Seminar: One Place After Another

Curator and Japan Foundation Fellow Keith Whittle examines the political, cultural, social and economic circumstances that shape recurring international exhibitions, drawing on research conducted in Japan and the UK. His presentation at The Japan Foundation explored how biennials and triennials operate within local contexts while engaging with global networks of contemporary art. It considered their curatorial ambitions, institutional frameworks and relationships with host communities, examining how these exhibitions are shaped by regional histories, political transformations, social needs and economic pressures, even as they pursue international aspirations.

The presentation was followed by a panel discussion featuring internationally recognised curators Yuko Hasegawa and Lewis Biggs, artist Koki Tanaka, who represented Japan at the 55th Venice Biennale, and Mark Rappolt, Editor-in-Chief of ArtReview. Drawing on their experience of curating, producing and participating in major international exhibitions, including projects in Sharjah, United Arab Emirates, and Aichi, Japan, the speakers explored the opportunities and challenges of large-scale exhibitions as platforms for artistic experimentation, cultural exchange and public engagement. They discussed how biennials and triennials can strengthen local cultural infrastructures, bring artistic practices into international circulation and foster dialogue among artists, institutions and communities.

A central theme was the extent to which these exhibitions can broaden and democratise access to culture, creating meaningful opportunities for social encounter and public participation beyond established art audiences. The discussion also considered the responsibilities of international art projects towards local communities and diverse publics, as well as their relationship to cultural tourism, urban regeneration and economic development. By examining the tensions between international ambition and local relevance, the event highlighted both the possibilities and the limitations of recurring exhibitions as cultural platforms that shape how contemporary art is experienced, understood and shared.