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Art Biennials Were Testing Grounds. Now They Are Being Tested. Art Biennials Were Testing Grounds. Now They Are Being Tested.
(30 days later)
The Prospect New Orleans art triennial in October has been postponed to next year. So has the Liverpool Biennial. São Paulo’s Bienal is delayed by at least a month. The Dakar Biennale has yet to set new dates. Front International, in Cleveland, has decided to skip 2021 altogether and return in 2022.The Prospect New Orleans art triennial in October has been postponed to next year. So has the Liverpool Biennial. São Paulo’s Bienal is delayed by at least a month. The Dakar Biennale has yet to set new dates. Front International, in Cleveland, has decided to skip 2021 altogether and return in 2022.
The coronavirus crisis has thrown into question the post-pandemic future of contemporary art biennials (and their cousins, triennials and quadrennials). Of an estimated such 43 exhibitions in 2020, some 20 have been postponed so far, according to a tally by the Biennial Foundation, with further changes near certain. The Biennale of Sydney opened in March for a three-month run — and had to close after 10 days.The coronavirus crisis has thrown into question the post-pandemic future of contemporary art biennials (and their cousins, triennials and quadrennials). Of an estimated such 43 exhibitions in 2020, some 20 have been postponed so far, according to a tally by the Biennial Foundation, with further changes near certain. The Biennale of Sydney opened in March for a three-month run — and had to close after 10 days.
“The biennial is a testing ground,” said Defne Ayas, co-artistic director, with Natasha Ginwala, of the Gwangju Biennale, in South Korea, which is still preparing to open in September.But the testing ground is itself being tested.“The biennial is a testing ground,” said Defne Ayas, co-artistic director, with Natasha Ginwala, of the Gwangju Biennale, in South Korea, which is still preparing to open in September.But the testing ground is itself being tested.
The idea of the international art exhibition has flourished at least since the Venice Biennale was founded in 1895, but they have proliferated in the last two decades as the contemporary art field has gone global. Now their fate is linked to the big question of how culture industries, and cultural habits, will emerge from the pandemic. The crisis also threatens art fairs, which are driven by the market, itself facing great uncertainty, and the global ecosystem of workshops and residencies that have become vital to the careers of artists.The idea of the international art exhibition has flourished at least since the Venice Biennale was founded in 1895, but they have proliferated in the last two decades as the contemporary art field has gone global. Now their fate is linked to the big question of how culture industries, and cultural habits, will emerge from the pandemic. The crisis also threatens art fairs, which are driven by the market, itself facing great uncertainty, and the global ecosystem of workshops and residencies that have become vital to the careers of artists.
But the premise of a biennial is distinctly cosmopolitan and civic. The bet is that mingling artists, out-of-town visitors, and the local public — big biennials often draw a half-million attendees — around a theme that seeks to interpret the world, will benefit everyone involved, while helping cities boost their cultural profiles.But the premise of a biennial is distinctly cosmopolitan and civic. The bet is that mingling artists, out-of-town visitors, and the local public — big biennials often draw a half-million attendees — around a theme that seeks to interpret the world, will benefit everyone involved, while helping cities boost their cultural profiles.
Some biennials are postponing for up to a year. Others hope to proceed on schedule at least for the local audience. And still more are commissioning new projects expressly designed for online.Some biennials are postponing for up to a year. Others hope to proceed on schedule at least for the local audience. And still more are commissioning new projects expressly designed for online.
The lurking question is whether the biennial model still makes sense in a post-pandemic world.The lurking question is whether the biennial model still makes sense in a post-pandemic world.
What happens to an art show may not be top priority now in places battered by the coronavirus — not least New Orleans, where the disease has killed hundreds, including standard-bearers of the city’s culture — or even in the aftermath.What happens to an art show may not be top priority now in places battered by the coronavirus — not least New Orleans, where the disease has killed hundreds, including standard-bearers of the city’s culture — or even in the aftermath.
“We’re going through something we have never seen,” said Manuela Moscoso, the curator of this year’s Liverpool Biennial, working with its director Fatos Ustek. “Coronavirus arrived in several waves: first the virus, and then all the different realizations of what it means.”“We’re going through something we have never seen,” said Manuela Moscoso, the curator of this year’s Liverpool Biennial, working with its director Fatos Ustek. “Coronavirus arrived in several waves: first the virus, and then all the different realizations of what it means.”
A few weeks ago, as travel began to shut down, I spoke with the curators and artistic directors of seven upcoming biennials on five continents to hear the implications of the pandemic, and the stakes for their craft.A few weeks ago, as travel began to shut down, I spoke with the curators and artistic directors of seven upcoming biennials on five continents to hear the implications of the pandemic, and the stakes for their craft.
All had their highly itinerant lives abruptly paused. Ms. Ayas, for instance, is Turkish and lives in Berlin; Ms. Moscoso is Ecuadorean, and was living in Mexico City before moving to Liverpool with her family for this project. But when I reached them, all were in some form of lockdown.All had their highly itinerant lives abruptly paused. Ms. Ayas, for instance, is Turkish and lives in Berlin; Ms. Moscoso is Ecuadorean, and was living in Mexico City before moving to Liverpool with her family for this project. But when I reached them, all were in some form of lockdown.
“There’s been a few weeks of shell shock,” said Bonaventure Soh Bejeng Ndikung, the artistic director for the Sonsbeek exhibition in the Netherlands, who is Cameroonian and based in Berlin.“There’s been a few weeks of shell shock,” said Bonaventure Soh Bejeng Ndikung, the artistic director for the Sonsbeek exhibition in the Netherlands, who is Cameroonian and based in Berlin.
But with their events in the balance — involving artists, public and private partners in host cities, and endless logistics — they did not have the luxury of waiting out the crisis.But with their events in the balance — involving artists, public and private partners in host cities, and endless logistics — they did not have the luxury of waiting out the crisis.
One approach is to forge ahead. The Yokohama municipal authorities are eager not to postpone the Triennale’s opening on July 3, though the region is currently under a state of emergency. The 2011 edition, soon after the Fukushima nuclear disaster, was well attended, playing a possibly therapeutic role.One approach is to forge ahead. The Yokohama municipal authorities are eager not to postpone the Triennale’s opening on July 3, though the region is currently under a state of emergency. The 2011 edition, soon after the Fukushima nuclear disaster, was well attended, playing a possibly therapeutic role.
“They feel that when people have been through an intense experience, where anxieties around mortality and what life means become foregrounded, people turn to art,” said Monica Narula of Raqs Media Collective, the Delhi-based group that is curating this year’s program.“They feel that when people have been through an intense experience, where anxieties around mortality and what life means become foregrounded, people turn to art,” said Monica Narula of Raqs Media Collective, the Delhi-based group that is curating this year’s program.
The exhibition as planned is typically large and diverse, with 65 participants, including luminaries like Nick Cave or Korakrit Arunanondchai, emerging stars like Farah Al Qasimi or Lebohang Kganye, as well as 13 artists from Japan. Its title is “Afterglow,” a reference to white noise, radiation, and how to live amid destruction and toxicity.The exhibition as planned is typically large and diverse, with 65 participants, including luminaries like Nick Cave or Korakrit Arunanondchai, emerging stars like Farah Al Qasimi or Lebohang Kganye, as well as 13 artists from Japan. Its title is “Afterglow,” a reference to white noise, radiation, and how to live amid destruction and toxicity.
Ms. Narula and her colleagues, Jeebesh Bagchi and Shuddhabrata Sengupta, face the odd prospect of directing the process remotely, and of arriving late to their own exhibition — as will, surely, many artworks and the artists. The idea is that the show will build over the course of the summer, and be complete by the time it is scheduled to close — in October.Ms. Narula and her colleagues, Jeebesh Bagchi and Shuddhabrata Sengupta, face the odd prospect of directing the process remotely, and of arriving late to their own exhibition — as will, surely, many artworks and the artists. The idea is that the show will build over the course of the summer, and be complete by the time it is scheduled to close — in October.
It could work, Ms. Narula said. “This is what us and the world will discover together.”It could work, Ms. Narula said. “This is what us and the world will discover together.”
The Bienal de São Paulo is also proceeding, with only a one-month delay; it is now scheduled to open in October, said Jacopo Crivelli Visconti, its curator, who is Italian and based in the Brazilian metropolis.The Bienal de São Paulo is also proceeding, with only a one-month delay; it is now scheduled to open in October, said Jacopo Crivelli Visconti, its curator, who is Italian and based in the Brazilian metropolis.
Holding the event was a strong symbol, he said, to counteract the anti-culture stance of President Jair Bolsonaro, and only more so to help heal after the pandemic.Holding the event was a strong symbol, he said, to counteract the anti-culture stance of President Jair Bolsonaro, and only more so to help heal after the pandemic.
The Bienal draws a large local audience, and the hope was to deliver for them, with exhibitions in 24 venues across the sprawling city that the art-world professionals — if they can jet in for opening week — would be unlikely to absorb in full.The Bienal draws a large local audience, and the hope was to deliver for them, with exhibitions in 24 venues across the sprawling city that the art-world professionals — if they can jet in for opening week — would be unlikely to absorb in full.
Many artists in the main group show will have solo shows as well. And some exhibitions will include historical artists, not just contemporary ones, to create reference points. “That may be an entrance door for a large audience,” Mr. Visconti said.Many artists in the main group show will have solo shows as well. And some exhibitions will include historical artists, not just contemporary ones, to create reference points. “That may be an entrance door for a large audience,” Mr. Visconti said.
São Paulo is far ahead of other Brazilian states in coronavirus cases, and Mr. Visconti acknowledged that prospects for the Bienal were fluid. The program would be partly improvised. “We’re approaching the whole exhibition as a rehearsal.”São Paulo is far ahead of other Brazilian states in coronavirus cases, and Mr. Visconti acknowledged that prospects for the Bienal were fluid. The program would be partly improvised. “We’re approaching the whole exhibition as a rehearsal.”
Rather than embrace the uncertainty, other biennials are choosing the clarity of postponement. But with it comes the responsibility of making a show that is not only visitable, but relevant after a pandemic, and possibly in a depression.Rather than embrace the uncertainty, other biennials are choosing the clarity of postponement. But with it comes the responsibility of making a show that is not only visitable, but relevant after a pandemic, and possibly in a depression.
“After what we’re experiencing, you can’t come with an exhibition that just tries to forget it all,” said El Hadji Malick Ndiaye, the artistic director of the Dakar Biennale, which was supposed to open in late May. “But it doesn’t make sense to do an exhibition that’s solely about the pandemic either.”“After what we’re experiencing, you can’t come with an exhibition that just tries to forget it all,” said El Hadji Malick Ndiaye, the artistic director of the Dakar Biennale, which was supposed to open in late May. “But it doesn’t make sense to do an exhibition that’s solely about the pandemic either.”
In New Orleans, the Prospect triennial is working with other groups to shore up resources and protect arts jobs threatened by the crisis, said Nick Stillman, its director.In New Orleans, the Prospect triennial is working with other groups to shore up resources and protect arts jobs threatened by the crisis, said Nick Stillman, its director.
Eight of the 51 artists and collectives in the show are based in New Orleans, and others are preparing projects about the city. Naima Keith and Diana Nawi, the co-curators, said they had invited all the artists to rethink their projects, if they so choose.Eight of the 51 artists and collectives in the show are based in New Orleans, and others are preparing projects about the city. Naima Keith and Diana Nawi, the co-curators, said they had invited all the artists to rethink their projects, if they so choose.
Updated June 1, 2020
Exercise researchers and physicians have some blunt advice for those of us aiming to return to regular exercise now: Start slowly and then rev up your workouts, also slowly. American adults tended to be about 12 percent less active after the stay-at-home mandates began in March than they were in January. But there are steps you can take to ease your way back into regular exercise safely. First, “start at no more than 50 percent of the exercise you were doing before Covid,” says Dr. Monica Rho, the chief of musculoskeletal medicine at the Shirley Ryan AbilityLab in Chicago. Thread in some preparatory squats, too, she advises. “When you haven’t been exercising, you lose muscle mass.” Expect some muscle twinges after these preliminary, post-lockdown sessions, especially a day or two later. But sudden or increasing pain during exercise is a clarion call to stop and return home.
States are reopening bit by bit. This means that more public spaces are available for use and more and more businesses are being allowed to open again. The federal government is largely leaving the decision up to states, and some state leaders are leaving the decision up to local authorities. Even if you aren’t being told to stay at home, it’s still a good idea to limit trips outside and your interaction with other people.
Touching contaminated objects and then infecting ourselves with the germs is not typically how the virus spreads. But it can happen. A number of studies of flu, rhinovirus, coronavirus and other microbes have shown that respiratory illnesses, including the new coronavirus, can spread by touching contaminated surfaces, particularly in places like day care centers, offices and hospitals. But a long chain of events has to happen for the disease to spread that way. The best way to protect yourself from coronavirus — whether it’s surface transmission or close human contact — is still social distancing, washing your hands, not touching your face and wearing masks.
Common symptoms include fever, a dry cough, fatigue and difficulty breathing or shortness of breath. Some of these symptoms overlap with those of the flu, making detection difficult, but runny noses and stuffy sinuses are less common. The C.D.C. has also added chills, muscle pain, sore throat, headache and a new loss of the sense of taste or smell as symptoms to look out for. Most people fall ill five to seven days after exposure, but symptoms may appear in as few as two days or as many as 14 days.
If air travel is unavoidable, there are some steps you can take to protect yourself. Most important: Wash your hands often, and stop touching your face. If possible, choose a window seat. A study from Emory University found that during flu season, the safest place to sit on a plane is by a window, as people sitting in window seats had less contact with potentially sick people. Disinfect hard surfaces. When you get to your seat and your hands are clean, use disinfecting wipes to clean the hard surfaces at your seat like the head and arm rest, the seatbelt buckle, the remote, screen, seat back pocket and the tray table. If the seat is hard and nonporous or leather or pleather, you can wipe that down, too. (Using wipes on upholstered seats could lead to a wet seat and spreading of germs rather than killing them.)
More than 40 million people — the equivalent of 1 in 4 U.S. workers — have filed for unemployment benefits since the pandemic took hold. One in five who were working in February reported losing a job or being furloughed in March or the beginning of April, data from a Federal Reserve survey released on May 14 showed, and that pain was highly concentrated among low earners. Fully 39 percent of former workers living in a household earning $40,000 or less lost work, compared with 13 percent in those making more than $100,000, a Fed official said.
Yes, but make sure you keep six feet of distance between you and people who don’t live in your home. Even if you just hang out in a park, rather than go for a jog or a walk, getting some fresh air, and hopefully sunshine, is a good idea.
Taking one’s temperature to look for signs of fever is not as easy as it sounds, as “normal” temperature numbers can vary, but generally, keep an eye out for a temperature of 100.5 degrees Fahrenheit or higher. If you don’t have a thermometer (they can be pricey these days), there are other ways to figure out if you have a fever, or are at risk of Covid-19 complications.
The C.D.C. has recommended that all Americans wear cloth masks if they go out in public. This is a shift in federal guidance reflecting new concerns that the coronavirus is being spread by infected people who have no symptoms. Until now, the C.D.C., like the W.H.O., has advised that ordinary people don’t need to wear masks unless they are sick and coughing. Part of the reason was to preserve medical-grade masks for health care workers who desperately need them at a time when they are in continuously short supply. Masks don’t replace hand washing and social distancing.
If you’ve been exposed to the coronavirus or think you have, and have a fever or symptoms like a cough or difficulty breathing, call a doctor. They should give you advice on whether you should be tested, how to get tested, and how to seek medical treatment without potentially infecting or exposing others.
If you’re sick and you think you’ve been exposed to the new coronavirus, the C.D.C. recommends that you call your healthcare provider and explain your symptoms and fears. They will decide if you need to be tested. Keep in mind that there’s a chance — because of a lack of testing kits or because you’re asymptomatic, for instance — you won’t be able to get tested.
Charity Navigator, which evaluates charities using a numbers-based system, has a running list of nonprofits working in communities affected by the outbreak. You can give blood through the American Red Cross, and World Central Kitchen has stepped in to distribute meals in major cities.
It was too soon, they said, to know how the final program would reflect the new situation — both in New Orleans and the world at large.It was too soon, they said, to know how the final program would reflect the new situation — both in New Orleans and the world at large.
“Next year is a time of listening and working with people on the ground,” Ms. Nawi said. “We take our lead from them. New Orleans is a city that has survived a lot.”“Next year is a time of listening and working with people on the ground,” Ms. Nawi said. “We take our lead from them. New Orleans is a city that has survived a lot.”
“One benefit of postponing is that it gives us time,” Ms. Keith said. “Time to understand what it means to be to be sheltered, to have social distance, and how society is reacting.”“One benefit of postponing is that it gives us time,” Ms. Keith said. “Time to understand what it means to be to be sheltered, to have social distance, and how society is reacting.”
Yet changes in how biennials are staged were already brewing. The pandemic may have an accelerating effect, as shows move away from the conventional format of a glitzy opening week followed by slower-paced programming around town.Yet changes in how biennials are staged were already brewing. The pandemic may have an accelerating effect, as shows move away from the conventional format of a glitzy opening week followed by slower-paced programming around town.
For Sonsbeek, which has occurred since 1949 at irregular intervals in Arnhem’s city park but is now on a quadrennial schedule, Mr. Ndikung planned a decentralized, four-year program — a “continued public process” with the main group show running the whole time, plus satellite events in other countries and a rich online component emphasizing radio.For Sonsbeek, which has occurred since 1949 at irregular intervals in Arnhem’s city park but is now on a quadrennial schedule, Mr. Ndikung planned a decentralized, four-year program — a “continued public process” with the main group show running the whole time, plus satellite events in other countries and a rich online component emphasizing radio.
The show’s title is “Force Times Distance” — the scientific formula for work, inviting projects on labor, working conditions and employment. In the year until the physical exhibition’s delayed opening, Mr. Ndikung plans audio projects on themes the pandemic has elevated: work from home, care work, what work is essential. He is partnering with radio stations in different countries, and hopes to broadcast from spaces like barbershops.The show’s title is “Force Times Distance” — the scientific formula for work, inviting projects on labor, working conditions and employment. In the year until the physical exhibition’s delayed opening, Mr. Ndikung plans audio projects on themes the pandemic has elevated: work from home, care work, what work is essential. He is partnering with radio stations in different countries, and hopes to broadcast from spaces like barbershops.
The approach is both more digital — an online film program will be beefed up as well — and more local, with small-scale activities in multiple cities, including Arnhem, in collaboration with community groups and bookstores.The approach is both more digital — an online film program will be beefed up as well — and more local, with small-scale activities in multiple cities, including Arnhem, in collaboration with community groups and bookstores.
Still, Mr. Ndikung said, an international gathering around the main exhibition was vital. “We are planning as if this thing will end one day,” he said of the crisis.Still, Mr. Ndikung said, an international gathering around the main exhibition was vital. “We are planning as if this thing will end one day,” he said of the crisis.
Yet even if a vaccine ends Covid-19 contagion, there is a sense that habits are changed for good.Yet even if a vaccine ends Covid-19 contagion, there is a sense that habits are changed for good.
“We all knew that we were supposed to travel less,” said Mr. Visconti, in São Paulo. “We knew there was a need to be more local — not just in art but in everything.”“We all knew that we were supposed to travel less,” said Mr. Visconti, in São Paulo. “We knew there was a need to be more local — not just in art but in everything.”
But the idea of insular art events, where the international exchanges only happen online, contradicts the cosmopolitan, cross-fertilizing impulse of biennials.But the idea of insular art events, where the international exchanges only happen online, contradicts the cosmopolitan, cross-fertilizing impulse of biennials.
“Foreigners have a function to connect locals to locals,” said Ms. Ayas, noting that some Korean artists she and Ms. Ginwala selected for Gwangju are little known in their own country.“Foreigners have a function to connect locals to locals,” said Ms. Ayas, noting that some Korean artists she and Ms. Ginwala selected for Gwangju are little known in their own country.
“It would be strange to only access different contexts, cultures, and ways of being through the screen,” said Ms. Ustek, the Liverpool director. “I still believe in the physicality of encounter.”“It would be strange to only access different contexts, cultures, and ways of being through the screen,” said Ms. Ustek, the Liverpool director. “I still believe in the physicality of encounter.”
Ultimately, Mr. Ndikung, for one, is fine with discarding biennials should they no longer fit the purpose.Ultimately, Mr. Ndikung, for one, is fine with discarding biennials should they no longer fit the purpose.
“I don’t care,” he said. “The point is, can people still do art? Can people express themselves? The biennial is just the container. If it’s not the biennial it will be something else.”“I don’t care,” he said. “The point is, can people still do art? Can people express themselves? The biennial is just the container. If it’s not the biennial it will be something else.”