Abstract

This review considers the curatorial strategies employed by each pavilion at the Fifty-Fourth Venice Biennale in 2011 and the ways that they represent national perspectives through themed group exhibitions. The works of individual artists are discussed in terms of their contribution to the curators' intentions. The new pavilions representing Zimbabwe, South Africa, and Haiti brought an influx of artistic positions to Venice but also demonstrated anxiety about under- or misrepresenting their art scenes back home.

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Additional Information

ISSN
2152-7792
Print ISSN
1075-7163
Pages
pp. 112-123
Launched on MUSE
2013-02-07
Open Access
No
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