This innovative new history examines in-depth how the growing popularity of large-scale international survey exhibitions, or 'biennials', has influenced global contemporary art since the 1950s. Provides a comprehensive global history of biennialization from the rise of the European star-curator in the 1970s to the emergence of mega-exhibitions in Asia in the 1990s Introduces a global array of case studies to illustrate the trajectory of biennials and their growing influence on artistic expression, from the Biennale de la Méditerranée in Alexandria, Egypt in 1955, the second Havana Biennial of 1986, New York’s Whitney Biennial in 1993, and the 2002 Documenta11 in Kassel, to the Gwangju Biennale of 2014 Explores the evolving curatorial approaches to biennials, including analysis of the roles of sponsors, philanthropists and biennial directors and their re-shaping of the contemporary art scene Uses the history of biennials as a means of illustrating and inciting further discussions of globalization in contemporary art

Networking means to create nets of relations, where the publisher and the reader, the artist and the audience, act on the same level. The book is a first tentative reconstruction of the history of artistic networking in Italy, through an analysis of media and art projects which during the past twenty years have given way to a creative, shared and aware use of technologies, from video to computers, contributing to the creation of Italian hacker communities. The Italian network proposes a form of critical information, disseminated through independent and collective projects where the idea of freedom of expression is a central theme. In Italy, thanks to the alternative use of Internet, during the past twenty years a vast national network of people who share political, cultural and artistic views has been formed. The book describes the evolution of the Italian hacktivism and net culture from the 1980s till today. It builds a reflection on the new role of the artist and author who becomes a networker, operating in collective nets, reconnecting to Neoavant-garde practices of the 1960s (first and foremost Fluxus), but also Mail Art, Neoism and Luther Blissett. A path which began in BBSes, alternative web platforms spread in Italy through the 1980s even before the Internet even existed, and then moved on to Hackmeetings, to Telestreet and networking art by different artists such as 0100101110101101.ORG, [epidemiC], Jaromil, Giacomo Verde, Giovanotti Mondani Meccanici, Correnti Magnetiche, Candida TV, Tommaso Tozzi, Federico Bucalossi, Massimo Contrasto, Mariano Equizzi, Pigreca, Molleindustria, Guerriglia Marketing, Sexyshock, Phag Off and many others.

Mueller wanders the world's failed states, ravaged war zones, and desolate no-man's-lands to comprehend why we snatch war from the jaws of peace, why so much that can go wrong does go wrong, over and over again (Iraq, Afghanistan, Lebanon, and others), and how some conflicts suddenly, quietly, inexplicably seem to find themselves solved (Northern Ireland, Albania, Abkhazia).Rather than offer a plaintive cry of ''why can't we all get along,'' Mueller observes that for the most part, people get along just fine; extremist minority groups are the major culprits. Yet it's a surprisingly sunny book given the mire in which he finds himself. Mueller's journey is an entertaining and eye-opening tour of the world's moral basements, in which he meets influential panjandrums (Al Gore, Gerry Adams, Bono, Paddy Ashdown), any number of assorted warlords and revolutionaries, and a sprinkling of peacemakers and do-gooders. He also manages to get shot at a couple of times, locked up once, and taken on a guided tour by one of the world's most infamous terrorist organizations.

"For Geert Lovink, interviews are imaginative texts that help create global, networked discourses not only among different professions but also among different cultures and social groups. Conducting interviews online, over a period of weeks or months, allows the participants to compose documents of depth and breadth, rather than simply snapshots of timely references." "The interviews collected in this book are with artists, critics, and theorists who are intimately involved in building the content, interfaces, and architectures of new media. ... The topics discussed include digital aesthetics, sound art, navigating deep audio space, European media philosophy, the internet in Eastern Europe, the mixing of old and new in India, critical media studies in the Asia-Pacific, Japanese techno tribes, hybrid identities, the storage of social movements, theory of the virtual class, virtual and urban spaces, corporate takeover of the internet, and cyberspace and the rise of nongovernmental organizations."

This text presents documents drawn from the artistic archives of Eastern and Central Europe during the second half of the 20th century.

Exhibition spaces are physical places of knowledge production and exchange. Their spatial properties play an important role in contextualizing information. Virtual stagings of exhibitions should therefore retain these properties. The Beyond Matter research project (2019–23) aims to unravel the intertwining of physical and virtual structures and their impact on spatial aspects in art production, curating, and art education, and thus to identify ways to preserve cultural heritage in the digital age. This publication offers a comprehensive overview of the diverse research activities, exhibition and book projects, and symposia that have taken place or emerged in the course of the international Beyond Matter project at the various partner institutions.

Interactivity is the catchword for a wide range of innovative solutions that concept designers and engineers are developing in every area of technology and culture. For the authors interaction is more than a technological or aesthetic concept, it is a new means to ally humans and technology in a dynamic and reciprocal form of “living in technology”. This publication gathers together scientists and contributors from diverse fields of activity, providing a fascinating, up-to-date survey of the technological and conceptual equipment of experts engaged in aesthetic disciplines and product design. The editor, Professor Gerhard M. Buurman, is Head of Interactiondesign at the University of Art, Media and Design (HGKZ) in Zurich.