Hito Steyerl, The Wretched of the Screen (Berlin: e-flux journal and Sternberg Press, 2012), 93.
Vittoria Martini, “A brief history of I Giardini: Or a brief history of the Venice Biennale seen from the Giardini,” in Muntadas/On Translation: I Giardini, Spanish Pavilion (Actar, Barcelona 2005). This quote comes from an updated version published on the Art and Education publication platform. See →
Ibid.
Ibid.
Lisa Munro, “Investigating World’s Fairs: An Historiography,” Studies in Latin American Popular Culture, vol. 28 (2010): 91.
Lisa Munro, “Investigating World’s Fairs: An Historiography,” Studies in Latin American Popular Culture, vol. 28 (2010): 91.
Vladimir Lenin, “Working-Class and Bourgeois Democracy,” in Lenin Collected Works, vol. 8 (Moscow: Foreign Languages Publishing House, 1962), 72–82.
Alain Badiou, The Rebirth of History, trans. Gregory Elliott (New York: Verso, 2012), 40.
Jim Krane, Dubai: The Story of the World’s Fastest City (London: Atlantic Books, 2009), 74, 105, 168–9
Ibid., 283–5
Dawn Ades, “Paris 1937—Art and the Power of Nations,” in Art and Power, ed. David Britt (London: Hayward Gallery, 1995), 58.
Ibid., 64.
Toby Clark, Art and Propaganda in the Twentieth Century (New York: Abrams Books, 1997), 7.
Igor Golomstock, Totalitarian Art (New York: Overlook Duckworth, 2011), 133–34.
Karen A. Fiss, “The German Pavilion,” in Art and Power, 108.
Slavoj Žižek, Did Someone Say Totalitarianism? (London: Verso, 2001), 3.
It is worthwhile to look at documentaries such as the Discovery Channel’s Children of the Secret State (2001) and National Geographic’s Inside North Korea (2006), in which the interviewers bluntly put their obviously state-monitored guides in danger by asking whether there is anything “bad” about their leader—after which of course the guides express even more excessive praise of him. The guides know that having even provoked such a question from an interviewer could result in death. Despite the obvious discomfort of the guides, the interviewers continue to refer to the posters of the late Kim Jong-il they encounter as “eerie propaganda.”
Philip M. Taylor, British Propaganda in the Twentieth Century: Selling Democracy (Edinburgh: Edinburgh University Press, 1999), 36.
Ibid., 45.
See also Adam Curtis’s well-known documentary series Century of the Self (2002), an introduction to the transformation of the concept of propaganda through the application of mass psychoanalysis by the public relations industry.
Edward Bernays, Propaganda (New York: Ig publishing, 2005), 37.
Jacques Ellul, Propaganda: The Formation of Men’s Attitudes (New York: Vintage Books, 1967).
Gilbert Seldes, Your World of Tomorrow (New York: Rogers-Kellogg-Stillson, Inc., 1939), 15, 13.
James Holston, The Modernist City: An Anthropological Critique of Brasília (Chicago: University of Chicago Press, 1989), 41.
Gilbert Seldes, Your World of Tomorrow (New York: Rogers-Kellogg-Stillson, Inc, 1939), 15.
This essay was developed around the Ideological Guide to the Venice Biennale, a project by Jonas Staal in the form of a free iPhone and Android app providing insight into the political, economic, and ideological infrastructure of the Biennale. The guide offers critical reflections by prominent artists, curators, and theoreticians that help the user explore the ideological framework of each national pavilion. Additional data provides information on the political background, selection procedure, and financing of each of the exhibitions on display. The Ideological Guide to the Venice Biennale is supported by: Kadist Art Foundation, Paris; Center for Visual Art, Rotterdam; Farook Foundation, Dubai; PhDArts, Leiden; and Promoveren in de Kunsten, Amsterdam. The travel grant is a co-initiative of Casco, e-flux, and Kadist Art Foundation.