São Paulo biennial separates itself from Israeli sponsorship

Foundation agrees to “disassociate” itself from consulate funding after protest letter from artists and curators

Published online: 02 September 2014

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São Paulo ready for big-budget biennial

Emotionally engaging their audience—with a little help from YouTube—is the name of the curators’ game

Published online: 02 September 2014

Politics not just part of Bienal’s past

This year’s edition aims to prompt discussions about the social and economic problems facing Brazil

Published online: 02 September 2014

Folkestone Triennial opens with gold rush to the beach

The Berlin-based artist Michael Sailstorfer has buried 30 bars of gold in the beach of the town on the south coast of England for an interactive work

Published online: 28 August 2014

A biennial for the people

The Museum of Contemporary Art, Detroit pairs established artists with individuals outside the mainstream art world

Published online: 27 August 2014

Gwangju Biennial president resigns in censorship row

Work depicting South Korean president assailed by the families of ferry disaster victims removed under pressure from local government

Published online: 20 August 2014


It’s a filthy world

The director of “Pink Flamingos” John Waters has been announced as a special guest of the next FotoFocus contemporary photography biennial,...

Manifesta’s moggies

“Erik van Lieshout’s work takes as its themes sex, violence, ‘high art’ and its institutions, and commercial culture.” The Manifesta...

Carolyn's curatorial conundrum

We know that curators are very intelligent and deeply cerebral, but we were foxed by Carolyn Christov-Bakargiev's curatorial statement for...


An interview with the curators of the 31st Bienal de São Paulo

Charles Esche and his team (Galit Eilat, Pablo Lafuente, Nuria Enguita Mayo and Oren Sagiv) have given a series of interviews that offer fascinating and occasionally prurient insights into the process of grappling with the biennial beast in general and the Bienal beast in particular—the recruitment process, the unforgiving character of the space and their ambitions to broaden the social base of the artists who participate and the visitors who attend.