The first BIASC was curated by Harold Szeemann in 2004. Enwezor’s second edition was in 2006. Peter Weibel, Wonil Rhee, and Marie-Ange Brayer curated the third BIASC in 2008. The latter opened three weeks after the trading firm Lehman Brother’s announced its sudden bankruptcy, which would spark a global recession whose economic effects would bring an end to such extravagant cultural spending, including the BIASC itself.
Alfredo Sanchez Monteseirin, “Forward,” in The Unhomely: Phantom Scenes in Global Society—2nd International Biennial of Contemporary Art of Seville, ed. Okwui Enwezor (Fundacion BIASC, 2006), 9.
Harald Szeemann: with through because towards despite—Catalogue of all Exhibitions 1957–2005, ed. Tobia Bezzola and Roman Kurzmeyer (Springer, 2007), 563–69.
Carlos Jimenez, “The Joy of My Dreams: First Seville Contemporary Art Biennial,” Art Nexus 3, no. 55 (January–March 2005): 104.
Documenta and Museum Friedericianum Veranstaltungs-GmbH, Documenta 11 Platform 5: Exhibition Short Guide (Hate Cantz Verlang, 2002), 70.
Okwui Enwezor, “The Unhomely: Phantom Scenes in Global Society,” in The Unhomely, 16.
See, for example, Ángela Molina, “El aurífero sevillano,” El Pais, November 4, 2006 →.
Although uncredited, the term “unhomely” likely came from postcolonial theorist Homi Bhabha’s essay “The World and Home,” Social Text, no. 31/32 (1992). Many thanks to Serubiri Moses for the reference.
Enwezor, “The Unhomely,” 15.
Jason Farago, “Okwui Enwezor, Curator Who Remapped the Art Work, Dies at 55,” New York Times, March 18, 2019 →.
Adrian Pedrosa, “Introduction: 60th Venice Biennale,” January 31, 2024 →.