Abstract
Abstract In the latest iteration of the event, the organizers of and participants in Haiti’s Fourth Ghetto Biennale have attempted to identify, address and rectify some of the major issues at stake, including concerns related to cross-cultural artistic agency, themes of disaster and crisis, the tourist ‘gaze’, and Haitian art history. By examining four of the arts projects executed during the two-week event in downtown Port-au-Prince, this article analyses the shifts and adjustments between the Second Ghetto Biennale in 2011 and the fourth in 2015, and how the biennale’s artists and curators have attempted to address and account for points of contestation.
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