Dora Garcia specialises in modifications of the conventional relationship between the work and the viewer. In videos, writing and performances she offers scenarios that alter the behaviour we expect from those concerned, despite their being in apparently normal situations. She is particularly interested in micro-events that trigger interaction with the user in public spaces, whether open or closed: squares and public transport, for example. For the Biennale she has created two works: one in the form of a guided tour, the other involving a clash with an exhibition attendant. What Dora Garcia enjoys is bending behaviour rituals – here in an art context – so as to underscore the sheer weight of convention, the complexity of power and the presence of authority.
With the support of the Seacex, Madrid.
For its first edition, the Biennale chose to compile an inventory of art in France. Over five weeks, it drew 77,000 people from around Europe to Tony Garnier Hall.
Intensely focused on the production of exceptional work, this first Biennale showed 69 first-time exhibits by 69 artists.
Under the banner Together They Are Changing The World, around 50 artists presented major 20th-century artworks and pieces created for the event.
During this edition, the presence of painters, poets, writers and philosophers highlighted the interaction between this century's plastic-art and verbal transformations. There were 89,000 visitors.
The 3rd Biennale inaugurated the new Museum of Contemporary Art, built by Renzo Piano at the heart of the Cité Internationale complex. Sixty-four artists were invited to retrace history, from the first artistic experiments on television through to interactivity. The public discovered a generation of artists who used the latest technological innovations.
More than 130,000 visitors roamed the spaces of Lyon's Convention Centre and Museum of Contemporary Art.
The Biennale was exceptionally held in an even year, to honour the new millennium.
Because we are always exotic to someone, this Biennale was titled Sharing Exoticisms. Its purpose was to restore the freedom to interpret forms on the planetary scale.
The exhibition featured work by 140 artists and attracted 110,000 visitors.
It Happened Tomorrow opened the time trilogy. This edition saw the Biennale put down fresh roots in several venues - including its first show at La Sucrière, a former sugar warehouse near the confluence of Lyon's rivers, which was refurbished for the occasion. The 7th edition hosted 75 artists and became autumnal again. It drew 130,000 visitors.
Some 173,000 visitors explored the second volume of the time trilogy.
Sixty-three artists from 19 countries showed 290 works, including 21 Biennale premieres.
The Biennale was staged in five venues across the Lyon area: La Sucrière, the Museum of Contemporary Art, the Institute of Contemporary Art, Le Rectangle and Saint-Jean Fort.
The final opus to address the question of time.
There was a game with a rule: the devisers invited 50 curators from around the world to choose a work that represented the decade in progress. The 9th Biennale attracted 146,000 visitors.
Some 111 artists were shown in four venues: La Sucrière, the Museum of Contemporary Art, the Institute of Contemporary Art and the Bullukian Foundation.
The Biennale of Lyon is a Les Biennales de Lyon event