Preview: The National
INTERNATIONAL SHOWCASES for contemporary art are now so prolific, and frequent, that they risk falling into the “blockbuster” trap of becoming a franchise. As biennials roll out the red carpet every two years – managed by a mix of public art museums, government agencies and philanthropic supporters – city marketing, cultural tourism and urban regeneration take centre stage in a bid to draw crowds in the thousands, serving its host city a cultural menu hidden with economical and political trans fats; the unwanted cellulite dimpling the skin of the art world.
The commissioning of large-scale artworks and installations has given rise to a type of “festival art”, monumentally scaled, elaborately produced and veering towards the spectacular. Consequently, the public craves an equal, if not fuller plate each biennial, and to accommodate this hunger, artistic appreciation and
