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| Bienal de Artes Mediales | |
|---|---|
| Name | Bienal de Artes Mediales |
| Location | Santiago, Chile |
| Years active | 1995–present |
| Founded | 1995 |
| Frequency | Biennial |
| Genre | New media art, electronic art, digital art, audiovisual |
Bienal de Artes Mediales is a Chilean biennial festival dedicated to new media art, electronic art, and audiovisual practices, held primarily in Santiago. The event brings together artists, curators, institutions, and audiences from across Latin America and the globe, fostering exchanges among Museo Nacional de Bellas Artes (Chile), Centro Cultural Palacio La Moneda, Universidad de Chile, Universidad Católica de Chile, and international partners such as Tate Modern, MoMA, Zentrum für Kunst und Medien, and Eyebeam. The biennial has showcased intersections of interactive art, sound art, video art, network art, bioart, and robotics through exhibitions, conferences, workshops, and screenings.
The Bienal convenes curatorial teams, artists, and institutions including Ministerio de las Culturas, las Artes y el Patrimonio (Chile), Consejo Nacional de la Cultura y las Artes, British Council, Institut Français, Goethe-Institut, Japan Foundation, Fundación Telefónica, and Inter-American Development Bank to present projects by participants drawn from networks such as Rhizome, Sonic Acts, Ars Electronica, Transmediale, ISEA International, Biennale di Venezia, and Documenta. The program typically features commissions, retrospectives, and collaborations with bodies like Centro de Investigaciones Artísticas, Fundación Imagen de Chile, PROA Foundation, Museo Tamayo, Museo Reina Sofía, MACBA (Barcelona), and Museo de Arte Contemporáneo (São Paulo). Partnerships with universities—Pontificia Universidad Católica de Chile, Universidad de Santiago de Chile, Massachusetts Institute of Technology, Goldsmiths, University of London, and Harvard University—support research initiatives and residencies with agencies such as ONCE Foundation and UNESCO.
Founded in 1995, early editions engaged figures and organizations like Cory Arcangel, Hito Steyerl, Rafael Lozano-Hemmer, Nam June Paik, Peter Weibel, Sergei Eisenstein (in historical reference), and institutions including Fundación Telefónica and Consejo Nacional de la Cultura y las Artes. Subsequent editions invited curators from Nicholas Bourriaud, Krzysztof Wodiczko, Hans Ulrich Obrist, Anicka Yi, Adrian Piper, Ed Atkins, Judy Chicago (as historical influence), and Christian Marclay (as audiovisual reference). Editions featured collaborations with festivals and museums such as SXSW, Mutek, Sónar, Loop Festival, Festival Internacional de Cine de Valdivia, DOK Leipzig, and Venice Biennale. Special projects included retrospectives referencing Vladimir Tatlin, Marcel Duchamp, Jackson Pollock, and Nam June Paik contextualized within digital culture.
Curatorial teams have included directors and curators associated with Matilde Pérez (as historical influence), Claudia Giannetti, Diego Ortiz, Luciano Rago, Nathalie Angles, Alejandra Araya, and visiting curators from Museum of Contemporary Art Chicago, Serpentine Galleries, Kunsthalle Basel, Palais de Tokyo, ICA London, and M+ (Hong Kong). Institutional governance involves partnerships with municipal bodies like Ilustre Municipalidad de Santiago, national bodies such as Subsecretaría de las Culturas y las Artes, and cultural foundations including Fondart, Fundación Andes, Fundación Centro Cultural Recoleta, and Corporación Cultural Balmaceda Arte Joven. Programming committees have collaborated with educators and researchers from Universidad de Buenos Aires, Universidad Nacional Autónoma de México, Universidad de São Paulo, Columbia University, New York University, University of California, Los Angeles, and Royal College of Art.
Curatorial themes addressed topics resonant with institutions and thinkers such as Félix González-Torres (contextual), Donna Haraway, Bruno Latour, Paul Virilio, Gilles Deleuze, Donna Haraway, Stuart Hall, bell hooks, José Ortega y Gasset, Walter Benjamin, Michel Foucault, Judith Butler, Homi K. Bhabha, Isabella Allende (cultural references), and policy debates involving UNESCO agendas. Programming has combined exhibitions, symposiums, and labs on subjects connected to climate change initiatives partnered with Greenpeace and WWF (as collaborators), digital rights dialogues with Electronic Frontier Foundation, Access Now, and Creative Commons, and archival interventions referencing Archivo Nacional de Chile. Workshops, screenings, and performances have incorporated collaborations with Teatro Municipal de Santiago, Orquesta Sinfónica de Chile, Cineteca Nacional, and Archivo y Biblioteca Nacionales de Chile.
The biennial has presented works by international and Latin American practitioners such as Rafael Lozano-Hemmer, Hito Steyerl, Cecilia Vicuña, Alejandro Jodorowsky (as influence), Juan Downey, Lotty Rosenfeld, Vik Muniz, Tania Bruguera, Doris Salcedo, Humberto Rivas (photographic reference), Mariana Castillo Deball, Marcos López, Julieta Aranda, Francis Alÿs, Paz Errázuriz, On Kawara, Krzysztof Wodiczko, Cory Arcangel, Paola Villaseñor, Santiago Sierra, and collectives like T.R.I.B.E. (as example) and Forensic Architecture (research-based practice). Commissions have produced projects in collaboration with laboratories such as MIT Media Lab, Waag Society, FutureEverything, CERN (art-science dialogue), and European Media Art Platform.
Events occur across venues including Centro Cultural Gabriela Mistral (GAM), Museo de la Memoria y los Derechos Humanos, Centro Cultural Palacio La Moneda, Museo Nacional de Bellas Artes (Chile), Museo de Arte Contemporáneo (Santiago), Biblioteca Nacional de Chile, Sala de Arte CCU, and experimental spaces like Espacio Fundación Telefónica, Galería Patricia Ready, Galería Isabel Aninat, Galería Gabriela Mistral, Casa de la Cultura Anselmo]. Satellite programs have been hosted at foreign venues like Tate Britain, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofía, Museum of Modern Art, Walker Art Center, MAXXI, and Kunstmuseum Basel.
Critical reception has engaged journals and media outlets such as Artforum, Art Asia Pacific, Flash Art, Frieze, ArtReview, The New York Times, The Guardian, El Mercurio (Chile), La Tercera, Revista de Occidente, Arte al Día Internacional, and academic analyses from Goldsmiths, University of Oxford, University of Cambridge, Pontificia Universidad Católica de Chile, Universidad de Chile, and Universidad de Buenos Aires. The biennial has influenced collections and acquisitions by institutions including Museo Reina Sofía, Museo Nacional de Bellas Artes (Chile), Museo Tamayo, Museum of Modern Art, and private collections such as Colección Patricia Phelps de Cisneros and Colección Engel. Its legacy is discussed in conferences and programs like Transversal Projects, VIIF, and university courses across Universidad de Chile and Pontificia Universidad Católica de Chile.
Category:Art biennials