Guy Brett

  • “Inverted Utopias”

    Exhibitions of Latin American art in Europe and the United States have long labored under the apparent necessity of introducing or explaining an entire continent’s artistic production to a public hitherto unaware of it. Surveys have inevitably been the norm, employing curatorial strategies that would be considered simplistic if applied to the history of European or North American art. As the work of twentieth-century Latin American artists became fashionable and attractive to the international art market in the ’80s, certain European and American enthusiasts aimed to realize their long-held

  • the London Biennale

    WITH BIENNALES SPREADING EVERYWHERE, can the concept and practice of the biennial be revitalized? Can the aura that evidently still attaches to the term be “borrowed” for what is unashamedly an artist-initiated project? The London-based Filipino artist David Medalla certainly believes it can.

    Medalla has launched, and is almost single-handedly putting together, the London Biennale 2000 (May 1–Aug. 31), a “participatory festival of the arts.” Inspired by the mushrooming of biennials in cities formerly marginalized in the international art world, but also highly critical of the exclusive, strictly