Wednesday, August 30, 2023

Venice - Not Only Biennale - Punta della Dogana - Icones

"The exhibition aims to reveal the icon as a vehicle of passage 
to another world or other states of consciousness 
(contemplation, meditation) through a selection of more than eighty works, 
among which masterpieces from the Pinault Collection and 
unseen works." 

Punta della Dogana
An exhibition with works from the Pinault Collection

The Icônes exhibition at Punta della Dogana - until November 26 - is curated by Emma Lavigne, CEO of the Pinault Collection and Bruno Racine, CEO and Director, Palazzo Grassi-Punta della Dogana, it presents emblematic works from the Pinault Collection, and proposes a reflection on the theme of the icon and the status of the image in the contemporary world. The word “icon” has two meanings: its Greek etymology defines it as an “image”, while it is used to designate a certain type of religious painting that characterizes in particular Eastern Christianism. The idea of a model or an emblematic figure is more contemporary. The status of the image—its capacity to embody a presence, between appearance and disappearance, shadow and light, to spark emotion—is at the core of this exhibition, conceived specifically for the Punta della Dogana and the Venetian context, marked by its tight links with Byzantium. The exhibition aims to reveal the icon as a vehicle of passage to another world or other states of consciousness (contemplation, meditation) through a selection of more than eighty works, among which masterpieces from the Pinault Collection and unseen works. 
Lygia Page - Tteia1,C - 2003-2017

Donald Judd - Untitled - 1991

The show is punctuated by spaces like places to pause or chapels in this era of saturation and trivialization of images, and invokes, between figuration and abstraction, all the dimensions of the image in the contemporary artistic context—paintings, videos, sounds, installations, performances. Furthermore it highlights new dialogues between emblematic artists from the Pinault Collection.

Camille Norment - Prime - 2016

Clementina Rizzi with Bruno Racine 
co-curator and CEO and Director, Palazzo Grassi-Punta della Dogana

Edith Dekyndt - Ombre Indigene - 2014

Joseph Kosuth - An Object Upon Itself? - Adieu - 2022

Robert Ryman - Untitled - 2010

Danh Vo - Untitled - 2021

James Lee Byars - The Golden Tower - 1974

Francesco Lo Savio - Filtro e Rete - 1962

"Time measures / Nothing but itself,"
W.G. Sebald

Dayanita Singh - Time Measures - 2016

Danh Vo - Untitled - detail - 2021

Suspended at the heart of the central space, pieces of velvet fabric faded by light and time, coming from the Vatican museums, show the traces of lithurgical objects that had been placed on them. They reveal the original shine of the fabric where the crucifixes, chalices, ciboria, and monstrances once hung, reproducing their elaborate shapes and geometric arrangements. Taken by Danh Vo, these delicate skins and their ghostly presence are now in tension when they are shown: in a shapeless heap, they are paradoxically protected from further degradation; if hung, they are inexorably exposed to their slow destruction by the light. 

Danh Vo - Christmas - Rome - 2012-2013

On Kawara 
DEC. 1, 1974; DEC. 2, 1974; DEC. 3, 1974; DEC. 4, 1974; DEC. 5, 1974; DEC. 6, 1974; DEC. 7, 1974, 1974 - 7 paintings from the series Today - 1966–2013 

Maurizio Catalan - Mother - 1999

With To Breathe-Venice, Kimsooja creates a dizzying doubling of the interior volume of the belvedere of Venice’s ancient dogana da mar [sea customs], overlooking the basin of San Marco. Mirrors lining the floor unify the space, conveying an impression of weightlessness. The bay windows that open onto the lagoon are coated with transparent films that diffract light infinitely. These reflective surfaces convey the impression of walking on calm, clear water, thus extending the lagoon into the building. Confronting our reflection in the mirrors allows us to perceive ourselves simultaneously as subject and object, encountering our own otherness. The polyphony of Mandala: Zone of Zero, intertwining Tibetan, Islamic, and Gregorian chants, completes this renewed spatial experience, which hints at transcendence.

To Breathe-Venice - 2023 + Mandala: Zone of Zero - 2004-2010

Etienne Chambaud - Uncreature - 2022 + Stase - 2022

Paulo Nazareth - Antropologia do Negro - 2014

“the spacetime of an existence.” 

Opalka 1965 / 1 - ∞, Roman Opałka’s magnum opus, consists of numbers painted on a succession of canvases that he referred to as “details”: the first begins, naturally, with the number 1, and ends at 35,327. In 1972, he decided to add an additional 1% of white to the dark paint he used as a background with each new canvas: his later paintings in the series became lighter and paler, gradually approaching a monochromatic white. The octagonal architectural device that houses seven works from the series was conceived by the artist himself as the spatial representation of “the spacetime of an existence.”13 We hear a recording of Opałka’s voice reciting a series of numbers as he paints them. This sound dimension, like his paintings, conveys the artist’s desire to capture and freeze the inexorable passage of time.

Roman Opalka

Roman Opalka 
Autoportrait photographique ad nombre 4963115 
peint sur la toile OPALKA 1965 / 1 - ∞ Détail 4951385 - 4968511


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Monday, August 21, 2023

#Biennale Architettura2023 - National Pavilions - Latvia - Luxembourg - South Africa - Kosovo - Saudi Arabia - Uzbekistan - Italy - Arsenale

 #Biennale Architettura2023 
National Pavilions -  Arsenale

Latvia - Pavilion
T/CLatvija (TCL) 
Curators: Ernests Cerbulis - Uldis Jaunzems-Pētersons
Exhibitors: Ints Meņģelis - Toms Kampars

The connection between La Biennale - as a ‘supermarket’ - and National Pavilions - as ‘products’ - is an analogy which the Latvian Pavilion explores. Find everything for your desires, visions, and needs in TC Latvija’s idea shop, a space where all ideas meet and find place on the same shelf. Welcome to the infinite horizons of shopping shelves. It’s not the products that are important, it’s your decisions that matter. Overwhelming amounts of ideas may be draining, but what if decision making could be fun? The authors request that a part of this process be moved to the Arsenale, emphasising that La Biennale itself is the Laboratory of the Future.

Exhibitor, Ints Meņģelis and Curator, Ernests Cerbulis

 Toms Kampars

Latvia - 
T/CLatvija (TCL) 

Grand Duchy of Luxembourg - Pavilion
Down to Earth
CuratorsFrancelle Cane - Marija Marić
ExhibitorsFrancelle Cane, Marija Marić + Armin Linke - Lev Bratishenko + Jane Mah Hutton Anastasia Kubrak - Amelin Ng - Bethany Rigby - Fred Scharmen

Down to Earth critically unpacks the project of space mining through the perspective of resources. With the space of the pavilion itself turned into a lunar laboratory, a stage where the performance of extraction takes place, the exhibition focuses on the unveiling of the backstages of the space mining project, offering another way of seeing the Moon that goes beyond the current optics of the Anthropocene.

CuratorsFrancelle Cane and Marija Marić

Grand Duchy of Luxembourg - Down to Earth

Republic of South Africa - Pavilion
The Structure of a People
Curators: Sechaba Maape - Emmanuel Nkambule - Stephen Steyn
Exhibitors: Zamani Project - Tshwane University of Technology - Mmabe Maila - Kyle Brand, Victor Mokhaba - Tlhologello Sesana - Lethlogonollo - Sesana - Wihan Hendrikz - Luthando Thomas, Kirti Mistry - Carin Smuts - Phadi Mabe - Khalipha Rade - Yamkelwa Sim - Anya Strydom - Jan Truter - Liam Harvey - Tim Presbury - Saskia de Bok - Saleigh Davis - Teegan Isola - Nosipho Ndawonde - Solami Nkabinde - Keyur Moodley - Anna Thomas - Kelly de Gouveia - Rorisang - Monanabela - Tammy Ohlson de Fine - Oratile Mothoagae - Emma Skudde - Priyan Moodley - Michael Peneda - Simphiwe Mlambo - Masego Musi - Sesethu Mbonishweni -  Dineo Mogane - Jason du Plessis - Mpinane Qhobela - Nthomeng Matete - Makananelo Maapea,Mapotsane Mohale - Moshebi Mohale - 2BLN - Spies Architects - Breinstorm Brand Architects - Anita Szentesi - Stephen Wessels

The South African Pavilion, titled The Structure of a People, revolves around the architectural representation of social structures – in historical and contemporary terms.  The exhibition unfolds through three zones. The Past is the Laboratory of the Future traces links to the architectural representation of social structures as documented in pre-colonial southern African societies. The Council of Non- Human Beings contains contemporary drawings on the topic of animism in architectural practice. And Political Animals presents the organisational and curricular structures of South African architecture schools as architectural objects, as the result of an architecture competition.

Political Animals

Republic of South Africa - The Structure of a People

Republic of Kosovo - Pavilion
rks² transcendent locality
Exhibitors: Poliksen Qorri-Dragaj - Hamdi Qorri
Migration has played a significant role in Kosovo’s social development up to the present day. During the tense political situation from the late 1980s to the late 1990s hundreds of thousands of people sought refuge and protection abroad, where they often remained for decades.  The perceived locality of this migration group is the starting point for a spatial–philosophical concept: transcendent locality, implying the process of crossing a boundary that separates two different spheres.  Not being able to return to their homeland for an indefinite period represented a deep caesura in immigrants’ lives, leaving them in an intermediate state of suspension. Boundaries between the immanent being in the now and the transcendent being in the mind blur – the migrated individual is in a transcendent locality.

Republic of Kosovo - rks² transcendent locality

Saudi Arabia - Pavilion
CuratorsBasma Bouzo - Noura Bouzo
ExhibitorAlbara Osama Saimaldahar
For the Biennale Architettura 2023, the Saudi Pavilion examines the symbiotic relationship between material and immaterial. The cohesion of both informs perception and brings to the surface the narratives embedded within these architectural building blocks.  Earth used in Saudi vernacular architecture is explored, alongside organic material experimentation upon which future-proofed legacies and practices can be built. The intent is to present the empirical as a window into the essentials. The archival attempt here aims to capture the anthropological and historic and provokes contemplation of how the past presents the answers to the conundrums of the future.

Curators, Noura Bouzo and Sasma Bouzo

Saudi Arabia - IRTH

Republic of Uzbekistan - Pavilion
Unbuild Together 
Curators: Studio Ko - Karl Fournier + Olivier Marty - Jean-Baptiste Carisé  
Sophia Bengebara
Exhibitors: Abdulvokhid Bukhoriy - El Mehdi Azzam - Miza Mucciarelli  
Emine Gözde Sevim
Our response to the theme of the Biennale Architettura 2023The Laboratory of the Future, can be read as an encounter of different horizons, allowing us to take a close look at the Uzbek architectural heritage, to delve into its past in order to find the necessary tools for the elaboration of tomorrow’s world, unbuilding modernity together by questioning the notion of archaism.  Participation is above all collaborative, placing the human being at the centre of our approach. Through the exchanges between us and architectural students, craftspeople, and associated artists, a collective proposal will emerge, creating a sensitive and poetic architecture, reflecting a truly contemporary and contextual practice.

 Chief Ceramist , Abdulvokhid Bukhoriy 

Republic of Uzbekistan - Unbuild Together 

Italy - Pavilion
Spaziale . Everyone belongs to everyone else
Curators: Fosbury Architecture  
Like any ephemeral event of this magnitude, an exhibition is by its very nature a process that dissipates a great deal of energy, raw materials, and economic resources. While this is clearly necessary to celebrate moments of confrontation and contamination, it is also essential to drastically rethink its horizons. With the aim of transforming consumption into investment and the end into a beginning, Spaziale foresees a three-pronged approach: Spaziale presenta, an observatory on nine site-specific actions staged throughout Italy and promoted thanks to the support of the General Directorate for Contemporary Creativity of the Ministry of CultureSpaziale. Everyone Belongs to Everyone Else, which as part of the Italian Pavilion, embodies the formal and theoretical synthesis of processes triggered elsewhere; and, finally, the Spaziale platform itself, to be launched after the inauguration as an incremental workshop over an expanded timespan.

Terraferma Veneziana

Italy - Spaziale . Everyone belongs to everyone else

Adjaye Associates
Sir David Adjaye OBE 
Designed entirely of timber, the Kwaeε’s form and materiality take on the qualities of its namesake, which translates as ‘forest’ in Twi, one of Ghana’s main languages. It is envisioned as a space for both reflection and active programming.  The external structure takes the form of a triangular prism punctuated by two oculi, while the internal space is a sculpted ovoid reminiscent of a cave. The distorted shape is set at an angle and abuts the perimeter to create passages and apertures for entry and exit.
Leveraging its external location at the water’s edge, the Kwaeε is at once an active and passive inhabitable structure, providing a space for respite and convening as well as multipurpose events. Functioning as a device for calling and recording, the activity within the Kwaeε will extend not only to lectures, panel discussions, and performance, but will also be a space for archival auditory experiences.


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Tuesday, August 15, 2023

Venice - Palazzo Grassi - Chronorama - Photographic Treasures of the 20th Century + Chronorama Redoux

"Brilliance and bravery. Those are my impressions from this tour of photographs - a history lesson in portraits that tells a story of the better part of a century through people, places, fashion, culture and art."
Anna Wintour

Venice - Palazzo Grassi 
Chronorama - Photographic Treasures of the 20th Century
A Photography Exhibition of the Pinault Collection 

At Palazzo Grassi the exhibition - Chronorama - Photographic Treasure of the 20th Century - curated by Matthieu Humery - until January 7 -  show 409 works, from 1910 to 1979, presented chronologically and by decade, which illustrates the men, the women, the moments in history, the daily lives, the dreams, and the dramas of the twentieth century. These fragments of the past come from an extraordinary resource of exceptional richness: the archives of Condé Nast, partly acquired by the Pinault Collection in 2021. Condé Nast, one of the world’s largest press groups, currently owns twenty-five titles, including the iconic and historic VogueVanity FairHouse & Garden, and the New Yorker. In dialogue with Chornorama is Chronorama Redoux site-specific works by four young artists who have been given carte blanche by the Pinault Collection to interpret the legacy of major photographs and of the Conde Nast archives in their own way.

Bert Stern
Jean Shrimpton and Sammy Davis Jr. - 1965

The 1910s - Everything Changes

George Wolfe Plank 
Woman standing in yellow ruffle gown with large white collar - Vogue - 1917

"A pioneer in the use of color photography in magazines in the 1930s but also in his approach to advertising, Condé Nast revolutionized the international press in several ways. The close collaboration with the artists of his time, which he established from the very beginnings of his empire, is an integral part of the group’s identity and has allowed some of the greatest talents of the twentieth century to emerge.
It is the quality of the works preserved that makes this archive invaluable. Many of the century’s great photographers started at Condé Nast before being exhibited and recognized as core figures within the art market. ....Even if their photograph was intended to be reproduced in a magazine, they treated their image as an art object in its own right. Thus, many of their works were mounted on a support or carefully signed and printed by their creator, as is normally done for a fine art print."
Matthieu Humery - Photography advisor for Pinault Collection
Andrew Cowen - Historical Consultant for Chronorama

Matthieu Humery

Adolf de Meyer  
Young girl sitting on a small table besides a globe - Vogue - 1919

" New York had all the iridescence of the beginning of the world.  The returning troops marched up Fifth Avenue and girls were instinctively drawn east and north towards them - we were at last admittedly the most powerful nation and there 
was gala in the air."
F. Scott Fitzgerald  
My lost City

The 1920s - Modern Iridescence

Edward Streichen
The right costume for travel, Hannah Lee Sherman wearing a Chanel tweed coat  Vogue - 1928

Copyright Conde Nast - Courtesy - Palazzo Grassi

George Hoyningen-Huene  
A Sculpture by Siegel - Vogue 1928

Edward Steichen
Actor Douglas Fairbanks - Vanity Fair -1924

Chronorama Redoux 

The historical selection of Chronorama is put into perspective with 'Chronorama Redux', a project offering a contemporary look at the works from the Pinault Collection through the work of four artists: Tarrah Krajnak, Eric N. Mack, Giulia Andreani, and Daniel Spivakov.  The works are spread along the photographic path  as interludes in the chronological rhythm. Chronorama Redux offers a contemporary look at the works of the exhibition. 

Daniel Spivakov
When Ukraine born Daniel Spivakov moved to Oklahoma - he could only speak his native language - it was during this time that art became a critical vessel of communication for him.

 "1930. Let us prepare ourselves for the 
volatilization of the world, for introspection, for lyricism, 
for the return of the classified, appeared romanticism, 
for the slow cadence of dreams."
Alexandre Arnaux
Vogue January 1930

The 1930s - A Cosmopolitan Dream

Sherril Schell
The Empire State Building - New York City - Vanity Fair - 1930

Georges Lorant
Artist Marcel Vertes and his model - Vanity Fair - 1935

Constantin Brancusi - attributed to -
Self-portrait in the Atelier - Vanity Fair - 1934

The 3 - Nyholm, Phillips and Lincoln
Model wearing a white chiffon tea gown embroidered with leaves - Vogue - 1932

 The 3 - Nyholm, Phillips and Lincoln
Aquarium filled with crystal geometric forms and goldfish  
House and Garden - 1932

George Hoyningen-Huene
A portrait of fashion journalist John McMullin - Vogue - 1932 

"The New year dawns on a world embattled and bleeding.
What is Vogue's place in such a world.  What part do we play in this scene of high drama, grim tragedy? Where do we come in?"
Vogue January 1941

The 1940s - Dark Victory: The Forties in Vogue

John Rawlings
Irving Penn in his American Field Service uniform - Vogue - 1945

Toni Frissell
WAAC - Women's Army Auxiliary Corps - officers sitting under hair dryers  
Vogue - 1943

Irving Penn
Marlene Dietrich - New York - Vogue - 1948

Chronorama Redoux 

Tarrah Krajnak
Born in Peru, Tarrah Krajnak is an artist working across photography, performance and poetry.

"It is not possible to go forward 
while looking back."
Ludwig Mies van der Rohe

The 1950s - Idealism and Realism

Irving Penn 
Girl in Bath  - Jean Patchett - New York - Vogue - 1950

Suzy Parker 
Snapshot of her famous sister Dorian Leigh - Vogue - 1954

Jean Howard
Orson Welles - Vogue 1953

Paul Himmel 
The Isetta car parked besides the glass-stair-railed apartment Moretti - Vogue 1954

"Not everything that is faced can be changed, but nothing
can be changed until it is faced."
James Baldwin

The 1960s - Radical Departures

Franco Rubartelli
Veruschka with actors Max Brunell and Carlo Ortiz - Italy - Vogue - 1969

Dan Budnik
Jeanne Moreau - Vogue - 1962

Irving Penn
Marcello Mastroianni - Vogue 1962

Black Star
Astronauts of Apollo 8 in their space suits - Vogue 1968

Irving Penn
Josef Albers and Jasper Johns - Vogue - 1964

Chronorama Redoux

Giulia Andreani
Venetian born Giulia Andreani's practice is rooted in historical stories - fragile stories or tragedies on a human scale - that she uncovers through her research and the archives she collects. 

"Hey, before you abuse, Criticize and accuse, walk a mile in my shoes."
Joe South and the Believers
"Walk a Mile in my Shoes

The 1970s - Glamour and Grit

Helmut Newton 
David Hockney - Vogue - 1975

George Butler
World Champion bodybuilder Arnold Schwarzenegger - Vogue - 1975

Patrick Demarchelier
Model Esme Marshall wearing a white strapless one-piece swimsuit - Vogue - 1979

Harry Benson
Singer Eric Mercury - Vogue - 1970

Chronorama Redoux 

Eric N. Mack
American born Eric N. Mack uses fabric and other found objects to create richly textured arrangements that collapse the boundaries between fashion, architecture and fine art.


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