Veneza 2015 – parte 1

Veneza 2015 – parte 1                                                 M. Botelho – 30-09-2015

All the World’s Futures – Curator: Okwui Enwezor

[…] Over the course of the last two centuries the radical changes – from industrial to post-industrial modernity; technological to digital modernity; mass migration to mass mobility, environmental disasters and genocidal conflicts, chaos and promise – have made fascinating subject matter for artists, writers, filmmakers, performers, composers, musicians, etc. 
This situation is no less palpable today. It is with this recognition that in 2015, the 56th International Exhibition of la Biennale di Venezia proposes All the World’s Futures a project devoted to a fresh appraisal of the relationship of art and artists to the current state of things.
[…] All the World’s Futures will take the present “state of things” as the ground for its dense, restless, and exploratory project that will be located in a dialectical field of references and artistic disciplines. The principal question the exhibition will pose is this: How can artists, thinkers, writers, composers, choreographers, singers, and musicians, through images, objects, words, movement, actions, lyrics, sound bring together publics in acts of looking, listening, responding, engaging, speaking in order to make sense of the current upheaval? What material, symbolic or aesthetic, political or social acts will be produced in this dialectical field of references to give shape to an exhibition which refuses confinement within the boundaries of conventional display models? In All the World’s Futures the curator himself, along with artists, activists, the public, and contributors of all kinds will appear as the central protagonists in the open orchestration of the project. […] Okwui Enwezor http://www.labiennale.org/en/art/exhibition/enwezor/

 

 

 

 

Jessica Morgan, “Too Much Too Soon”, Artforum, september 2015

 

Ver: Adrian Searle, Venice Biennale: the world is more than enough. http://www.theguardian.com/artanddesign/2015/may/11/venice-biennale-all-the-worlds-futures-review 

Ver: Steven Henry Madoff, Beyond Misery: Considering the 56th Venice Biennale. http://www.blouinartinfo.com/news/story/1240361/beyond-misery-considering-the-56th-venice-biennale#

 

Simon Denny (New Zealand), Secret Power, installation view, Marco Polo airport
http://www.theguardian.com/artanddesign/2015/may/05/edward-snowden-nsa-art-venice-biennale-reverse-espionage

 

Glen Ligon (EUA, 1960, vive e trabalha em Nova Iorque)

Glen Ligon, A Small Band, 2015

Glen Ligon, Come Out, 2015

Ligon’s piece [A Small Band] is related to four large works on canvas that hang in their own room within the pavilion (‘Come Out #12 – 15’, 2015). Across them, the words ‘come out to show them’ are over-printed repeatedly in black – swarming and gathering to the point of being illegible in places, like thunder-cloud haze. They seem to thrum, these canvases: you can almost hear the words as they stumble into one another, an indistinguishable chorus in some parts, a clear voice in others. Both the ‘Come Out’ works and A Small Band quote from the testimony on Daniel Hamm, one of the Harlem Six, six young black men sentenced to life imprisonment for murder in 1965 on the grounds of forced confessions taken whilst in police custody. Hamm’s description of police brutality, recorded 50 years ago, feels devastatingly relevant against a backdrop of ongoing ‘Black Lives Matter’ protests in Baltimore following the death of Freddie Gray whilst in police custody: the latest in a horrible succession of injustices that reflect the strained nature of the relationship between police forces and communities – and race relations more broadly – across the United States. A future in which history merely repeats itself is a sombre prospect indeed, a thought which sets the tone for the entire show. Amy Sherlock  http://blog.frieze.com/postcard-from-venice-pt.1-56th-venice-biennale-central-pavilion-giardini-ar/

 

Oscar Murillo (Colômbia, 1989, vive e trabalha em Londres)

Oscar Murillo, signalling devices in now bastard territory, 2015

[…] 20 black canvas ‘flags’ of Oscar Murillo’s signalling devices in now bastard territory (2015). Both foreboding and theatrical, they create an ominous partition. My immediate reading of them is not as flags (without poles, without states) but as tarpaulins used for transport or concealment, or even as shrouds. They look sticky, dusty, heavy. I imagine suffocating beneath one. http://blog.frieze.com/postcard-from-venice-pt.1-56th-venice-biennale-central-pavilion-giardini-ar/

 

The 56th International Art Exhibition: All the World’s Futures, will introduce the ARENA, an active space dedicated to continuous live programming across disciplines and located within the Central Pavilion in the Giardini. […]. Designed by award-winning Ghanaian/British architect David Adjaye, the ARENA will serve as a gathering-place of the spoken word, the art of the song, recitals, film projections, and a forum for public discussions. http://www.labiennale.org/en/art/exhibition/56/

 

Karl Marx (Prússia, 1818 – Londres, 1883)

Isaac Julien (Reino Unido, 1960; vive e trabalha em Londres)

Karl Marx, Das Kapital, 1867-83  

Das Kapital Oratorio, directed by Isaac Julien, will serve as a kind of Oratorio that will be continuously read live, throughout the exhibition’s duration.

 

Isaac Julien, Kapital, 2013
 KAPITAL is a two-screen work centering around a conversation at the Hayward Gallery, London between Julien and renowned Marxist academic David Harvey (author of the book “The Enigma of Capital”). Julien opens the film by asking why capital is so difficult to depict, to which Harvey deftly replies: “in the same way you can only really intuit gravity exists by its effects, you can really only intuit that capital exists by its effects.” http://www.isaacjulien.com/installations/kap

 

Joana Hadjithomas (Líbano, 1969) & Khalil Joreige (Líbano, 1969)

Joana Hadjithomas & Khalil Joreige, Latent Images: Diary of a Photographer, 2009-2015

Joana Hadjithomas and Khalil Joreige present a daily reading of their artist book Latent Images: Diary of a Photographer, the third part of their Wonder Beirut project. In addition to its text, this book includes thirty-eight photographic plates selected from among hundreds of reels of film exposed, but until now never developed, by the Lebanese photographer Abdallah Farah between 1997 and 2006. Farah’s work bears witness to postwar Beirut, relaying political, social, personal, and everyday events. […] The image descriptions replace the photographs; short fragments of text describe the invisible images while creating a new imaginary space. A diverse group of individuals will take turns reading the book with their multiplicity of voices, thus echoing the character of Abdallah, his story, and his photographic research, as well as Lebanon’s contemporary landscape and history. The point is thus to communicate a narrative orally and to displace the notion of latent image in favor of an emergence of the image through the body. http://www.labiennale.org/en/art/exhibition/enwezor-addendum/

 

Fabio Mauri (Itália, 1926 – 2009)

Fabio Mauri was nineteen years old when he first encountered photographs of German concentration camps. Their incommunicable horror prompted his lifelong inquiry into the treacherous logics of art, ideology and totalitarianism. On the margins of the Arte Povera movement […], Mauri’s sculptures installations and critical writing preferred to explore history as filtered through the individual. (All The World’s Futures, Short Guide)

 

Fabio Mauri, Il Muro Occidentale o del Pianto, 1993, 1965, mixed media on paper

Fabio Mauri, Fine [The End]

Fabio Mauri, Evil Numbers, 1978, blackboard, photographs, iron cages, sound system, lithograph by Giorgio De Chirico

Another of the pieces presented in Venice will be "Evil Numbers", a nonsensical mathematical formula written on a blackboard facing a large photomural of Joseph Goebbels, the Nazi propaganda minister, at the "degenerate art" exhibition at the Haus der Kunst in Munich in 1937…
 http://www.huffingtonpost.com/rodrigo-canete/this-venice-biennale-is-dedicated-to-an-artist-who-evokes-the-eroticism-that-lies-underneath-self-destruction_b_7093866.html

 

Robert Smithson (EUA, 1938 – 1973)

Robert Smithson, Dead Tree, 1969 (reconstructed 2015), tree, mirrors

Robert Smithson, an American artist and writer active in the 1960s and ‘70s, is perhaps best known for his so-called “earthworks”. […] Dead Tree (1969/2015) is emblematic of Smithson’s earthworks. Its presentation at the Biennale di Venezia […] will be its fourth reconstruction. […] Dead Tree is to be approximately 35 feet tall and 12 inches in diameter. Double sided mirrors are randomly placed within its dislocated leafy branches and crumbling root ball to conjure an overall sense of displacement. (All The World’s Futures, Short Guide)

 

Thomas Hirshhorn (Suiça, 1957; vive e trabalha em Paris)

Thomas Hirshhorn, Roof Off, 2015

 

Walead Beshty (Reino Unido, 1976; vive e trabalha em Los Angeles )

 

Marlene Dumas (África do Sul, 1953; vive e trabalha em Amsterdão)

Marlene Dumas, Skulls, 2013-15

 

Victor Man (Roménia, 1974; vive e trabalha em Berlim e Cluj-Napoca)

 

Inji Efflatoun (Egipto, 1924 – 1989)

Inji Efflatoun, Workers, 1975

Inji Efflatoun, Mountains, 1984

While Inji Efflatoun’s life was marked by phases of color and agony, her paintings vibrate with the spirit of revolution. […] From an early age Efflatoun was politically active in feminist and communist circles. She eventually spent four and a half years in prison for her activities, starting in 1959. […] Beyond the mere prescience of their political context in the wake of the Arab Spring and continued sectarian violence, Efflatoun’s paintings are forever intertwined with the historical trajectory of her country and its people, their hopes and aspirations. (All The World’s Futures, Short Guide)

 

Daniel Boyd (Austrália, 1982)

Daniel Boyd, Untitled (TI3), 2015

Daniel Boyd, Untitled (TI2), 2015

Daniel Boyd’s canvases are adorned with the characteristic dotted lines and graphic swells of Aboriginal painting, yet complex imagery lies buried beneath the surface. […] In his work Boyd aims to uncover the nation’s colonial past. Many of his projects are initiated with archival research pertaining to local histories of slavery and conquest. (All The World’s Futures, Short Guide)

 

Kerry James Marshall (EUA, 1955)

Kerry James Marshall, Untitled (Blot), 2015

Kerry James Marshall, Untitled (Playground), 2015

 

Ellen Gallegher (EUA, 1965; vive e trabalha em Roterdão)

Ellen Gallegher, Dew Breaker, 2015

 

Tetsuya Ishida (Japão, 1973 – 2005)

Tetsuya Ishida, Recalled, 1998

Tetsuya Ishida, Jellyfish’s Dream, 1997

 

Mika Rottenberg (Argentina, 1976; vive e trabalha em Nova Iorque)

Mika Rottenberg, Time and a Half, 2003, video, 3’ 40’’

 

John Akomfrah (Gana, 1982; vive e trabalha em Londres)

John Akomfrah, Vertigo Sea, 2015, three-chanel video, 48’30’’

Vertigo Sea (2015) [combines] archival material with newly shot footage in a piece inspired by two literary works, Herman Melville’s Moby Dick (1851) and Heathcote Williams' Whale Nation (1988). Influenced by poetic interpretations of the “sublime seas”, Akomfrah’s film stages the ocean as a contact zone: a site of exchange, hybridity, and transience. (All The World’s Futures, Short Guide)

 

Andreas Gursky (Alemanha, 1955; vive e trabalha em Dusseldórfia)

 

Jeremy Deller (Reino Unido, 1966; vive e trabalha em Londres)

[Jeremy Deller’s] room in the main pavilion is […] playful as well as political. On one wall is a series of Victorian photographs of anonymous female ironworkers from south Wales […] entitled The Shit Old Days. The title refers to a BBC light entertainment show called The Good Old Days. Deller further punctures Victorian nostalgia by inviting comparison between the harsh conditions of 19th century labourers and controversial contemporary working practices that dehumanize workers in different ways, such as zero-hours contracts and workplace surveillance. […] Hanging from the ceiling is a large black banner embroidered with a text message sent to alert zero-hours workers that their services are not required: “Hello, today you have day off”. […] Another piece on this theme is a gleaming blue and chrome vintage jukebox, set against the backdrop of a blazing mural that resembles the mouth of a furnace, entitled Factory Records. But the 7-inch vinyl singles in its collection are not songs from the defunct Manchester record label. Instead, listeners’ ears are assaulted by a cacophony of industrial noise – recordings of ambient sounds from factories. http://www.theguardian.com/society/2015/jul/01/art-venice-biennale-jeremy-deller-zero-hours-contracts

 

Walker Evans (EUA, 1903 – 1975)

 

Isa Genzken (Alemanha, 1948; vive e trabalha em Berlim)

Isa Genzken, Two Orchids, 2015

Over the past few decades Genzken has developed a substantial number of outdoor works, several of which she presents in Realized and Unrealized Outdoor Projects at the Biennale di Venezia. Sometimes she used existing buildings as a scaffold […]. Other works […] epitomize the artist’s characteristic strategy of isolating and decontextualizing architectural forms. (All The World’s Futures, Short Guide)

 

Marcel Broodthaers (Bélgica, 1924 – 1976)

Marcel Broodthaers, A Winter Garden, 1974
Marcel Broodthaers uses the museum space to challenge traditional systems of display and the authority of the art institution. Modeled on the nineteenth-century palm court, once popular in European bourgeois homes, the work consists of an arrangement of real objects brought together to create a fictional scene. […] The palm trees, the engravings of different categories of animals, and the old fashioned display cases evoke an age of colonialism, characterized by a passion for collecting and classifying objects from around the world. It was an era that saw the birth of the museum as an institution. Here, Broodthaers makes a museum within a museum, a space so clearly artificial that it calls into question the validity of the objects on display. The presence of the video monitor, reflecting back the room and its visitors as part of the presentation, adds to the tension between fiction and reality.
 http://www.tate.org.uk/whats-on/tate-modern/exhibition/open-systems/open-systems-room-5

 

Hans Haacke (Alemanha, 1936; vive e trabalha em Nova Iorque)

Hans Haacke, MoMA-Poll, 1970

Hans Haacke, Blue Sail, 1964-65

Hans Haacke is a conceptual artist whose work aims to reveal and critique social and political systems, ranging in subject from the natural environment to the art world itself. […] Since 1969 Haacke has turned to questionnaires and polls as a signature mode of institutional critique. […] These polls compiled opinions on issues ranging from the legalization of drugs and the integration of public schools to American foreign policy. The results were compiled and later displayed in a series of graphs, charts, and maps. (All The World’s Futures, Short Guide)

 

Hans Haacke, World Poll, 2015

This part of the installation consists of four iPads which are connected via Mac Mini airport base station. When the questionnaire is finished, the visitor sees the results of the poll.

http://www.fashion.at/culture/2015/artroutevenice5-2015_VI.htm

 

Rirkrit Tiravanija (Argentina, 1961; vive e trabalha em Nova Iorque, Berlim e Chiang Mai)

Rirkrit Tiravanija, Demonstration Drawings, 2007

The themes of community and social action are at the core of Tiravanija’s Demonstration Drawings (2006-2015), which the artist commissioned from Thai artists. Their drawings translate photojournalistic images of mass uprisings against power, oppression, and global capital published in the International Herald Tribune. (All The World’s Futures, Short Guide)

 

Charles Gaines, Librettos: Manuel de Falla / Stokely Carmichael, 2015
Employing a systems-based conceptualism that Gaines has long embraced and highlighting the enduring influence of composer John Cage’s experiments with chance, the new 12-part body of work brings together the score of a tragic love story, the opera La Vida Breve (c. 1904) by Spanish composer Manuel de Falla, and a fiery 1967 speech by the civil rights activist and Black Panther Party member Stokely Carmichael. The unexpected combination of music and text foregrounds the universality of long-standing class and racial struggles and the power of music to bridge difference. http://hammer.ucla.edu/exhibitions/2015/off-site-exhibition-charles-gaines-librettos-manuel-de-falla-stokely-carmichael/  Ver também: https://vimeo.com/116378956

 

In this series I have four triptychs. Each triptych has as its subject a found musical document. […] two Negro spiritual manuscripts that I’m working with. I took the manuscripts of the songs and, like I did in Social Justice, I removed the actual lyrics and replaced them with political texts. […] One of them from Confucius, talking about the nature of ruling. http://www.moca.org/stream/post/problems-of-representation-martine-syms-and-charles-gaines

 

Adrian Piper (EUA, 1948; vive e trabalha em Berlim)

Adrian Piper, Everything, 2003

Adrian Piper, Everything #21, 2010-1013

Adrian Piper, The Probable Trust Registry: The Rules of the Game #1-3, 2013

… an interactive performance that literalizes social or personal contracts. In a simulated corporate environment, visitors may sign declarations that promise moral accountability toward themselves and others. The documents are then […] archived at the APRA (Adrian Piper Research Archive) Foundation, Berlin. (All The World’s Futures, Short Guide)