9 Works

Editorial

Angela Vettese, Clarissa Ricci & Camilla Salvaneschi
Editorial Vol. 1, No. 1.

International Exhibitions in Venice

Maria Mimita Lamberti
"International Exhibitions in Venice" was written by Maria Mimita Lamberti in 1982 as part of a larger text "1870-1915: i mutamenti del mercato e le ricerche degli artisti" printed in Einaudi’s encyclopedic publication Storia dell'arte italiana. The text focuses its attention on the changes that occurred both in the art market system and in artistic expression between 1870 and 1915. Inserted in a companion volume on Italian twentieth-century art, it was intended to provide an...

Flipping the Exhibition Inside Out: Enrico Crispolti’s Show Ambiente come Sociale at the 1976 Venice Biennale

Martina Tanga
In 1976, art historian and curator Enrico Crispolti—charged with organizing the show, Ambiente come Sociale, for the Italian Pavilion at the Venice Biennale—radically rethought the exhibition form. In an unconventional move, he strategically chose not to house any artworks within the confines of the gallery space. Instead, he sprawled documentary photographs, videos, texts, pamphlets, and audio recordings on tables like the products of field research. The artworks themselves were site-specific and located elsewhere in various...

Event Structures and Biennial Culture: Oreste at the Biennale

Caroline A. Jones
Over the century from 1895 to 1999, we can measure the impact of biennials on themselves, and on the emergence of increasingly social forms of contemporary art. I argue that in their inheritance from world’s (and national) fairs, biennials were engines for the transfer of fairs’ “festal apparatus” to the centre of contemporary art itself. In particular, I will review the historical case of the collaborative group Oreste in the 1999 Venice Biennale, in which...

The Magazine \"la biennale\": Articulating a Model for the Periodical Publication of a Recurring Exhibition

Camilla Salvaneschi
The first biennial that published a magazine was the Venice Biennale. The magazine la biennale di Venezia was published from 1950 to 1971. It was conceived as an institutional instrument, to keep the audience of the show informed about the activities of the Biennial during the year. The magazine had the mission to engage in the activities organized by the institution, and discuss and examine all the disciplines at the core of the Biennials program,...

Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition

Clarissa Ricci
This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibition of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process...

OBOE JOURNAL, Vol. 1 No. 1 (2020): Why Venice?

OBOE Journal On Biennials and Other Exhibitions launches its first issue with a focus on the Venice Biennale. Born in 1895, the Venice exhibition, although the criticism for its limitations, is still one of the most significant and defining events of the contemporary art calendar. Many are the studies devoted to the Venice Biennale, but many are the gaps and fallacies that remain around the analysis of this exhibition. Attending to some of these oversights...

How La Biennale as a Brand was Born. Venice as the Archetype of a Biennial City

Vittoria Martini
“When discussing the Biennale, it is impossible to ignore the particular importance of Venice as its host city”. The history of the bond between Venice and the Venice Biennale has become an archetype for all those cities that, from the end of the 1980s, took part in the so-called ‘biennialization,’ namely the explosion of the phenomenon of biennials all over the world. Historically, the image of a decadent Venice was used as a means of...

Why OBOE? The Gerundive Nature of Artworks

Angela Vettese
The introduction to OBOE’s first issue aims to illustrate how a certain method of studying exhibitions is directly linked with the study of contemporary art history. Mirroring contemporary art’s gerundive nature the journal’s periodicity becomes the ideal space to write an inclusive history of biennials, but also of the many avenues for art’s manifestation.

Registration Year

  • 2020
    9

Resource Types

  • Text
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