Its beauty comes from the fact that the author is what he is.

But something called ‘art’ is common to all.

The following year, Nijinsky choreographed and danced in the ballet by the Russian composer Igor Stravinsky, which, in its complex rhythmic structures and use of dissonance, together with Nijinsky’s radically unconventional choreography, shocked and scandalized both conservative critics and the public.

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All art obviously possessed it.

For ten consecutive weekends, the Biennial film program will present new moving image works in the Susan and John Hess Family Theater. At once radical and quiet, global and intimate, the selected works explore subjective and affective experiences of the contemporary political and social moment. Reflecting on the urgent themes seen in the exhibition, the film program features some of the most exciting voices working in moving image today.

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Born 1983 in Morelia, Mexico
Lives in Brooklyn, NYFor his site-specific work for the 2017 Biennial, Raúl de Nieves covered six floor-to-ceiling windows with eighteen “stained-glass” panels he made using paper, wood, glue, tape, beads, and acetate sheets. The windows create a vivid backdrop for de Nieves’s elaborately beaded sculptures, some of which are based on shoes (but are adorned to the point of abstraction), while others take the form of figures draped in heavy costumes worn by the artist in his performances.In all of his work, de Nieves treats modest materials with meticulous attention, turning the mundane into the fantastical—with metamorphosis a common theme. The windows depict a world in which death and waste are omnipresent, often symbolized by a fly. Unlike many Western spiritual traditions, however, de Nieves presents death as a metaphor for the possibility of spectacular transformation and rebirth in an unpredictable and turbulent world.

His Mexican executioners stand waiting at the door in awe of the emperor’s dignity and composure.


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Fundamentally, the intention was to educate the public, to keep alive in the face of conservative forces the Enlightenment ideals of freedom and equality through which the world would be made a better place.

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Rather than existing as the most recent manifestation of a tradition stretching back into the past, the avant-garde artist saw him- or herself as standing at the beginning of a new tradition stretching, hopefully, into the future.

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Today, we would characterize progressive modernism, the avant-garde, as politically liberal in its support of freedom of expression and demands of equality.

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Since the 18th century, the modernist belief in the freedom of expression has manifested itself in art through claims to freedom of choice in subject matter and to freedom of choice in style in terms of choice of brushstroke and colour.

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In his book, , published in 1890, the progressive modernist painter James Abbott McNeill Whistler, proposed that ‘Art should be independent of all claptrap – should stand alone, and appeal to the artistic sense of eye and ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like.

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Indeed, the moment that an artist takes notice of what other people want, and tries to supply the demand, he ceases to be an artist, and becomes a dull or an amusing craftsman, an honest or a dishonest tradesman.