Cultural Identity in Global Exhibitions: The Case of Beijing Biennale and Australia-Asia Pacific Triennial

Abstract

Under the background of the interweaving process of globalization and the trend of media fragmentation, the international art exhibition, as a special field of civilization dialogue, presents a double effect: it not only builds a bridge of cross-cultural communication, but also conceals the crisis of the symbolic deconstruction of local culture and the alienation of consumerism. Through a comparative analysis of the Beijing Biennale and the Australia-Asia Pacific Triennale, this study reveals the universal representation dilemma in the dissemination of ethnic minority and indigenous cultures in China and Australia - local cultures are often compressed into reproducible visual symbols and become fast food products for cultural consumption. Through the three-dimensional analysis of interactive narrative structure, new media technology integration and public participation mode, the research finds that the fragmented communication in the digital era causes the audience to be immersed in instantaneous visual stimulation but forms a cognitive gap with the cultural depth behind the image. It is worth noting that the use of immersive VR/AR installations, artists talk about digital interactive platforms and other composite strategies of the exhibition, can effectively break through the surface of cognitive limitations, reconstruct the multi-dimensional space and time of cultural interpretation. This finding not only provides practical reference for the innovation of contemporary curatorial methodology, but also has constructive value for the improvement of the theoretical system of cultural communication in the context of globalization.