CFP: Collateral Events and Pavilions at the Venice Biennale (St. Andrews, 24 Nov 17) School of Art History, University of St Andrews
The connectivity represented by the collateral events could be said to reflect increasing cultural homogenization, yet this programming might equally demonstrate the rise of diversity and a resurgence of interest in local identities. In Autumn 2001, the Scottish Arts Council (now Creative Scotland) and its partner, the British Council, announced plans to exhibit new work from Scotland at the 50th Venice Biennale in 2003. Scotland used the possibilities provided by the concept of the collateral pavilion and event programme to differentiate its cultural status from that of Great Britain. This example encapsulates cultural and artistic shifts around the way difference might be mobilized to gain visibility, as well as the intense debates about the status of national and cultural identities in an era of globalization. Equally, the logistical arrangement of these events and pavilions – as well as their very designation as ‘collateral’ – indicates the endurance of power imbalances and global inequalities both in the art world and wider culture.
Drawing on the rich history of the Venice Biennale, together with recent art historical interventions into issues such as globalization, migration, biennial and triennial culture, the status of ‘the contemporary’, and the relationship between art and politics, we invite papers that explore the ramifications of collateral pavilions and events in Venice. Possible topics for papers include but are by no means limited to:
• Relations between national pavilions and collateral events
• Competing politics of multiple curatorial platforms
• Issues of inclusion and representation at the Biennale, especially in relation to previously non-participating countries such as Haiti (2011), Angola (2013), and the Maldives (2013).
• Curating transnationalism
• Tensions between the local and the global
• The resurgence of nationalism and understandings of ‘the nation’
• Politics of space and place
• The role of new media and digital technologies in traversing borders
• Economics and the art market
• Strategies of disruption vs. co-option.
Please send proposals of maximum 300 words for papers of 20 minutes, together with a short biography of maximum 100 words to Dr Karen Brown (Director, Museums, Galleries and Collections Institute, School of Art History) at email@example.com by 24 April 2017.
The Politics of Display: Collateral Events and Pavilions at the Venice Biennale is organised by Dr Karen Brown, Kate Keohane, and Dr Catherine Spencer as part of the EU-LAC-MUSEUMS project, run by the Museums, Galleries and Collections Institute. It is supported by the School of Art History at the University of St Andrews, and has received funding from the European Union’s Horizon 2020 Research and innovation programme under grant agreement No 693669