{"id":547,"date":"2022-04-13T11:46:27","date_gmt":"2022-04-13T09:46:27","guid":{"rendered":"http:\/\/en.biennaledeparis.fr\/?page_id=547"},"modified":"2024-08-27T22:58:50","modified_gmt":"2024-08-27T20:58:50","slug":"histoire","status":"publish","type":"page","link":"https:\/\/biennaledeparis.fr\/en\/histoire\/","title":{"rendered":"History"},"content":{"rendered":"\n

1959<\/h1>\n\n\n\n

The Paris Biennale was founded by Andr\u00e9 Malraux, then Minister of Culture and a visionary writer. The aim was ambitious: to provide Paris with a world-renowned artistic event, capable of showcasing young international creation and experimenting with future art forms.<\/p>\n\n\n\n

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Andr\u00e9 Malraux by Gis\u00e8le Freund in 1935. Credits: Nina Bescow Agency<\/figcaption><\/figure>\n\n\n\n

From its first edition, inaugurated on October 3 on the forecourt of the Museum of Modern Art of the City of Paris, the Biennale made a strong impression with \u00ab\u00a0M\u00e9ta-Matic 17\u00a0\u00bb by Jean Tinguely, a machine sculpture that produced drawings on a production line, considered avant-garde at the time. Paris thus joined the exclusive circle of major biennales, alongside Venice and S\u00e3o Paulo.<\/p>\n\n\n\n

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Inauguration of the first Paris Biennale by Andr\u00e9 Malraux on October 3, 1959, on the forecourt of the Museum of Modern Art of the City of Paris.<\/figcaption><\/figure>\n\n\n\n

1971<\/h1>\n\n\n\n

The institution, having become somewhat rigid, was reinvented by exhibition curator Georges Boudaille. Inspired by Documenta in Kassel, he injected new life into the Biennale, making it more eclectic and contemporary. Moved to the Parc Floral de Vincennes, the Biennale distinguished itself by recognizing photography and video as full-fledged art forms for the first time.<\/p>\n\n\n\n

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Joseph Kosuth, Thing, Paris Biennale 1971<\/figcaption><\/figure>\n\n\n\n
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Joseph Beuys and Nam June Paik at the Paris Biennale 1971.<\/figcaption><\/figure>\n\n\n\n

1985<\/h1>\n\n\n\n

Architect Jean Nouvel used the Biennale’s budget to restore the Grande Halle de la Villette. The Biennale went bankrupt, leaving a deficit of 10 million euros. Jacques Lang, then Minister of Culture, attempted a revival in 1987, but the effort was in vain. After numerous twists and turns, the once-prestigious Paris Biennale fell into the public domain. The organizing association was liquidated, marking the end of an era.<\/p>\n\n\n\n

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The Paris Biennale team in 1980 in front of the H\u00f4tel Salomon de Rothschild.<\/figcaption><\/figure>\n\n\n\n

1989<\/h1>\n\n\n\n

The Ministry of Culture turned the page by creating the Lyon Biennale, thus definitively burying the idea of reviving the Paris Biennale.<\/p>\n\n\n\n

1993<\/h1>\n\n\n\n

A new hope emerged when Minister of Culture Philippe Douste-Blazy asked Alfred Pacquement to revive the Biennale. Despite meetings and studies financed with public money, no concrete project materialized, leaving the Biennale in uncertainty.<\/p>\n\n\n\n

2000<\/h1>\n\n\n\n

A decisive turning point occurred when invisual artist Alexandre Gurita took over the Paris Biennale, which had fallen into the public domain. He transformed the event into a strategy serving new art forms. The Biennale, now without artworks, exhibitions, curators, or spectators, baffled institutions and professionals, eliciting both admiration and controversy.<\/p>\n\n\n\n

2004<\/h1>\n\n\n\n

After protests from the Ministry of Culture and numerous art professionals, the 14th Paris Biennale was held discreetly. Despite the obstacles, it managed to present the work of thirty participants from ten different countries. A 540-page catalog was published with a preface by Paul Ardenne.<\/p>\n\n\n\n

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Thermo-hygrograph, Gary Bigot, Paris Biennale 2004<\/figcaption><\/figure>\n\n\n\n
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Anonymous, Paris Biennale 2004.<\/figcaption><\/figure>\n\n\n\n

2006<\/h1>\n\n\n\n

Under the impetus of artist Sylvain Soussan, the duration of the Biennale was extended to two years. The Paris Biennale then became an institution \u00ab\u00a0in real time and place,\u00a0\u00bb adapting to artists and their practices. The 15th edition, held from 2006 to 2008, introduced \u00ab\u00a0All Territories\u00a0\u00bb and \u00ab\u00a0No Fixed Territory\u00a0\u00bb projects, redefining the Biennale as a horizontal and learning institution.<\/p>\n\n\n\n

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Soussan Ltd, Artistic Movement, Paris Biennale 2006-2008.<\/figcaption><\/figure>\n\n\n\n

2008<\/h1>\n\n\n\n

Jean-Baptiste Farkas launched the Amicale of Paris Biennale, with weekly meetings addressing different issues each time.<\/p>\n\n\n\n

2009<\/h1>\n\n\n\n

Recognizing the crucial role of education in art, the Biennale established the Paris Biennale College in 2008 with the idea of creating a new kind of art school. The first relocation took place in Cyprus, marking a step towards a more horizontal institution, where the artist determines the place and manner of their expression.<\/p>\n\n\n\n

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The Paris Biennale in Cyprus, Nicosia, 2009.<\/figcaption><\/figure>\n\n\n\n

2010<\/h1>\n\n\n\n

The Ministry of Culture began to timidly support the Paris Biennale, acknowledging its major role in art. Following the initiative of artist Ricardo Mbarkho, the first relocation took place in Nicosia that same year.<\/p>\n\n\n\n

2011<\/h1>\n\n\n\n

The Paris Biennale relocated to New York, collaborating with prestigious institutions such as Yale University and the Queens Museum of Art. Influential figures in the art world, like Robert Storr, became involved, giving the Biennale an international dimension.<\/p>\n\n\n\n

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The Paris Biennale in the United States, New York 2011. Illustration: Debate at Yale University in September 2011.<\/figcaption><\/figure>\n\n\n\n

2012<\/h1>\n\n\n\n

The Paris Biennale reactivated the Institute of Advanced Studies in Plastic Arts (Iheap), an artistic institution founded by the City of Paris in 1989 with Pontus Hulten as its director. With the help of the Ministry of Culture, the institute was granted premises at the H\u00f4tel Salomon de Rothschild, marking a new chapter in the Biennale’s history.<\/p>\n\n\n\n

2015<\/h1>\n\n\n\n

The National Audiovisual Institute (INA) created a section dedicated to the Paris Biennale at the National Library of France, digitizing works and documents dating from 1959 to 2013. The Biennale also launched an Iheap in New York, becoming the first French art school abroad.<\/p>\n\n\n\n

2016<\/h1>\n\n\n\n

In December, the institute changed its name to the National Art School of Paris (ENDA). The Biennale founded the Alternative Art School Fair (AASF) in New York, the first gathering dedicated to alternative art education. AASF brought together for the first time what are known as \u00ab\u00a0alternative art schools\u00a0\u00bb with the aim of strengthening their status and action in a uniformized artistic educational landscape. 40 schools from 17 countries participated. A catalog was published.<\/p>\n\n\n\n

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AASF (Alternative Art School Fair), New York, Pioneer Works. From November 21 to 22, 2017.<\/figcaption><\/figure>\n\n\n\n

That same year, from June 27 to July 3, the Paris Biennale took place in Beirut in partnership with Lebanese institutions and structures. This Biennale was conceived as a joint project by Iheap (Institut des hautes \u00e9tudes en arts plastiques) researchers.<\/p>\n\n\n\n

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Launch conference of the Paris Biennale in Lebanon by Alexandre Gurita and Ricardo Mbarkho. Beirut Art Center, June 27, 2016.<\/figcaption><\/figure>\n\n\n\n

2017<\/h1>\n\n\n\n

The Paris Biennale implemented the concept of institutional capture, which revived it and reclaimed the Revue de Paris created in 1829. The idea was to create a medium aimed at supporting unconventional artistic practices. That same year, the Biennale relocated to Guatemala and began preparing an edition in Venezuela for 2019. The Biennale also founded the Center for Archives of Art History (CARHHA).<\/p>\n\n\n\n

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Paris Biennale in Guatemala \u2013 From November 1 to 11, 2017. Invisual art workshop at the Cervantes Institute in Guatemala City.<\/figcaption><\/figure>\n\n\n\n

2018<\/h1>\n\n\n\n

The Biennale initiated the World Forum of Art Economies (Fom\u00e9A), exploring alternative economic models to the dominant system based on the art market, patronage, and subsidies. The first edition was held at the H\u00f4tel de Ville in Paris.<\/p>\n\n\n\n

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World Forum of Art Economies (Fom\u00e9A), H\u00f4tel de Ville, Paris, June 22-24, 2018.<\/figcaption><\/figure>\n\n\n\n

That year, artist Gary Bigot launched the Paris Biennale in Luxembourg, which consisted of an application allowing users to geolocate their breaths on the world map. The theme of this Biennale was titled \u00ab\u00a0The art that I breathe, you will one day inhale.\u00a0\u00bb<\/p>\n\n\n\n

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The Paris Biennale in Luxembourg \u2013 From October 1, 2018, to September 30, 2020. Illustration: state of breaths on March 7, 2019, at 4:24 am.<\/figcaption><\/figure>\n\n\n\n

2020<\/h1>\n\n\n\n

The Paris Biennale launched a unique award, randomly awarded by artificial intelligence, recognizing practices that escape the production of art objects. It is the first democratic and objective award in the art world.<\/p>\n\n\n\n

2021<\/h1>\n\n\n\n

Corina Chutaux Mila published the first book on Invisual Art, \u00ab\u00a0Aesthetics of Invisual Art,\u00a0\u00bb thereby structuring a theoretical corpus for these new forms of art. The book was launched at the Palais de Tokyo.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

2022<\/h1>\n\n\n\n

Corina Chutaux Mila initiated the first conference on Invisual Art, organized at the Sorbonne, which deepened the invisual practices proposed by the Paris Biennale’s partner artists.<\/p>\n\n\n\n

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The International Invisual Art Conference: Doxa and Paradox took place on June 17, 2022, at the Sorbonne, initiated by Corina Chutaux Mila.<\/figcaption><\/figure>\n\n\n\n

2024<\/h1>\n\n\n\n

The Paris Biennale is preparing several relocations, including the Paris Biennale in Bangkok and Poland, scheduled for 2025. These new editions promise to further explore the boundaries of art.<\/p>\n\n\n\n

–<\/h1>\n","protected":false},"excerpt":{"rendered":"

1959 The Paris Biennale was founded by Andr\u00e9 Malraux, then Minister of Culture and a visionary writer. The aim was ambitious: to provide Paris with a world-renowned artistic event, capable of showcasing young international creation and experimenting with future art forms. From its first edition, inaugurated on October 3 on the forecourt of the Museum […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/pages\/547"}],"collection":[{"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/comments?post=547"}],"version-history":[{"count":53,"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/pages\/547\/revisions"}],"predecessor-version":[{"id":1343,"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/pages\/547\/revisions\/1343"}],"wp:attachment":[{"href":"https:\/\/biennaledeparis.fr\/en\/wp-json\/wp\/v2\/media?parent=547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}