Abstract
This paper reviews the history of the Chengdu Biennale to explore the essence behind the popularity of Chinese biennials. Biennials have gained wide popularity in mainland China in recent decades. Along with the saying that Chinese biennials are employed as tools of the Chinese government, the private sector is also involved in organizing them. Chengdu Biennale is one example. Initiated by the entrepreneur Deng Hong, Chengdu Biennale ran for four editions with the goal of constructing a new supporting system for contemporary Chinese art. The actual running of the series of exhibitions received much criticism because it was turned into a tool to assist Deng’s real estate business. The abrupt stop of the Biennale also reflects the difficulty of running a private art biennial in China. The local government re-launched the Biennale in 2021. It served another purpose, facilitating the building of Chengdu as a “Garden City.” The resumption of the Biennale during the post-pandemic time also indicates the government’s effort to re-integrate into the globalized trend after “isolating” from the outside world for three years. The grand scale of the 2021 Chengdu Biennale showed its potential to become the leading one in the international art communities. However, the emphasis on its instrumental characteristics rather than valuing the accumulation and collision of creative ideas at the cultural feast is not beneficial for the sustainable development of the Biennale. This is also the reason why many Chinese biennials emerged while few could go on.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
Biennial, Art Exhibition, Museum, Contemporary Chinese Art
