Curator Gunnar B. Kvaran’s stated goal for his iteration of the Lyon Biennale was to make a show that surveyed forms of narrative in contemporary practice. It is bitterly ironic therefore that the exhibition wholly lacked a cohesive one of its own. In short, the biennale was curatorially, formally, a mess.One example from many possible: in the final furlong of the show is a film installation by Czech artist Václav Magid titled From the Aesthetic Education Secret Files (2013). Two…
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