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 Posted: Sat 11:20, 24 Aug 2013 Post subject: Biennale reflected on empires old and new-spun4 |
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Biennale reflected on empires old and new,[link widoczny dla zalogowanych]
VENICE-Paradise Lost is the ideal reputation for an exhibit in "the first Roma Pavilion" within the 110-year history of the Venice Biennale. It is a lonely place since the art world's movers and shakers have moseyed on within their grand tour of European contemporary art hot spots, or have simply dragged themselves home, exhausted.
To begin with, the pavilion - actually the grimy Palazzo Pisani, a huge pile of weathered stone nearly lost in labyrinthine back alleys - represents a fiction. Using its collection of artists from eight European democracies, Paradise Lost is an exhibition, angry and hugely alive, of the boundary-defying culture, "otherwise known as Gypsy," like a spokesperson explains. Like,[link widoczny dla zalogowanych], what paradise? "Imagine," goes a pamphlet available at the door, "you board a bus and all sorts of the other passengers grab onto their wallet(s)."
For another thing, Paradise Lost points towards the 52nd Biennale's own reflection of empires lost. Here you find the Czech and Slovak republics hosting Irena Juzová's "Collection Series" in what was the Czechoslovakian pavilion. Then there's great sculptor Mrdjan Bajic, in one of the Biennale's more searching shows,[link widoczny dla zalogowanych], representing Serbia while incorporating imagery taken from the United Nations' 1999 campaign against what was Yugoslavia. Bajic couldn't make the 1993 Biennale because of anti-Yugoslav sanctions.
Within their place, empires of some other kind have emerged,[link widoczny dla zalogowanych], as art formulates its own empire-building with François Pinault as its current role model. The Paris-based luxury products zillionaire recently turned the Biennale right into a one-stop shopping experience, buying an entire room within the Italian Pavilion within the Giardini of sumptuous,[link widoczny dla zalogowanych], mural-size paintings from German artist Sigmar Polke. Resembling light-shifting curtains suggesting the drama to come after they're drawn,[link widoczny dla zalogowanych], Polke's new pieces will eventually be installed in a space created specifically for them in Pinault's new art gallery in Venice, the restored Punta della Dogana,[link widoczny dla zalogowanych], or Venetian customs office.
This boundary-less, multi-national milieu defines this Biennale, where a sizeable number of its art stars maintain studios in a minimum of two continents. Canadian sculptor David Altmejd - his glinting installations within the Canadian Pavilion, "The Index" and "The Giant 2,[link widoczny dla zalogowanych]," are attracting positive press almost everywhere - is really a prime example,[link widoczny dla zalogowanych], with roots working in london and Ny.
There is a correspondingly complex group of concerns accompanying these trans-national lifestyles. The almost prerequisite America-critiquing begins this time around using the American Pavilion,[link widoczny dla zalogowanych], where the late Cuban-born American minimalist artist, Felix Gonzalez-Torres, is represented by a thick stack of posters, one reading "Memorial Day Weekend," endlessly removed simply to be constantly replenished inside a never-ending cycle of loss.
But,[link widoczny dla zalogowanych], generally,[link widoczny dla zalogowanych], the more righteous, vigorous brand of anti-war anger has seemingly become elegy - as in American artist Emily Prince's finely drawn portraits of yankee Iraqi war dead - or dark satire as with Adel Abidin's "Abidin - Thanks for visiting Baghdad."
After listing Baghdad-area museums in his parody of the typically slick travel brochure,[link widoczny dla zalogowanych], Abidin, an Iraq-born Finnish artist showing in the Nordic Pavilion,[link widoczny dla zalogowanych], writes: "Most museums have either been closed or looted. They're probably not worth visiting."
Much is being produced by director Robert Storr from the Biennale's sensitivity to the 77 national representations as well as their ability "to close the gaps," because he puts it,[link widoczny dla zalogowanych], on modern art's otherwise unstoppable, border-challenging, "cross-pollinating growth."
But few glimpses are left of Biennale's imperial past, where it was still thought that culture may be stamped with a national identity - or the other way around. Confronting nationalism now means a walk over the lawn fronting the bone-dry white façade from the Brazilian pavilion, only to be faced with an impossibly skinny Japanese transvestite teetering around on elevator shoes posing for Egyptian tourists.
In some instances, newer and more effective Biennale attempts at nation-shaping have simply backfired,[link widoczny dla zalogowanych], like the pan-African exhibit "Africa - Check List Luanda Pop" at the far end from the Arsenale,[link widoczny dla zalogowanych], the shadowy structure where the Venetian sailing fleet used to be constructed. Although obtained from a single collection, very few works representing such a vast area as continental Africa will not make any collective sense other than perhaps Storr's hope it'll result in some kind of "greater,[link widoczny dla zalogowanych], more permanent inclusiveness."
Yet Storr has imaginatively orchestrated the majority of the Arsenal's enormous display space to great effect. He's added comics to the Biennale mix the very first time, with a wall full of panels from African-born artists Eyoum Nganguè and Faustin Titi.
One end is filled from floor to high ceiling with a vivid tapestry made of bottle tops from Nigerian-based artists El Anatsui. In the far end, there's another handcrafted wall work, equally majestic. Marching on the walls on each side are row after row of Argentine artist Guillermo Kuitca's huge,[link widoczny dla zalogowanych], circular diary paintings,[link widoczny dla zalogowanych], their surfaces all messed up like favourite old LPs that have been played too often.
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