© Gianni Wise, 2012-18

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Catalogue cover for cones of zontac (A4 catalogue/publication by Loose projects) - a publication conceived as a counterfeit Biennale catalogue, (zine-style!)

"These places are temporary department stores, shopping malls, with every booth a different franchise."
They come not so much to buy but to look, not just at the art but at the excess of it all, all that human and commercial traffic. They want to feel close to something, whatever it is. They even join queues for nothing at all, especially when the queue has been started by one of the on-site artists, Roman Ondak, who, with a team of collaborators, formed impromptu lines beside blank walls, emergency exits and other meaningless points over the weekend. This project is one of 13 works bought from the Frieze Art Fair Special Acquisitions Fund during the fair and presented to the Tate. The fund is sponsored by a group of British collectors, the works chosen by a freewheeling curatorial team. How you actually purchase a queue, unless it is a Platonic queue, the Ideal Idea of Queue, I'm uncertain.

also from Pilot2 - in ref to art fairs and biennalisation of them - banal market
Evil is part of the process of truth. 'This is Chinatown, Giddes, anything can happen.' The
current interest in 'Arab' art and its biennalisation is acutely severing and concealing of truth. I take
the view of the importance of intellectual life, not by trading logic with trade. At least the biennale
'takes you there', as a submission to thinking. It just never stops hurting.

Venice Biennale 2005 - writing on.....
Although I would argue with the ingenuity – the ‘immateriality of art’ is not a new discovery – I
appreciate Tino Sehgal’s (German Pavilion) term of ‘deproduction’ even when he says that his intention
is not an extra-market position. The term fits as a critical intervention into this last but not least spectacular
marriage of aesthetics and art market. It can be linked to the as yet implausible idea of debiennalisation,
which might be the next critical transformation in global art. Some works in this
Biennale predicted this idea. The empty pavilions of Romania, Norway and Sweden, the demolition
performance of Monica Bonvicini’s robust, concrete and minimalist structure in the Giardini, and
Sehgal’s German Pavilion all exemplified this trend. Even the Austrian Pavilion, absolutely camouflaged
by Hans Schabus to become an introvert structure, can be evaluated in the category of a subversive attitude
to the Biennale as the supreme commodity showcase of global art. From the point of a non-EU
individual, it also symbolises the reluctance for communication of Western/EU societies with
remotes territories. Artists such Muntadas (Spain) or Artur Zmijewski (Poland), who produced timeconsuming
works that demand particular attention and focus from the viewer, also demonstrate a resistant
approach to the rapid consumption of artworks that are accumulated in these kinds of exhibitions, as
well as a daring criticism of institutional superiority in art. In this sense, the competition between the
ready-to-consume photographic image (sometimes fortified with clever phrases) and the time-consuming
video installation is moving towards a victory of the artwork that can avoid the judgement of the viewer.13

People often complain about the "biennalisation" of the international art world, every festival and biannual reduplicating what goes on everywhere else.