The rise of the private art foundation: John Kaldor Art Projects 1969-2012 (2025)

!st International Summer School WHAT ART WANTS. An Introduction to the Art World

Art is a complex social product. It affects the way we look at the world and concerns both the aesthetic and the politic realms. What does it take to be an artist? Who decides what is good and valuable? Which artists are going to last and which are doomed to be forgotten? How the works of art circulate, and how do they make an impact? Scholars and professionals of the art world convene to Nuoro this July, at the heart of Sardinia, for an immersive course in the basic principles of the art world. During a week of lectures, workshops and seminars, the students will learn about the main agents and rules of the multifaceted cultural, economic and social system we call “art”. Questioning the power relationship between the artists, the institutions and the market, the school will provide advanced students, artists and young curators with a map and a compass to navigate the art world. Guest speakers are Andre Buchmann, head of Buchmann Galerie (Berlin and Lugano); David Elliot, curator, writer and professor of Modern and Contemporary art; Martin Engler, Head of Contemporary Art at the Städel Museum Frankfurt; Mark Gisbourne, art writer and independent curator; Pierluigi Sacco, full professor of cultural Economics at the IULM of Milan. The school is directed and coordinated by Giuliana Altea, professor of Art History at the University of Sassari and president of the Costantino Nivola Foundation and by Antonella Camarda, research fellow at the University of Sassari and director of the Museo Nivola.

The global eventisation of Art and its territorial repercussions

Can Art History be Made Worldly? A Response to Monica Juneja’s Can Art History Be Made Global? Meditations from the Periphery (De Gruyter, Berlin, 2023)

Panel discussion at School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi. Panelists: Monica Juneja, Parul Dave-Mukherjee, and Sandip K Luis Date: 15 September 2023 The paper concludes with a brief analysis of the works of artists Amar Kanwar and Jonas Staal at the Kochi Muziris Biennale.

The Origins of Kaldor Public Art Projects - EMAJ 2013

emaj, 2013

Christo and Jeanne-Claude’s Wrapped Coast – One Million Square Feet, Little Bay, Sydney, Australia (1968–69) remains one of Kaldor Public Art Projects’ (KPAP) most significant projects, both artistically and in its impact on the local and international art scene. A private not-for-profit foundation, Kaldor Public Art Projects has presented site-specific temporary art projects by leading international contemporary artists in Australia for over forty years. Some of these projects, such as Christo and Jeanne-Claude’s, were important milestones in the development of contemporary art in Australia. Not-for-profit foundations now play an increasingly important and visible role in the contemporary art world. This essay considers the circumstances that surrounded the inception of one of the earliest of these foundations, Kaldor Public Art Projects. It considers the factors that led to its creation. These include John Kaldor’s upbringing and experience as an émigré in Australia; his mentors, Sir Nicholas Sekers and Claudio Alcorso; and the influences on and of his collecting interests. The essay argues that gallerists such as Ileana Sonnabend played a pivotal role in the development of Kaldor’s collection and artistic interests. Kaldor’s collecting interests also played a key role in the development of the Art Projects. The role of the collector and patron are inextricably linked.

What 'global art' and current (re)turns fail to see: A modest counter-narrative of 'not-another-biennial' (2015)

What is the scope of 'global art' and who drives its framing within the current climate of corporate globalization? In what ways do the recent global turn and curatorial turn underwrite meaningful global inclusivity and visibility, and to what degree does this globally shared art constitute mutuality? Does 'global art', including the accompanying process of biennialisation, allow for local narratives in a way that seriously accounts for a geopolitical view of contemporary art in the twenty-first century? While the inclusion of 'new art worlds' in what Belting, Buddensieg and Weibel (2013) term 'global art' is framed as a democratisation of contemporary art and the demise of the western art canon, it is important to raise questions regarding the blind spots of this supposedly global, post-1989 expansion. In this article I analyse the current discourse of 'global art' as articulated in The Global Contemporary and the Rise of New Art Worlds (Belting, Buddensieg & Weibel 2013), focusing on its origin, transcription, mapping, consumption and ultimately, I suggest, its emergence as a function of privilege. Challenging the charting of supposedly new art regions (Belting et al. 2013:100), which 'writes-out' local narratives and counter-narratives, I argue for a logic of subtraction in place of a logic of addition. While the latter triumphantly implies that 'new' art worlds have been added to the dominant core, the former is useful to a geopolitical perspective that strips away normative vision and actively seeks that which people often fail to see. In this paper I analyse the work of CAPE Africa Platform in South Africa, which, while briefly and erroneously used as "evidence” of biennialisation and global expansion in The Global Contemporary, was locally referred to as 'not-another-biennial'. Discussing what some see as the shortcomings of the Cape 07 and Cape 09 exhibitions, I propose a reconsideration of measures of 'success' and 'failure', suggesting that an embrace of 'failure' can enable new ways of seeing the privilege of the contemporary art world. It is only when blanks, failures and things presumed not to exist are carefully regarded, that the goal of achieving mutually shared art on a global scale might become possible. Only then does it become apparent that the global south can have a certain edge over what is viewed as the prevailing art world.

n ncyclopedic Art Biennale in Venice

This article ofers an anthropological view of the last, 2013 edition of the Biennale Internazionale d'arte di Venezia. Taking advantage of the simultaneous presence of exhibitions from many countries, independently run by local curators, the viewer is invited to try to catch the inspiration of the artists in their own culture. And this, in turn, reflects the general theme of that edition, the utopia of an all-encompassing approach to art collection.

Reforming the Biennale Model: From Local Experimentation to Global Legitimation

Art in the Asia-Pacific: Intimate Publics, 2014

Layers of Exhibition. The Venice Biennale and Comparative Art Historical Writing

2011

Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency

OnCurating - Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency, 2020

Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is like a biennale: too much to experience at once. Contributors Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Ana Paula Cohen, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Rafal Niemojewski, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg

Making Art World. Biennials and Social Fields of Inclusion and Exclusion in the Global Art World