Returning Back Again To The Crime-Scene, Only With A Vengence This Time Around, For More of the Same or Different

Cause, disease and symptom lying behind situation found and identified. 2 year anniversaries constantly begin and end, therefore this recent biennale syndrome and downright epidemic becomes a likely possibility or even inevitable dead-cert. Then, theres locations and areas as host-venues for them to happen in and around, maybe with some “engagement”. Plus, more than ever before, so much art and culture is attempted, gotten up to, committed and pulled off, providing decoy side-effects as incidental spacefiller “sense-candy”. These and other factors combine with fact that since not so long ago, cultural events (including biennales) breed, spread and sprout just about everywhere; at this rate, space and time for such activity and events threaten to run out or even get used up by and because of them.

It sure verges on the hyperinflationary, negative-equity and junk-bond; yet or just 1 more phenomena or downright mainstream convention to question, critique, challenge, oppose, defeat and replace; especially as to what if any meaning, worth or power there ever was, still is left and might or will be; as well as asking “quid nunc?” (“what next?”) and “che fare?” (“whats needs doing?”) enquiries; so as to escape and move away and forwards from, beyond, on-ahead and after; leading unto either “huis-clos” (“no-exit”) or “sieg heil!” (“we shall prevail!”) answers and stages, what and where ever they are or do.

However, potential cure, prevention and improvement needs discovery, invention and enforcement. This particular example (The Mare Street Biennale) is neighbourhood-specific, both in place and context. As the cryptic-clue or dead-giveaway name (The Mare Street Biennale) could well imply or suggest, its maybe more or less concentrated upon somewhere around Mare Street or thereabouts. Mare Street. A major road, passing through, containing and bordering on a substantial part of London’s (and to much extent, the world’s) hotbed and ongoing turnover of creative production and outlet; since earlier history, during present era, then into the future.

The Mare Street Biennale avoids overload and fatigue of venues, sites, works, selected and contributing artists. More like a curated or thematic exhibition alone by itself or as part of a wider program than the increasingly compulsory cross-section or survey (of what and towards which approx estimate diagnoses verdict findings or terminal outcome?) which way too many biennales attempt, claim, pretend, fail and sometimes even succeed to be. Only, this model strives to be more sympathetic, not so demanding and far less overwhelming. Hopefully, allowing everything to be considered, equally, together.

Despite operating on such a specific, local and intimate level, theres still much internationalism, to the artists and works featured, connections and activities of those involved –and of course, visitors, feedback, exchange and coverage scored –and perhaps influence and change (ideally for the better) upon developments, tendencies and climate.

What can’t be denied or avoided, is, valid point well and truly made, got out there and taken; adding to extant, ongoing and emerging debate.