Arts and Culture
This paper analyzes the first national participations of Indonesia, Vietnam and the Philippines at the Venice Biennale in the context of pre-existing cultural exchanges and global politics dynamics occurring during the 1950s and 1960s. These participations showcased independently selected artists destined to a mainly western gaze at the Biennale whose iconic status in art world contributed to the global resonance of its iterations. The paper examines the global milieu in which artists and artworks from Asia circulated across Europe and beyond and rethinks the role of the Venice Biennale as a stage for art display and a market for art from outside the west vis-à-vis such flows. Against this backdrop, this paper also aims to reassess current understandings of the globalization of the art world and, in particular, the notions of temporality and spatiality at the core of this world’s conceptual arsenal are interrogated for their limitations and potential.