This PhD uses “the Administrative Turn” to describe the specific, but also the more general, changing nature of the local and global administrative networks which support contemporary art. Through a case study of the figure of the arts administrator at the Taipei Biennial (TB), this research examines these changes in three ways – on (1) changes in institutional principles of arts administration, (2) changes in administrative methodology, and (3) changes in function for arts administrators.

Taking a transdisciplinary approach drawing on Arts Management, Curatorial Studies, Museum Studies and Art History, this thesis engages critically with the value of “the administrative” as a necessary approach to catalyse a shift in focus away from the highly visible and spectacularised norm of the global contemporary art world, towards the infrastructural significance of the backstage. This change in perspective through the study of the TB arts administrators sets out to present a missing puzzle of what makes that art world functions as it does and how in fact the support network of the contemporary art practices have transformed because of changes in the administrative capacity in terms of its institution, methodology and function.

Chapter 1 details the developmental history of the system of arts administration at TB, as an institution situated within a government-backed, museum-based, contemporary art exhibitionary ecosystem, and finds that the institution history and design principles of arts administration are not only a reflection but also an active author of Taiwanese national identity. Chapter 2 demonstrates how arts management and its methodology as a practice-centric tradecraft based on the narrative of professionalism and a stewardship process, is iterative and relies on a balance of control and care. With a close analysis of the administrative capacity, Chapter 3 establishes the figure of the arts administrators as reflexive and its function pedagogical and consultative.

This research concludes that acting as critical infrastructure, arts administrators as ascending co-development stewards, possess the transformative agency to radically re-imagine their sphere of practice and re-conceptualise how the support network could better function for a fast-evolving and increasingly multi-stakeholder production reality, which underpins the culture of contemporary art biennials globally.