The Biennale de Paris (English: Paris Biennale) is a noted French art festival, established in 1959. In 1983, the organization ceased functions, until its reestablishment in 2000 with the first exhibition of the new era occurring in 2004.[1]
The Biennale's mission is to promote art and artists which challenge current conventions in the art world.[2]
The Biennale de Paris rejects exhibitions and art objects. It refuses to be "thought by art". It identifies and defends true alternatives. It calls for "non-standard practices".[3]
History
Inspired by the Venice Biennale and the São Paulo Art Biennial, the 'Biennale de Paris' was created by André Malraux, the Minister of Culture, in 1959 and headed by Raymond Cogniat. Cogniat held the position as director until 1967, when he resigned due to health concerns. He was succeeded by Jacques Lassaigne who lead the institution until its decommissioning in 1985. The initial goal of the Biennale was to present an overview of young creativity worldwide and to create a place of experiences and meetings; this was achieved partly with an international jury and the institution of an upper age limit of 35 years for submitted artists.[4][1]
Held every two years from 1959 to 1985, it was eventually decommissioned by the Ministry of Culture for a multitude of reasons including the rise of competing art exhibitions in Paris and the removal of the age requirements for artists. After its decommissioning, there were several failed attempts to revive the exhibition. In 1993, Alfred Pacquement headed attempts to restore and finance a new edition of the Biennale, but the plans were ultimately dropped. In 2000, Alexandre Gurita headed the reestablishment of the Biennale as a public institution with a focus on challenging and pushing conventions of contemporary art. With support from contemporary artists and art critics, the Biennale put on its first exhibition since 1985 in 2004, and continues to run with its emphasis on non-traditional art forms.[1]
Orientations - The Biennale de Paris rejects exhibitions and art objects. It refuses to be "thought by art". It identifies and defends true alternatives. It calls for "non-standard practices"
Strategy - To be liquid. If the ground floor is occupied, occupy the floor below.
An Invisual Art - No serious proof exists that art is dependent on the art object. We can therefore assume the opposite. The Biennale de Paris promotes invisual practices which do not need to be seen to exist. The invisual is visible but not as art.
A Non-Artistic Art - The Biennale de Paris defends an art which does not obey the common criteria for art: creative, emotive, aesthetic, spectacular...
An Art which Operates in Everyday Reality - The Biennale de Paris promotes practices that relegate art to the background in order to conquer everyday reality.
A Public of Indifference - With the Biennale de Paris there are no more art spectacles. The Biennale addresses what it calls "a public of indifference": persons who, consciously or accidentally, interact with propositions that can no longer be identified as artistic.
A Unified Criticism - Organised as a network, the Biennale de Paris constitutes a critical mass composed of hundreds of initiatives, which would otherwise have been isolated and without impact.
A Horizontal Institution - The Biennale de Paris works horizontally. To participate means to become a partner. As such each partner decides the conditions linked to his or her proposed activities. This decision-making power acts on the structure and state of mind of the Biennale.[3]
Curators, art historians, art theoricians, art critics since 1959