“4th International Instanbul Biennial”

A number of worlds overlap in Istanbul; these include Islamic fundamentalism, Eastern stock exchange, and Western capitalism. With only a half-dozen galleries in the center of town that tend to be dominated by a belated expressionism, the Istanbul Biennial represents an attempt to link up with the Western art market. Artists participating in the Biennial were thus given the opportunity to respond to an interweaving of disparate elements. But Maria Eichhorn’s billboard emblazoned with posters for alternative political parties, gay and lesbian initiatives, and other related groups—which was installed in Istanbul’s busiest square—remained the show’s only incursion into public space. Olaf Metzel’s installation, a guard booth that he borrowed from Besiktas—one of the most popular Turkish soccer teams—and decked with souvenirs, magazine clippings, and other materials, was far more popular than

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the May 1996 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.