37-779: Manifesta , also known as the European Nomadic Biennial , is a European pan-regional contemporary cultural biennale . Manifesta was founded in 1994 by Dutch art historian Hedwig Fijen. The first edition took place in Rotterdam . One of the coordinators in Rotterdam was Thomas Meyer zu Schlochtern of the Rotterdamse Kunststichting . Among the local artists brought into the international scene, were Jeanne van Heeswijk , Bik Van Der Pol , and Joep van Lieshout . The 2006 edition of Manifesta
74-535: A World Fair focused on contemporary art , the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to
111-420: A mix of city marketing , internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event. The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there
148-611: A reaping machine that was sent from the United States. Admission prices to the Crystal Palace varied according to the date of visit, with ticket prices decreasing as the parliamentary season drew to an end and London traditionally emptied of wealthy individuals. Prices varied from two guineas (£200 in 2015) (three guineas for a man) for a season ticket, or £1 per day (for the first two days only), then reducing to five shillings per day (until 22 May). The admission price
185-474: A teenager, later said he refused to attend the Exhibition on the grounds of taste. The opening music, under the superintendence of William Sterndale Bennett , was directed by George Thomas Smart . Organised by Howard Staunton , the first international chess tournament took place at the Exhibition. The world's first soft drink , Schweppes , was the official sponsor of the event. The Great Exhibition of
222-547: Is a part of each Manifesta Biennial. The education team is among the first to begin developing programmes in Manifesta's host cities. The programmes created by the team are derived from conversations, extensive field research and sociocultural and educational mapping. The programme is developed collaboratively with artists and associations of the host city and includes projects that are educational, curatorial, artistic, research-based, and accessible to everyone. The education team
259-540: Is at stake in contemporary biennales is the diplomatic and international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the "here and now" where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to, produce or frame the history of the site and communities' collective memory . A strong and influent symbol of biennales and of large-scale international exhibitions in general
296-442: Is little consensus on the exact number of biennials in existence at any given time. Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of
333-486: Is responsible for developing a discursive mediation and a critical perspective on the curatorial project. Additionally the team creates a set of interrelated research-and-practice-based programmes focussed on local knowledge and practices. Bolzano Trento Rovereto Anselm Franke Hila Peleg Raqs Media Collective Filipa Oliveira The Manifesta Biennial is owned and organized by Amsterdam-based International Foundation Manifesta (IFM). Biennale In
370-528: Is the Crystal Palace , the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk , the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were
407-670: The COVID-19 pandemic ). In 2022, Manifesta is being hosted by Pristina , followed by Barcelona in 2024, and Ruhr in 2026. The 10th edition of Manifesta in Saint Petersburg in Russia created tensions as the government had just prohibited " gay propaganda ". The 12th edition of Manifesta was held in Palermo, Italy, around the theme "The Planetary Garden. Cultivating Coexistence". The exhibition put forward an interpretation of
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#1732782705721444-585: The Great Exhibition or the Crystal Palace Exhibition (in reference to the temporary structure in which it was held ), was an international exhibition that took place in Hyde Park , London, from 1 May to 15 October 1851. It was the first in a series of world's fairs , exhibitions of culture and industry that became popular in the 19th century. The event was organised by Henry Cole and Prince Albert , husband of Victoria , Queen of
481-612: The art world , a Biennale ( Italian: [bi.enˈnaːle] ), Italian for "biennial" or "every other year", is a large-scale international contemporary art exhibition. The term was popularised by the Venice Biennale , which was first held in 1895, but the concept of such a large scale, and intentionally international event goes back to at least the 1851 Great Exhibition in London. Although typically used to refer to art festivals or exhibitions which occur every two years,
518-466: The Great Exhibition was a platform on which countries from around the world could display their achievements, Britain sought to prove its own superiority. The British exhibits at the Great Exhibition "held the lead in almost every field where strength, durability, utility and quality were concerned, whether in iron and steel, machinery or textiles." Britain also sought to provide the world with
555-636: The Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model. In the term's most commonly used context of major recurrent art exhibitions : Great Exhibition The Great Exhibition of the Works of Industry of All Nations , also known as
592-455: The Queen in allowing this trumpery must strike every sensible and well-thinking mind, and I am astonished the ministers themselves do not insist on her at least going to Osborne during the Exhibition, as no human being can possibly answer for what may occur on the occasion. The idea ... must shock every honest and well-meaning Englishman. But it seems everything is conspiring to lower us in
629-574: The United Kingdom. Famous people of the time attended the Great Exhibition, including Charles Darwin , Karl Marx , Michael Faraday (who assisted with the planning and judging of exhibits), Samuel Colt , members of the Orléanist royal family and the writers Charlotte Brontë , Charles Dickens , Lewis Carroll , George Eliot , Alfred Tennyson , and William Makepeace Thackeray . The future Arts and Crafts proponent William Morris , then
666-537: The Works of Industry of All Nations was organised by Prince Albert , Henry Cole , Francis Henry, George Wallis , Wentworth Dilke , and other members of the Royal Society for the Encouragement of Arts, Manufactures and Commerce as a celebration of modern industrial technology and design. It was arguably a response to the highly effective French Industrial Exposition of 1844 : indeed, its prime motive
703-405: The affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks. The Venice Biennale , a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become
740-620: The area to the south of the exhibition, nicknamed Albertopolis , alongside the Imperial Institute . The remaining surplus was used to set up an educational trust to provide grants and scholarships for industrial research; it continues to do so today. The exhibition caused controversy as its opening approached. Some conservatives feared that the mass of visitors might become a revolutionary mob. The English-born King Ernest Augustus I of Hanover , shortly before his death, wrote to Lord Strangford about it: The folly and absurdity of
777-623: The city's history as the expression of a syncretism of cultures across the Mediterranean. The curators used the idea of the garden as a metaphor on how it might be possible to aggregate differences and to compose life out of movement and migration. After the cancellation of Manifesta 13 (planned to have been held in Marseille) due to Covid19, Manifesta 14 was held in Pristina, Kosovo, in 2022. Manifesta's Education and Mediation programme
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#1732782705721814-411: The contemporary art "ethnic marketing", and also challenged the Venetian and World Fair's national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of
851-701: The end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today:
888-576: The eyes of Europe. In modern times, the Great Exhibition is a symbol of the Victorian Age , and its thick catalogue, illustrated with steel engravings, is a primary source for High Victorian design. A memorial to the exhibition, crowned with a statue of Prince Albert , is located behind the Royal Albert Hall . It is inscribed with statistics from the exhibition, including the number of visitors and exhibitors (British and foreign), and
925-490: The form of a massive glass house, 1848 feet long by 454 feet wide (about 563 metres by 138 metres) and was constructed from cast iron -frame components and glass made almost exclusively in Birmingham and Smethwick . From the interior, the building's large size was emphasized with trees and statues; this served, not only to add beauty to the spectacle, but also to demonstrate man's triumph over nature. The Crystal Palace
962-406: The hope of a better future. Europe had just emerged from "two difficult decades of political and social upheaval," and now Britain hoped to show that technology, particularly its own, was the key to a better future. Sophie Forgan says of the exhibition that "Large, piled-up 'trophy' exhibits in the central avenue revealed the organisers' priorities; they generally put art or colonial raw materials in
999-448: The most prestigious place. Technology and moving machinery were popular, especially working exhibits." She also notes that visitors "could watch the entire process of cotton production from spinning to finished cloth. Scientific instruments were found in class X, and included electric telegraphs, microscopes, air pumps and barometers, as well as musical, horological and surgical instruments." A special building, or "The Great Shalimar ",
1036-445: The opening day, all of which were bought. To attract future customers from the working classes, the newly expanding railways offered highly discounted tickets for people to travel from distant parts of the country, and special rates were offered to parties, often led by the local vicar. Those too poor to travel lined up by the rail tracks to watch the long trains of open carriages steaming past. The Great Exhibition of 1851 encouraged
1073-472: The production of souvenirs. Several manufacturers produced stereoscope cards that provided a three-dimensional view of the exhibition. These paper souvenirs were printed lithographic cards which were hand-coloured and held together by cloth to give a three-dimensional view of the event. They offered a miniature view of the Crystal Palace when one viewed the cards through the peep holes on the front cover. Visitors purchased these souvenirs so that they could relive
1110-435: The profit made. A range of medals were produced and awarded to exhibitors, jurists and providers of services. The official descriptive and illustrated catalogue of the event lists exhibitors not only from throughout Britain but also from its "Colonies and Dependencies" and 44 "Foreign States". Numbering 13,000 in total, the exhibits included a Jacquard loom , an envelope machine, kitchen appliances, steel-making displays and
1147-657: The term is not always applied strictly. Since the 1990s, the terms biennale and biennial have both been used to refer to large-scale international survey shows of contemporary art that recur at regular intervals ( Documenta is held every five years, and Skulptur Projekte Münster every ten). The term has also derived a suffix for other creative events, as in "Berlinale" for the Berlin International Film Festival and " Viennale " for Vienna 's international film festival, both of which are held annually. According to author Federica Martini, what
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1184-620: The time—visited the Great Exhibition. The average daily attendance was 42,831 with a peak of 109,915 on 7 October. Thomas Cook arranged travel to the event for 150,000 people and it was important in his company's development. The event made a surplus of £186,000 (£33,221,701.65 in 2023), which was used to found the Victoria and Albert Museum , the Science Museum and the Natural History Museum . They were all built in
1221-423: Was an enormous success, considered an architectural marvel, but also an engineering triumph that showed the importance of the exhibition itself. The building was later moved and re-erected in 1854 in enlarged form at Sydenham Hill in south London, an area that was renamed Crystal Palace . It was destroyed by fire on 30 November 1936. Six million people—equivalent to a third of the entire population of Britain at
1258-415: Was built to house the show. It was designed by Joseph Paxton with support from structural engineer Charles Fox , the committee overseeing its construction including Isambard Kingdom Brunel , and went from its organisation to the grand opening in just nine months. The building was architecturally adventurous, drawing on Paxton's experience designing greenhouses for the sixth Duke of Devonshire . It took
1295-478: Was for Britain to make "clear to the world its role as industrial leader". Prince Albert, Queen Victoria's consort, was an enthusiastic promoter of the self-financing exhibition; the government was persuaded to form the Royal Commission for the Exhibition of 1851 to establish the viability of hosting such an exhibition. Queen Victoria visited three times with her family, and 34 times on her own. Although
1332-765: Was set to happen in Nicosia , Cyprus , under the direction of Florian Waldvogel, Mai Abu ElDahab, and Anton Vidokle . In June 2006, Nicosia for Art, the city-run nonprofit organization sponsoring the exhibition, cancelled the event due to political turmoil around the green line of Nicosia. Previous editions have taken place in Rotterdam (1996), Luxembourg (1998), Ljubljana (2000), Frankfurt (2002), San Sebastián (2004), Nicosia (2006 – cancelled), Trentino-Alto Adige/Südtirol (2008), Murcia in dialogue with northern Africa (2010), Limburg (2012), Saint Petersburg (2014), Zürich (2016), Palermo (2018), and Marseille (2020 – known as Manifesta 13 , it took place despite
1369-418: Was then further reduced to one shilling (£5 in 2015), per day—except on Fridays, when it was set at two shillings and six pence, and on Saturdays when it remained at five shillings. The one-shilling ticket proved most successful among the industrial classes, with four and a half million shillings (£22,000,000 in 2015) being taken from attendees in this manner. Two thousand five hundred tickets were printed for
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