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| Bienal de Arte de Bogotá | |
|---|---|
| Name | Bienal de Arte de Bogotá |
| Genre | Art biennial |
| Frequency | Biennial |
| Location | Bogotá |
| Country | Colombia |
| First | 2003 |
| Organizer | Universidad Nacional de Colombia |
Bienal de Arte de Bogotá is a contemporary art biennial held in Bogotá, Colombia, established to showcase visual art practices across Latin America and the world. The event has intersected with institutions such as Museo Nacional de Colombia, Museo de Arte Moderno de Bogotá, and Universidad de los Andes while featuring curators, critics, and artists connected to networks like the São Paulo Biennial, Venice Biennale, Documenta, and Sharjah Biennial. It functions as a platform linking curatorial projects, galleries like Galería Casas Riegner and Galería Nueveochenta, and cultural policymakers from Alcaldía Mayor de Bogotá, Secretaría de Cultura, and Ministerio de Cultura.
The Bienal emerged amid dialogues involving Universidad Nacional de Colombia, Instituto Distrital de las Artes, Secretaría de Cultura, Centro Cultural Gabriel García Márquez, and Biblioteca Luis Ángel Arango, responding to precedents set by the Bienal de São Paulo, Venice Biennale, Documenta, and Biennale of Sydney. Early editions referenced curators associated with Museo de Arte Moderno de Medellín, Museo de Antioquia, Fundación Gilberto Alzate Avendaño, and Museo de Arte de Lima, aligning with festivals like Zona Maco, Art Basel, FIAC, Frieze, and ARCO. The Bienal’s trajectories intersected with academic programs at Universidad de Antioquia, Universidad Nacional Autónoma de México, Universidad de Chile, Universidad de Buenos Aires, and Pontificia Universidad Javeriana, as well as with collections such as Banco de la República and Fundación Proa.
Administration involves collaborations among Universidad Nacional de Colombia, Alcaldía Mayor de Bogotá, Ministerio de Cultura, Instituto Distrital de Patrimonio Cultural, Cámara de Comercio de Bogotá, and Idartes, with advisory input from curators linked to Tate Modern, Museum of Modern Art, Centre Pompidou, Guggenheim Museum, and Moderna Museet. Funding and sponsorship have included Banco de la República, Instituto Goethe, British Council, Instituto Camões, Fundación MAPFRE, Fundación Helga de Alvear, Museo de Arte Contemporáneo de Bogotá, and private galleries such as Galería El Museo, Galería La Cometa, and Galería Casas Riegner. The curatorial team has engaged critics and scholars affiliated with Columbia University, New York University, Universidad Complutense de Madrid, Goldsmiths, University of London, and Universidad Nacional Autónoma de México.
Each edition has proposed themes resonant with regional and international concerns, often dialoguing with exhibitions at the Venice Biennale, São Paulo Biennial, Documenta, Whitney Biennial, and Istanbul Biennial. Curatorial statements cited thinkers and institutions such as Hélio Oiticica, Lygia Clark, Marisol, Fernando Botero, Doris Salcedo, Beatriz González, Óscar Muñoz, León Ferrari, Cildo Meireles, Tunga, and Ana Mendieta, while engaging programs with Museo Tamayo, Museo de Arte Latinoamericano de Buenos Aires, Centro Cultural Recoleta, Fundación PROA, Museo Tamayo, and Museo de Arte Moderno de Bogotá. Guest curators from Serpentine Galleries, Hayward Gallery, MAXXI, Museo Reina Sofía, and Museo de Arte de São Paulo have contributed to thematic frameworks addressing memory, urbanism, migration, and postcoloniality.
Artists and institutions have included Doris Salcedo, Beatriz González, Óscar Muñoz, Fernando Botero, Fernando Bryce, Ana Mendieta, Hélio Oiticica, Lygia Clark, León Ferrari, Cildo Meireles, Tunga, Adriana Varejão, Vik Muniz, Gabriel Orozco, Doris Salcedo, Imran Qureshi, Shirin Neshat, Teresa Margolles, Paula Crown, Doris Salcedo, Martha Rosler, Thomas Hirschhorn, Santiago Sierra, Alfredo Jaar, Kcho, Doris Salcedo, Regina José Galindo, Gabriel Sierra, John Akomfrah, Ragnar Kjartansson, Kara Walker, Yinka Shonibare, Ai Weiwei, Olafur Eliasson, Marina Abramović, Damien Hirst, Jeff Koons, Julie Mehretu, Doris Salcedo, Doris Salcedo. Venues and collaborators have included Museo Nacional de Colombia, Museo de Arte Moderno de Bogotá, Museo de Arte del Banco de la República, Fundación Gilberto Alzate Avendaño, Casa de la Moneda, Biblioteca Luis Ángel Arango, Teatro Mayor Julio Mario Santo Domingo, Centro Colombo Americano, and Centro Cultural Gabriel García Márquez.
Programming has occupied institutional sites such as Museo Nacional de Colombia, Museo de Arte Moderno de Bogotá, Museo de Arte del Banco de la República, Museo de Bogotá, Casa de la Moneda, Biblioteca Luis Ángel Arango, Fundación Gilberto Alzate Avendaño, Centro Cultural Gabriel García Márquez, Teatro Colón, Teatro Mayor Julio Mario Santo Domingo, Planetario de Bogotá, Jardín Botánico de Bogotá, Parque Simón Bolívar, Parque de la 93, Centro Cultural El Castillo, Cámara de Comercio de Bogotá, Universidad de los Andes, Pontificia Universidad Javeriana, Universidad Nacional de Colombia, and Centro Colombo Americano, and has linked to international circuits including Fundação Bienal de São Paulo, La Biennale di Venezia, Documenta Kassel, and the Whitney Museum of American Art.
The Bienal has been discussed in relation to Museo de Arte Moderno de Medellín, Museo de Antioquia, Museo de Arte Contemporáneo de Bogotá, Tate Modern, Centre Pompidou, Guggenheim Museum Bilbao, Museo Reina Sofía, Museo Tamayo, Museo de Arte de São Paulo, Artforum, ArtReview, Frieze, Artnet, The New York Times, El País, El Tiempo, Revista Semana, and La República. Critics and scholars from Universidad Nacional de Colombia, Universidad de los Andes, Universidad de Antioquia, Goldsmiths, Columbia University, New York University, and Universidad Complutense de Madrid have debated its impact on curatorial practice, collections at Banco de la República, Fundación Proa, Fundación Gilberto Alzate Avendaño, and on mobility of artists linked to Zona Maco, Art Basel Miami Beach, and ARCOmadrid.
Controversies have involved debates over curatorial choices, funding partnerships with Banco de la República, Alcaldía Mayor de Bogotá, Ministerio de Cultura, private collectors, and galleries such as Galería Casas Riegner and Galería Nueveochenta, and discussions in outlets including El Tiempo, El Espectador, Revista Semana, Artforum, ArtReview, and Artnet. Critiques referenced tensions visible at Bienal de São Paulo, Venice Biennale, Documenta Kassel, Venice Biennale controversies, Tate controversies, Guggenheim controversies, and Museum of Modern Art debates regarding acquisitions, censorship, urban impact, representation of Indigenous, Afro-Colombian, and migrant artists, restitution claims linked to Museo Nacional de Colombia, and dialogues with Fundación Proa and Museo Reina Sofía.
Category:Art biennials