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.Here is the bad news: political art routinely shies away from discussing all these matters. Art is not outside politics, but politics resides within its production, its distribution, and its reception. Das kulturelle Gedaechtnis Europas im Wandel Politics stands for the question of whether biennials reproduce or challenge existing power relations, and value refers to the ways in which not only economic but also symbolic capital is produced in and through biennials.
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.Cambridge, MA: The MIT Press. Our analysis shows the world politics of biennials revolves around a set of productive tensions between the order of nation states and its alternatives, cultural dominance and resistance, and various modes of value production. Stadt der großen Träume While the easy way out would be to classify this constituency as multitude or crowd, it might be less romantic to ask whether they are not global lumpenfreelancers, deterritorialized and ideologically free-floating: a reserve army of imagination communicating via Google Translate.