The 12th Bienal de Cuenca is conceived as an open thought process, in which the artworks form a constellation of independent yet deeply interrelated concepts. Informed by Édouard Glissant’s (Martinica, 1928–Paris, 2011) understanding of knowledge as stemming from movement and relation, the Bienal addresses the suspension of the privileged condition of the artist. 
In some cases, this results in nomadic artworks, not only because of their physical movement, but also through the outsourcing of creative production to the point of following an almost industrial modus operandi.
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