Editorial - Biennials, Triennials in China
Jiang, Jiehong (2020) Editorial - Biennials, Triennials in China. Journal of Contemporary Chinese Art, 7 (1). pp. 3-5. ISSN 2051-7041
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Abstract
As one of the earliest ‘exhibitions’, the first Paris Salon was held in the Palais-Royal in 1667, and by 1699, the growth of such public events prompted a move to the Grand Galerie of the Louvre. Salons thus became the public space for art in the modern sense. Soon after, in the eighteenth century, art exhibitions proliferated throughout Europe and in Britain, most notably, there has been the annual summer show of London’s Royal Academy which was first unveiled in 1769. Since the second half of the nineteenth century, European cities and states began to sponsor large international art exhibitions to build up and secure their identities as cultural centres, including the Venice Biennale, founded in 1895, as the world’s oldest biennial and one of the most enduring examples (Altshuler 2008). Since the second half of the twentieth century, particularly in the last three decades, we have seen more and more biennials and triennials established as international art events, and importantly, as vital instruments of economic and cultural development worldwide.
| Item Type: | Article | ||||||
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| Identification Number: | https://doi.org/10.1386/jcca_00016_2 | ||||||
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| Subjects: | CAH19 - language and area studies > CAH19-04 - languages and area studies > CAH19-04-06 - Asian studies CAH25 - design, and creative and performing arts > CAH25-01 - creative arts and design > CAH25-01-02 - art |
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| Divisions: | Faculty of Arts, Design and Media > Birmingham Institute of Creative Arts > Birmingham School of Art | ||||||
| Depositing User: | Lauren Walden | ||||||
| Date Deposited: | 04 Mar 2021 13:42 | ||||||
| Last Modified: | 12 Jan 2022 16:50 | ||||||
| URI: | https://www.open-access.bcu.ac.uk/id/eprint/11213 |
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