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  • What is interesting about this biennial

  • It’s 20 years of the biennial

  • So it has a certain history

  • A certain inscription, too

  • I was evidently very sensitive

  • To the question of being in the museum

  • I think you don’t work the same

  • If you do a biennial in different or temporary places

  • Or places that you would occupy the time of the biennial

  • Or if youre in a place which has a construction of

  • Being a museum with a collection

  • With a program of exhibition, with different program

  • The time of the exhibition, which is 5 months

  • And how is this 5-month can be a receptacle

  • Of a different trans-artistic proposition

  • A receptacle which offers space for experimentation

  • And which is activated all along the 5 months

  • With program of performances

  • With a symposium, which is cut in three parts

  • September, November, and January

  • Series of conference every month

  • And a program of screenings

  • It’s really an aspect of thinking

  • How the museum position itself

  • In relation to biennial, to production

  • The question of reception, of diffusion, of collection

  • And how the biennial can participate to all these aspects

  • So this context had to be sold, for me, too, it’s very important

  • You have different modes of existence of archives

  • You can have archive what we call dead

  • Not activated anymore

  • Or in a state of invisibility, or in a state of non-accessibility

  • The exhibition is very much emphasizing, I think

  • This notion of not thinking the archive

  • As something belonging only to the past

  • But an archive, from the moment it’s activated is immediately

  • element, which construct a possibility

  • To construct different on the narrative of the present

  • In the anticipation of how the future is

  • I think it’s very important to emphasize that

  • There is a question of who decides that certain things

  • Should be kept or not? And where, and how?

  • And this question of who decide of archive being

  • Considered as meaningful for historical construction

  • Or political construction, social construction

  • It’s a question of where is all the power

  • And that’s evidently a very important point in the exhibition

  • Through these processes, there is an emancipatory aspect to it

  • So this alternative narrative is being constructed by artistic gesture

  • It has strongly to do is an emancipatory act

  • This is being shared and it’s an activation

  • Of the way of thinking our present

What is interesting about this biennial

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B1 exhibition archive construction activated program museum

北美館│2016台北雙年展策展人柯琳.狄瑟涵專訪 A Interview with the Taipei Biennial 2016 Guest Curator, Corinne Diserens

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    Caurora posted on 2017/02/01
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