Monday, May 22, 2017

57 Venice Biennale: Arsenale – Viva Arte Viva – Christine Marcel

  Photo by Jacopo Salvi – courtesy La Biennale di Venezia
The 57 Venice Biennale
The Golden Lion  
Viva Arte Viva - Franz Erhard Walther

Arsenale: Golden Lion for the Best Artist of the 57th International Art Exhibition Viva Arte Viva, curated by Christine Marcel goes to to Franz Erhard Walther for his work, which brings together forms, color, fabrics, sculpture, performance and continues to activate the viewer in engaging ways; for the radical and complex nature of his oeuvre that has an impact on our time and suggests a way of living in transit.
The Jury was chaired by Manuel J. Borja-Villel (Spain): Francesca Alfano Miglietti (Italy), Amy Cheng (Taiwan), Ntone Edjabe (Cameroon), and Mark Godfrey (Great Britain).

“This moment of manipulation and action as a component of the work, or as the work itself – became my main theme. The decisive fundamental idea was to build up an oeuvre from action”
Franz Erhard Walther

57th International Art Exhibition Biennale
Viva Arte Viva
Curated  - Christine Macel

“...the title Viva Arte Viva immediately sets the tone of this Biennale: an exhibition which, even if it addresses complex political and social issues, has its own particular energy and dynamism. I chose it to inspire a lively interest in the public: Viva is a celebratory exclamation but also an expression of exuberance, and so it encourages a feeling of engagement with the exhibition.”
Christine Macel

President of La Biennale di Venezia, Paolo Baratta with the curator of Viva Arte Viva, Christine Marcel

Viva Arte Viva
The work of art and produced in solitude, but is a sediment of cultures accumulated in millennia of collective experiences”
Maria Lai

Se il cielo fosse in terra l’avrebbero rinchiuso pure - 1997
Il the sky were on the ground, they would have locked it up as well


Viva Arte Viva
Maria Lai

Enciclopedia Pane – 2008
17 bread books

Viva Arte Viva
“Construction and construction materials appeal to me because
of their deep-rooted familiarity, the way that we are immersed in them and the possibilities of their re-shaping through use.”
Martin Cordiano

Common Places - 2017

Viva Arte Viva
“Space. The work of art no longer has an autonomous form / The work of art adopts the form of nature: swim, dynamics / The work of art has no place (gallery, museum ...) Outside of nature / Its place is nature.”
Nicolas Garcia Uriburu

Hidrocromia Intercontinental – series 1970


Viva Arte Viva
“Time and distance are shrinking with new technology [...] it is the end of geography.”
Julian Charriere

Future Fossil Spaces - 2017


Viva Arte Viva
“A little like a gardener ... has to work with things that are beyond my control.”
  Michel Blazy

Acqua Alta - 2017

Viva Arte Viva
“I have lots of objects. Every object has a story,
which makes me think I should write a story about every object.”
(from an interview by Haley Weiss on Interview Magazine)
Michelle Stuart

In the Beginning – Islas Encantadas – 1981-2015
Dream Collectors Carpinteria – 2002-2012

Michelle Stuart
James Island Logbook (for Herman Melville) - 1982


Viva Arte Viva
“I really believe that art exists in a context, so I don’t see (my sculptures) outside of the spaces where they exist.”
Leonor Antunes

…then we raised the terrain so that I could see out – 2017

Viva Arte Viva
“I feel the form. More so from the inside than from thinking.
I do think about the construction to place the skin. To place the canvas which is the skin.”
Zilia Sanchez
Los Amazonas – The Amazons - 1968


 Viva Arte Viva
“Wanting to be an artist. Being an artist. For forty years I have used the vernacular mass-market object and the hand-made as the site for my work. I would like the work to slip between boundaries, from a recognized use
in the world to another experience of thought or pleasure.”
Nancy Shaver
Standardization, Variation and the Idiosyncratic – 2017 Installation 
Viva Arte Viva
“To a child toys are very important; they store many emotions in them.   Adults have a different way of perceiving things but I think that they are still able to think the same way.”
(from an interview by Anna Mikaela Ekstrand for Art Observed)

Liliana Porter
Man with an Axe – Venice 2017 – 2017
installation - detail

  Liliana Porter - Man with an Axe – Venice 2017 – 2017 - detail

Special Thanks
Biennale Arte Mag





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