(Part 3/3) The 55th Biennale di Venezia: National Pavilions and Collateral Events in pictures and as seen by the critics, 1 June–24 November 2013

Browsing 'The Ideological Guide' on iPad.

If you haven't been to this year's Venice Biennale and plan to go soon, download 'The Ideological Guide', a free app developed by the Dutch artist Jonas Staal. As reported in artinfo.com "the smartphone app offers information about each participating country’s 2013 pavilion, from its commissioner and curator to the sources of its funding, while also providing historical information about past pavilions, and charting that nation’s economic and political alliances with other participating countries. The app, according to its creators, shows that the Venice Biennale’s distribution of national pavilions around the city is in many ways a more accurate reflection of nations’ geopolitical position than any geographical map.

Allora. So. Let's begin with the Spanish Pavilion, not only as it's the country where Latitudes is based, but also as it's the first pavilion one encounters when entering the Biennale area, walking towards the Padiglione Centrale. Quinn Latimer
 in Art Agenda wrote: "In her discreetly powerful Spanish Pavilion, meanwhile, Lara Almarcegui also tread some familiar contemporary-art modes and ideas, though they were insistently material. And the pavilion was a natural: streaked with sunrays from the skylights above, the piles of stone, wood, glass, and dirt—the exact same amounts that were used in the building of the pavilion itself—were immediately comprehensible, inevitable, lucidly effective." [Press Release and more photos here, video interview here]

  
'Raw' mountains of the various materials that compose the very building where they were presented: the 1922 Spanish Pavilion.

Continuing with Latimer
: 

"Surrounded by Massimiliano Gioni’s larger show, the somewhat airless “Encyclopedic Palace,” with its Documenta hangover of late, and serious crush on cleanly framed taxonomies, the national pavilions’ representatives of culture and country felt antique and obvious and a mess—but also a relief. Gioni’s turning of private cosmos and personal struggle into a stylized interior design aesthetic was definitively lacking in the disordered, disparate pavilions, where taste was usually the least concern. Yet lack of taste does not always equal distastefulness, which often arises instead from an excess of the stuff. If sometimes bad taste materializes as poeticized and/or politicized kitsch (see the pavilions of Canada, the US, Israel, and, at moments, the Netherlands), other pavilions broke through the visual chatter."

On the Netherlands' presentation, Adrian Searle of UK's The Guardian commented that Mark Manders' "Room with Broken Sentence" (...) "is a sensitively conceived and quietly dramatic tableau, like the interior of a mind as much as an actual space. The human presence emerges and disappears, conjoins with furniture or is sandwiched between stacks of timbers." 

Following on from our previous post on biennale tote bags, we'd like to add that the Dutch press package gets our bravo for the most beautiful, comprehensive and effectively-designed communication materials (and what a great pavilion catalogue too, with contributions by 37 international writers invited to reflect on individual works by Manders, published by Roma Publications). The press folder includes a full-coloured booklet with beautiful installation views of the pavilion; an 8-page booklet with an interview between the pavilion curator, Lorenzo Benedetti, and the artist alongside black and white photos of the works on show and a floorplan of the exhibition; two double-sided thick card A4 postcards of the artist's work; and a copy of Manders' "fake newspapers" which also covers the entrance to the pavilion. You can see images of the materials on the website of Amsterdam-based designer Roger Willems, or read more in the website of the pavilion. Gefeliciteerd!

  
 (Three above) Installation views of Mark Manders's "Room with a Broken Sentence" (2013) at the Dutch pavilion. More photos via Contemporary Art Daily.

Latimer laments the somehow shy presentation of Valentin Carron at the Swiss Pavilion which according to her "provoked nostalgia. Bruno Giacometti’s austere, 1952 modernist idyll is one of the finest pavilions in the Giardini. If two years ago Thomas Hirschhorn [see a few photos here onwards] obliterated Giacometti’s clean lines with his overwrought, über-hoarding installation, this year Valentin Carron erred on the side of caution, hewing too close and careful to those very same lines."

 View of Valentin Carron's presentation at the Swiss Pavilion.

Despite Latimer's comments on the "disordered, disparate pavilions", Jörg Heiser was amazed to find a common thread: "Even in the national pavilions of the Giardini – which are not under any over-arching curatorial supervision, but in each case are commissioned according to very different agendas – there are numerous signs that artists are groping in the dark of the unconscious and the (supposedly) ‘primordial’: grottoes and caves all over the place, clay sculptures, enigmatic allegories, prehistoric flintstones, (pseudo-)fossil findings. Is this parallel between the curated show and the national pavilions merely coincidental or does it tell us – as it steers art away from sober abstraction, calculated boutique chic, and more straightforward forms of realist social comment – something about the current state of things, the position of art in society (and economy) at large?"

And speaking of clay figures and rocks, according to Carol Vogel Sarah Sze's 'Triple Point' spread beyond the US Pavilion, with a few merchants in Castello displaying simulations of her pieces adorning rooftops, balcones and shop windows. "Ms. Sze is asking questions of her audience: “What objects in your life have value, and how is value created?” she explained. “I wanted to show objects that we know and have seen in our bag or on the shelf of a store which have the residue of emotion... Ms. Sze, who is known for creating site-specific environments from everyday objects like toothpicks, sponges, light bulbs and plastic bottles, arrived here in a snow storm on March 28 and has been hoarding, foraging and installing ever since." [Full article here, you can also read another review here, watch a video interview with the artist or have a 360 degree virtual tour of the Pavilion].

(Above) Sarah Sze's 'Triple Point', United States of America Pavilion.


The mentioned 'spiritual turn' is also shared by Corinna Kirsch in her review in Art F City, which reads: "It seems there’s something in the air about The Encyclopedic Palace’s “dream of a universal, all-embracing knowledge” (...) Science fiction and spirituality, in particular, are present in the pavilions as well as Gioni’s exhibition, though the way these themes play out are to entirely different stylistic ends... Overall, these works are less emotional than Gioni’s; even when they’re grounded in science fiction and spirituality, they’re grounded in the concerns of the here-and-now. Simply put, Gioni’s artists tend to live in their head, and the pavilions’ artists, in the world." 

According to Kirsch, examples of this are the British pavilion with Jeremy Deller's "English Magic" [see a video of Adrian Searle visiting the pavilion], where the artist has "the grandest presentation on view of epic creation and destruction myths, and on a national scale." [Watch the full-length of the video 'English Magic' here]. Paul Teasdale went on to say that Deller delves in the "antiquated, faintly ridiculous notion of the ‘national pavilion’ and the antiquated, faintly ridiculous notion of Englishness itself that Deller is exploring. And the almost magical way in which we so quickly forget the past."

(Above) Visitors queue to have their own prints of "William Morris returns from the dead to hurl Roman Abramovich's vast yacht Luna, which blighted the waterfront beside the Giardini at the 2011 Venice Biennale, into the waves." (Adrian Searle) and of a Hen Harrier grabbing a Range Rover.

 Above: A steel-drum orchestra played A Guy Called Gerald and Bowie's The Man Who Sold the World during the afternoon of the opening day.

Moving on. The almost bare Romanian Pavilion presented a "retrospective history of Venice, with actors as breathing archives of the Biennale itself" as Kaelen Wilson-Goldie has described in her Artforum diary review. Adrian Searle went on to recommend everyone to visit "the Pavilion, where Alexandra Pirici, Manuel Pelmuş and a small group of performers restage dozens of works from the previous 54 Biennales: using nothing more than their own bodies, they act out and mime Picasso's Guernica, Hans Haacke's famous destruction of the German pavilion's floor in 1993, paintings by Modigliani, sculptures by Rodin, performances by Marina Abramović and photographs by Nan Goldin. Both homage and parody, these quick-change charades in the otherwise empty pavilion take place all day, every day. Marvellous, funny and affecting, An Immaterial Retrospective of the Venice Biennale is much more than a parlour game. It is about history and memory – and it shows that the real encyclopedic palace is not to be found in a collection of objects, but in people themselves." [see a video of Searle visiting the Romanian Pavilion, starting at min. 2.30 while the 'living sculptures' are performing a reenactment of Allora and Calzadilla's 2011 piece presented in the US Pavilion].


(Above) An Immaterial Retrospective of the Venice Biennale, Romanian Pavilion.


Above: 'Bang', a so-so installation assembled by 886 three-legged wooden stols by Ai Weiwei, at the entrance of the German Pavilion (this year housed in the French Pavilion).

More Giardini. For the Austrian Pavilion, Mathias Poledna takes us to the movies. "... to a very short movie, that is. At just over three minutes long, “Imitation of Life” should feel like a slap in the face to the hulking structure in which it sits (both literally and figuratively). But the single animated scene, which reproduces to exacting detail the process used by film studios in the late 1930s and early 1940s, is a joy. It’s simple, light (at least on the surface), heartwarming even, and then it ends leaving one wishing for more." Jörg Heiser of frieze adds: "Poledna shows a four-minute musical animation in the style of Disney’s Bambi or Snow White – realized, in Los Angeles, with specialists able to do it the classical way. It’s not an original found object, but a kind of new reconstruction. Poledna does not rely on readymade or parody, thus generating a kind of double perception: I see the film projection and am inevitably reminded of childhood experiences – don’t I know this cute donkey with drooping ears in sailor outfit? – that I never could have had. He taps into our real-existing, pop-cultural affect reservoir, while diverting it into perfect fiction."


Still from Poledna's “Imitation of Life”.

Adrian Searle also mentioned Anri Sala's "Ravel Raval Unravel": "... Albanian artist Anri Sala, representing France, is in the German Pavilion. He drew big queues last week for his three-part film installation, based on performances of Maurice Ravel's 1930 composition Concerto in D for the Left Hand. Impeccably staged though it is, Sala's is a minor work on a major scale." [Watch video here]

 A (poor) photo of Anri Sala's video installation.


Midwaythrough a 2-hour queue under the rain to enter Anri Sala's exhibition on Friday 31 May.
  
Other National Pavilions in the Giardini not very much mentioned by the press, but worth visiting: Czech Republic & Slovak Republic, exhibiting work by Petra Feriancová (first room) and Zbyněk Baladrán (with the film "Liberation or Alternatively", at the back). Feriancová's project takes "Venice as a starting point and theme disappears in a return to intimate history: although pigeons, shells, masks and cityscapes are universal figures with a specific information value right here in Venice, their photographs or their collections were taken for purely personal reasons (the artist and her family) and have in fact nothing in common with Venice." [More images and text via Mousse].
the exhibition project Still the Same Place by Petra Feriancová and Zbyněk Baladrán curated by Marek Pokorný. - See more at: http://moussemagazine.it/55vb-czechoslovak-pavilion/#sthash.hhxgS6c4.dpuf


Also, Lebanon was represented by a wonderful new film, "Letter To A Refusing Pilot", by Akram Zaatari. The story is centered on a powerful real-life account of an Israeli Air Force fighter who was sent to destroy a school outside of Saida, the artist hometown, in the early 1980s but refused to do so, and instead dropped the bombs in the sea. As a kid, Zaatari would hear the story from his father, director of the very same school. Years later Zaatari discovered the story wasn't a rumor and that the pilot was real. 

Nina Siegal includes a quote by the artist on her New York Times article: “The importance of the story is that it gives the pilot a human face,” Mr. Zaatari said. “It gives what he is about to bomb, which is considered terrorist ground; it also gives that a human face. I think it’s important to remember in times of war that everyone is a human being. Taking it to this level humanizes it completely, and we’re not used to this at all.” 

"The film was shot in the neighborhood around the school, which has been rebuilt and incorporates aerial photographs, drawings, computer imaging and some personal documents from Mr. Zaatari’s own life to tell the story from the perspective of a teenage boy. In the Lebanese Pavilion at the Biennale, it is part of an installation that includes a reel film projector, a single movie theater chair and a number of cylindrical stools."

Zaatari's film in the Lebanese Pavilion in the Corderie.

Holland Cotter of the New York Times wrote on Alfredo Jaar’s show at the Chilean pavilion [two photos below], which is "centered around a sculpture that moves, an exact model of the Giardini campus that emerges from and sinks back into a vat of fetid-looking water. Mr. Jaar is telling a story about the alignment of art and power: Many of the older, pre-World War II pavilions are relics of a murderous nationalism were built as cultural trophies by economically competitive nations that created colonial empires and eventually led Europe into war."
 

Elsewhere in Venice, a number of Pavilions bid for our attention. Not least Angola, which won the Golden Lion for the Best National Participation. The question here was, as rightly stated by Filipa Ramos in her Art Agenda review, "How much of the Golden Lion for the best National Participation was due to Edson Chagas's "Luanda, Encyclopedic City" and how much of it was due to the gallery of Palazzo Cini, which hosts the Angolan Pavilion?" The impressive Cini collection of Renaissance works (Piero della Francesca, Filippo Lippi, Fra Angelico, Botticelli, Pontormo...see photos below) is rarely open to the public. Chagas's low pillars of twenty-three off-set takeaway posters à la Felix González-Torres (though displayed on pallets), marked a contrast between classical products of Western culture and the photographed images of the streets of Luanda.

"The images consisted mostly of depictions of large pieces of junk (the seat of a broken office chair, a tattered soccer ball) that were displaced and then photographed by the artist in Luanda. Visitors were invited to collect the different images, thus producing a supersized album of all the gathered prints. Despite the naïve dualism generated by the blatant contrast between the two worlds (the location of production and location of display), the project presented an almost magical and secretive discovery to its visitors that was much in harmony with Massimiliano Gioni's exhibition's focus on parallel and lesser-known art histories."




Do check out – and leave plenty of time for – the Cyprus-Lithuania in Palasport "Giobatta Gianquinto" nearby the Arsenale entrance. The sports centre building alone is worth a visit. You'll be surprised to see such a large venue in what is seemingly such a small island. As Dan Fox of frieze writes "The Pavilion of Lithuania and Cyprus, held in a building one would never expect to find in Venice. An almost Brutalist-looking edifice, tucked next to the Arsenale, housed a huge, modern school gymnasium, where curator Raimundas Malasauskas had organized a show of performances, sculpture, painting, and dance in an environment that was about as un-Venetian as one could get ... What on earth was going on? What was the work and what wasn’t? For once it was nice to simply enjoy the mystery." 

Back to Quinn Latimer: "Maria Hassabi performed her intricate movement-based work on the steep, cinematic steps of the gymnasium, while far below, an installation of temporary walls made up of recycled walls from previous pavilions (by Gabriel Lester) and works by various artists—Jason Dodge, Elena Narbutaitė, and Dexter Sinister, among twelve others—looked, from above, as small and distant as a diorama." [Watch a video with interviews and images of the exhibition]


(Above) New York-based performance artist Maria Hassabi during Intermission (2013), surrounded with works by Phanos Kyriacou.


Another one to not miss is Richard Mosse's 'The Enclave' in the Irish Pavilion. The photo below doesn't do justice if you want a better idea to watch this wonderful 7min. video 'The Impossible Image' produced by frieze (and Vimeo staff pick!) in which you can hear the artist talking about the process of making the works. 

(Above) Multi-screen installation of Richard Moss' The Enclave in the Irish Pavilion in the Fondaco Marcello. 

Not to forget the Scottish Pavilion in the Palazzo Pisani which has one of the most solid shows in town, composed of three artists – Hayley Tompkins, Duncan Campbell and Corin Sworn. Filipa Ramos noted that "Hayley Tompkins’s floor installation of photographs and paintings puts together different scales of familiar, commonplace scenes and objects (from the depiction of a traffic jam to an electric plug or to the proliferation of plastic bottles) in such a way that they all become part of a set of recognizable, familiar presences."


Detail of  Hayley Tompkins's "Digital Light Pool (Orange)" (2013), composed of Acrylic on plastic trays, stock photographs, wooden boxes, glass, plastic bottles, watercolour.

Elsewhere in the city, dozens of Eventi Collaterali and other exhibitions piled up. Christy Lange wrote about one of the most talked-about events (particularly as queues became a real 'trending topic' in any conversation). Lange writes: "organized by the Fondazione Prada, the exhibition ‘When Attitudes Become Form: Bern 1969 / Venice 2013’ at Ca’ Corner della Regina ambitiously sets out to reconstruct Harald Szeemann’s seminal exhibition ‘Live in Your Head: When Attitudes Become Form. Works – Concepts – Processes – Situations – Information’, originally staged at the Kunsthalle Bern in Switzerland in 1969." (...) "The show also recreates the tile and wooden floors of Bern, and even imported and installed authentic radiators. The effect is not seamless; nor is meant to be. Instead, there are visible gaps where the white walls had to be cut to fit around the classical Venetian moldings, and the intricately painted wooden beams of the palazzo remain exposed overhead." (...) "Along with Szeemann’s preliminary sketches for the show’s poster, we also get to see evidence of the harsh reception the show received in the Swiss press: illustrated by several ridiculing cartoons in national newspapers, like one in which a cleaning woman forgets her mop bucket in the gallery, only to have it interpreted as a work of art by a museum guide."

Carol Vogel of the New York Times puts the exhibition into historical perspective: "Originally organized by Harald Szeemann, the Kunsthalle’s director at the time, the show is considered the first major exhibition of what was then regarded as radical art. It included little from outside the  Western Hemisphere and little by women, but it was the first big show to acknowledge a broad range of mixed-media work that fell under freshly coined terms like Arte Povera, Process Art, Anti-Form, Conceptual art and performance art. Its nearly 70 artists included Claes Oldenburg, Joseph Beuys, Eva Hesse and Bruce Nauman." (...) "Featured in the show, which ends on Nov. 3, are works from artists who were then emerging, including Carl Andre, Richard Artschwager, Alighiero Boetti, Sol LeWitt and Keith Sonnier. And when the curators were unable to locate a work of art, they just left a dotted outline of where the piece should have been placed — a ghost of what once was."

Ramos reminded readers of "Celant’s ongoing inquiry upon the possibilities of reproducibility—a line of research he has pursued since his early years as an exhibition maker—a step further, as he attempts to reproduce the unrepeatable, indeed to repeat the irreproducible."

Jannis Kounellis' "Untitled" (1969) was originally installed in the lower floor of the Kunsthalle Bern. Here it's on the second mezzanine floor of Ca' Corner della Regina. 

 Walter de Maria's "Art by Telephone" (1967). Reenacted.


 Richard Serra works from 1969.
 General view of the Schulwarte (third floor in the Fondazione Prada) which displayed works by Pino Pascali (floor), Marinus Boezem (left), Frank Lincoln Viner, Thomas Bang, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Ger van Elk, Rafael Ferrer, Hans Haacke, Roelof Louw, Emilio Prini, Allen Ruppersberg, Frank Lincoln Viner and William T. Wiley.

 Giovanni Anselmo's "Untitled" (floor, right); "Il cotone bagnato viene buttato sul vetro e ci resta" (left, wall) both from 1969; and the 1968 "Untitled" in the corner. (Displacement)

Szeemans' (pre-excell!) spreadsheet listing the artist's names, place of residence, title, technique, and measurements of the work to be displayed, and a projected travel and production budget.

Another interesting exhibition was the Future Generation Art Prize housed in the incredible  Palazzo Contarini Polignac nearby the Accademia. More photos here.

 Entrance to the exhibition. 

 Emily Roysdon, "Our Short Century", 2012. 

 Eva Kotátková, "Theatre of speaking objects (Becoming objects)", 2013.

Detail of Rayyane Tabet, "Architecture Lessons", 2012. From the series "Five Distant Memories: The Suitcase, The Room, The Toys, The Boat and Maradona". 

 Aurelien Froment, "Pulmo Marina", 2010.

And last but not least, the Palazzo Grassi's inauguration of Tadao Ando's Teatrino (or rather "Teatrone" as it's 1,000 square-meters and holds 225 seats), as stated by Ramos "a truly remarkable event for a country known for its epidemic of closing-down cinemas." During the opening days, the Teatrino screened Anri Sala’s "1395 Days Without Red" (2011), Philippe Parreno’s "Marilyn" (2012), and Loris Gréaud’s "The Snorks: A Concert for Creatures" (2012). This was undoubtedly the best contribution Pinault brought to this year's biennale. We agree with Christy Lange on that the exhibition "Prima Materia", curated by Caroline Bourgeois and Michael Govan at the Punta della Dogana "managed to reduce even good works of art to macho collections of ‘things’". The only room that was somehow 'saved' was the space mixing Japanese Mono-ha and Arte Povera with works by Merz, Paolini, Boetti, Penone, Sekine, Suga, Ufan, Koshimizu, Enokura (photo below). Adel Abdessemed's 2011 four life-sized sculptures of Christ modeled after the Crucifixion made of razor wire was one of the low points in Venice.
 
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
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(Part 2/3) "The Encyclopedic Palace", 55th Venice Biennale in tote bags

Courtesy: Tucano, Milan

The biennale tote bag. Merely light and foldable marketing freebees in the form of non-rigid containers for the carrying of catalogues, innumerable press releases and checklists? Or ironic critiques of an increasingly capitalist and permissive society? Austere, poetic and challenging invitations to revalue familiar things and refocus our perceptions?

Now ever-present at the most vital and visible sites for the production, distribution, and public discourse around contemporary art, these large and often alarmingly unfastened cloth bags – typically with parallel handles that emerge from the sides of its pouch – have in the span of a few decades quietly become the unquestioned handmaiden of biennalisation. In Venice this year few dared to break with the tote's canvassed hegemony. The Dutch stuck their head above the parapet with a risky choice of clear plastic bags to accompany Mark Manders' pavilion – a whimsically aggressive engagement with issues of indispensability, and, perhaps with typically Dutch straightforwardness, transparency. 

Even if a pavilion or Eventi Collaterali can fly in Michelin-starred chefs for their dinners or legendary DJs from the South Bronx instrumental in the early development of hip hop for their parties, getting the tote bag right nevertheless remains a perilous balance of form and content, of prestige and patriarchy, greenwashing brinkmanship and sheer design cojones.

So was 2013 acqua alta for tote bags in Venice? Did any of them attain the understated brilliance of the Canadian Pavilion bag at the 52nd Venice Biennale in 2007? (David Altmejd's noir classic in heavy twill boasted a separately tailored gusset.) Or did they match the game-changing 48 x 48 cm tote bag for Ayşe Erkmen's Turkish Pavilion in 2011? (designed by Konstantin Grcic, it featured an inner pocket made to fit the catalogue, and its own section on the pavilion website). There's a big wide world of tote bags out there...



This year, the Biennale organisation brought in the Milan-based Tucano to design the official tote – they've been working with the film festival for a decade or more – and they spurned the traditional heavy cloth in favor of a lightweight synthetic "skin" and webbing straps which lend the item the air of a piece of technical camping equipment. The extra-long straps allow for a certain dynamic freedom of movement that is a clear reference to the Futurists, although they may impede the shorter visitor on a busy vaporetto. Its uncompromising blackness seems to suggest mourning, yet with a vital rather than dour spirit –  "time and space died yesterday" as F.T. Marinetti once said. Good effort.


Le pavillon français opted for a nocturne in Parisian fog grey for its bag accompanying Anri Sala's "Ravel Ravel Unravel". The rawness of the medium-weight cotton – or is it hemp? – speaks of torrid emotional intensity while the contrastingly spare and delicately-kerned typography attempts to echo the phasing-in and out of the pianists in Sala's grand video installation. Only printed on one side however – a note of uncertainty?


Being in part based in Alvar Aalto's masterpiece pavilion in the Giardini, Finland's representation at the Biennale has wisely shied away from grand gestures with its bag for the exhibition "Falling Trees". The exhibition was put together with "a sinuous curating process" the organisers reveal, and their serene bag prompts us, with its ample volume and unadorned reilu meininki tailoring, to weave our way through its "contingent encounter between art and nature". Onneksiolkoon! Pidän siitä todella!


The Tuvalu Pavilion pluckily represents the third-least populous sovereign state in the world, and likely the first in line to disappear underwater as sea levels rise due to climate change. The exhibition itself, by "sensational Taiwanese artist Vincent J.F. Huang" reportedly features "a sea turtle and a group of penguins belonging to an underwater mafia ring seeking revenge on capitalism and the effects this is having on their natural habitat". Wow. More understated – though no less imaginative – the cream-and-azure coloured tote bag bears the coat of arms of Tuvalu: a shield decorated in a pattern with mussel shells and banana leaves, a hut and stylized waves. A Tuvaluan inscription reads “Tuvalu mo te Atua” (Tuvalu for the Almighty). Made from silkscreened Polyfabric™ (an environmentally-friendly cloth) it hits all the right notes for ecologically-sensitive micro-nation enthusiasts. Child-safe and odor/mildew resistant.


The tote for Jeremy Deller's British Pavilion, entitled "English Magic", was manufactured in 100% 135gsm cotton by a company based, ironically enough, in Welshpool, Wales. The reverse side depicts a line drawing of the British Pavilion which has been a staple on the British bags since at least Chris Ofili's 2003 exhibition. Given the inspiration that William Morris provides in Deller's exhibition, and the fact that Morris was a prolific type designer, it is perhaps a missed opportunity that the slogan text appears in the all-too-familiar Times New Roman. British Council directives? Nevertheless it does lend it a kind of appropriate DIY quality, and the highlighter orange colour (wondering though why it wasn't pink considering how much the artist loves to wear this colour) gives it the so-wrong-its-right touch that will secure its place on the sturdy shoulders of Deller fans, Bowie fans, cyclists, birdwatchers, tea-drinkers, stone-hand-axe experts, etc., for posterity. Not likely to appear on the Christmas list of Harry, His Royal Highness Prince Henry Charles Albert David of Wales. Or autocratic Russian billionaires.


2013 saw the United Arab Emirates present the work of Mohammed Kazem in the Arsenale's Sale d’Armi. "Walking on Water" comprised a projection of the sea and illuminated GPS coordinates within an chamber, but the quality of the tote bag alone was already leaving visitors feeling like they were walking on water with its speckled blue background recalling the waves of the Persian gulf. Assalaam alaykum!


Jesper Just's Danish Pavilion had to suffer the cruel injustice of technical difficulties with its complex five-screen video installation during the opening days. And to be frank, the gloomy black-on-black tote accompanying an exhibition burdened with the icky title "Intercourses" cannot have lifted the mood. An uncharacteristic error from the style-conscious Danes? In fact the design was headed by the usually-impeccable New York based Project Projects. Nevertheless, the bag looks more suited to a Bulgarian goth club or an inner tube manufacturers' convention than something to accessorize an exhibition that "challenges the viewer’s preconceived notions of space and time". Interesting pavilion. Charismatic artist. Woeful tote. Even difficult to re-gift this one.

 
Photo courtesy: Graphical House
 
Scotland! A typography-forward triumph! Impactful use of the three artists surnames in a highly refined neo-grotesque sans serif which appears not at all restrained by an attempt at upholding historical accuracy or formalities. The clarity, poise and symmetry of the white letterforms, combined with the discerning deep-blue cotton base, and the cheeky short handles say "hey, let's celebrate everything that's good about Scottish creativity!" If there was a Golden Lion for totes, this would surely be in with a roar. 


"See Venice and die," is what they say? Or is it Rome? Whatever, once you've experienced the bag for Lawrence Weiner's THE GRACE OF A GESTURE, organized by the Written Art Foundation and presented at the Palazzo Bembo near the Rialto bridge, you may have witnessed the pinnacle of totes. Or something pretty close. Weiner has already produced some bag legends – check out his audacious design for Printed Matter – yet this multilingual canvas produced in Westphalia is a perky filet mignon of a bag that makes the competition look like cheap mince. As Weiner says: “Art is the empirical fact of the relationships of objects to objects in relation to human beings and not dependent upon historical precedent for either use or legitimacy". Who can argue? 


Related posts: 
(Post 1/3) The 55th Venice Biennale: "The Encyclopedic Palace" in pictures and as seen by the critics, 1 June–24 November 2013 
(Post 3/3) The 55th Biennale di Venezia: National Pavilions and Collateral Events in pictures and as seen by the critics, 1 June–24 November 2013

 
All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
 

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.




(Part 1/3) The 55th Venice Biennale: "The Encyclopedic Palace" in pictures and as seen by the critics, 1 June–24 November 2013

 Poster announcing the biennale nearby the Accademia.

Following previous years reports (2009, 2011 biennale posts and 2007 photo album 1 and 2) we'd like to share our photo-documentation alongside some articles and interviews related to this year's biennale that we have been reading before, during and after our Venice trip. 

Bit first a bit of recent history. Massimiliano Gioni (Busto Arsizio, 1973), currently Associate Director and Director of Exhibitions at the New Museum as well as Artistic Director of the Fondazione Nicola Trussardi in Milan, was appointed Director of the 55th International Exhibition of the Venice Biennale at the end of January 2012. In October 2012 he announced the title and overall concept of "The Encyclopedic Palace" (Il Palazzo Enciclopedico) and in March 2013, he announced his artist list (over 150 artists from 38 countries, map of the venues here). A real tour de force.


 IL ENCICLOPEDICO PALAZZO DEL MONDO (The Encyclopedic Palace of the World) Marino Auriti (1891–1980), Kennett Square, Pennsylvania, c. 1950. Wood, plastic, glass, metal, hair combs, and model kit parts. American Folk Art Museum, gift of Colette Auriti Firmani in memory of Marino Auriti, 2002.35.1. 

Both frieze magazine and Artforum had published interviews previous to the exhibition's opening. The former with Milan-based art critic Barbara Casavecchia and the latter with the Artistic Director of the 2003 Venice Biennale, Francesco Bonami. A third interesting article to give some background if you're planning a trip to Venice is by Carol Vogel in the New York Times, narrating the previous weeks to the opening.

In the above mentioned interview with Bonami, Gioni describes Il Palazzo Enciclopedico as an attempt "to conceive of the biennial as a temporary museum more than simply as a show that captures the supposed zeitgeist." (...) The title comes from the self-taught Italian- American artist Marino Auriti, who conceived of his own impossible, imaginary museum: a building that would house all the knowledge in the world. Obviously his was a dream that remains only a model, a failed project. By using this title, and by looking at the figure of Auriti, I also hoped to connect to the history of Venice, because it’s the oldest biennial; founded in 1895, it has its roots in the format of the world’s fair, going back to the Great Exhibition of 1851. I wanted to acknowledge the link to the tradition of the universal exposition but also to suggest the failure of that model right from the beginning."

29 May 2013, 9.45am. VIPs and Press gather in front of the door.

On the spirit of the biennial, its zeitgeist and the oft-heard ‘It’s a museum show, not a biennale’, Dan Fox of frieze writes: "During the opening week, I wondered why I felt like giving little more than a shrug of the shoulders whenever I heard the criticism that ‘It’s a museum show, not a biennale’. Long gone are the days when a show such as this – or for example the Sao Paulo Bienal, or the Whitney Biennial – would be the one of the few opportunities one would have to be brought up to speed on the latest art being made in various parts of the world."

With regards to the exhibition design and parcour, Paddy Johnson of Art F City rightly notes that "the grandeur of the Arsenale was greatly diminished through near-obsessive wall building. That decision kept the architecture from overwhelming the work, a godsend to the biennale, which has historically been burdened by relying on spectacle to compete with the architecture." New York-based architect Annabelle Selldorf reconfigured the space into a museum-like suite of  white cube galleries projecting large walls that covered almost entirely the populated columns in the Arsenale, hidding its (rather charming) crumbling walls. This made the visitor focus on the many paintings, drawings and vitrines on display.
Room 1, Arsenale: Auriti's model welcomes visitors in the first room of the Arsenale. Behind one can observe the high walls built to 'block' the grandeur of the Corderie spaces.

Room 1, Arsenale: J. D. 'Okhai Ojeikere's black and white photos of Nigerian women's hairstyles and head wrappings accompanies Auriti's architectural model.

Vincenzo Latronico introduces the linearity of the exhibition: "Gioni’s exhibition focuses on the encyclopedia as an idiosyncratic struggle—the impossible, yet nonetheless deeply human attempt at knowing the structures of the world. The part of the exhibition taking place in the Arsenale is linear and suggests a possible evolution of the way this structure has been imagined. It opens with the Palazzo Enciclopedico, a utopian architectural model for a museum of all human knowledge, patented in 1955 by Marino Auriti, a retired car mechanic. It closes with a sequence of chaotic and overcrowded video works (most notably Stan VanDerBeek’s immersive 1968 Movie Mural), offering a stark rendition of how such encyclopedias have been approximated by the Internet."
 

Room 13, Arsenale: Stan VanDerBeek’s 1968 Movie Mural closes the linear section in the Arsenale (though strictly speaking the show finishes with Walter de Maria's 'Apollo's Ecstasy' (below, Room 16) from 1990, a loan from the Stedelijk Museum in Amsterdam). More photos of De Maria's piece via Contemporary Art Daily.


Centering on the much-discussed inclusion of "professional/insider" and "outsider" artists, Holland Cotter argues that the "The outsider art concept is tired by now, even ethically suspect, the equivalent of “primitive art” from decades ago. Mr. Gioni finesses the problem without really addressing it by integrating outsider-ish-looking inside art (there’s more and more of this around) so the two designations get blurred." 

Cotter continues "with a blend of insider-outsider and art-nonart components, it could have been stimulating. But the objects had little to say to one another. I feel a lack of surprise in Mr. Gioni’s show for the opposite reason: Its pairings — spiritualists paintings by af Klint and Emma Kunz, digital-printer abstractions by Alice Channer and Wade Guyton — are too neat and museumy. Yet at the same time, the show’s curatorial line is so firm, its choice of artists so strong and its pacing so expert that you are carried along, and ultimately rewarded."   

In an interview with Francesco Bonami, artistic director of the 2003 biennale, wittily argues that "crossing the line between insiders and outsiders is a very dangerous one" (...) "a lot of these artist—outsiders—were presented in a standard label, describing their pathologies, but I think it would have been interesting going a little farther (...) if you want to describe art through the pathology, it should have been presented as all artists are freaks. Like, Bruce Nauman, this guy is a freak that lives in Galisteo, [New Mexico], or Walter De Maria is a freak that lives in a power station in Manhattan, in a small space with a space heater. I mean, that would be, maybe, a fair thing to do, but it would not have been allowed, probably, as an insider artist. So I think that is the only critique that I can bring, that the outsider artists at the end they are presented, but also taken advantage of."
   Room 3, Central Pavilion: Hilma af Klint (wall) and Roger Hiorns (floor) "atomised" altar from and English church. [See profile of the artists]

 
 
Room 12, Arsenale: Alice Channer's digitally stretched images anchored at the floor by slabs of marble.


During a recent Q&A with Gioni at the ICA in London in March 2013, an interesting question arose from a member of the public about interpretative materials, and how the wonderful history that each work encapsulates was going to be received by the viewer. Gioni responed that he was inspired by a show he saw curated by Roger Buergel where the captions created a parallel narrative rather than utilising a more didactic tone, and he has since been writing "extended captions" in collaboration with artist and writer Chris Wiley.

The choice of the works by more contemporary artists often has a outsider "look" that is often played-up by these captions. Such is the case with Eva Kotátková (video here), whose rather beautiful "Asylum" (2013) installation is described as a piece in which she "collaborated with patients at the Bohnice pshychiatric hospital outside Prague, resulting in an installation based on the social hierarchies and modes of communication envisioned by the patients" (Exhibition Guide, text by Rachel Wetzler).

 Room 21, Central Pavilion: Eva Kotátková's "Asylum" (2013), shares room with Anna Zemánková's drawings (wall).

To this much-debated insider-outsider wrangle, Dan Fox of frieze adds: "perhaps Gioni did stack the number of artists expressing dense personal cosmologies rather high in places throughout the show – at points it was a little like going to a party where every guest wishes to corner you and talk intensely about their definition of the universe rather than ask you how you’re doing – but I was never short of something to discover, think about, learn from, agree with or push against."


 Room 7, Central Pavilion: Oliver Croy and Oliver Elser's The 387 Houses of Peter Fritz (1976–1992).

Adrian Searle writes humourously about the exhibition's megalomaniac ambitions: "You expect Gioni to leap out of Auriti's tiered architectural cake of a building yelling: "Today we curate the biennale! Tomorrow, the world!"" He then continues, "throughout Gioni's exhibition, we are asked where meaning lies. So many artists here seem to be speaking private languages only they can understand: here is a Theosophist, there is a Shaker, and over there are some horrible occult tarot drawings by Aleister Crowley, the satanist once described as the most evil man in the world... What unites this vast rag-bag of sculptures, tantric blobs, errant modernists with esoteric beliefs, and outsiders who fill drawing after drawing with lurching interior worlds, is a sense that everyone here is trying to make sense of the incomprehensible. Much of the time, they just add to it."


 Room 10, Central Pavilion: Enrico David's recent work with distended figures, totemic sculptures and patterned tapestries. More views via Contemporary Art Daily.

An important question is raised by Bonami in the interview: "How to avoid geographic flattening, in which everything from everywhere is thrown in? But then how do you avoid that kind of flattening with respect to history? How do you achieve historical specificity? That is the challenge if you are adopting a Wunderkammer, or encyclopedic, approach." To which Gioni responds "well, it might resemble digital Wunderkammer, or computer desktops." Something to keep in mind...

Room 5, Central Pavilion: (Vitrine) Ron Nagle's moon-rock formations and coral-like spires; (Walls) Anonymous Tantric Paintings produced between the 1960s-2004.

Starting with the Central Pavilion (previously called the "Padiglione Italia"), Vincenzo Latronico
writes in Art Agenda that "one of the Giardini’s most delicate rooms, for instance, displayed French Surrealist Roger Caillois’s collection of over a hundred rare geodes—their flamboyantly colored geometrical patterns and crystalline structures arranged in progressions, suggesting both a museum of natural history and the visionary maps of an alien landscape."


Room 14, Central Pavilion: Collection of Roger Caillois rocks from the Musée National d'Histoire Naturelle in Paris. Caillois shares room with Guo Fengyi, whose ballpoint pen, pencil and ink drawings she created to alleviate her acute arthritis.

Vincenzo Latronico also highlights another central piece: Peter Fischli and David Weiss’s Plötzlich diese Übersicht (1981–), "a collection of over a hundred small clay sculptures offering a depiction of the world through an arbitrary selection of significant minor events. From Einstein’s parents staged at the moment after the conception of their son, to Jacques Lacan first seeing himself in a mirror at age two; from a group of potatoes (asking how they ever got to Europe) to Jagger and Jones going home satisfied after writing “I can’t get no satisfaction” it is an ironic and yet oddly sensitive encyclopedia of banal mysteries and everyday epiphanies. The display, however, is particularly significant. In 2008, when Gioni showed the piece in a Fischli and Weiss retrospective he curated in Milan, he arranged the sculptures’ individual plinths in a linear sequence of groups, suggesting both an intrinsic order and a path the viewer could follow to obtain a complete experience of the work. In the Biennale, however, these are scattered around the room, giving the labyrinthine feeling of a mass of knowledge that could never be fully apprehended."

Room 13 (upper level), Central Pavilion: Peter Fischli & David Weiss, 'Suddenly This Overview' (1981–2012).

Another absorbing piece in the Central Pavilion is Kohei Yoshiyuki series of black-and-white infrared film photographs “The Park” (1971–1979) in which the artist photographed unaware couples having sex in parks at night. An interesting piece of context is that the pictures where originally presented in a dark gallery, offering the possibility of recreating the gloom depicted and making viewers complicit in the act.


Room 17, Central Pavilion: Kohei Yoshiyuki, “The Park” (1971–1979).

Writing about this years's Golden Lion awardees, Amy Sherlock points out that music features heavily in the encyclopedic video Grosse Fatigue (2013) by French artist Camille Henrot in which "computer windows showing photographs, video clips and morphing Wikipedia pages flicker and accumulate to a pulsing baseline whose steady tempo links a primitive, cardiac rhythm with the heady erotic charge of the dancefloor."


Room 3, Arsenale: Still of Grosse Fatigue (2013) by Camille Henrot.

"Tino Seghal picked up a Golden Lion as best participant in the main pavilion for his piece in which performers sit on the floor, beatboxing, singing and humming in a shifting melody of voice and rhythm."


Room 2, Central Pavilion: Tino Sehgal shared room with Rudolf Steiner's blackboards filled with coloured chalk (background).

Also in the Central Pavilion, Italian Marisa Merz and Austrian Maria Lassnig, Golden Lions for Lifetime Achievement of the 55th International Art Exhibition, share room 24. See video of the award cerimony. [More photos of Marisa Merz via Contemporary Art Daily.]



In the above-mentioned interview with Bonami, Gioni described that "a few artists in the show will use theatrical stagings or, simply, live actors. But I think of these less as performances than as living sculptures. Tino Sehgal is making a new piece, comprising a mise-en-scène with other works in the main pavilion. It’s on a smaller scale than his most recent works, but it is going to be quite intense. (...) John Bock is creating an installation that will include actors speaking in imaginary languages and what he calls a “house of maggots."
(Above) John Bock's 'Above the Point of Glowing Silence', a 2013 work commissioned by the Biennale at the Giardino delle Vergini. More views of his installation via Contemporary Art Daily.

Sam Thorne: "The Arsenale – the stronger half of the exhibition, I think – is episodic, even insistently narrativizing in its form. It tracks a kind of evolutionary process. The beginning, for example, is pointedly about beginnings of different kinds – Stefan Bertalan’s drawings of the life cycle of a sunflower or the whole of R. Crumb’s illustrated Book of Genesis. Indeed, the refrain of a great new film by Camille Henrot is ‘In the beginning…’ These early stages are also filled with animals and evocations of the natural world: Eliot Porter’s exquisite 1950s photos of birds in flight, Christopher Williams’ forensic photos of Harvard’s collection of glass flowers (1989)."   



Room 2, Arsenale: Christopher Williams, Angola to Vietnam* (1989). A suite of 28 gelatin silver prints of glass flowers from Harvard's Ware Collection portraying the hyperrrealistic glass specimens made by Leopold and Rudolf Blaschka. 


Room 6, Arsenale: R. Crumb's 207 pages of 'The Book of Genesis' (2009).

Having not seen Gioni's much-celebrated '10,000 Lives', 8th Gwangju Biennial (2010), we asked to those who had seen it for their impressions. Back then, Gioni also described it as an exhibition that dealt with ‘our obsession with images’ and has referred to 'The Encyclopedic Palace' as a continuation of this exhibition model proposed in 2010. In Gwangju, Gioni also included several of the works also exhibited in Venice: Shinro Ohtake's scrapbooks (1983); Paul McCarthy’s Children’s Anatomical Educational Figure (1980); Eliot Porter’s colour dye-transfer prints of birds caught in flight; and repeated numerous participating artists such as Dahn Vo, Bruce Nauman, Carl Andre, Stan VanDerBeek, Fischli & Weiss, Aurélien Froment, Morton Bartlett, Dieter Roth, Ryan Trecartin, Christopher Williams, James Lee Byars, Matt Mullican, João Maria Gusmão and Pedro Paiva, Henrik Olesen, Hito Steyerl, Maria Lassnig, Emma Kunz, Mark Leckey, Pawel Althamer, Tino Sehgal and Cindy Sherman, amongst others (see Gwangju images here).

Room 13 (lower level), Central pavilion: Shinro Ohtake's obsessive scrapbooks produced since 1977.
Room 8, Arsenale: Aurélien Froment's new work "Camillo's Idea" (2013), a film featuring a mnemonist in the Teatro Olimpico in Vicenza who demonstrates her own feats of memory and recites the history of mnemonics from teh system devised by Greek lyric poet Simonides of Ceos to Giulio Camillo's Fifteenth-century "Theater of Memory". (Exhibition guide, Text by Chris Wiley)

Room 5, Arsenale: Danh Vo installation with an imported colonial-era Catholic Church from Vietnam. [More photos of his installation via Contemporary Art Daily.]

Room 9, Arsenale: Pawel Althamer's 90 "sci-fi" sculptures with masks of Venetian citizens and plastic bodies are one of the downers of the Arsenale. As Adrian Searle warned "watch out for Pawel Althamer's room of flayed figures, and avoid them if you can."

It would seem that Gwangju's "unauthorized, partial reconstruction and unannounced tribute" of Mike Kelley's 1993 'The Uncanny' exhibition is in Venice echoed with the invitation extended to Cindy Sherman, who curated an excellent show-within-a-show in the Arsenale (Room 10). Sam Thorne describes it as a space with "figures of all shapes and sizes: signature pieces by Charles Ray, Duane Hanson and George Condo, some slightly more surprising inclusions like John Outterbridge and Jimmie Durham, through to Haitian vodou flags and even Sherman’s personal collection of photo albums. It’s quite a coup."    


Vitrines with Shermans' collection of photo albums.


Other highlights (unfortunately not all with photo-documentation to accompany): Tamar Guimarães and Kasper Akhøj's 16mm film examining a map created by a member of Brazil's Spiritists community, one of the few intimate moments in the Arsenale; João Maria Gusmão and Pedro Paiva's immersive room with 16mm projectors presenting a new repertoire of films shot in Mozambique; Eduard Spelterini's black and white 1890s photographs of his ballooning expeditions; Sharon Hayes' video [see interview here] inspired by Pier Paolo Passolini's 1965 documentary Comizi D'amore, in which the artist interviews American women students, executives, artists, poets about their sexuality; Rossella Biscotti's minimal sculptures produced in compost created in collaboration with the inmates of the women's prison in the Guidecca island, accompanied by an hour-long sound piece where the women describe their dreams [see interview here]; and Michael Schmidt's Lebensmitten [Food] (2006–10) photo series for which the artist spent four years documenting all aspects of industrial food production in Europe.

 Room 3, Arsenale: Eduard Spelterini's black and white 1890s photographs of his ballooning expeditions.

 Room 8, Arsenale: Michael Schidt's Lebensmitten [Food] (2006–10).

 Room 8, Arsenale: Sharon Hayes, 'Richerche: three', 2013. 23'

Hito Steyerl's tucked-away video in the Giardini delle Vergini, was certainly one of the best pieces in Gioni's exhibition. Michael Connor of Rhizome has written about the 14 min. video, describing it as an "instructional video informing viewers how to remain invisible in an age of image proliferation". (...) "In the context of the Venice Biennale, which explores the theme of human knowledge and its limits, this discussion brings up fundamental questions about how much of our knowledge is derived through representations of the world, through images and data, and the limits of such knowledge." [Read full text here]

Hito Steyerl, How Not to be Seen: A Fucking Didactic Educational .MOV File (2013).

 Erik van Lieshout's new work Healing (2013), an outdoor drive-in movie installation with a 5 meter LED screen, involves the artist' micro-cosmos: the work and ideals of his family members.

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Photo & review tour: 'ILLUMInations/ILLUMInazioni', 54th Biennale di Venezia 2011

ILLUMInations / ILLUMInazioni
54th Biennale di Venezia
4 June–27 November 2011

Much has already been written about this year's biennale which officially opened last Saturday, 4 June (professional previews 1–3 June). We have selected some excerpts of reviews that have appeared so far to accompany our photo-tours.
We'll begin with the main exhibition 'ILLUMInations / ILLUMInazioni' curated by Bice Curiger at the Padiglione Centrale in the Giardini and at the Arsenale.

On the
inclusion of three Tintoretto paintings in the Padiglione Centrale, Giardini:
Adam Kleinman, “ILLUMInazioni – ILLUMInations”, Art-Agenda, 5 June 2011: At first reading, it seems that we might be in for a show on the artistic play of light and shadow. (…) Normally the suffix –tion alerts the reader that some process has affected the host word it is tagged to, i.e., illumination is the condition of being lit. But at the Biennale, curator Bice Curiger instead turns a homophonic pun by tying –nations to nations, as in states, in the exhibition literature. (...) "Why they [three Tintoretto's paintings 'The Last Supper' (1592–1594), 'The Stealing of the Body of St. Mark' (1562–1566), and 'The Creation of the Animals', (ca. 1550)] were there, exactly, is a bit hard to ascertain, especially since all three of these paintings have been on view to the public in Venice for some time now." (…) In addition, the ahistorical juxtaposition of trusting the work in the center of a contemporary exhibition could blur some notion of antiquarian historicism."
Adrian Searle, 'The Venice Biennale's balance of power', The Guardian, 6 June 2011: (…) Shuttling the canvases across Venice from the Accademia and the church of St Giorgio Maggiore to the Giardini was the perilous bit. But they don't belong here, and add nothing but a frisson of High Art, an intimation of the certainties of the past. In the climate-controlled half-light, they just look big, excessive and out of place.
On Maurizio Cattelan's 'Others' (2011) a re-creation of his 1997 piece 'Turisti' (also presented in the Biennale) with 200 stuffed pigeons and pigeon shit on the floor – also by Adrian Searle: Excess in one way or another marks this biennale more than most. Cattelan's pigeons are everywhere in the central pavilion. He had them here before, in 1997, but they have bred. It's a running gag. [this time 2,000 stuffed pigeons are placed in every room's roof except in Gabriel Kuri's space].

On the German, the Swiss and the Polish pavilions:
Adrian Searle, 'The Venice Biennale's balance of power', The Guardian, 6 June 2011.
(…) Schlingensief was still planning his work when he died, and the final show is an over-the-top mixture of theatre sets and artistic works, film and documentation from his project to build a school and opera house in Burkina Faso. The whole thing is a mock-cathedral of disquiet and rage, loud with recorded voices, fragments of filmed performances and archival footage, copies of Joseph Beuys drawings and diagrams – as well as x-ray images of Schlingensief's own ravaged lungs. I felt hectored. An extraordinary man though Schlingensief undoubtedly was – as much a social critic as an artist – at what point does the artist's work end and curatorial surmise begin?
Germany seemed excessive, but Thomas Hirschhorn filled the Swiss pavilion with a wonderland of gaffer-tape, cardboard and Bacofoil, bevvies of Barbie dolls and other uncountable props. It's great, in a rackety Doctor-Who-set way, but one might say that Hirschhorn is doing what he always does. (This was also Mike Nelson's problem, as I wrote last week.) – Great photos of the pavilion here by Contemporary Art Daily.
(…) More pointed and focused was Israeli-Dutch artist Yael Bartana trilogy of films '... And Europe Will Be Stunned', in the Polish pavilion. This felt right. Bartana's idea is a call for over three million Jews to return to Poland, and her film follows the setting up of a Jewish Renaissance Movement in Poland. The whole thing is both real and unreal, heartfelt and parodic. Perhaps such a movement may now become a reality. Bartana's final film ends with the funeral of the assassinated leader of the movement; there is an implicit critique of Israeli politics, and of xenophobia and nationalism everywhere.
Adam Kleinman, “ILLUMInazioni – ILLUMInations”, Art-Agenda, 5 June 2011: (…) Yet, these cross-pollinations become even more laughable and glib in the exhibition ephemera as the curator rambles, in one of many examples, that the Tintoretto works somehow have a relation to Urs Fischer’s 'Untitled' (2011), in which a giant modeled souvenir candle of Giambologna’s 'Rape of the Sabine Women' (1574–82), is melted away because they both share some connection to “art history”, or likewise, that James Turrell’s sci-fi light “echoes” Tintoretto’s palette.
Adam Kleinman, “ILLUMInazioni – ILLUMInations”, Art-Agenda, 5 June 2011: (…) Within the context of the show’s half-formed pairing of light, or let’s say, vision & power, Amalia Pica’s Venn Diagram (Under the spotlight) (2011), is the only work that truly brought notoriety to this coupling, while also touching on ideas of togetherness, socio-political history and the like. Here two lights, each with their own colored gels, shot two beams onto a wall in the Central Pavilion. (…) one beam produced a red circle of light on the wall, and the other a blue light completed by a slight overlap between the two. Underneath these blinkers was a handwritten wall caption on an irrational prohibition by the dictatorship of Argentina in the 1970s. This censorship banned Venn diagrams (…) due to the subversive implications of these models of heterogeneity. As such, these fundamental pedagogical devices were removed from primary school textbooks and overt public usage. (…) Blended in the center of the red and blue surveying alarms was a bright, clear spotlight, which pointed to a need to watch all political and nationalistic colorings.
On the overall focus, the four 'para-pavilions' and, again, the inclusion of Tintoretto:

Franz West's para-pavilion at the Arsenale.

Monika Sosnowska's para-pavilion at the Padiglione Centrale, Giardini.
Oscar Tuazon's para-pavilion in the Giardini, with works by Asier Mendizabal and Ida Ekblad.

Article by Georgina Adam and Jane Morris, 'First impressions of “Illuminazioni” exhibition at Venice Biennale. Elegant, intelligent and well paced, but its curator Bice Curiger takes few risks', 3 Jun 2011, The Art Newspaper (web only): (…) Curiger has organised a show that despite its conceptual underpinnings also focuses on the classic themes of form, composition and materials. (…) The critical reaction generally favoured Curiger’s other innovation: the creation of four “para-pavilions”, in which Franz West, Song Dong, Monika Sosnowska and Oscar Tuazon were invited to create individual spaces that could also house works by other artists. West is showing a “reproduction” of his kitchen in Vienna with works that usually hang there by his artist friends. The works are displayed on the outside of the structure. Inside is projected Dream Villa, a work by Dayanita Singh. (…) Ossian Ward, the art critic and art editor of London’s Time Out magazine, said: “The Arsenale is the stronger of the two venues, but overall 'Illuminazioni' fails to take any real risks. Besides, that is, the parachuting of three Tintorettos into its midst, which neither steal nor cement the show.”On the Italian Pavilion, “L'Arte non è Cosa Nostra” in the Arsenale curated by Italian polemicist, politician and art historian Vittorio Sgarbi:

Cristina Ruiz, 'Italian Pavilion: Vittorio Sgarbi’s sprawling, sexed-up show', The Art Newspaper, 3 June 2011: (…) When he announced his decision to include 200 artists selected by 200 intellectuals, the pundits said it couldn't be done. In fact, Scarbi has displayed the 200 he said he would, and then added another 60 for good measure. (…) The resulting display has the sprawling randomness of a flea market. There are works featuring sex, religion, violence, nudity, as well as a giant pomegranate and a polar bear.

Adrian Searle, 'The Venice Biennale's balance of power', The Guardian, 6 June 2011: (…) Sgarbi, a maverick critic and TV personality who hates most contemporary art, has invited leading Italian writers and intellectuals, Dario Fo and Giorgio Agamben among them, to select the works. Boorishly provocative, the resulting show is full of horrible, kitschy things, appallingly installed; with its cliched sentiments and rubbishy populism, it is like a tour of Silvio Berlusconi's brain.
Roberta Smith, 'Venice Biennale: The Enormity of the Beast', The New York Times, 2 June 2011: (…) A new and historic Biennale low is reached in the vast Italian Pavilion where Vittorio Sgarbi, an Italian art historian, television personality and former under-secretary of culture, has overseen a ludicrously dense installation of work by some 260 Italian artists, almost all of it unredeemable still-born schlock. Bristling with an unbelievably venomous hatred of art, the exhibition would be a national scandal, if Italy weren’t already plagued by so many.


Jerry Saltz, 'The Ugly American', Artnet.com: “This makes me embarrassed to be an American,” the mega-curator of an extremely well-known U.S. art museum groaned to me. (…) Artists Jennifer Allora and Guillermo Calzadilla have placed a 60-ton army tank. It’s a real one, shipped from England at who knows what expense, turned upside-fucking-down, turret and gun barrel on the ground, steel treads to the sky. Atop this warlord wedding cake, they’ve installed a treadmill where a world-class runner works out for 15 minutes of every hour. It’s the health club from Hell, Afghanistan in Venice, and it makes a humongous racket that can be heard all around the Giardini. I looked back at the curator and said, “I think being embarrassed to be an American is partly what this is about.”

Adrian Searle, 'The Venice Biennale's balance of power', The Guardian, 6 June 2011: America, of course, has been flexing its muscles and telling the world to screw itself for years. I heard that Obama personally approved the US pavilion's show Gloria, by Jennifer Allora and Cuban-born Guillermo Calzadilla. Their work really depends on the Olympic athletes who run on their tank-track-powered running machine, and who perform amazing gymnastics on American Airlines first class seats. They leap, fling themselves about, defying both gravity and the imaginary confinement of air travel, slumped on the beds. Extraordinary rendition was never like this. Was this all about American power and choreographed, muscle-bound might? Allora and Calzadilla pirouette on the line between politics and entertainment. The runners go nowhere, and the upside-down tank looks impotent and vulnerable, though it makes a lot of noise – a roaring excess. (video on the US Pavilion, UK Pavilion, Swiss Pavilion, Tintoretto and Maurizio Cattelan at the Central Pavilion, Urs Fischer at the Arsenal)

Carol Vogel, 'Venice Biennale: Money Talks, Make That Sings', The New York Times, 3 June 2011: (…) There is only one A.T.M. machine in the whole of the Giardini, the gardens at the tip of the city that is home to the national pavilions. It’s in a space of its own at the back of the American pavilion. But this is no run-of-the-mill A.T.M. The brainchild of the artist duo Allora & Calzadilla, it is a pipe organ with an A.T.M. embedded in its belly that is computer-programmed to play a tune when a person puts in their pin number. (…) During the first three days of the Biennale’s V.I.P. preview earlier this week, more than 100,000 euros were withdrawn from the machine. That amount, Lisa Freiman, commissioner of the pavilion said, is three or four times the normal activity of an A.T.M. in Italy, according to BNL, the bank that operates it. When it gets low on cash, gun-toting guards can be seen coming to replenish it.

Roberta Smith, 'Venice Biennale: An Installation Art Contest', 1 June 2011: At that pavilion [Czech Republic], a little-known artist named Dominik Lang, barely 30 years old, has mounted a strangely affecting time-capsule-like installation featuring a great deal of generic postwar figurative sculpture by his father, Jiri Lang (1927-1996), who stopped making art years before his son was born. It serves as a sobering reminder of the obscurity that awaits most of the art produced at any given point in time, as well as the ability of art objects, being objects, to wait out different phases of neglect.


Rachel Withers, 'Mike Nelson at the Venice Biennale', The Guardian, 3 June 2011: Nelson's concept for Venice is to test out ideas of repetition and duplication on a giant scale. He tells me he's going to "build a biennial within another biennial" by reconstructing his 2003 Istanbul piece. But he's not stopping there. The Istanbul work was housed in a remarkable building: the Büyük Valide Han, a vast, once-palatial 17th-century travellers' inn that survived, in 2003 at least, as a crumbling warren of artisans' workshops. (…) His goal, he insists, is not to produce a replica of the Han but to realise a memory of it, in all its cobbled-together confusion and curious beauty. (…) "Making the pavilion disappear" means three months of intense work for the artist and his small team of technicians. In the present age of artistic fabrication and delegation, this hands-on approach is relatively uncommon.

On the Spanish Pavilion, 'The Inadequate / Lo inadecuado / L'Inadeguato' a project by Dora García:


Javier Hontoria, 'Dora García, inadecuadamente oportuna', 31/05/2011: Tras varias ediciones frustradas, el pabellón español de la Bienal de Venecia alberga a partir de hoy un proyecto de altura, acorde con las exigencias y expectativas de la cita que mayor visibilidad concentra en el calendario del arte contemporáneo internacional. (…) La artista vallisoletana presenta desde hoy en el pabellón español de los Giardini venecianos un proyecto titulado Lo Inadecuado. Es un concepto que implica, como le dijo a Paula Achiaga en una reciente entrevista “un sentimiento de malestar, de desajuste, de torpeza”. (…) El proyecto que ahora presenta en Venecia es también inadecuado en su forma. Esta no es una exposición al uso. Aunque tiene su emplazamiento en el interior del pabellón español de los Giardini, no está pensado para ser instalado en un lugar sino para que se extienda en el tiempo. (…) Diseminados en el interior del pabellón vemos diversos elementos que no constituyen obras de arte en sí mismas sino apoyos, atrezzo para situaciones que tienen su curso a lo largo de la Bienal. (…) Es un proyecto, digámoslo sin paliativos, de una enorme complejidad pero en el que la artista se reconoce plenamente. Toda su obra, toda su trayectoria, toda inquietud se concentran en estos meses de Bienal. La necesidad de empujar los límites de todo aquello a lo que se enfrenta es visible en cada situación. Lo inadecuado lo es a todos los niveles, formal, conceptual. (…) Durante la Bienal se sucederán las situaciones en forma de performance, charlas y encuentros en los que participan diferentes actores, fundamentalmente italianos, muchos de ellos profesionales del arte contemporáneo.

Ángela Molina, 'Dora García, entre un gato y un ratón', El País, 04 Junio 2011: "De repente entendí la no adecuación de la bienal y de su público como algo interesante. Decidí que mi intervención tendría que hacerse de espaldas al público, en un espacio de precariedad. No se tocan las paredes del pabellón, ni apareceré como autora del proyecto. Se trata de prescindir de la platea, pasar por allí sin mancharse. Tampoco es un proyecto colectivo, sino algo iniciado" (…) "El artista es algo incidental que cede su voz a los marginados. Trato de investigar la idea de exclusión, el autismo, lo que no se entiende o no tiene sentido."

Catalonia and the Balearic Islands also had a pavilion at the
Magazzini del Sale, in Dorsoduro, with new works by Mabel Palacín:
Natàlia Farré, 'Mabel Palacín revisa el papel de la imagen en la era digital', El Periódico, 2 Junio: [180º] El propio título de la obra ya remite al séptimo arte, puesto que la regla de los 180º es aquella que asegura que la relación entre imagen y espectador es la correcta, es decir, que la cámara siempre esta en el mismo lado de un eje ficticio para no desconcertar al público. Y lo que hace Palacín es evidenciar que en un mundo en el que cada día se cuelgan 100 millones de fotos en Facebook y se visiona el equivalente a 150 siglos de vídeos en Youtube, el estatus de la imagen ha cambiado y las normas se han roto. «No hay diferencia entre emisario y receptor», apunta Torres. Y añade: «La imagen ha pasado a calificar la realidad». Pero aún hay más: fotografía y vídeo confluyen y se confunden. «Todo es lo mismo» – Better images here and a video tour of the exhibition.


Klara Lidén's garbage cans collected from the streets of various cities, view in the Arsenale.

On the
54th Venice Biennale awards announced 4 June, Artforum.com: "The Golden Lion for best national participation went to Germany, represented this year by the artist Christoph Schlingensief, who died last August. The Golden Lion for best artist went to Christian Marclay for his piece The Clock, 2010, on display at the Arsenale, while the Silver Lion for a promising young artist went to Haroon Mirza. The jury—comprising Hassan Khan (Egypt), Carol Yinghua Lu (China), Letizia Ragaglia (Italy), Christine Macel (France), and John Waters—also assigned two special mentions, one to the Lithuanian pavilion, which was represented by Darius Miksys, and one to Klara Lidén’s work Untitled (Trashcan), 2011, on display in the Arsenale. Additionally, according to Curiger’s proposal, the artists Sturtevant and Franz West were awarded Golden Lions for Lifetime Achievement."In case you are thirsty for more, here other recommended sources to read/see: for the next two weeks Roberta Smith will discuss one of the 'pieces that stuck with her for good or for bad' on the The New York Time's under the title 'Everyone's a Critic' - you can contribute with your impressions writing 6 words; sweet storytelling NYTimes blog with illustrations by Christoph Niemann, or the ever useful and always growing Center for the Aesthetic Revolution blog by cultural agent, independent curator, exhibition organizer, amateur researcher, public editor, occasional writer, museum-art fairs-collections adviser, retired architect, and aesthetic dilettante Pablo León de la Barra.

And finally, before ending with full slideshows of the Biennale, an interesting article titled
'The Venice Effect' by Olav Velthuis (The Art Newspaper, 3 June 2011) to read on your way to Basel focusing on the dealers’ credo: “See it in Venice, buy it in Basel.”

Slideshow of the Giardini:



Slideshow of the Arsenale:


Slideshow of the Eventi Collaterali:




Some numbers on the 54th Venice Biennale:

  • 83 artists
  • 28 country pavilions in Giardini, used by the 30 official countries considered permanent participants.
  • 89 participating countries this year(77 in the 2009 Biennale)
  • 37 Collateral Events
Bice Curiger portrayed by Thomas Kilpper, Danish Pavilion.

2011 Venice Biennale director Bice Curiger, is an art historian, critic and curator. Her curatorial activity at Kunsthaus Zurich parallels her important work in the publishing sector. In 1984, she co-founded the prestigious art magazine “Parkett”, of which she is editor-in-chief. She has been publishing director of London Tate Gallery’s magazine “Tate etc” since 2004. She is the author of a number of publications on contemporary art, among which “The Collected Writings” (Lindinger+Schmid, Regensburg, 2002), “Looks and tenebrae” (Peter Blum Editions, New York and Zurich, 1983), and a monograph on Meret Oppenheim, “Spuren durchstandener Freiheit” (ABC Publisher, Zurich, 1982, English translation 1990, MIT Press, Boston).

All photos: Latitudes | www.lttds.org




Conversation between Dora García and Isidoro Valcárcel Medina, ProjecteSD, Barcelona, 12 April


Talk between Dora García and Isidoro Valcárcel Medina. Photos: Latitudes

Last night, a fascinating conversation between Dora García and Isidoro Valcárcel Medina took place at ProjecteSD, Barcelona, coinciding with the opening of the exhibition Forever, which featured works by both artists as well as Joe Scanlan.
García led the dialogue which began around the concept of the over-excluded or the super-excluded artists in relation to Pierre Bal-Blanc's 2009 Secession exhibition and essay 'The Death of the Audience' (interview with the author here). Besides talking about this long-term interest of García around 'the marginal', the artists also discussed the role and sense of mission attributed to artists, censorship (and self-censorship), what it means to work ethically (or the ethics of work), the definition of quality and regret.

One of the highlights was this short exchange:

Dora García: Do you identify with the idea of an artist without work?

Isidoro Varcárcel Medina: Is that possible?
DG: Well, there's a few examples in history...
IVM: With or without a catalogue...?

Dora García
(Valladolid, Spain, 1965) studied Fine Arts at the Universidad de Salamanca and was resident at the Rijksakademie in Amsterdam (1989–1991). Recent projects and exhibitions include Kunsthalle Bern (2010), Index (Stockholm 2010) and Schirn Kunsthalle (Frankfurt, 2009). She participated amongst others at the Lyon Biennial 2009, the Sydney Biennial 2008, and Skulptur Projekte Münster in 2007. Dora García will represent Spain at the upcoming Venice Biennial (2011) with her new project The Inadequate.

Isidoro Valcárcel Medina (Murcia, Spain, 1937) moved to Madrid at the age of nineteen to study Architecture and Fine Arts. From 1972 on, after taking part in the Encuentros de Pamplona on conceptual art, his work involved actions and works for public spaces. He is one of the leading Spanish Conceptualists, not only historically, but also as an artistic referent for a new generation of creators. Valcárcel Medina had a retrospective exhibition at the Tàpies Foundation in 2002, exhibitions at MACBA in 2006, and at Museo Nacional Centro de Arte Reina Sofía in 2009. In 2007 he received the Premio Nacional de Artes Plásticas and recently (2011) he was awarded in the first edition of the Premios Arte y Mecenazgo.

ProjecteSD
Passatge Mercader 8, Baixos 1
08008 Barcelona
T | F: + 34 93 488 1360
[email protected]
www.projectesd.com
Tuesday to Saturday 11–19h




Photoalbums in Flickr


Following the demise of the photo sharing site Bubbleshare, we have transfered our blog albums with over 1,000 images to Flickr so that you can enjoy slideshows in a bigger format on our blog. Take a tour to this year Venice Biennial (see Arsenale, Giardini or the Collateral Events), the 2008 55th Carnegie International in Pittsburgh or through the Port of Rotterdam in our first site visit in May 2008. 33 further photo sets here.

Photo documentation of Latitudes' projects can still be found as usual on each of our projects pages under 'photo gallery' – see this and this or this galleries as examples.

We welcome your (sensible) comments!




Overview of the 53rd International Art Exhibition, Venice Biennial: 'Making Worlds // Fare Mondi'



Daniel Birnbaum's 'Making Worlds' felt less melancholic though still very much in keeping with his recently-curated '50 Moons of Saturn', the 2nd Turin Triennial (see post 10 November 2008). Both exhibitions shared several artists (Ulla von Brandenburg, Koo Jeong-A, Pietro Roccasalva, Spencer Finch, Ceal Floyer, Lara Favaretto, Pascale Marthine Tayou, Haegue Yang, Paul Chan, Tomás Saraceno, Wade Guyton, Keren Cytter and Rosa Barba), while Venice included several students (including Att Poomtangon) or professors (Simon Starling, Wolfgang Tillmans) from the Birnbaum-directed Staedelschule in Frankfurt, and the support of curator Jochen Volz in the artistic organization (additional advice was provided by a team of 'correspondents': Savita Apte, Tom Eccles, Hu Fang and Maria Finders). In contrast with the 2007 biennial by Robert Storr it felt less painterly and more sculptural and with a notable lack of 'black boxes' with film and video work.

There seemed to be however, a certain self-reflexivity with regard to the biennale context: several works referred to the winter life of the Giardini venues (Steve McQueen's film in the British Pavilion; Haegue Yang's video in the Korean Pavilion) and the challenge artists face when asked to present work for the Venice. This was most evident in Dominique Gonzalez-Foerster's video in the Palazzo delle Esposizioni (formerly named 'Padiglione Italia'), a touching exorcism of artistic exhaustion. During the last twenty years she has been asked to participate in the Biennale not less than five times, and she speaks about the pressure of expectation in creating something new every time.

Elsewhere in Venice the Biennial threatened to be overshadowed by the opening of François Pinault’s über-collection hosted in the recently renovated Punta della Dogana (the former customs house). The spectacular triangular building has undergone a speedy renovation by Japanese architect Tadao Ando (see video here) and the inaugural exhibition's sombre atmosphere is much in contrast to the über-kitch displays at Palazzo Grassi.



Without trying to be at all comprehensive (with almost one million square feet of exhibition space, more than ninety artists, seventy-seven national contributions, forty-four collateral events that seem increasingly impossible) here are some highlights in no particular order of the Giardini (see first slideshow with 107 images) and Arsenale (slideshow above with 52 images):

Roman Ondák’s 'Loop' contribution in the Czech/Slovak pavilion: a walk-through pavilion with a path running from the entrance to the back door that has been landscaped with exactly the same greenery that exists in the Giardini – it was executed with such precision that some visitors asked the artist if his work was the pavilion building itself as they could not find the 'art' anywhere.

Haegue Yang's 'Condensation' (Korea Pavilion) atmospheric assemblage of Venetian blinds, lamps or bulbs, scent atomizers, infrared motion detectors and crochet.

'The Collectors' in the Nordic and Danish pavilions, taken over by artists invited by Michael Elmgreen and Ingar Dragset which included exquisit works by Pepe Espaliú's ('Carrying Project') and Simon Fujiwara.

Lara Favaretto's 'Momentary Monument (Swamp)' at the Giardini delle Vergini as well as the three minute man-horse-motorbike film by David Bestué & Marc Vives, which together with their 'Acciones en casa' presented in the Arsenale, gave one of the only humorous notes in the exhibition.

Finally the biennial at last has a decent cafeteria! Tobias Rehberger was given the Golden Lion for the Best Artist for his neo-pop environment. It could well have been recognised along with another new facility previously in dire need of a revamp: the bookstore, which was designed by Rirkrit Tiravanija and hosted a comprehensive collection of monographs and catalogues.



Off-Giardini (Eventi Colaterali) highlights
(slideshow above with 33 images):

Joao Maria Gusmao & Pedro Paiva's 'Experiments and Observations on Different Kinds of Air' (Portugal) which included five 16mm films, a mixture of humour and magical realism (a sunset with three suns, a man lifting a bucket filled with water by grasping the water...). Truly great.

Teresa Margolles (Mexico) showing 'What else can we talk about?'. An traumatised and almost empty Palazzo Rota Ivancich highlighted the many Mexicans who have recently died in a violent manner. Margolles and her collaborators gathered blankets with blood and mud where victims fell. That mud and that same blood is slowly moistened in the ground floor and later used to mop the main floor. A decadent palazzo in almost complete silence combines personal dramas and national sorrow. As the artist put it 'we live in a country that cries' (La Jornada, 10 June). This, perhaps alongside Taiwan ('Foreign Affairs'), was by far the most self-critical national representation.

At Isola di Certosa: 'Animated Scene' by Irish artist John Gerrard: an amazing three-screen real time computer-generated projection of the American West: a reconstruction of a 1935 Texas dust storm, a year in the life of an automated pig production facility in the Great Sothern Plains and a man blacking out the facade of a white silo in Kansas – see images here.

Disappointments:

The Golden Lion for Best National Participation going to Bruce Nauman's 'Topological Gardens'. Yes, indeed a great artist but partly agreeing with Harry Bellet and Philippe Dagen from Le Monde: 'a retrospective without any new work is far away from the very principle of the Biennale: to reveal the present'. It also presented very familiar work from the 1960s until today from museums and private collections. His presentation did however come more to life in IUAV Tolentini and Ca'Foscari yet the need to crame three venues seems questionable.

Steve McQueen's ticketed entry to the British pavilion, showing a double-screen film portraying the off-season of the Giardini during the winter months: insects silently making their way through the vegetation, rain drops, Venetian bells ringing in the mist, greyhounds scavenging a trash-scattered Giardini, gay cruising in the small hours of the night. One cannot argue against the evident beauty of the piece, yet its impact quickly wore off.

Miquel Barceló representing Spain: not only because the choice of the project didn't follow any semblance of a democratic or juried selection (as did the Catalan Pavilion) but also the frankly flatfooted delivery: a hagiographic mini-retrospective complete with reading area.

Italian Pavilion in the Arsenale curated by Luca Beatrice and Beatrice Buscaroli: an embarrassingly poor exhibition, doing no justice to the tremendous artistic talent in the host country.

The sudden cancellation of Emily Jacir's project 'Stazione' for the Palestinian Pavilion (to display the names of each vaporetto station along the Grand Canal in Arabic alongside the Italian). It would have been a telling reference to the cross-cultural exchange between Venice and the Arab world and a great addition to the very little public-space work produced for this Biennale.

'In-Finitum' at the Palazzo Fortuny included some great works (include those by Anselmo, and a room with Lucio Fontana) although the exhibition felt much less compelling than 2007's 'Artempo: Where time becomes art'. This year it seems to include more 1950s-1970s work, more monochromes (Gutai group, Antoni Tàpies, Robert Ryman, James Turrell, Mark Rothko, Hiroshi Sugimoto...) and did not exactly run with the concept of 'the infinite'. The strength of this curatorial exercise lies in widening the timeframe while building a link between Fortuny's legacy and 'anonymous' work (e.g. Egyptian ancient sculpture) with contemporary works (on this occasion John Gerrard, Michael Borremans, Berlinde Bruyckere et. al.), which failed to spark this time.



53rd International Art Exhibition: Making Worlds // Fare Mondi // Bantin Duniyan // Weltenmachen // Construire des Mondes // Fazer Mundos
Artistic director: Daniel Birnbaum
Giardini della Biennale / Arsenale
Open 10 a.m. – 6 p.m.
Giardini closed on Mondays / Arsenale closed on Tuesdays
http://www.labiennale.org




Catalan Pavilion, 53rd Venice Biennale: "Venezia-Catalunya 2009. La Comunitat Inconfessable"


'Venezia, Catalunya 2009. La Comunitat Inconfessable'
Curated by
: Valentín Roma
Participating artists
: Sitesize (Joan Vila-Puig and Elvira Pujol), Technologies to the People (Daniel G. Andújar) and Archivo F.X. (Pedro G. Romero)
Location
: Magazzini del Sale #3, Dorsoduro, Venice
Support
: Institut Ramon Llull (overall production & coordination), MACBA (executive production) as well as the Kunstverein Stuttgart (production of Daniel G. Andújar's work), Ateneu Obrer Popular de Barcelona, ZEMOS98, Repensar Barcelona, DPC estudi and ACTAR who will co-publish and distribute the publication, amongst others.

As announced previously (see post 1 October 2008), Catalunya will have its first pavilion representation within the
Eventi Collaterali in the forthcoming edition of the Venice Biennale titled 'Fare Mondi/Making worlds' (7 June–22 November 2009). The first press conference (see slideshow above) took place yesterday evening at the Istituto Italiano di Cultura di Barcellona, with Josep Bargalló (director, Institut Ramon Llull); Josep-Lluís Carod-Rovira (Vice-president of the Catalan Government and on the directing board of the Institut) and pavilion curator Valentín Roma.

The Catalan Pavilion will open during the first week of June with 'La Comunitat Inconfessable' a project curated by Roma (read about the selection process here) and including Sitesize (Joan Vila-Puig and Elvira Pujol), Technologies to the People (Daniel G. Andújar) and Archivo FX (Pedro G. Romero)
. The project will be shown in the 600 square metre space of the Magazzini del Sale #3, which is normally assigned by the Venetian townhall to the nearby Accademia di Belle Arti di Venezia.


'La Comunitat Incofessable' takes its title from
Maurice Blanchot's 1983 book 'La Communauté inavouable' (The Unavowable Community), and from Blanchot's inquiry into the nature and possibility of community and interpreting communism as 'that which creates community'. The thread between the three projects is the questioning of the single authorship, as the artists constantly appropriate preexistent materials (photographs, data...) and reconfigure new archives, new readings of these materials. The project is divided into three parts: the exhibition taking Blanchot's reference to the library as a space for knowledge; the catalogue (with reprinted texts by Blanchot, as well as Jean Luc Nancy, Giorgio Agamben, Philippe Lacoue-Labarthe, etc.) as well as essays and interviews related to the artists projects by Gerard Horta, Iris Dessler, Jacob Lillemose, Manuel Delgado amongst others) and a website which will host a vast archive around the notion of communality.

During yesterday's press presentation, Roma briefly presented the conceptual lines and academic aspirations of the exhibition. Curiously, considering that the project reflects on the use and reuse of
images, archives and libraries – whether concerning territory and landscape (Sitesize), geopolitical changes between the fall of the Berlin wall and 9-11 (Daniel G. Andújar) or information about iconoclasm in Spain (Pedro G. Romero) – there was no visual material shown during the presentation, and no photo documentation related to the artists in the press packs. We will have to wait for the artists' presentations in a month's time at MACBA, as announced yesterday (date TBC).

Roma also commented on the challenges in presenting ongoing research and extensive archival materials in an attractive exhibition format – those who saw Pedro G. Romero's 'F.X. Archive: The Empty City'
at the Fundació Tàpies in 2006 might remember a huge scaffolding structure filled with the buzz of printers, flashing TV monitors, wires and stacks of paper. Josep Bargalló (director of the Institut Ramon Llull) and Josep-Lluís Carod-Rovira's speeches predictably praised the historical role of Catalunya as a center of debate, innovative cultural society and the pavilion's aim to make the take note of Catalan cultural production.

Why is it that in every such
press conference the first question from the floor always related to the budget? In this case the exhibition's coffers total €500,000, plus a exceedingly generous €200,000 for the publication (in Catalan, Italian, Spanish and English) plus c. €5,000 for a website. The agreement with the city of Venice is that they could use the Magazzini del Sale #3 for no rental fee but, according to Bargalló, they would contribute towards the restauration of the spaces to the tune of €40,000, adding up to €745,000. On top of that are curatorial and artists fees, press & marketing, flights, accommodation, opening events, invitations, etc. A hearty budget.

More info: www.veneziacatalunya2009.cat

RELATED LINKS:

 
Click here to read the full list of participating artists in 'Fare Mondi/Making Worlds';
Here to read the 53rd Venice Biennale Press Release (dated 23 March 2009);
Here to read the full list of Eventi CollateraliHere to read about the Catalan project

[Images: Press conference and (right) Pavilion curator Valentín Roma. Photos: Latitudes | www.lttds.org]




Haegue Yang at Sala Rekalde & 2009 Korean Pavilion Venice Biennale


Haegue Yang's new exhibition at sala rekalde 'Symmetric
Inequality' (18.12.08-19.04.09) "belongs to a group of installations the artist has been developing over the course of this year, focusing her interest on investigating new possibilities for parallel crossings between abstraction and narration. Together with
Kunstverein (Hamburg), Cubitt (London), the Carnegie Museum of Art (Pittsburgh), Portikus (Frankfurt) and REDCAT (Los Angeles), sala rekalde now contributes to the closure of a serial project that has taken the medium of portraiture as the point of departure for its own articulation." (from e-flux 18.12.08).

Below an excerpt from
the catalogue essay by Latitudes' Max Andrews "Towards Haegue Yang's 'Blind Rooms'", which will be included in the forthcoming publication (out Spring 2009) followed by a video of the installation:

"Yang has developed a finely-tuned articulation of space through deft assemblage that has encompassed mirrors, multifarious electric lamps, scent atomizers, infrared motion detectors, heat sources and Venetian blinds. Variously sensory and sensible (i.e. readily percieved), such devices are not necessarily socially meaningful in themselves, yet they allow an interactive atmospherics that suggest zones of indeterminate necessities – part domestic interiors, part private theatres – and “localized effects” akin to political action."

As the Arts Council Korea announced on the 23 December Eungie Joo, Director & Curator of Public Programs at the New Museum of Contemporary Art, New York, recently appointed commissioner of the Korea Pavilion at the forthcoming Venice Biennale has invited Yang to represent Korea at the 53rd International Venice Biennale. Joo is the first non-Korean national commissioner for the Korean Pavilion.



Haegue Yang was featured in an interview by Doryun Chong in the Summer 2007 issue, which Latitudes guest edited, of UOVO/14 titled 'Ecology, Luxury and Degradation' (see inside the issue here).

HAEGUE YANG

'Symmetric Inequality'
18 December 2008 - 19 April 2009
sala rekalde
Alameda de Recalde 30
48009 Bilbao, Spain
www.salarekalde.bizkaia.net








1st Catalan Pavilion, Venice Biennial 2009: Institut Ramon Llull appoints Valentín Roma as curator



The Institut Ramon Llull (IRL), has announced today the appointment of Valentín Roma as the first curator of the Catalan Pavilion. The project will include works by 3 artists/groups: the 'Archive FX' by Pedro G. Romero; the 'Post-capital archive' by Technologies to the People (a multimedia project conceived by Daniel Garcia Andújar) and work by Sitesize, 'a platform of project founded by Elvira Pujol and Joan Vila-Puig that explores the territori of social analysis and creative processes'.

Curator Valentín Roma (Sabadell, 1970) currently teaches at various post-graduate art and design schools (Mecad, Eina, Elisava) and has a PhD in Aesthetics by the Universitat Pompeu Fabra, Barcelona.
Amongst his recent curatorial projects are: 'Don’t believe them' (La Capella, Barcelona, 2008); Al otro lado del espejo, Col·lecció d’Art Contemporani de «la Caixa», Centro de Arte Tomás y Valiente (Fuenlabrada, 2007); 'Barcelona Producció ‘06' (with Amanda Cuesta and Manuel Olveira, 2006); 'Pedro G. Romero. Archivo F.X.' (PhotoEspaña 04, Centro Cultural Conde Duque, Madrid, 2004); 'Muntadas. On Translation: Museum' (with Enric Franch and José Lebrero Stals), Museu d’Art Contemporani de Barcelona (2003).

The jury, chaired by Manuel Borja-Villel (Director Museo Nacional Centro de Arte Reina Sofía), comprised Ignasi Aballí (participating artist Venice Biennial 2007); Daniela Ferretti (curator Palau Fortuny, Venice); Marta Gili (Director Jeu de Paume, Paris), Chus Martínez (Chief Curator MACBA, Barcelona, and Director of Frankfurter Kunstverein, Frankfurt) and Vicent Todolí (Director Tate Modern, London) − made their selection on 26 September after interviews with three finalist (the runners-up have not yet been announced). A total of 18 projects were presented by 32 individuals from an international background (Mexico, Italy, Finland, Switzerland and the US).


In the press release the jury also comments on their initial intention to resign in order to support the "open crisis" created by the sudden change of hands of Barcelona's Centre d'Art Santa Mònica (see post 17.07.08) leaving the city with no 'kunsthalle' space. In the note, the jury also acknowledges the transparency of IRL's procedure which led to the selection of the curator of the Catalan Pavilion as exemplary of the 'Código de buenas prácticas' (Code of good practice) design to avoid 'al dedo' ('made') job appointments in art institutions.

In the next phase the semi-finalised project will be presented to the La Biennale di Venezia Foundation and to the 2009 artistic director, Daniel Birnbaum, for final approval as part of the Eventi Collaterali.

The project will take place at the Magazzini del Sale (space #3, see image above), a 500 square metre venue in the cultural area of Dorsoduro (address: Zattere 259), nearby the Peggy Guggenheim Collection and the Palazzo Grassi which hosts the collection of French businessman François Pinault (Japanese architect Tadao Ando is refurbishing the nearby space Punta della Dogana to become the new space for Pinault's collection, planned to open Summer 09).

[Top photo: views of the Magazzini del Sale © Comune di Venezia; Bottom photo: detail of the Magazzini, http://flickr.com/photos/tsukimi/2301471755/in/photostream]




Ferran Barenblit out, Vicenç Altaió in at the Centre d'Arte Santa Mònica (CASM), Barcelona

Last weekend was a turbulent one for the Barcelona art scene. On Friday 11th the Culture Councillor Joan Manuel Tresserras announced the appointment of a new director for the Centre d'Arte Santa Mònica (CASM): Vicenç Altaió, who modestly describes himself as a 'poet, writer, catalan translator, theatre critic, art critic, opinion generator and cultural agitator' and until then the director of KRTU ("Culture, Research, Technology, Universal"). The trouble was, however, that CASM already had a director: Ferran Barenblit, appointed during the summer in 2002. If you'll excuse the football link, the act was not unlike FC Barcelona's recent appointment of 'the next' head coach Guardiola when Frank Rijkaard was still at the club. Invitations to leave are never easy, political muggings of a cultural institution are even harder to bear. On this occassion the news of this affair has hit the press and blogs with general signs of bewilderment, disappointment and bitterness.

For those not entirely familiar with the Barcelona art landscape, CASM has followed the kunsthalle model with funding from the local government (Generalitat de Catalunya) and occasional sponsors. Under Barenblit's directorship, a series of adjunct local curators (Montse Badia, David G. Torres, Frederic Montornés) and international guest curators (Miguel Von Hafe Pérez, Jacob Fabricius) have produced exhibitions and projects by artists such as Christian Jankowski, Tomás Saraceno, Fernando Sánchez Castillo, Dora García, Maria Eichhorn, Joao Tabarra, Filipa César, Nedko Solakov, Runa Islam, Maria Nordman, Cabelo, Juan López, Peter Liversidge, Carles Congost, Antoni Abad, Francesc Ruiz, Joan Morey, Mike Nelson, Joachim Koester, Toni Matelli, Jill Magid, Ceal Floyer and Jiri Kovanda (see our blog from 20.11.07) amongst many other group shows (Think, Hamsterwheel...). Currently, CASM is one of the institutions invited to participate in 'Lucky Number Seven' Site Santa Fe with a compelling project by Martí Anson.

Manolo Borja-Villel, the recently appointed director of the Museo Nacional Centro de Arte Reina Sofia in Madrid (see our post 23 December) has declared in El País that, "the fact that the government imposes a project ... at best, as an instrument of propaganda, indicates a regression to dark times" (this and other quotations translated from the Spanish / Catalan). According to El Pais (12 July) during the presentation of the new director, Culture Councillor Tresserras insisted "there are no victims left along the way" and that the centre and the general budget (750,000 Euros/annum) will still exist, but in a new location (still to be discussed with the townhall). He added "Barenblit's programme was interesting, but the centre didn't have the social performance required". Barenblit was not invited to the presentation, and, the promise of the new location not being confirmed, he handed in his resignation. Later Barenblit declared "it is the best moment [to resign], after receiving the compromise that the new centre is under discussions. I'm coinvinced that my departure is the best guarantee that this process takes place; I always said that directors should have an expiry date ... CASM collaborated with many artists and local entities and promoted Catalan art abroad".

There had been rumours for several months (see El Periodico, 18.02,08 or even earlier this month the possible relocation of CASM was discussed with the president of the Visual Artists Association (AAVC), see El País 05.07.08) claiming that CASM was going to be taken over by the Generalitat and would be converted into a center for Catalan culture, speculation that has prompted numerous strongly-worded responses by various art associations (visual artists association, association of museum directors, art gallery associations...). With this shadow looming over CASM, the programme in recent months has sufferred an inevitable slide.

The new CASM director Vicenç Altaió will take his position in January 2009 and turn CASM into what is described in the vaguest of terms as "a multidisciplinary center for art, science, thought and communication". The questions are, what place 'the new CASM' can take on the Barcelona art landscape? Does the city need another venue for diluted cultural programming? What happened to the 'código de buenas prácticas' (code of good practice) that was decided last year by the Ministry of Culture, whereby "made" appointments were to be replaced by an open-application advisory-panel system based on merit? Where else will ambitious new work be produced in the city? In recent years Barcelona has suffered from the abrupt disappearance of art spaces including Sala Metrònom, the 'relocation' of Sala Montcada from the city centre – its now sited at Caixafòrum– and the failure of Espai 13 in Fundació Miró to produce relevant and informed projects. There is sadly little space for experimentation, fertile discussion or risk-taking.

What is most dismaying is the utter control the Barcelona politicians seem to have over publicly funded cultural programmes. There is, it seems, a lack of support and respect for the work of experienced and trained art professionals and as there is always an ominous cloud hanging over institutions or initiatives when a (4-yearly) change of administration takes effect, there is little continuity and plenty of suspicion. Working within such constant bureaucratic insecurity is never productive and it undermines confidence and creativity. Instead cultural programmes should have their own administrative cycles, their own secured funding, their own staff who are independent from state workers and protected from temporary or mileuristas contracts and their own governing board. It should go without saying that directors should be free to foment long-term creative relationships with the local scene as well as with national and international contexts.

Many questions remain unanswered: where will the proposed new Kunsthalle be? Why didn't CASM have an independent administrative and advisoary board to prevent such undemocratic moves and defend the exhibition programme? Who will now steer and programme such a space? And admist this political-cultural debacle, another factor has been unleashed: who will take control over the first Catalan Pavilion at the 2009 Venice Biennial in the Magazzini del Sale? Incidentally, the proposals (open submission until 2 September) for the pavilion will be assessed by a jury of six artists and curators and the decision will be made public on 1 October.

UPDATE 30.07.08:
Ferran Barenblit appointed director of the recently opened Centro Dos de Mayo, Móstoles (Madrid). His proposal was selected amongst 26 candidates by a committee of experts (Rafael Doctor, director of MUSAC, León; Lourdes Fernández, director of ARCO; José Guirao, director of La Casa Encendida, Madrid; Isabel Rosell, general director of Archives, Museums & Libraries of the Comunidad de Madrid and Carlos Urroz, advisor of Fine Arts to the Consejería de Cultura y Turismo de la Comunidad de Madrid). He will take up his new job in September. More here and here (all links in Spanish).

To read responses from different parties around Barcelona's cultural politics, read posts on http://cassantamonica.wordpress.com and on http://www.culturadebase.net (in Spanish and Catalan)

[Photos: Kris Martin, 'The End' (2005) (included in the SantaMòniCA 2007 summer show 'PENSA/PIENSA/THINK' curated by Montse Badia, Ferran Barenblit, Jacob Fabricius and Frederic Montornés) and below Ferran Barenblit (left) with Christian Jankowski talking to Joan Manuel Tresserras (right) in May 2007 during the launch of Jankowski's Living Sculptures]




Venice Biennale - Giardini and Italian Pavilion



All images: Latitudes | www.lttds.org




Venice Biennale 2007 - Arsenale



'Think with the Senses – Feel with the Mind. Art in the Present Tense': Arsenale


All images: Latitudes | www.lttds.org




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