Perennialogy

Advanced Architecture Studio 6

Spring 2013

Shohei Shigematsu + Christy Cheng, critics, with Carolina Ihle

Now numbering nearly 200 worldwide, the perennial has emerged as one of the main driving forces in the production, display and distribution of art while simultaneously defining both the globalization and localization of urban cultural centers. The increase in biennales has led to new disciplines of research in ‘biennialogy’; a new category of artist, the ‘biennal artist’; and the establishment of the Biennial Foundation in 2009. Adding to the long roster of biennales held in cities far from traditional economic or cultural centers, is the Kochi-Muziris Biennale, the first biennale in India, held from Dec 2012 to March 2013.

As perennials have spread to increasingly far-flung locales, it has become clear that the perennial is being used to redefine new urban and cultural centers within rapidly growing economies. Through the event, cities aim to create cultural venues that have economic and urban impacts, yet architects are more often than not left out of this process. As perennials have grown in number, so have other similar events such as art fairs, expos and new types of museums like Inhotim. As the types cross-pollinate and merge, a new model for art display, production and markets have emerged. It is within this new model that this studio positioned itself, in intermediate space between art and architecture; architecture and landscape; art, architecture and the city; architecture and the post-industrial urban condition.

Ren Luo A/B
Yusef Dennis + Maria Esnola C
Fanyu Lin + Rubing Guo D/E