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Michael Rakowitz, The Invisible Enemy Should Not Exist (Recovered, Missing, Stolen Series), 2007, packaging, newspapers, and glue. Installation view, Antrepo No. 3, 10th International Istanbul Biennial. Photo: Serkan Taycan.

the 10th International Istanbul Biennial

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THE NINTH INTERNATIONAL ISTANBUL BIENNIAL was always going to be a tough act to follow. That edition, organized by Vasif Kortun and Charles Esche in 2005, was exemplary: Clustered in the Beyoglu area, it engendered a productive dialogue with the city, using found buildings (including a tobacco warehouse, former offices, and an apartment block), all within walking distance of one another, encouraging a seamless interaction between the urban milieu and the works of art being exhibited. It showcased a generation of emerging artists, many of whom had produced their projects in the Balkan region, some during long residencies in Istanbul (itself half in the Balkans). The exhibition was accompanied by a reader of critical essays and a Kurzführer with intelligently written captions and—amazingly—installation shots of the works in situ. Titled simply “Istanbul,” the ninth installment of

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