photograph
courtesy Marco Biagini
Outsider
Pavilion. Marco Biagini - High Visibility Burqa. Outside the Giardini on the
riva overlooking Venice and the lagoon Marco Biagini created his own pavilion,
the Outsider Pavilion, on show Expo - High Visibility Burqa – 2015 – high
visibility clothing, Burqa, Hadish.
Marco
Biagini
Swiss
Pavilion - Pamela Rosenkranz – Our Product. Pamela Rosenkranz’s Our Product is
curated by Susanne Pfeffer, director of the Fridericianum in Kassel. The work takes aim at the empty centers of
history, politics, and contemporary culture as a whole. It addresses the
shifting philosophical and scientific meanings of the ‘natural’ and the ‘human’
during Anthropocene (the geological epoch marked by the impact of human
activities on the ecosystem). Rosenkranz deploys a palette of patented
icons—polyethylene water bottles, soft drinks, Ralph Lauren latex paint, JPEGs
of International Klein Blue, Ilford photo paper, and ASICS sneakers—augmented
by flesh-toned silicone and acrylic paint. Her insistence on the ‘naturalness’
of these seemingly unnatural materials is premised on the fact that they were
all produced by…. synthetic
materials.
Swiss
Pavilion - Pamela Rosenkranz – Our Product
Seen
at La Biennale – Andreina Longhi and Luisa Beccaria
Czech
and Slovak Republic Pavilion – Jiri David – Apotheosis. The installation concentrates all its energy
and expression on the confusion of the audience who enter the whitewashed
pavilion only to realize later that the focal point of the exhibition is a
narrow hallway right behind them. There
a monochrome version of Secessionist artist Alphonse Mucha’s Slav Epic reflects
on a mirror wall that contains the spectator, immersed in the archeology of
knowledge and memory”. The exhibition is curated by Katarina Rusnakova.
Jiri
David and Katerina Rusnakova
Czech
and Slovak Republic Pavilion – Jiri David – Apotheosis
Polish Pavilion - C.T.
Jasper and Joanna Malinowska - Halka/Haiti 18°48’05”N 72°23’01”W. Artists C.T. Jasper and Joanna Malinowska and
curator Magdalena Moskalewicz, decided to stage the opera in Haiti inspired by
the mad plan of Werner Herzog’s Fitzcarraldo, who wanted to build an opera
house in the Amazon. Considered a “national
opera” ever since its 1858 Warsaw premiere, Halka
was praised for its depiction of Polish folk culture at a time when the
country was still struggling to regain independence. Far from a simple
rural romance, the tragic love story of the eponymous highlander peasant girl
seduced and rejected by her mighty landlord is haunted by the echoes of bloody
peasant revolt, underscoring the tense class relations between Polish landlords
and their feudal subjects. These echoes become even more prominent in the
context of the Haitian Revolution. Though not a typical social-practice
project, Halka/Haiti does aim to highlight this little-known aspect of
Polish-Haitian history in order to attract international visibility to the
community of Cazale. Presented
as a cinematic installation recalling the format of painted panoramas,
Halka/Haiti probes the present-day power of traditional artistic genres to
embody, represent, and, ultimately, construct national identities in the 21st
century.
Venezia
Pavilion – Aldo Cibic – Looking Ahead. The Evolution of the Art of Making. 9
Stories from Veneto: digital – not only digital. The pavilion tells nine stories,
the protagonists of each being excellence, the meeting of artistic creativity
and new technologies. Curatored by Aldo
Cibic.
Above.
Stockman Mini Dress – Defile Collection A/W 2015 – Maison Margiela.
Matteo
and Aldo Cibic
Paolo
and Caroline Marzotto
Israeli Pavilion –Tsibi Geva: Archeology of the Present. Archeology of the Present extends
over the exterior of the pavilion as well as through its interior,
destabilizing familiar divisions between inside and outside, functional and the
representational, high and low, abandoned, found, and manipulated elements. It
encompasses formal and thematic elements characteristic of Geva’s work
throughout his career and presents paintings alongside sculptural installations
and abandoned and manipulated objects, abolishing hierarchical distinctions
between artistic mediums and structures. In doing so, the project gives
expression to Geva’s ongoing concern with elements related to the notion of
‘home’ – including terrazzo tiles, windows, shutters, lattices, and cement
blocks; elements which exist as fragments of what once was, or could in
principle constitute, a home. The project raises self-reflexive artistic
concerns and epistemological questions, as well as political and cultural
questions of locality and immigration, hybrid identity, existential anxiety and
existence in an age of instability.
Israeli
Pavilion –Tsibi Geva: Archeology of the Present
