On March 20, the Whitney Biennial 2024 will begin in New York under the title Even Better Than the Real Thing. The art festival revolves around the question of the »real« in the present. With 71 artists and a large film and performance program, the current edition is the largest to date.
A model for future museum exhibitions? The largest Whitney Biennial to date breaks away from traditional forms of presentation for art, film, performance and sound. It presents alternatives that could be adapted by museums for their own exhibitions in the future. The Biennial's curatorial team, which has been expanded by five people for the film and performance program, focuses on the artistic reception of the present. It sees global society at a turning point in the perception of the »real«, which is being challenged by fake news and, most recently, artificial intelligence. Many of the 71 selected artists deal with fluid identities and concepts of the body, around which the theme of the Biennale was developed: Even Better Than the Real Thing. The Whitney Biennial 2024 opens on March 20 at the Whitney Museum of American Art in New York City and closes on August 11.
Together with the Venice Biennale and documenta, the Whitney Biennial is one of the three most important art exhibitions in the world. It is taking place for the 81st time this year and is regarded as a relevant overview of visionary art on contemporary social issues. The current exhibition includes Carmen Winant, Jes Fan, Siku Allooloo, Isaac Julien, Julia Phillips, Carolyn Lazard, Ser Serpas, Penelope Spheeris, Pippa Garner, Takako Yamaguchi, Ho Tzu Nyen, Suzanne Jackson and Kiyan Williams.
It was one of the most moving decades in the history of the United Kingdom: the 1980s, characterized by strikes, protests and AIDS. Photographers documented this period and in some cases became political activists themselves through their images. The exhibition The 80s: Photographing Britain opens on November 21 at the Tate Britain in London.
It is in the context of functional architecture in urban spaces that Guido Klumpe finds the motifs that he stages with his camera as the poetry of the profane. His picturesque images unfold an opulent effect with a reduced formal language, showing us the beauty of the moment in the flow of everyday life.
