2nd International Biennial of Contemporary Art of Seville (Spain)

The Unhomely. Phantom Scenes in Global Society

Artistic Director: Okwui Enwezor.

Concept: Biacs2 will work closely with artists, filmmakers, playwrights, writers, theorists, and other individuals and organizations to create various sites for reflection, interaction, and critical dialogue. These sites will serve as forums to consider the situation of contemporary art today and artists engagement with a wide range of aesthetic, political, social, and cultural issues. These activities will unfold along a number of axes:

To begin, Biacs2 will occupy two main sites within the city of Seville: Andalusian Center of Contemporary Art (at the Monasterio de la Cartuja) and the Reales Atarazanas, an impressive shipbuilding structure dating to the mid 13th century, the new venue of this second edition. The exhibition will move across the Guadalquivir River to link the Isla de Cartuja with the historical centre. Both venues will show a rich collection of sculpture, painting, photography, film, video, and other large-scale installations by internationally renowned artists. Besides the CAAC and the Atarazanas, Biacs2 will seek to intervene directly in the public domain (with a bi-weekly Op-Ed project in the cultural supplement ABCD of the Spanish national newspaper ABC), in urban spaces in the street of the city: balconies, shop windows in the city centre and a bridge spanning the Guadalquivir River.

Continuing with Enwezor&8217;s engagement with methods of dissemination of knowledge, the two main sites of the exhibition will be augmented by several collaborations between BIACS and cultural institutions based in the city and another in Tangier, Morocco.

Such a constellation prompts us to ask, “What is the space of the Unhomely?” To address this question, the exhibition therefore looks beyond the metaphor of the city to reflect upon the complex nature of adjacency and the asymptotic importance of residing next-to, outside-of, or with-in a given site, be it geographical, cultural, or political space. For example, how might we begin to evaluate the nuanced relationship between Northern Africa and Europe, as a problem space? If so, then how do artists, activists, thinkers and the public address, confirm or deny this?

One venue for this examination is a film festival staged in Tangier, Morocco in collaboration with the Cinémathèque de Tanger, planned for late autumn. Curated by Yto Barrada and Bouchra Khalili Under the title Among the Moderns, this Festival will not only address the complexity of the space existing between Europe and North Africa, but also provide a platform for further dialogue on the concept of neighbourliness. Films and videos produced by artists of different horizons (geographic and aesthetic), but who all work to redefine the representations produced on and from the Arabic World will be screened.

Venues: Centro Andaluz de Arte Contemporáneo/ Reales Atarazanas. Seville (Spain).

Opening program:

October 25: Press Preview.
October 26: Official Opening.
October 27 and 28: Professional Preview.
October 29: Public Opening.

Invited artists:

Ghaith Abdul-Ahad; Aboudramane ; Absalon; Lara Almárcegui; Tete Álvarez; Olivo Barbieri; Yto Barrada; Julie Becker; Samuel Beckett; Ursula Biemann; María Magdalena Campos Pons; Mircea Cantor; James Casebere; Jacobo Castellano; Aimé Césaire, Paul Chan; Cinématèque de Tanger; Hannah Collins; Jordan Crandall; Depth of Field; Maria Eichhorn; El Perro; Pepe Espaliu; Harun Farocki; Mounir Fatmi; Daniel Faust; John Fleetwood & John Makua; Peter Friedl; Rainer Ganahl; Simryn Gill; Renée Green; Kojo Griffin; David Hare; Lyle Ashton Harris; Diango Hernández; Thomas Hirschhorn; Huang Yong Ping; Huit Facettes & Reporting System; Runa Islam; Alfredo Jaar; Kim Jones; Lamia Joreige; Dorota Jurczak; Mike Kelley; Hassan Khan; Toba Khedoori; David Koloane; Abdoulaye Konaté; Marcia Kure; La Source du Lion; Tony Labat; Liz Larner; Miki Leal; Fabian Marcaccio; Chris Marker; Steve McQueen; Josephine Meckseper; Julie Mehretu; Salem Mekuria; Wangechi Mutu; Melik Ohanian; Catherine Opie; Otolith Grou p; Pages; Suzanne-Lori Parks; Dan Perjovschi; Manfred Pernice; Harold Pinter; Jo Ractliffe; Oliver Ressler; Retort; Gerhard Richter; Liisa Roberts; Mp & Mp Rosado; Thomas Ruff; Jean-Paul Sastre; Thomas Schütte; Ahlam Shibli; Andreas Slominski; Gillian Slovo & Victoria Brittain; Nedko Solakov; Hito Steyerl; Vivan Sundaram; Barthelemy Toguo; Obiora Udechukwu; Ngugi Wa Thiong&8217;o & Micere Mugo; Fred Wilson; Pamela Wilson-Ryckman; Yan Pei Ming; Lynette Yiadom-Boakye; Dolores Zinny & Juan Maidagan.

Project and Organisation:

Fundación Bienal Internacional de Arte Contemporáneo de Sevilla (Biacs).
Camino de los Descubrimientos, 14. Pabellón de España. Isla de la Cartuja. 41092, Seville (SPAIN). Tel. +34 954 46 75 13/ Fax. +34 954 46 75 14.


Benefactors: Ayuntamiento de Sevilla; Consejería de Cultura de la Junta de Andalucía; Ministerio de Cultura; Renfe Operadora; Aena; Caja San Fernando; Grupo Contsa; Fundación Sevillana Endesa; Diario ABC; Radio Televisión de Andalucía (RTVA).
Patrons: Consejería de Comercio, Turismo y Deporte de la Junta de Andalucía; Turismo Andaluz; Diputación Provincial de Sevilla; Consorcio de Turismo de Sevilla; Turismo de la Provincia de Sevilla; Universidad de Sevilla; Real Maestranza de Caballería; Fundación Tres Culturas del Mediterráneo; Fundación Privada Banco Sabadell; General de Producciones y Diseño; Audi Sevilla Wagen; Atlantic Internacional Technology; Vodadone; Cartuja&8217;93; Ingeniería RS Alcalá S.L.; Hotel Abba Triana; Mondriaan Foundation; Finnish Fund for Art Exchange; Diario de Sevilla;
Collaborators: Centro Andaluz de Arte Contemporáneo (CAAC); Garrigues Abogados; MCA Consultores; CHS Arquitectos; Cúbica Multimedia; Deloitte; Club Ant ares; Asociación de Hoteles de Sevilla y Provincia; Casimiro Esteban y Asociados; España City Sightseeing; Revista MU; Sevilla TV; Punto Radio; Konyk; Sfera; Centro de Artes Escénicas.

back to top

We value your privacy

To make sure that this website remains accessible in the European Union, we are forced to include this superfluous notice to inform you that this website, like most of the websites in the world, works best with cookies. We do not profile you or use the data for any commercial purposes except to study ways to enhance user experience in ours sites. We hope that you are happy with that, and that you will help us continue this research by accepting our cookies but, unlike with other websites, surfing our site in privacy is still possible should you decide not to. You can find out more about our use of cookies by reading our privacy policy.