The Mayor does not necessarily believe everything The Ambassador tells her when she describes the Biennials visited on her expeditions, but the Mayor does continue listening to the celebrated cultural advisor, and former curator, with greater attention and curiosity than she shows any other cultural attaché or UNESCO representative of hers. In the careers of leaders there is a moment which follows pride in the eclectic line up of the cultural pursuit we have exhibited, and the excitement and fulfillment of knowing we shall soon celebrate any thought of collecting and publicizing them. “Biennials can make or destroy your city, Ma’am” the Ambassador would warn “It is up to you, to choose wisely the alchemy of terms and accents of the gathering you want to create”.

There is a sense of contemplation that comes over us in the morning, with the sound of commuters after eight o’clock and the fumes of traf ic filling streets and squares; a fogginess that makes the buildings and neighborhoods blur on the semi-orthogonal grid of the horizon. From this horizon, a series of curators show up, one after the other, reporting to us the reviews of the last visiting critics, from libel to laudatory, and printouts of the articles of renowned artists who af irm our curatorial production, of ering in exchange periodic submissions of Biennial themes, budget proposals, contact sheets. A sea of tote bags, of memories of chance encounters, of air-kisses, of new names and new zeitgeists.

On this occasion, The Mayor has summoned the Ambassador to report on Biennials from far away lands to prepare her own Mayor’s Biennial. It was through the websites and catalogs destined to be archived, The Mayor started realizing that the construction of realities could be diverse enough to escape the spectator’s conventions. “But, Mrs. Mayor, if one thing you should know about Biennials, it is this: the collaboration between minds and the gathering of spirits has spread as far as beyond our scope and control. What might have begun as a singular cultural event, has spread into myriads of autonomous formations, each of which can seduce and enthrall everyone; even those who never visited, even Biennials that never existed.”
Bottavia. A bot-curated biennial
Canonice. A conservative triennial
Eccessa. A for-profit biennial
Evenia. A one-day quadrennial
Generica. A biennial that never changes
Insegna. A word-less biennial
Novichelovekan. A biennial with new faces
Palimpsestia. A biennial that builds on
Puerilia. A biennial by and for children
Referenda. A democratic biennial
Rexia. A dynastic biennial
About. Le Biennali Invisibili