Wednesday, August 10, 2022

#BiennaleArte2022 - Giardini - National Pavilions - Highlights - Spain - Venice - Germany - Japan

 
Spain Pavilion - Giardini
Commissioners - Ministerio de Asuntos Exteriores -  
Union Europea y Cooperación de Espana - AECID
Curator - Beatriz Espejo

Exhibitor - Ignasi Aballi
Correction 
 
The exhibition takes as its point of departure an apparently simple act: to shift the Spanish Pavilion. Located in a corner of the Giardini, the building appears slightly skewed with respect to its neighbours Belgium and Holland. Ignasi Aballi’s proposal endeavours to resolve this dilemma by replicating the building with new internal walls at an angle of 10 degrees, the required amount to align the building with its neighbours. The intervention disrupts spatial memory and modifies the exhibition space, its location at the Venice Biennale’s venue, and its relationship with the city of Venice. Supposing that the current location was an anomaly, why correct a building that was previously approved? Why compare it with its neighbours? What changes does this correction imply? This is where the apparently simple conceit becomes much more complicated. 
 

 
 
Correction - Spain Pavilion - Giardini
 

 
 
Venice Pavilion - Giardini
 Alloro - Lympha - Installation
 
"Every image is formed in movement."
Alloro  is a journey that deals with change, metamorphosis, through nature and art, which begins in the psyche, in a clean, almost aseptic, perfect place and ends in the warmth of Mother Earth, a journey that is accomplished in movement. Every single step in this movement is punctuated by the rhythm of music, sounds that are not just a background, but are created as a work.The main exhibition project, entitled Alloro, has basically three main themes: the approach of man to nature, the strength of woman and the metamorphosis explained by art. Laurel is the quintessential symbol of metamorphosis. - says the curator Giovanna Zabotti - Metamorphosis in all of its meaning: in its sense of transformation of a being into another of a different nature and as a typical element of myhtological, religious and magical stories. The visitors will not just see the artworks but they will “live” them as they move through the artworks, every single step punctuated by the rhythm of music. A journey that, at first, will make them investigate their inner self, then experience a three-dimension emotional path, and in the end, taste the future-oriented views of young artists." The center of the path, introduced by the painting "Best Wishes" by Ottorino De Lucchi, is the installation Lympha, the myth of Daphne and Apollo represented in a modern key by the artist Paolo Fantin and the group Ophicina and accompanied by a musical composition, entitled Drops of Laurel, by master Pino Donaggio. The exhibition ends in a small "forest" of laurel, outside the structure.
 

 
 
Paolo Fantin - Ophicina - Pino Donaggio - Venice Pavilion -  Giardini
 

Paolo Fantin 
 

Ottorino De Lucchi - Best Wishes - 2022
 
Alloro - Lympha - Venice Pavilion - Giardini
 

 
 
Germany Pavilion - Giardini
Commissioner - ifa - Institut fur Auslandsbeziehungen
Curator - Yilmaz Dziewior
Exhibitor - Maria Eichorn
Relocating  A Structure 

In her project, Maria Eichhorn focuses on the history of the German pavilion and its architectural transformation. The Bavarian pavilion, built in 1909, was renamed the German Pavilion in 1912 and was redesigned in 1938 to reflect fascist aesthetics. A new facade, rear extensions, and a raised ceiling contributed to the Pavilion’s intimidating appearance. Despite post-war modifications, the building still embodies the formal language of fascism. Maria Eichhorn uncovers traces of the original pavilion, hidden behind its 1938 redesign. The project also includes city tours to places of remembrance and resistance conducted by Giulio Bobbo
and Luisella Romeo and developed with the Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea - IVESER - performances by Nkisi and Jan St. Werner, and a catalogue. 
 

Relocating A Structure - Germany Pavilion - Giardini 
 
   
Japan Pavilion - Giardini
Commissioner - The Japan Foundation
Exhibitors: Dumb Type - Shiro Takatani, Ryuichi Sakamoto, Ken Furudate, Satoshi Hama, Ryo Shiraki, Marihiko Hara, Hiromasa Tomari, Takuya Minami, Yoko Takatani
Dumb Type 

A new work by the artist collective Dumb Type. Mirrors on four stands rotate at high speed, reflecting lasers trained on them to project text onto the surrounding walls. The projected texts are all taken from an 1850s geography textbook, posing simple yet universal questions. The sounds of voices reading the texts are emitted from rotating parametric speakers, becoming highly directional beams of sound that travel around the room. In contrast to the discourses that surround it, the centre of the room is an empty space – a place that exists nowhere, but at the same time a place that could be anywhere. We live in a time of post-truth and liminal spaces. The centre is void. 
 

 
 
Dumb Type - Japan Pavilion - Giardini
 

 

 

 



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Saturday, August 06, 2022

#BiennaleArte2022 - Giardini - National Pavilions - Highlights - U.S.A. - Australia - Korea - Poland - Serbia

La Biennale di Venezia - Biennale Arte 2022 - National Pavilions - Giardini
 
U.S.A. Pavilion - Giardini
Commissioner - Jill Medvedow
Curator - Eva Respini 
Exhibitor - Simone Leigh
Sovereignity
 
Characterised by an interest in performativity and affect, Simone Leigh’s expansive body of work in sculpture, video, and performance parses the construction of Black femme subjectivity. Leigh’s large-scale sculptural works join forms derived from vernacular architecture and the female body, rendering them via materials and processes associated with the artistic traditions of Africa and the African diaspora, redefining notions of space, time, and existence. The exhibition Sovereignty commingles disparate histories and narratives, including those related to ritual performances of the Baga peoples in Guinea, early Black American material culture from the Edgefield District in South Carolina, and the landmark 1931 Paris Colonial Exposition. With a series of new bronzes and ceramics, Leigh intervenes imaginatively to fill gaps in the historical record by proposing new hybridities. 

Simone Leigh - Sovereignity

 

Simone Leigh - Anonymous
- 2022 
 
 
Simone Leigh 
 

 
Simone Leigh - Jug - 2022
 

Simone Leigh - Sharifa - 2022 
 

Simone Leigh - Cupboard - 2022 
 
 
U.S.A. Pavilion - Giardini
 
 
Australia Pavilion - Giardini
 Commissioner - Australia Council for the Arts
Curator Alexie Glass-Kantor
Exhibitor - Marco Fusinato
Desastre
 
Desastres is an experimental noise project that synchronises sound with image. The work takes the form of a durational solo performance as installation. Marco Fusinato will be performing during the opening hours of the Biennale – a total of two hundred days. Fusinato performs live in the Pavilion using an electric guitar as a signal generator into mass amplification to improvise slabs of noise, saturated feedback, and discordant intensities that trigger a deluge of images onto a freestanding floor-to-ceiling LED wall. The images are sourced via a stream of words that have been put into an open search across multiple online platforms. The mass indexing is a mess – a morass of disparate and disconnected randomly generated images.
 
  Marco Fusinato - Desastres
 
 
Marco Fusinato - Desastres
 

Marco Fusinato 
 

 

Marco Fusinato - Desastres - Australia Pavilion - Giardini
 

 
 
Republic of Korea Pavilion - Giardini
Commissioner - Arts Council Korea
Curator - Youngchul Lee
ExhibitorYunchul Kim
Gyre 
In the infinite cycles of creation and extinction, it gyrates and descends; this theme permeates everything from energy to matter, life, and the universe – the cycles are ubiquitous and ever-present. The exhibition Gyre explores the world as a labyrinth, where there are both motion in stillness and stillness in motion, embracing nonhuman objects and material reality. Based on the artist – Yunchul Kim’s transdisciplinary research into literature, mythology, philosophy, and science, he creates a universe within the Korean Pavilion, where his pataphysical installations continuously metamorphoses and are affected by cosmic events, atmosphere, light, and nature.
 
Yunchul Kim
 

Yunchul Kim - Gyre
 

Yunchul Kim - Gyre 
 

Yunchul Kim - Gyre - Republic of Korea - Giardini  
 
 
Serbia Pavilion - Giardini
Commissioner - Marijana Kolaric
Curator - Biljana Ciric
Exhibitor - Vladimir Nikolic
Walking on Water 
 
You enter a space that is a fiction. An abstraction of time and space. It is pure modernist painting through which the artist returns reality into the picture. You enter a relationship mediated by technology that the artist inverts. The presentation underlines relations to technology and nature – in this case water as part of our body, but also water as our connection point rather the as a separation. In these waters the artist swims as he waits for the perfect image to emerge. The exhibition presents Vladimir Nikolic’s exploration over the last three years, intertwining the personal and intimate with political anxieties of uncertain futures if we don’t learn to be a different kind of human.
 

artist Vladimir Nikolic and curator Biljana Ciric
 

Vladimir Nikolic - Walking on Water - Serebia Pavilion - Giardini 
 

 
 
Poland Pavilion - Giardini
Commissioners - Janusz Janowski - from 2022 - Hanna Wroblewska - until 2021
Curators - Wojciech Szymanski - Joanna Warsza
Exhibitor - Małgorzata Mirga-Tas
 Re-enchanting the World  
 
The project by Małgorzata Mirga-Tas is inspired by the Renaissance Palazzo Schifanoia in Ferrara; it expands the European iconosphere and art history with representations of Roma culture, which is often overlooked. The interior of the Polish pavilion consists of an installation: twelve panels covered with depictions of the twelve months of the year in large-format textiles, which draw from the Renaissance astrological frescos from Palazzo Schifanoia. The symbols of the palace, including zodiac signs, the decan system, the time cycles, and the migration of images across time and continents, stand as visual and ideological points of reference, which the artist inscribes in a Polish–Roma identity and the vernacular historical experience, building the affirmative iconography of the largest European minority.
 
Małgorzata Mirga-Tas 
Re-enchanting the World  
 

Małgorzata Mirga-Tas - Re-enchanting the World 
 

Curators - Wojciech Szymanski  and Joanna Warsza
 

Małgorzata Mirga-Tas - Re-enchanting the World - Poland Pavilion - Giardini 
 
 
 
 
 
 
 
 

 
 
 

 

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