therefore surprisingly late to the game. The thick book accompanying documenta 5 looked like the packaging for office files appropriate to recording such a scientific-sounding investigation. This packaging, the crude-looking fonts and the grainy black and white were typical of many so-called exhibition catalogues of the time but, like them, the publication aspired to be far more than a simple exhibition catalogue.

Notes 1. ,” in Sandy Nairne, Bruce W. ), Thinking About Exhibitions (London: Routledge, 1996), pp. 67–78; Walter Grasskamp, “Degenerate Art and documenta 1: Modernism Ostracized and Disarmed,” in Daniel J. ), Museum Culture: Histories, Discourses and Spectacles (Minneapolis: University of Minnesota Press, 1994), pp. 163–190. 2. The exhibition itinerary was as follows: Harald Szeemann (curator), Live in Your Head: When Attitudes Become Form. Works, Concepts, Processes, Situations, Information, Kunsthalle Bern, March 22–April 27, 1969; Museum Haus Lange, Krefeld, May 9–June 15, 1969; Institute of Contemporary Art, London, August 28–September 27, 1969; also see Harald Szeemann, Tobia Bezzola, and Roman Kurzmeyer, Harald Szeemann: with by through because towards despite; Catalogue of all Exhibitions 1957–2005 (Z¨urich: Edition Voldemeer, 2007), pp.

Second, though it was not obvious at the time, documenta 5 continued an unlikely partnership: that between the adventurous end of the art market and apparently uncommodifiable art. Even if in retrospect this seems unlikely, private dealers, especially German dealers, rather than museum curators, were promoting and often curating conceptualist artists into not-for-profit and museum shows. 62 Szeemann tapped into these networks right across the world during his peripatetic travels, from Sydney and Melbourne (where he assembled a survey exhibition, I want to leave a nice well-done child here (1971) in a fortnight), to New York, in preparation for documenta 5.

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