smh.com.au
Liverpool Biennial Showcases Art in Unique City Spaces
The 2025 Liverpool Biennial, Britain's largest contemporary art festival, opened recently and runs until September, exhibiting works in unusual locations; other major biennials are currently underway in Berlin, London, and Venice.
- How do biennials utilize diverse venues to enhance the artistic experience?
- These biennials transform public and private spaces—from historic government buildings to former factories and courthouses—into art venues, making art accessible and enriching the urban landscape. Amy Claire Mills, a Sydney artist, exhibits textile work reflecting her experiences with disability at the Liverpool Biennial.
- What is the impact of contemporary art biennials on urban spaces and public engagement?
- The 2025 Liverpool Biennial, Britain's largest contemporary art festival, is showcasing work in unique spaces such as Pine Court in Chinatown and The Black-E arts center, running until September. Other biennials are occurring in Berlin, London, and Venice, each offering diverse contemporary art and design exhibitions in various locations.
- What are the implications of controversies surrounding artist selection for the future of international art biennials?
- Biennials' impact extends beyond the immediate exhibition, activating underutilized spaces and offering unique cultural experiences. Controversy surrounding Australia's representation in the 2026 Venice Biennale highlights the ongoing debate about representation and artistic selection within international art events.
Cognitive Concepts
Framing Bias
The article frames biennials positively, emphasizing their accessibility, enriching nature, and ability to showcase unique spaces. The inclusion of specific examples of biennials and their locations in the introduction immediately sets a positive tone. The controversy surrounding Australia's participation at the Venice Biennale is briefly mentioned but not given significant emphasis compared to positive descriptions of other events.
Language Bias
The language used is generally neutral and descriptive. Words like "enriching," "intriguing," and "pioneering" convey a positive tone but are not overtly loaded. The description of Amy Claire Mills's work uses evocative language ("softness, tactility, empathy, care") but this appears more descriptive than biased.
Bias by Omission
The article focuses primarily on biennials in Europe and the UK, with only brief mention of biennials elsewhere. While it mentions Australia's controversy at the Venice Biennale and Amy Claire Mills's participation in the Liverpool Biennale, a broader global perspective on biennials and their representation of diverse artists and cultures is missing. This omission could limit the reader's understanding of the true scope and diversity of the biennale phenomenon.
Gender Bias
The article mentions several artists, but doesn't focus on gender in relation to their participation or representation. While there is a mention of Amy Claire Mills and her work, which is framed in the context of her disability more than her gender, it's not enough to suggest a bias.
Sustainable Development Goals
The article highlights multiple biennials using and repurposing existing buildings and spaces. The biennials transform underutilized or historically significant locations (former factories, courthouses, government buildings) into public art spaces, promoting urban regeneration and community engagement. This aligns with SDG 11, which aims to make cities and human settlements inclusive, safe, resilient, and sustainable. The use of diverse locations also promotes cultural exchange and appreciation for local history.