Biennials

Jan Verwoert considers the history of Manifesta, European politics and whether an art exhibition can unlock the historical potential of a place

Japan’s growing number of art festivals tread a precarious path between state-sponsored leisure-culture and soft-power machinery

Rendering of Pavilion of Reflections at Manifesta 11, 2016. Courtesy: © ETH Studio Emerson

The rise of the artist-curated biennial