Theme park follies: the publics of art biennials in Dakar and Taipei

In yet another variation on a theme park, the contemporary art biennial establishes host cities as cultural destinations. The qualities of these events, their various exclusivities, esoteric referentialities, and circulating stars reflect a form of “pure imageability” (p. xiv) (Sorkin, M. [Citation1992]. Introduction: Variations on a theme park. In M. Sorkin (Ed.), Variations on a theme park: The new American city and the end of public space (pp. xi–xv). Hill and Wang.). Reducing art events to their functions for city branding, marketing, or as a tourist attraction is hardly satisfying as a qualitative analysis reveals their various (sometimes conflicting) intentions. Inspired by Sorkin's writing about public space, this paper considers one of these aims: the engagement of various publics. Bringing in school groups and indigenous rights activists through outreach programs and curation reflects attempts to make biennials more accessible and inclusive. The struggles to expand their publics, however, also reveal entrenched forms of exclusion. Despite political, economic or health crises art biennials persist. Their resilience reinscribes segregated urban lives, a reminder that follies are not necessarily fragile.