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An essential balance between self-expression and collective responsibility also makes jazz an ideal medium for cultural education. Jazz affirms its place alongside the other arts and offers a unique contribution to the future health of European society.

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We should emphasize that visions of the future across almost all phenomena a evolve over time and b proliferate. The future of the biennial, in other words, is both varied and plural.

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  5. The biennial is an occasion on which to create new alliances; it is about going beyond city-branding strategies, leading to collaboration and new dialogues. This issue of new alliances is particularly important at a moment when we no longer have any identifiable ideological, generational or stylistic movements, which once created international links.

    Edits and Comments

    The situation of a biennial is complex. When we try to work out how to deal with this complexity, it is important not to reduce our reflections to one single model, but to study several different ones, both historical and contemporary, that take an experimental approach to this complexity. At this moment of intense innovation within the field of contemporary art — a moment during which this very field has en tered the public consciousness as arguably never before — it is vital that biennials proceed intelligently and that we act not only with an awareness of what our contemporaries within the field of art are undertaking, but also with an understanding of what has come before and what is being undertaken in disciplines parallel to our own.

    We are living through a period in which the center of gravity is transferring to new worlds.

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    The early 21st century is seeing a polyphony of centers and above all the rise of new centers in China, India and the Middle East. What happens between biennials is very important. If a biennial takes place in a city and then nothing happens for two years until the next biennial comes along, the danger is that it will be like a firework in a desert.

    Ideally a biennial should be a permanent process, an ongoing organic activity. Most biennials are organized in short time-frames and the operation for organizing them becomes increasingly reduced. Curators need to resist this and find a more reasonable framework in which to work. Changing the format and creating interim events, so that the firework becomes an ongoing flame, might be very helpful in overcoming this problem.

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    The biennial as a project could build up through sedimentary levels, rather than being seen as a tabula rasa that starts afresh every two years and negates its own history. There should also be more consideration of what happens between the big events of the biennial.

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    In most cases, the opening will attract a lot of visitors, but shortly afterwards, it is as if the off-button had been pushed. What we hope to see is the ongoing flame being relayed from one party to the next, rather than a one-time event in the name of cultural tourism that contributes little to the local art scene. Instead of a sprint, we opt for the long-distance running model. The goal is for a biennial that is sustainable and can foster local development, by building a long-term laboratory that will accumulate important archival materials.

    Biennials can have a life of their own as a self-evolving entity. Biennials should invent new rules of the game, new practices and new ways of doing things. These conversations freed me up in terms of curating.

    Making A Better Conversation

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    It includes, us, the Founders, as well as the all important Contributors, and those interested in participating and supporting the movement.