La Biennale Research Articles

La Biennale di Venezia 52nd International Art Exhibition. “Think with the Senses—Feel with the Mind. Art in the Present Time,” curated by Robert Storr, 6 June–21 November 2007, Venice, Giardini and Arsenale and other venues

<i>La Biennale di Venezia</i> 52nd International Art Exhibition. “Think with the Senses—Feel with the Mind. Art in the Present Time,” curated by Robert Storr, 6 June–21 November 2007, Venice, Giardini and Arsenale and other venues

Sound, Space and Selfhood: Stereoscopic Apprehension in The Paradise Institute

L'installation cinématographique The Paradise Institute de Janet Cardiff et George Bures Miller, représentant le Canada à la biennale de Venise en 2001, consiste en un tout petit théâtre dans lequel le spectateur regarde un fragment de quatorze minutes d'un film à suspense européen. Par ses écouteurs, te spectateur entend à la fois la bande sonore du film et le son d'autres spectateurs, reproduit par enregistrement binaural, qui suggère leur présence dans le théâtre. La démarcation entre le film et le spectateur disparaît à mesure que ce dernier devient impliqué dans un film noir parallèle. L'installation met en évidence certains aspects importants de l’expérience cinématographique, comme les rapports entre le son et l'espace, l'influence du lieu de projection sur la perception du spectateur et l'interaction entre le phantasme privé et la narration du film dans le processus d'identification.

The Failure of DAK'ART?

I read Rasheed Araeen's timely critique of DAK'ART: La Biennale de l'Art Africain Contemporain (Third Text 62), timely because, though someone ought to have undertaken such a rounded critique much ...

Les enseignants du second degré français et leur conception sur les causes et la fatalité de la réussite (ou de l'échec) scolaire

Summary [1] Cet article est extrait d'une communication a la Biennale de l'Education et de la Formation, Paris, Palais de l'UNESCO, 27‐30 avril 1992. Can school increase its productivity? Which is the attitude of teachers to this issue? INRP and University of Paris 5 made conducted survey on the issue, by questionnaire. Among more than 2000 answers to the questionnaire, a sample of 988 has been extracted to accurately represent the heterogeneous spectrum of French secondary school teachers. Individual qualities are considered essential spectrum among the conditions for success. The majority of teachers does not expect school to be able to counterbalance individual differences. Implications of these attitudes for teacher training are then discussed.

Future promise

The Future of a Promise was the largest Pan-Arab show of contemporary art at the 54th International Art Exhibition – la Biennale di Venezia. From Tunisia all the way to Saudi Arabia, this landmark exhibition brought together more than twenty-five recent works and commissions by some of the foremost artists from the Arab world. The exhibition included Al-Ani's single screen film Sites II. Shadow Sites II is a film that takes the form of an aerial journey. It is made up of images of a landscape bearing traces of natural and man-made activity as well as ancient and contemporary structures. Seen from above, the landscape appears abstracted, its buildings flattened and its inhabitants invisible to the human eye. Only when the sun is at its lowest, do the features on the ground, the archaeological sites and settlements come to light. Such ‘shadow sites’ when seen from the air, map the latent images held by the landscape’s surface. Much like a photographic plate, the landscape itself holds the potential to be exposed, thereby revealing the memory of its past. Historically, representations of the Middle Eastern landscape, from William Holman Hunt’s 1854 painting The Scapegoat to media images from the 1991 Desert Storm campaign have depicted the region as uninhabited and without sign of civilisation. Sites II recreates the aerial vantage point of such missions while taking an altogether different viewpoint of the land it surveys. The film burrows into the landscape as one image slowly dissolves into another, like a mineshaft tunnelling deep into a substrate of memories preserved over time. Statement by Sharmini Pereira in collaboration with the artist.