The path of reflection into the world: Voices from the Guangzhou Triennial (2002–08)1

Abstract

Biennial and triennial exhibitions were first established in western countries, gradually becoming a well-recognized formula that came to influence non-western nations. Biennial and triennial exhibitions rose in prominence beyond western boundaries as they strove for the right to speak on the international stage. The sudden rise of biennial and triennial exhibitions in China is closely linked to these concerns. It is generally accepted that China’s biennial exhibitions first entered into the international field of vision in 2000 with the Shanghai Biennale, closely followed in 2002 by the Guangzhou Triennial, which has garnered frequent mention internationally. Viewed from a historical perspective, the themes explored by the first three editions of the Guangzhou Triennial constituted a different set of ideas regarding the international predicament of Chinese contemporary art, while the featured artists in the latter two editions were not limited to China. The backdrop for these ideas was the frequent appearance of Chinese contemporary artists on such international platforms as the Venice Biennale beginning in 1993, and the tendencies and conditions of the selections for such appearances. Chinese contemporary artists at the time were excited to gain entry to these important international platforms, but at the same time, the ways in which they were interpreted and selected gave pause for reflection. This reflection was directed not just at the artists themselves, but at the response from the critical and curatorial realms. A very important matter within this was the need for China to establish its own interpretive system and internationalized platform. Below, I will follow a chronological path in outlining the gradual progression of the Guangzhou Triennial in regard to these themes, and the connections between them.