Veneza 2015 –
parte 3
M.
Botelho – 14-10-2015
Joan
Jonas, They Come to Us Without a Word, USA Pavilion (Giardini)
Born
in New York in 1936, Jonas began her artistic career as a sculptor before turning
to time-based media: performances, films and mélanges of the two.
They Come to Us Without a Word fills the American pavilion with videos, paintings on paper, and vitrines full of objects that evoke a world in ecological peril. The dozens of drippy paintings depict bees with Rorschach-like symmetry and fish with somewhat prehistoric angularity. In the vitrines are oddities like a swordfish carcass, a delicate natural sponge, and drawings of bees’ communication dances. The videos feature recitations of ghost stories as well as dances and skits performed, for the first time in Jonas’s career, by children. The kids wear white paper hats or papier-mâché masks, play tug-of-war with a stick, or stand in front of screens on which Jonas projects images of honeycombs and horses. http://www.theguardian.com/artanddesign/2015/may/08/joan-jonas-performance-artist-venice-biennale
The project, created for the united States Pavilion, comes from Joan Jonas’s work Reanimation, based on Halldór Laxness’s writings on the spiritual aspects of nature. The project involves the fragility of nature in a rapidly changing situation. (All The World’s Futures, Short Guide)
They Come to Us Without a Word fills the American pavilion with videos, paintings on paper, and vitrines full of objects that evoke a world in ecological peril. The dozens of drippy paintings depict bees with Rorschach-like symmetry and fish with somewhat prehistoric angularity. In the vitrines are oddities like a swordfish carcass, a delicate natural sponge, and drawings of bees’ communication dances. The videos feature recitations of ghost stories as well as dances and skits performed, for the first time in Jonas’s career, by children. The kids wear white paper hats or papier-mâché masks, play tug-of-war with a stick, or stand in front of screens on which Jonas projects images of honeycombs and horses. http://www.theguardian.com/artanddesign/2015/may/08/joan-jonas-performance-artist-venice-biennale
The project, created for the united States Pavilion, comes from Joan Jonas’s work Reanimation, based on Halldór Laxness’s writings on the spiritual aspects of nature. The project involves the fragility of nature in a rapidly changing situation. (All The World’s Futures, Short Guide)
Céleste
Boursier-Mougenot, rêvolutions, French Pavilion (Giardini)
The
French pavilion at the Venice Biennale […] has become the theatre of an
apparition, of an experimental ecosystem that reveals a state of nature unlike
any other. Under the skylight stripped of its glass and in its wooded walkways,
Céleste Boursier-Mougenot offers the choreographic alchemy of three trees
moving in time with their metabolism, variations in their sap flow and their
sensitivity to light and shade. […] we see trees metamorphosing into transhuman
creatures suddenly liberated from their rootedness to the ground. […] Céleste
Boursier-Mougenot lets his underlying political thrust filter through. His
intention here is to commandeer systems used for controlling living beings and
their movements and compose a poetic work offering humanity living spaces
marked by liberty and unconventional beauty. Surrounded by trees whose electric
rustling generates a real-time sound environment based on differential
low-voltage current, the French pavilion is transformed into an open-air
theatre: a refuge where the visitor can find a place to relax […] in a
harmonious continuum conducive to reverie and reflection. http://www.e-flux.com/announcements/celeste-boursier-mougenot/
Maria
Papadimitriou, Why Look at Animals ? AGRIMIKÁ, Greek Pavilion (Giardini)
Maria
Papadimitriou’s installation, Why Look at Animals ? AGRIMIKÁ is a shop,
a vestige of the past that sells animal hides and leather, transferred from the
central Greek city of Volos, where it operates. This presentation of the
relationship of humans to animals sparks series of concerns ranging from
politics and history to economics and tradition […]. The AGRIMIKÁ of
Papadimitriou’s concern, along with the shop in Volos, are those animals that
tenaciously resist domestication. They coexist with humans in a condition where
the roles of prey and predator are constantly switching – but the human hunter
usually prevails with the animal prey as a trophy. Nonetheless, these are the
animals that feature in most foundational cosmologies and mythologies.
The little shop in Volos is an “objet trouvé” resituated inside the Greek pavilion. The reality of the shop is the expression and documentation of the unique personality of its owner, who has witnessed a great part of the history of modern Greece and kept a critical attitude towards it […]. http://www.e-flux.com/announcements/maria-papadimitriou-to-represent-greece-at-the-56th-venice-biennale/
The little shop in Volos is an “objet trouvé” resituated inside the Greek pavilion. The reality of the shop is the expression and documentation of the unique personality of its owner, who has witnessed a great part of the history of modern Greece and kept a critical attitude towards it […]. http://www.e-flux.com/announcements/maria-papadimitriou-to-represent-greece-at-the-56th-venice-biennale/
Sarah
Lucas, I SCREAM DADDIO, British Pavilion (Giardini)
Sarah Lucas’s works for the British Pavilion reprise and reinvent the themes that have come to define her powerfully irreverent art – gender, death, sex, and the innuendo residing in everyday objects. Throughout this latest group of works, the body – sexual, comedic, majestic – remains a crucial point of return, while Lucas’s work continues to confront big themes with a distinctive wit. http://venicebiennale.britishcouncil.org/timeline/2015
Sarah Lucas’s works for the British Pavilion reprise and reinvent the themes that have come to define her powerfully irreverent art – gender, death, sex, and the innuendo residing in everyday objects. Throughout this latest group of works, the body – sexual, comedic, majestic – remains a crucial point of return, while Lucas’s work continues to confront big themes with a distinctive wit. http://venicebiennale.britishcouncil.org/timeline/2015
Chiharu
Shiota, The Key in the Hand, Japanese Pavilion (Giardini)
Through
my installation objects (the boat and the keys), my aim is to represent
memories, opportunities and hope. The hanging old keys represent all these
human conditions. They are held by a boat which symbolizes a hand wrapping and
gathering each human being along with their important features. Visitors may
feel as if walking around an ocean of memory. The keys are connected to each
other by thousands of red strings. Keys are everyday objects that protect
valuable things and by coming into contact with people’s warmth on a daily
basis, the keys accumulate a web of memories that coexist within us. They are a
medium that conveys our true feelings and they are connected to one another
just as humans are. They even resemble the shape of a human body. Chiharu Shiota http://2015.veneziabiennale-japanpavilion.jp/en/project/
É tanta coisa que não cabe aqui, Pavilhão do Brasil (Giardini)
António Manuel, Ocupações/Descobrimentos,
1998-2015
Antonio Manuel (nascido em Portugal,
mas radicado desde a infância no Rio), [tem] uma obra poderosa construída nos
anos 1960/70 […]. “Ocupações/descobrimentos” (1998), três muros sinuosos, cada
um pintado de uma cor, com o outro lado com os tijolos aparentes, nos quais ele
abriu buracos […]. http://oglobo.globo.com/cultura/artes-visuais/em-veneza-futuro-como-poetica-16088589
António Manuel, Nave, 2013
NAVE
is a kind of booth made of wooden doors in which drips of water drop onto
television screens, blurring their images. The water comes from ice suspended
in a bag, marking the passage of time and causing a clash between remembering
and forgetting.
Camille
Norment, Rapture, Nordic Pavilion (Giardini)
American-born
and Oslo based, Norment’s practice spans performance, installation, drawing and
sound. Her work explores how the body is connected through sound with our
environment, and reflects upon the power of dissonance to carve out a space for
new, affirmative thinking.
In
the Nordic Pavilion, Rapture will explore the relationship between the human
body and sound, through the visual, the sonic and the architectural body, in a
multi-sensory experience. http://www.e-flux.com/announcements/camille-norments-rapture/
Heimo
Zobernig, Austrian Pavilion (Giardini)
Heimo
Zobernig’s contribution to the 56th International Art Exhibition responds
directly to the existing exhibition situation in the Austrian Pavilion designed
by Josef Hoffmann and Robert Kramreiter and built in 1934. With its classical
rounded arches and majestic visual axes, on the one hand, and its clear
rational forms and modern materials, on the other, the structure shifts between
historicity and modernism. Zobernig removes the building’s historicizing architectural
elements from sight by means of a black monolith that seems to hover under the
ceiling casting its shade on the entire floor space of the pavilion, and a
black floor construction that eliminates the pavilion’s different levels. At
the same time, Zobernig’s complex intervention relativizes the bounds between
architectural space and nature, inside and outside. His architectural
intervention, whose isometric plans recall Mies van der Rohe’s Nationalgalerie
in Berlin, together with the garden and rear wall of the courtyard, constitutes
an enclosed site where one can linger and reflect on art’s modes of
presentation and on human presence in space. http://moussemagazine.it/zobernig-austrian-venice-2015/
Pamela
Rosenkranz, Our Product, Pavilion of Switzerland (Giardini)
Carneam,
Evoin, Gleen, Magmelia, Neoten, Rilin, Solood, and Visorb are like Aspirin,
Acrylic, Methylene, Spandex, Silicone, and Titanium, both literally and
metaphorically, the stuff that Pamela Rosenkranz’s work is made of. While
we are not familiar with most of these materials, their omnipresence manifestly
changes the physical as well as the psychic constitution of human beings. Yet
it isn’t obvious how it does so. In her work for the, Rosenkranz reflects on
the human subject being something like a fluid, a serial association generated
from synthetic materials. She confronts us with the implications of an
engineered nature. Rosenkranz’s exhibition transmutes the Pavilion of
Switzerland into a body of a local skin color, which is fluid, smells, shines,
sounds and moves. A pigment that originally emerged as the specific product of
migration, sun-exposure, nutrition, and any number of other contingent factors
is resynthesized as a stock formula, composed of unknown ingredients. http://www.e-flux.com/announcements/pamela-rosenkranz-2/
João Louro, I Will Be Your Mirror,
Pavilhão de Portugal
The
thrust of the project that João Louro presents in Venice borrows the title of a
song from Velvet Underground—”I’ll Be Your Mirror.” Louro sets
out an overview of his career […].
Through
elements taken from Minimalism and Conceptual Art, João Louro is an intensely
conceptual artist, one whose intensity is shown in his presentation and
interpretation of the world, in his musical phrasing of experience and in his
commitment to bringing things to their limit, through a stunning unfolding of
calculated tension and control. Louro builds his own world according to the
traces that his readings, music and the cinema have left in his path; fusing
these traces he builds a sort of autobiography, a personal diary, in which the
texts or events are charged with meaning.
The works created specifically for the Portuguese Pavilion, which have been […] adapted to the space in each room of the Palazzo Loredan Library, highlight the concern that João Louro has always shown in generating new semantic aspects and raising doubts about norms accepted by our visual culture, as well as in converting the spectator’s role into that of a participant […].
The works Dead Ends are related to the challenge of language. In these he uses road signs as symbols that are automatically recognisable; only afterwards does the spectator reach the second level of reading, which are the contents.
In the series “Blind Images” the spectator is faced with a canvas on which the image has been blanked out, hidden beneath a coating of glossy acrylic and a glass panel that produces the effect of a mirror. At the bottom of the canvas there is a text alluding to or descriptive of the cancelled image, thus provoking different approaches to what is visible or varying perspectives through which one can consider the image.
João Louro’s conceptual work is a questioning about the limits and the expressive capacity of the image, reflecting outside the narrow margin of the work of art itself.
http://www.e-flux.com/announcements/joao-louro/
The works created specifically for the Portuguese Pavilion, which have been […] adapted to the space in each room of the Palazzo Loredan Library, highlight the concern that João Louro has always shown in generating new semantic aspects and raising doubts about norms accepted by our visual culture, as well as in converting the spectator’s role into that of a participant […].
The works Dead Ends are related to the challenge of language. In these he uses road signs as symbols that are automatically recognisable; only afterwards does the spectator reach the second level of reading, which are the contents.
In the series “Blind Images” the spectator is faced with a canvas on which the image has been blanked out, hidden beneath a coating of glossy acrylic and a glass panel that produces the effect of a mirror. At the bottom of the canvas there is a text alluding to or descriptive of the cancelled image, thus provoking different approaches to what is visible or varying perspectives through which one can consider the image.
João Louro’s conceptual work is a questioning about the limits and the expressive capacity of the image, reflecting outside the narrow margin of the work of art itself.
http://www.e-flux.com/announcements/joao-louro/
As blind images são imagens
invisíveis que remetem para imagens existentes, recolhidas na imprensa ou na
Internet, e das quais subsiste apenas a legenda. Tanto Rimbaud quanto Blanchot
foram escritores que, a dado momento das suas vidas, decidiram desaparecer da
cena pública, agindo como se já estivessem mortos. http://www.publico.pt/culturaipsilon/noticia/sob-o-sol-de-veneza-a-obra-ao-negro-de-joao-louro-1695087?page=-1
| Ver também: https://www.youtube.com/watch?v=GFQWflbG4h4
Pavilion
of Angola, On Ways of Traveling | Curator: António Ole
Binelde
Hyrcan, Cambeck Voitures, video
Binelde
Hyrcan grew up in Angola [1983]. Shocked by the images of war in his youth, he
saw the real consequences of political decisions. It is in this mix, between
the vision of present living world in front of him and the dramatic effects of
some abstract political decisions, that the artist caught this indelible image.
Hyrcan expresses himself in the full range of artistic media: sculpture,
painting, design, video-art and performance. http://www.contemporaryand.com/fr/exhibition/the-angolan-pavilion-at-the-56th-edition-of-the-venice-biennale-on-ways-of-travelling/
Binelde
Hyrcan presents a playful video, ‘Cambeck Voitures’ where four children
pretend to cruise in their imaginary car made out of sand. Through their naïve
and ingenious game, we hear them voice their dreams and vision of the world
which points to harsh inequalities, poverty and migration. http://www.anotherafrica.net/art-culture/56th-venice-biennale-an-uneven-african-presence
PROPORTIO, Palazzo
Fortuny
Curated by Daniela Ferretti and Axel Vervoordt
PROPORTIO aims to initiate a contemporary dialogue surrounding the lost knowledge of proportions and sacred geometry. The work of artists, scientists, architects, philosophers and other thinkers provides a contextual discourse which helps us understand how proportions can inform the essential design of life in the present and how we may use this knowledge to create a blueprint for the future.
http://fortuny.visitmuve.it/en/mostre-en/mostre-in-corso-en/proportio-exhibition/2015/03/8247/proportio-luca-pacioli-tribute/
Curated by Daniela Ferretti and Axel Vervoordt
PROPORTIO aims to initiate a contemporary dialogue surrounding the lost knowledge of proportions and sacred geometry. The work of artists, scientists, architects, philosophers and other thinkers provides a contextual discourse which helps us understand how proportions can inform the essential design of life in the present and how we may use this knowledge to create a blueprint for the future.
http://fortuny.visitmuve.it/en/mostre-en/mostre-in-corso-en/proportio-exhibition/2015/03/8247/proportio-luca-pacioli-tribute/
Arch. Tatsuro Miki & Axel
Vervoordt, The PROPORTIO Pavilions, 2014-15
Niccolò Codazzi, Ellsworth Kelly,
Viviano Codazzi, Michael Borremans, Cristiano Bianchin
Anish
Kapoor, Gathering Clouds, 2014
Berlinde
de Bruyckere, Romeu, 2010
Martial Raysse, Palazzo Grassi
Martial
Raysse, America, America, 1964
Martial
Raysse, J’écoute, 1960
Martial
Raysse, Make Up, 1962
Martial
Raysse, Raysse Beach, 1962-2007
Martial
Raysse, Pauvre de Nous, 2008
The
triangular-shaped Punta della Dogana separates the Grand Canal
and the Giudecca Canal. As a center for contemporary art, the former
customs house of the city presents exhibitions of works from the Pinault
Collection. […] Tadao Ando drew up his plans for the new centre quickly. In
effect, if one looks at his drawings one sees that, from the first, the broad
outlines of the project were clear in his mind. The characteristic layout of
the former warehouses […] was to be maintained. http://www.palazzograssi.it/en/museum/tadaos-ando-renovation
Punta
della Dogana – Slip of the Tongue
Curated
by Danh Vo in collaboration with Caroline Bourgeois
Danh Vo,
Oma Totem, 2009
When Danh Vo was four his family fled Vietnam in a home-made boat. They were picked up on the Pacific by a Danish container vessel and brought to Denmark. In many of his works he has taken his point of departure in Vietnamese history, thereby seeking to reclaim his own partially lost cultural identity. http://www.smk.dk/en/explore-the-art/highlights/dahn-vo-080351-28052009/
[Danh Vo, Oma Totem, 2009] The sculpture consists of his grandmother’s refrigerator, television set, and washing machine all stacked on top of each other and decorated with her crucifix and a personal entry card to a casino. Danh Vo’s grandmother received these technical devices from the social services and the crucifix from the catholic church back in the 1980s when she arrived in Germany to be reunited with the part of family that ended up there. http://www.smk.dk/en/visit-the-museum/exhibitions/past-exhibitions/2011/danh-vo/work-oma-totem/
When Danh Vo was four his family fled Vietnam in a home-made boat. They were picked up on the Pacific by a Danish container vessel and brought to Denmark. In many of his works he has taken his point of departure in Vietnamese history, thereby seeking to reclaim his own partially lost cultural identity. http://www.smk.dk/en/explore-the-art/highlights/dahn-vo-080351-28052009/
[Danh Vo, Oma Totem, 2009] The sculpture consists of his grandmother’s refrigerator, television set, and washing machine all stacked on top of each other and decorated with her crucifix and a personal entry card to a casino. Danh Vo’s grandmother received these technical devices from the social services and the crucifix from the catholic church back in the 1980s when she arrived in Germany to be reunited with the part of family that ended up there. http://www.smk.dk/en/visit-the-museum/exhibitions/past-exhibitions/2011/danh-vo/work-oma-totem/
Danh
Vo, 08:03, 28.05, 2009
The
chandelier originally hung above a large conference table at the Hôtel Majestic
in Paris where Vietnam and the USA signed the 1973 peace treaty. http://www.smk.dk/en/explore-the-art/highlights/dahn-vo-080351-28052009/
Danh Vo, 02.02.1861, 2009
Danh Vo, Log Dog, 2013
Danh
Vo, Your Mother Sucks Cocks in Hell, 2015
Jean-Luc
Moulène, Rotor, 2015
Jean-Luc
Moulène, Tronche/Moon Face (Paris, May 2014), 2014
Lee Lozano, No Title (Toilet Lid),
1962-63
Lee Lozano, No Title, 1962
Lee
Lozano, Masturbation Investigation, 1969
Lee
Lozano, Crook, 1968
Paul
Thek, Towards na Abstract Icon, 1980
Charles Ray, Fish, 2011
Bertrand
Lavier, La Bocca/Bosch, 2005
Elmgreen
& Dragset, Powerless Structures, Fig.
13, 2015
Bertrand
Lavier, Gabriel Gaveau, 1981
David
Hammons, Untitled, 2007
David
Hammons, Cigarette Holder, 1990
Sigmar
Polke, Potato House, 1967 (1990)
Felix
Gonzalez-Torres, Untitled (Blood), 1992
Nancy Spero, Codex
Artaud, 1971-1972
Nancy Spero, Cri du coeur,
2005
[Slip
of the Tongue’s] beating heart consists in two extraordinary ensembles by
American artist Nancy Spero (1926-2010). First of all, the magnificent Codex
Artaud (1971-72), which consists in 34 fragile rolls made of strips of
paper covered with a hybrid form of writing-drawing-painting; they can be read
as an attempt by the American artist to "restore" the fury and
frustration that reached the point of incandescence in the language of French
author Antonin Artaud. In Cri du Coeur (2004), her last monumental
installation, Spero "adapts" the intimate pain of mourning by
conjuring thousands of people who are, at the same time, hit by the disaster of
war or environmental catastrophes, all anonymous and unnamed individuals with
whom she establishes a link. http://www.palazzograssi.it/en/exhibitions/slip-tongue
Henrik
Olesen, Companion Species, 2015
Peter Hujar
Shilpa
Gupta / Rashid Rana, My East is Your West
My
East is Your West is an exhibition which brings
together the artistic practices of Shilpa Gupta (Mumbai, India) and Rashid Rana
(Lahore, Pakistan) in an unparalleled effort to jointly present artists from
the Indian subcontinent on a shared platform at the 56th International Art
Exhibition – la Biennale di Venezia. As neither India nor Pakistan has a
permanent national pavilion in Venice, this presentation provides a unique
platform for artists from South Asia to enter into a dialogue through the arts,
representing the Indian subcontinent as one region.
[…]
After sustaining a common history and cultural affinity that spans thousands of
years, the Indian subcontinent was divided along an asymmetrical partition line
in 1947, however, the imposed limits of nation-states and hemispheres are
ruptured by the artistic imagination. Born out of the desire to reposition the
complex climate of historical relations between the South Asian nation-states
of India and Pakistan, My East is Your West is a proposal towards
a shared cultural cartography where we meet beyond fixity.”
[…] Shilpa Gupta’s new series of work, Untitled (2014–15) brings together over four years of ongoing research into the India-Bangladesh borderlands. The India-Bangladesh border fence still under construction by the Indian state encircles its neighbour and is recognized as the longest security barrier between two adjoining nation-states in the world. Through works ranging from installation, video, photography, drawings, text-based pieces and performance, she intricately surveys the human condition from this territory and the transitory flows of goods and bodies that trespass security infrastructure, legislation and economic barriers.
[…] Shilpa Gupta’s new series of work, Untitled (2014–15) brings together over four years of ongoing research into the India-Bangladesh borderlands. The India-Bangladesh border fence still under construction by the Indian state encircles its neighbour and is recognized as the longest security barrier between two adjoining nation-states in the world. Through works ranging from installation, video, photography, drawings, text-based pieces and performance, she intricately surveys the human condition from this territory and the transitory flows of goods and bodies that trespass security infrastructure, legislation and economic barriers.
In
Transpositions (2013–15), Rashid Rana presents an immersive setting
across five rooms surveying the conception of presence, temporality and
location as collective experience, across digital printmaking, video and
installation. His work negotiates between the actual and the remote, blurring
the boundaries between acts of image-making and the inhabiting of a world—where
the real operates as a recording of fiction, while we are made to observe the
paradoxical lives of images in a multi-layered reality. http://www.e-flux.com/announcements/my-east-is-your-west-collateral-event-of-the-56th-venice-biennale/
Armando
Lulaj, Albanian Trilogy: A Series of Devious Stratagems
Albanian
Pavilion (Arsenale)
With
Albanian Trilogy: A Series of Devious Stratagems, Armando Lulaj pursues
the investigation of available readings of Albanian history from the Cold War
to the present day by reintroducing once highly representative and politically
charged images and narratives still ingrained in the people’s visual memory
[…]. http://www.e-flux.com/announcements/armando-lulaj-selected-to-represent-the-republic-of-albania-at-the-56th-venice-biennale/
Armando Lulaj, Les 71 Oeuvres,
2015, Albanian Pavilion, Arsenale
From
1968 […] until the fall of the Communist regime in 1990, the Institute of
Marxist-Leninst Studies supervised the integral publication of the seventy-one
volumes of Enver Hoxha’s Works. […] In each of the seventy-one volumes, the
frontispiece that depicts Hoxha has been replaced with an image of one of the
seventy-one bones of the cachalot displayed in front of it, its natural body
reintegrated into the political one. (Albanian Pavilion)
Armando
Lulaj, It Wears as it Grows, 2011, film, RED transferred to full HD, 18’
On May 25, 1959, at the height of the Cold War, Nikita Khrushchev visited Albania to discuss the Soviet Union’s plans to arm Enver Hoxha's state with submarines and warships, positioning long and medium-range missiles along the Albanian coast, in order to counter the U.S. missile bases installed in Italy for the sake of controlling the Mediterranean. In 1963, after the break in relations with the USSR, the Albanian navy, in a paranoid fear of enemy attacks, sighted an object that repeatedly appeared and disappeared at the surface of the sea off the coast at Patok. Believing it to be a submarine, they shot it. The object turned out to be a cachalot (Physeter macrocephalus), the Mediterranean sperm whale. After being recovered, the whale's remains were displayed in the Museum of Natural History in Tirana. In 2011, the skeleton of the whale reappears in the streets of Tirana, raised onto the shoulders of a group of people, like a ghost wondering around the streets of the city until it found its final resting place inside Enver Hoxha’s mausoleum in Tirana, also known as "Piramida," a pyramid-shaped structure completed in 1987, which was designed by the daughter and son-in-law of the late Albanian communist to glorify his figure and create an eternal monument to him, like the pyramids of the Egyptian pharaohs. http://www.albanianpavilion.org/
On May 25, 1959, at the height of the Cold War, Nikita Khrushchev visited Albania to discuss the Soviet Union’s plans to arm Enver Hoxha's state with submarines and warships, positioning long and medium-range missiles along the Albanian coast, in order to counter the U.S. missile bases installed in Italy for the sake of controlling the Mediterranean. In 1963, after the break in relations with the USSR, the Albanian navy, in a paranoid fear of enemy attacks, sighted an object that repeatedly appeared and disappeared at the surface of the sea off the coast at Patok. Believing it to be a submarine, they shot it. The object turned out to be a cachalot (Physeter macrocephalus), the Mediterranean sperm whale. After being recovered, the whale's remains were displayed in the Museum of Natural History in Tirana. In 2011, the skeleton of the whale reappears in the streets of Tirana, raised onto the shoulders of a group of people, like a ghost wondering around the streets of the city until it found its final resting place inside Enver Hoxha’s mausoleum in Tirana, also known as "Piramida," a pyramid-shaped structure completed in 1987, which was designed by the daughter and son-in-law of the late Albanian communist to glorify his figure and create an eternal monument to him, like the pyramids of the Egyptian pharaohs. http://www.albanianpavilion.org/
Armando
Lulaj, NEVER, 2012, Film, Full HD video, B/W and Color, Sound, 22'
In 1968, at the height of the Cultural Revolution when relations between China and Albania reached their zenith, the Albanian Labor Party undertook an overtly ambitious initiative to celebrate the magnificence of their leader, Enver Hoxha. Hundreds of young people were forced to join the Albanian People’s Army in this endeavor, where by means of enormous stones and white paint they spelled out the first name of the dictator on the side of the Shpirag mountain towering over the ancient town of Berat, across a surface area of approximately 36.000 square meters. In 1993, after the fall of communism, the Democratic Party took power. At their orders, the army attempted to destroy the letters using napalm and heavy military equipment. As a result of the explosions, the letters were almost destroyed […]. In 2012, the inhabitants of the village returned to unearth the letters and rewrite the name. After repeated acts of cleaning, uncovering, and painting, what materializes is however no longer the emblem ENVER, but something altered, incorrect, erroneous. At the moment when the indeterminate becomes the determinate, the Albanian name ENVER returns as the English adverb NEVER. http://www.albanianpavilion.org/ http://www.e-flux.com/announcements/armando-lulaj-selected-to-represent-the-republic-of-albania-at-the-56th-venice-biennale/
Ver também: http://departmentofeagles.org/2014/interview-with-armando-lulaj/
In 1968, at the height of the Cultural Revolution when relations between China and Albania reached their zenith, the Albanian Labor Party undertook an overtly ambitious initiative to celebrate the magnificence of their leader, Enver Hoxha. Hundreds of young people were forced to join the Albanian People’s Army in this endeavor, where by means of enormous stones and white paint they spelled out the first name of the dictator on the side of the Shpirag mountain towering over the ancient town of Berat, across a surface area of approximately 36.000 square meters. In 1993, after the fall of communism, the Democratic Party took power. At their orders, the army attempted to destroy the letters using napalm and heavy military equipment. As a result of the explosions, the letters were almost destroyed […]. In 2012, the inhabitants of the village returned to unearth the letters and rewrite the name. After repeated acts of cleaning, uncovering, and painting, what materializes is however no longer the emblem ENVER, but something altered, incorrect, erroneous. At the moment when the indeterminate becomes the determinate, the Albanian name ENVER returns as the English adverb NEVER. http://www.albanianpavilion.org/ http://www.e-flux.com/announcements/armando-lulaj-selected-to-represent-the-republic-of-albania-at-the-56th-venice-biennale/
Ver também: http://departmentofeagles.org/2014/interview-with-armando-lulaj/
Armando
Lulaj, Recapitulation, 2015, Video, RED transferred to full HD, B/W and
Color, Sound, 13'
On December 23, 1957, a Lockheed T-33 Shooting Star airplane of the U.S. Air Force entered Albanian airspace. Allegedly, it was swiftly identified by two Albanian MiG-15 fighter jets and subsequently escorted and forced to land at Rinas Airport, which at the time was still under construction. The pilot, Major Howard J. Curran, a WWII hero, was held and interrogated by Albanian officials for over two weeks. Due to US diplomatic pressure Major Curran was released on January 11, 1958. The airplane, however, never left Albania. In 1971, on the occasion of the opening of the new Weapons Museum in Gjirokastër, the birth town of the Albanian dictator Enver Hoxha, this symbol of the Cold War found a home on the outskirts of the castle that still hosts the Weapons Museum, with a label that reads “American Spy Plane”. In 2009, the Albanian government wanted to remove the remains of the plane because it was deemed an affront to the now friendly diplomatic relations with the US government. That same year, the former US Ambassador to Albania John L. Withers II, stated that history should not be revised. Immediately afterwards, a question mark appeared at the end of the inscription “American Spy Plane,” so that what had been an affirmation turned into a question: “American Spy Plane?”. In January 2015, the American plane, ravaged by neglect and the passage of time, will be set free from its confines at the Weapons Museum and the persistent question “Spy Plane?” and once again fly over the skies of Albania. http://www.albanianpavilion.org/
Ver: https://www.youtube.com/watch?v=nYKxMK4dD6w
On December 23, 1957, a Lockheed T-33 Shooting Star airplane of the U.S. Air Force entered Albanian airspace. Allegedly, it was swiftly identified by two Albanian MiG-15 fighter jets and subsequently escorted and forced to land at Rinas Airport, which at the time was still under construction. The pilot, Major Howard J. Curran, a WWII hero, was held and interrogated by Albanian officials for over two weeks. Due to US diplomatic pressure Major Curran was released on January 11, 1958. The airplane, however, never left Albania. In 1971, on the occasion of the opening of the new Weapons Museum in Gjirokastër, the birth town of the Albanian dictator Enver Hoxha, this symbol of the Cold War found a home on the outskirts of the castle that still hosts the Weapons Museum, with a label that reads “American Spy Plane”. In 2009, the Albanian government wanted to remove the remains of the plane because it was deemed an affront to the now friendly diplomatic relations with the US government. That same year, the former US Ambassador to Albania John L. Withers II, stated that history should not be revised. Immediately afterwards, a question mark appeared at the end of the inscription “American Spy Plane,” so that what had been an affirmation turned into a question: “American Spy Plane?”. In January 2015, the American plane, ravaged by neglect and the passage of time, will be set free from its confines at the Weapons Museum and the persistent question “Spy Plane?” and once again fly over the skies of Albania. http://www.albanianpavilion.org/
Ver: https://www.youtube.com/watch?v=nYKxMK4dD6w
Veneza… Bellini, Carpaccio, Longhi, Palladio,
Ticiano, Tintoretto…
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