Veneza 2017 – parte III M. Botelho – 07-10-2017
1 –
Giardini
Switzerland | Carol Bove; Teresa Hubbard / Alexander
Birchler – Women of Venice
The exhibition «Women of
Venice» refers to the little known absence of Alberto Giacometti from the Swiss
Pavilion at the Venice Biennale. […] it features new work by Carol Bove and
Teresa Hubbard / Alexander Birchler created specifically for the Biennale Arte
2017 in reference to the legacy and universe of Alberto Giacometti. http://www.hubbardbirchler.net/works/flora/fmc_0_switzerland_press%20kit%202017_international_en_2.pdf
Carol Bove represents the second artistic position featured at the Swiss Pavilion. The Geneva-born American artist’s work raises issues of theatricality and autonomy. For the Swiss Pavilion exhibition, Bove takes Giacometti’s figurative constellations as a starting point, tracing their relational forces. As a response to Alberto Giacometti’s historic absence from the Swiss Pavilion, she creates a new group of seven sculptures presented in the courtyard of the Swiss Pavilion referring to the artist’s late figurative work. Bove is interested in how the verticality and physicality of Giacometti’s figures explore the essence of sculpture. Her seven new works engage sculptural vocabularies through both material specificity and eclecticism, loosely referencing some of Giacometti’s well-known figural groupings such as "Forest" and "Femmes de Venise." In conversation with these, two additional sculptures by Bove voluminously occupy the sculpture hall and address the notion of presence in correspondence with their architectural surroundings. http://www.e-flux.com/announcements/125051/women-of-venice/
Teresa Hubbard / Alexander
Birchler, Flora, 2017, synchronized double-sided Film Installation with
shared Soundtrack, 30min, Loop
Inside,
a new film by the Swiss/American duo Hubbard and Birchler draws on their
research into the now largely forgotten American sculptor Flora Mayo: the lover
of Giacometti in Paris in the 1920s. A recreation of a bust that Mayo made of
Giacometti, long destroyed, stands nearby, its features somewhat less delicate
than his aquiline profile in the only known photograph of the work, in which it
sits between the two young artists. The film combines documentary footage of
Mayo’s son – born in 1935 in the United States and raised by her as a single
parent […] – with a voiceover of what sound like fragments from her diaries.
[…] Giacometti turned down multiple invitations to represent Switzerland
because he considered himself to be an international artist; Mayo has been
almost entirely forgotten as a sculptor, perhaps because, having been cut off
by her wealthy American family, she had to give up art to raise her son. There
are pertinent lessons here for beyond the biennale, beyond the art world.
Amy Sherlock https://frieze.com/article/57th-venice-biennale-giardini-part-2
[…] Teresa Hubbard / Alexander Birchler present their double-sided film installation «Flora», based on discoveries made in the course of their research on the largely unknown American artist Flora Mayo who studied in Paris in the 1920s, at the same time as Giacometti, and who was his lover. By weaving together fictional and documentary material, Teresa Hubbard / Alexander Birchler re-imagine Flora Mayo's life and work, also giving voice to her previously unknown son. «Flora» is structured as an interwoven conversation between two sides – a mother and son; Los Angeles and Paris; 2016 and 1927 […]. http://www.hubbardbirchler.net/works/flora/
Amy Sherlock https://frieze.com/article/57th-venice-biennale-giardini-part-2
[…] Teresa Hubbard / Alexander Birchler present their double-sided film installation «Flora», based on discoveries made in the course of their research on the largely unknown American artist Flora Mayo who studied in Paris in the 1920s, at the same time as Giacometti, and who was his lover. By weaving together fictional and documentary material, Teresa Hubbard / Alexander Birchler re-imagine Flora Mayo's life and work, also giving voice to her previously unknown son. «Flora» is structured as an interwoven conversation between two sides – a mother and son; Los Angeles and Paris; 2016 and 1927 […]. http://www.hubbardbirchler.net/works/flora/
Germany | Anne Imhof – Faust
(Faust is the protagonist of
a classic German legend, based on the historical Johann Georg Faust (c.
1480–1540). Faust is a scholar who is highly successful yet dissatisfied with
his life, which leads him to make a pact with the Devil, exchanging his soul
for unlimited knowledge and worldly pleasures.)
The top prize of the Venice
Biennale […] was awarded […] to Anne Imhof, an artist and choreographer whose
grim and threatening occupation of the German pavilion, complete with anti-riot
wire fences and barking Doberman pinschers, was the talk of the art world last
week. […] A dozen performers in black athletic wear posed and preened among
spectators or on raised platforms. They crawled under the glass floor at times
and walked slowly, like wraiths, against a harsh metallic musical score. The
performances are to run throughout the Venice Biennale’s six-month duration,
though “Faust” is just as unsettling when seen empty. https://www.nytimes.com/2017/05/13/arts/anne-imhof-fierce-young-artist-and-choreographer-wins-venices-top-prize.html?mcubz=0
Anne Imhof’s Faust occupies the entirety of the German Pavilion – low to high, inside to out. The floor is raised on a glass platform, while a safety harness-equipped mezzanine rings the central space and glass partitions act as temporary walls to herd the cattle. It feels sterile, cleansed of anything that came before. Accordingly, the two side-rooms are rigged with heavy sinks, the kind you might find in a surgery or a morgue – or a slaughterhouse. Outside, two guard dogs stalk a fenced perimeter. https://frieze.com/article/57th-venice-biennale-giardini-part-1
“To experience Faust is to be tense, vigilant, and conscious that you are an intruder. It is to watch a rebellious faction run through their drills and feel that, somehow, it is you who they are rebelling against. But don’t take it personally: this is Imhof’s shtick. As Susanne Pfeffer notes in her accompanying essay: ‘Only by forming an association of bodies, only by occupying space, can resistance take hold’. For Imhof, this collective radicalism is how we might one day break away from a repressive, commoditizing, defining form of capitalism that, in a Faustian sense, trades in a non-existent currency. […] And therein lies the tension: you’re either in, or you’re out. You’re either part of the solution, or you’re part of the problem.” Harry Thorne https://frieze.com/article/57th-venice-biennale-giardini-part-1
“The disturbing sensation of having nothing beneath your feet was exponentially increased by the sight of young people apparently trapped in a kind of inferno below, crawling or lying in foetal positions among dog bowls, sinister sinks and cakes of soap. Anne Imhof […] has choreographed such an epic performance – reports vary between five and seven hours – that one sees only a fraction. For me it was the horrifying experience of looking down on your fellow beings as if in some Nazi experiment, though a sense of mutiny was building as one boy escaped and began to break into a black metal dance. For others it was a chilling encounter with dancers who shot back menacing stares and chanted over the top of a screaming soundtrack. Figures ascend to the ceiling, and fall back down to hell. The work’s title, tellingly, is Faust.” Laura Cumming https://www.theguardian.com/artanddesign/2017/may/14/57th-venice-biennale-2017-review-the-germans-steal-the-show
Ver: https://www.youtube.com/watch?v=TCF3buPU670
Anne Imhof’s Faust occupies the entirety of the German Pavilion – low to high, inside to out. The floor is raised on a glass platform, while a safety harness-equipped mezzanine rings the central space and glass partitions act as temporary walls to herd the cattle. It feels sterile, cleansed of anything that came before. Accordingly, the two side-rooms are rigged with heavy sinks, the kind you might find in a surgery or a morgue – or a slaughterhouse. Outside, two guard dogs stalk a fenced perimeter. https://frieze.com/article/57th-venice-biennale-giardini-part-1
“To experience Faust is to be tense, vigilant, and conscious that you are an intruder. It is to watch a rebellious faction run through their drills and feel that, somehow, it is you who they are rebelling against. But don’t take it personally: this is Imhof’s shtick. As Susanne Pfeffer notes in her accompanying essay: ‘Only by forming an association of bodies, only by occupying space, can resistance take hold’. For Imhof, this collective radicalism is how we might one day break away from a repressive, commoditizing, defining form of capitalism that, in a Faustian sense, trades in a non-existent currency. […] And therein lies the tension: you’re either in, or you’re out. You’re either part of the solution, or you’re part of the problem.” Harry Thorne https://frieze.com/article/57th-venice-biennale-giardini-part-1
“The disturbing sensation of having nothing beneath your feet was exponentially increased by the sight of young people apparently trapped in a kind of inferno below, crawling or lying in foetal positions among dog bowls, sinister sinks and cakes of soap. Anne Imhof […] has choreographed such an epic performance – reports vary between five and seven hours – that one sees only a fraction. For me it was the horrifying experience of looking down on your fellow beings as if in some Nazi experiment, though a sense of mutiny was building as one boy escaped and began to break into a black metal dance. For others it was a chilling encounter with dancers who shot back menacing stares and chanted over the top of a screaming soundtrack. Figures ascend to the ceiling, and fall back down to hell. The work’s title, tellingly, is Faust.” Laura Cumming https://www.theguardian.com/artanddesign/2017/may/14/57th-venice-biennale-2017-review-the-germans-steal-the-show
Ver: https://www.youtube.com/watch?v=TCF3buPU670
Great Britain | Phyllida Barlow – Folly
Barlow’s sculptures inhabit
the entire Pavilion, reaching up to the roof and even spilling outside. In the
central gallery, she encourages us to take on the role of explorer, picking our
way around a sculptural labyrinth of densely-packed towering columns. […] The
dark grey used in these sculptures, reminiscent of the urban environment, is
offset by bold colours, with pinks, reds and oranges punctuating the
works.
Barlow challenges the limits and possibilities of cheap, everyday materials, such as timber, concrete and fabric. Her bold installation feels monumentally vast but the sculptures remain grounded by a distinctly human presence evident in their creation. https://venicebiennale.britishcouncil.org/2017-exhibition/phyllida-barlow
A caustic, damaged and sometimes funny burlesque of sculptural ideas, the elements of Barlow’s Folly […] crowd the pavilion’s six rooms, everything rendered in base materials: concrete and scrim, wire mesh, hewn chunks of polystyrene, polyurethane drool, paper and fabric, paint. They take the place of stone and steel. Anvils and pianos, ruined columns and balconies, giant spools of thread and megaphones […]. Everything looks like something else, but it is all Phyllida Barlow. […] Theatricality rather than truth-to-materials is Barlow’s thing. Her work looks more brutalised than brutalist. It is a theatre of ruins, fragments, and flamboyant buffoonery. One thing she isn’t is precious. She parodies the muscle-bound self-regard of a previous generation of sculptors […].
Adrian Searle https://www.theguardian.com/artanddesign/2017/may/09/phyllida-barlow-review-venice-biennale-british-pavilion-sculpture
When you approach the Phyllida Barlow installation at the British pavilion, the first thing you see is a series of bulbous sculptures staring back. "I don’t know what those blobs, plumes, lollipops, bubbles, heads are,” Barlow says. “But I do think they have to do with the action of wanting to throw something out and holding it there. It’s like shaking all the things out of the cupboard and seeing how they land. I’m curious about the macabre and the fantastic, the joy and the despair.”
Barlow’s works press the viewer to look up and consider their own size. “I have a desire to reach beyond the standard eye-level experience,” she says of her pieces’ scale. “I make the sections my size so I can have contact with them continuously, but once they start to assemble they become grand. It’s like the studio is a rehearsal, but we have no idea what we are rehearsing. We don’t even know what the play is, let alone the script.”
Kat Herriman https://www.nytimes.com/2017/05/16/t-magazine/art/venice-biennale-best-highlights-mark-bradford-tehching-hsieh-alicja-kwade.html?mcubz=0
Barlow challenges the limits and possibilities of cheap, everyday materials, such as timber, concrete and fabric. Her bold installation feels monumentally vast but the sculptures remain grounded by a distinctly human presence evident in their creation. https://venicebiennale.britishcouncil.org/2017-exhibition/phyllida-barlow
A caustic, damaged and sometimes funny burlesque of sculptural ideas, the elements of Barlow’s Folly […] crowd the pavilion’s six rooms, everything rendered in base materials: concrete and scrim, wire mesh, hewn chunks of polystyrene, polyurethane drool, paper and fabric, paint. They take the place of stone and steel. Anvils and pianos, ruined columns and balconies, giant spools of thread and megaphones […]. Everything looks like something else, but it is all Phyllida Barlow. […] Theatricality rather than truth-to-materials is Barlow’s thing. Her work looks more brutalised than brutalist. It is a theatre of ruins, fragments, and flamboyant buffoonery. One thing she isn’t is precious. She parodies the muscle-bound self-regard of a previous generation of sculptors […].
Adrian Searle https://www.theguardian.com/artanddesign/2017/may/09/phyllida-barlow-review-venice-biennale-british-pavilion-sculpture
When you approach the Phyllida Barlow installation at the British pavilion, the first thing you see is a series of bulbous sculptures staring back. "I don’t know what those blobs, plumes, lollipops, bubbles, heads are,” Barlow says. “But I do think they have to do with the action of wanting to throw something out and holding it there. It’s like shaking all the things out of the cupboard and seeing how they land. I’m curious about the macabre and the fantastic, the joy and the despair.”
Barlow’s works press the viewer to look up and consider their own size. “I have a desire to reach beyond the standard eye-level experience,” she says of her pieces’ scale. “I make the sections my size so I can have contact with them continuously, but once they start to assemble they become grand. It’s like the studio is a rehearsal, but we have no idea what we are rehearsing. We don’t even know what the play is, let alone the script.”
Kat Herriman https://www.nytimes.com/2017/05/16/t-magazine/art/venice-biennale-best-highlights-mark-bradford-tehching-hsieh-alicja-kwade.html?mcubz=0
France | Xavier Veilhan – Studio Venezia
The French pavilion for the
Venice Biennale is transformed by Xavier Veilhan and the pavilion’s curators,
Christian Marclay and Lionel Bovier, into a musical space in which professional
musicians from all over the world work throughout the duration of the
exhibition.
An immersive installation blurs the architectural lines of the French Pavilion: floors, walls and ceilings collide to form a landscape of wood and fabrics that houses a fully operational recording studio with a distinct acoustic identity. Inspired by additive and intuitive construction methods, this overall artwork evokes not only Kurt Schwitter’s Merzbau but also the phonic devices used during recordings.
Numerous instruments integrated into the space enable musicians from different horizons and genres to work on site, either individually or collaboratively. The presence of sound technicians and an impressive guest list of musicians ensure the possibility to experiment with sound, at the same time as encouraging unexpected collaborations. Musicians are free to decide how they wish to use their time and retain full ownership of their work.
Rather than attending concerts, visitors are instead invited to listen, watch, and bear witness to musical creations in progress. http://www.e-flux.com/announcements/127812/xavier-veilhanstudio-venezia/
Ver: http://www.artnews.com/2017/05/09/love-is-a-rebellious-bird-that-no-one-can-tame-aria-on-offer-at-xavier-veilhans-french-pavilion/
An immersive installation blurs the architectural lines of the French Pavilion: floors, walls and ceilings collide to form a landscape of wood and fabrics that houses a fully operational recording studio with a distinct acoustic identity. Inspired by additive and intuitive construction methods, this overall artwork evokes not only Kurt Schwitter’s Merzbau but also the phonic devices used during recordings.
Numerous instruments integrated into the space enable musicians from different horizons and genres to work on site, either individually or collaboratively. The presence of sound technicians and an impressive guest list of musicians ensure the possibility to experiment with sound, at the same time as encouraging unexpected collaborations. Musicians are free to decide how they wish to use their time and retain full ownership of their work.
Rather than attending concerts, visitors are instead invited to listen, watch, and bear witness to musical creations in progress. http://www.e-flux.com/announcements/127812/xavier-veilhanstudio-venezia/
Ver: http://www.artnews.com/2017/05/09/love-is-a-rebellious-bird-that-no-one-can-tame-aria-on-offer-at-xavier-veilhans-french-pavilion/
Ian Davenport – Giardini Colourfall
Ian Davenport, Giardini
Colourfall, 2017, acrylic on aluminium panel (wall), 380 x 140 cm
Ian Davenport (b. 1966, UK)
is internationally renowned for his vibrant abstract paintings. Executed
through carefully dripped vertical lines of paint, the final composition is
formed by the interaction between gravity and paint viscosity.
Giardini Colourfall for Swatch Faces 2017 at the 57th International Art Exhibition of La Biennale di Venezia develops Davenport’s most recent body of works. Inspired by the chromatic palette of historical masterpieces from artists including Klimt, Monet and Perugino, Davenport explores highly saturated hues and tones.
The artwork is composed of a color sequence that is repeated twice. This structural device gives balance and symmetry across the varying chromatic bands, in a visual mirroring effect. Control and Chance are themes the artist has investigated throughout his career. In Giardini Colourfall this interplay is apparent as poured stripes appear to melt and collect on the floor in thick seductive puddles. https://www.inexhibit.com/case-studies/giardini-colourfall-ian-davenport-swatch-pavilion-venice-art-biennale-2017/
Giardini Colourfall for Swatch Faces 2017 at the 57th International Art Exhibition of La Biennale di Venezia develops Davenport’s most recent body of works. Inspired by the chromatic palette of historical masterpieces from artists including Klimt, Monet and Perugino, Davenport explores highly saturated hues and tones.
The artwork is composed of a color sequence that is repeated twice. This structural device gives balance and symmetry across the varying chromatic bands, in a visual mirroring effect. Control and Chance are themes the artist has investigated throughout his career. In Giardini Colourfall this interplay is apparent as poured stripes appear to melt and collect on the floor in thick seductive puddles. https://www.inexhibit.com/case-studies/giardini-colourfall-ian-davenport-swatch-pavilion-venice-art-biennale-2017/
USA | Mark Bradford – Tomorrow is Another Day
Visitors to Mark Bradford's
exhibition […] must enter the neoclassical US pavilion using a single side
entrance, where they immediately encounter a massive, hulking obstacle
suspended from the ceiling. Shunted to the periphery of the room, they are
forced to navigate around this bulbous form […]. The installation's title, Spoiled
Foot, suggests that we might be looking at the heel of a giant rotting foot
that has stepped through the pavilion's roof, and speaks to Bradford's
longstanding preoccupation with bodily surfaces and depths. […] Bradford is
concerned with the ways the body and the conditions of how we look and what we
see are marked, shaped, and deformed by historical schemas. For the most part,
he eschews figurative representation. His large-scale mixed-medium works
transform prefabricated materials (most of his supplies come from Home Depot)
into densely layered compositions whose surfaces are shredded, burnt, and
slashed to form minutely textured, abstract constellations of color and
texture. […] in the pavilion's airier second gallery, […] a trio of
large paintings titled after mythological Sirens […] hang on the walls. Their
surfaces display rows of index card-size rectangles that evoke strips of
celluloid film or perhaps fish scales but are in fact the thin white endpapers
that beauticians use when perming hair. Bradford has coated the papers in black
dye and transparent paste and combined them to produce modulating fields of
oceanic gray, navy, and violet. At the center of the same gallery stands the
sculpture Medusa (2016): a tall pile of tangled tubes constructed
from polyester rope that has been loosely wrapped in crumpled black
construction paper. […] Bradford used similar ruches of bleached black paper in
the pavilion's central rotunda, where he sculpted them into long crumpled
ribbons that sweep dramatically across the room's upper walls and encircle its
central dome. […] Bradford again immerses viewers in a visual environment of
oscillating scales and representational registers that are, by turns,
threatening and playful. […] Beyond the rotunda, in the pavilion's fourth room,
are three large mixed-medium canvases, each created using the
sandblasted-and-slashed layers of paper, glue, and industrial paint seen in Spoiled
Foot. […]
Bradford has long sought to get at sweeping political and historical themes by way of the particulars of the everyday. […] he opens a pathway to the social in the final work on display in his Venice presentation: the three-minute video Niagara (2005), which […] features a black male figure […]. Bradford frames him from behind, walking up a gently inclined Los Angeles street, dressed in a pair of golden shorts and a white tank top. The use of slow motion heightens the exuberant coordination of his limbs and the jostle of his flesh as each step lands on the pavement.
Leon Hilton http://www.artinamericamagazine.com/news-features/news/in-the-flesh-mark-bradford-in-the-us-pavilion/
Bradford has long sought to get at sweeping political and historical themes by way of the particulars of the everyday. […] he opens a pathway to the social in the final work on display in his Venice presentation: the three-minute video Niagara (2005), which […] features a black male figure […]. Bradford frames him from behind, walking up a gently inclined Los Angeles street, dressed in a pair of golden shorts and a white tank top. The use of slow motion heightens the exuberant coordination of his limbs and the jostle of his flesh as each step lands on the pavement.
Leon Hilton http://www.artinamericamagazine.com/news-features/news/in-the-flesh-mark-bradford-in-the-us-pavilion/
Australia | Tracey Moffatt – My Horizon
Stills from an unmade movie,
false memories, history and fiction are the core of Tracey Moffatt’s My
Horizon. [...] Two series of photographs and two videos fill the pavilion. One
new video, Vigil, also plays on a screen on the building’s outside wall.
Close-up stills of white Hollywood stars […] are intercut with news shots of
boats crowded with refugees. Peering through slatted blinds and homing in with
binoculars, the wide-eyed and troubled movie characters seem to survey crowded
decks. The images of the refugees are manipulated, cropped, recoloured,
sometimes reduced to almost abstract blobs. [...] Vigil is the most impressive
work in My Horizon.
A second video, The White Ghosts Sailed In, looks like a grainy old film, the decayed, scratched footage often reduced to meaningless murk and spoiled celluloid. A scene repeats, again and again: a black and white view of part of Sydney harbour, rocks and cliff and an empty horizon. Shot near the artist’s home, Moffatt has it that this film was made by indigenous people on 26 January 1788, and that she found it in a former aboriginal mission [...].
Everyone stands stiffly or looks awkward and wooden in Passage, a series of 10 photographs that aspire to the condition of movie poster stills or storyboard clips. But there’s no movie, nor any clear indication of why these people wait, what brings them to these docksides, or why a man in a trilby walks a lonesome street. [...] “I wanted the 40s-era, film noir images to read as being ‘of the past’, but the storyline speaks about what is happening in the world today, with asylum seekers crossing borders,” Moffatt has said. I see none of this in these images. [...] But the photo series Body Remembers [...] contains powerful images. Moffatt herself, dressed in a maid’s uniform, is the sole protagonist. We barely see her face. [...] Like a Magritte, there’s a sense of disquiet. [...] The series is full of sly, unhinging discontinuities – light cast at the wrong angles, a shadow on a wall that looks more like paint. [...] The more you look, the more the inconsistencies pile up. The images invoke something more than melancholy or sadness. The maid, her life suspended, seems not quite of the world she inhabits. [...] Moffatt’s own life and family history is in there too, under the horizon, but present just the same.
Adrian Searle https://www.theguardian.com/artanddesign/2017/may/10/tracey-moffatt-my-horizon-australia-pavilion-venice-biennale
A second video, The White Ghosts Sailed In, looks like a grainy old film, the decayed, scratched footage often reduced to meaningless murk and spoiled celluloid. A scene repeats, again and again: a black and white view of part of Sydney harbour, rocks and cliff and an empty horizon. Shot near the artist’s home, Moffatt has it that this film was made by indigenous people on 26 January 1788, and that she found it in a former aboriginal mission [...].
Everyone stands stiffly or looks awkward and wooden in Passage, a series of 10 photographs that aspire to the condition of movie poster stills or storyboard clips. But there’s no movie, nor any clear indication of why these people wait, what brings them to these docksides, or why a man in a trilby walks a lonesome street. [...] “I wanted the 40s-era, film noir images to read as being ‘of the past’, but the storyline speaks about what is happening in the world today, with asylum seekers crossing borders,” Moffatt has said. I see none of this in these images. [...] But the photo series Body Remembers [...] contains powerful images. Moffatt herself, dressed in a maid’s uniform, is the sole protagonist. We barely see her face. [...] Like a Magritte, there’s a sense of disquiet. [...] The series is full of sly, unhinging discontinuities – light cast at the wrong angles, a shadow on a wall that looks more like paint. [...] The more you look, the more the inconsistencies pile up. The images invoke something more than melancholy or sadness. The maid, her life suspended, seems not quite of the world she inhabits. [...] Moffatt’s own life and family history is in there too, under the horizon, but present just the same.
Adrian Searle https://www.theguardian.com/artanddesign/2017/may/10/tracey-moffatt-my-horizon-australia-pavilion-venice-biennale
Poland | Sharon Lockhart – Little Review
The name of the project by
Sharon Lockhart refers to “Mały Przegląd” [Little Review], a historical
newspaper supplement to the popular magazine “Nasz Przegląd” [Our Review],
written and edited entirely by children. “Mały Przegląd” founded by Janusz
Korczak – a prominent pedagogue and writer with a revolutionary approach (also
from a contemporary perspective) to the issue of children’s rights and the need
to listen to their voice, was published in 1926–1939. It featured sections on
politics, sports, and culture, written by children functioning as
correspondents from all over Poland. […]
Little Review by Sharon Lockhart is a multidimensional project, which explores the social dimension of creating art, the need to notice and listen to the voice of young people. It is the nal e ect of the long-term cooperation between this acclaimed American artist and the girls of the Youth Center for Socio-Therapy Rudzienko. […]
The main aim of her project/exhibition is to recall the extraordinary quality of Korczak’s pedagogical approach and his teaching method and present it to the worldwide audience. […] Sharon Lockhart refers to Korczak’s methods, yet with the use of her owns means of expression. She treats children, who are the main subject of her work, with the respect they deserve,” says Hanna Wróblewska, the commissioner of the Polish Pavilion and director of the Zachęta – National Gallery of Art, the institution, which has been the organizer and custodian of the Polish Pavilion in Venice for many years.
https://www.google.pt/search?q=nal+e+ect+&oq=nal+e+ect+&gs_l=psy-ab.3...280926.280926.0.281196.1.1.0.0.0.0.256.256.2-1.1.0.dummy_maps_web_fallback...0...1.1.64.psy-ab..0.0.0....0.TtI7KKzKclU
Little Review by Sharon Lockhart is a multidimensional project, which explores the social dimension of creating art, the need to notice and listen to the voice of young people. It is the nal e ect of the long-term cooperation between this acclaimed American artist and the girls of the Youth Center for Socio-Therapy Rudzienko. […]
The main aim of her project/exhibition is to recall the extraordinary quality of Korczak’s pedagogical approach and his teaching method and present it to the worldwide audience. […] Sharon Lockhart refers to Korczak’s methods, yet with the use of her owns means of expression. She treats children, who are the main subject of her work, with the respect they deserve,” says Hanna Wróblewska, the commissioner of the Polish Pavilion and director of the Zachęta – National Gallery of Art, the institution, which has been the organizer and custodian of the Polish Pavilion in Venice for many years.
https://www.google.pt/search?q=nal+e+ect+&oq=nal+e+ect+&gs_l=psy-ab.3...280926.280926.0.281196.1.1.0.0.0.0.256.256.2-1.1.0.dummy_maps_web_fallback...0...1.1.64.psy-ab..0.0.0....0.TtI7KKzKclU
Brasil |
Cinthia Marcelle – Chão de caça
Pavilhão do Brasil recebe menção honrosa na Bienal
de Veneza 2017
[…] A instalação é composta por um piso inclinado feito de grades […] soldadas que ocupa todo o interior das duas galerias do pavilhão brasileiro. Entre os pequenos vãos das grades, seixos rolados dos arredores do local da exposição foram inseridos. Entrelaçados com a grade e os seixos, estão elementos escultóricos adicionais, uma série de pinturas e um filme tocando ininterruptamente. […] Desenvolvido por Cinthia Marcelle em conjunto com o cineasta Tiago Mata Machado, o vídeo mostra um único enquadramento de um telhado sendo gradualmente desmontado a partir do interior, sugerindo uma rebelião ou uma fuga. […] A sensação que a instalação suscita é de constante perigo, instabilidade, desequilíbrio e desconforto, refletindo o atual estado do país. http://www.archdaily.com.br/br/871368/pavilhao-do-brasil-recebe-mencao-honrosa-na-bienal-de-veneza-2017
You cannot enter Cinthia Marcelle’s “Hunting Ground” without looking at your feet. The artist subverted the symmetry of the Brazilian pavilion by installing a slanted grate that stretches from the entrance to the building’s back wall. “I wanted to create instability,” Marcelle says. “If you think of the context of Brazil, we don’t accept what is happening now. I am representing Brazil so I felt I needed to address the instability and propose a new way to circulate around this building.”
Kat Herriman https://www.nytimes.com/2017/05/16/t-magazine/art/venice-biennale-best-highlights-mark-bradford-tehching-hsieh-alicja-kwade.html?mcubz=0
[…] A instalação é composta por um piso inclinado feito de grades […] soldadas que ocupa todo o interior das duas galerias do pavilhão brasileiro. Entre os pequenos vãos das grades, seixos rolados dos arredores do local da exposição foram inseridos. Entrelaçados com a grade e os seixos, estão elementos escultóricos adicionais, uma série de pinturas e um filme tocando ininterruptamente. […] Desenvolvido por Cinthia Marcelle em conjunto com o cineasta Tiago Mata Machado, o vídeo mostra um único enquadramento de um telhado sendo gradualmente desmontado a partir do interior, sugerindo uma rebelião ou uma fuga. […] A sensação que a instalação suscita é de constante perigo, instabilidade, desequilíbrio e desconforto, refletindo o atual estado do país. http://www.archdaily.com.br/br/871368/pavilhao-do-brasil-recebe-mencao-honrosa-na-bienal-de-veneza-2017
You cannot enter Cinthia Marcelle’s “Hunting Ground” without looking at your feet. The artist subverted the symmetry of the Brazilian pavilion by installing a slanted grate that stretches from the entrance to the building’s back wall. “I wanted to create instability,” Marcelle says. “If you think of the context of Brazil, we don’t accept what is happening now. I am representing Brazil so I felt I needed to address the instability and propose a new way to circulate around this building.”
Kat Herriman https://www.nytimes.com/2017/05/16/t-magazine/art/venice-biennale-best-highlights-mark-bradford-tehching-hsieh-alicja-kwade.html?mcubz=0
Austria | Erwin Wurm – Performative One Minute
Sculptures
Erwin Wurm has been
exploring the expressive possibilities of sculpture for more than 35 years. His
diverse oeuvre is as profound as it can be ironic and encompasses almost all
genres, extending the concept of sculpture by incorporating interactive,
social, and temporal aspects. In his approach, even adhering to a series of
instructions for action can become a sculpture. The radicalism of his venture
to expand on conventional categorizations is reminiscent of Marcel Duchamp, who
declared experimental, visual thinking as an artistic programme that enables
new avenues for art to open up. Around 1990, Wurm found a new form of
expression with his Performative Sculptures—a new term that the artist
claimed for himself.
http://www.e-flux.com/announcements/93528/erwin-wurmperformative-sculptures/
For the next five months, an orange freight truck will be standing on its head outside the Austrian Pavilion at the Venice Biennale. Visitors are invited to go up the stairs to a small enclosure at the top, where labels on all sides read: “Stand quiet and look out over the Mediterranean Sea.” [...] Inside the pavilion, Mr. Wurm has recreated the body of work for which he is best known: “One Minute Sculptures,” first performed in 1997. Visitors are instructed — via sketches and inscriptions — to strike poses with the objects on site. The pavilion contains a mobile home with holes in its sides through which visitors are to insert an arm or a pair of legs. The message next to the arm cavity reads, “Touch the world.” A small suitcase in the next room, which visitors are asked to sit on, is marked with the words “Drift away.” https://www.nytimes.com/2017/06/15/arts/venice-biennale-erwin-wurm-sculpture.html?mcubz=0
Erwin Wurm’s work at the Austrian pavilion conflates two waves: the moment when Homo sapiens first arrived in Europe via the Mediterranean and the rise of Italian tourism in the 1970s. A camper with holes cut into its exterior sits in a white room with its parts and furniture scattered across the floor; each presents a perch for meditation. “When tourists flocked to Italy in the ’70s, their caravans were not only their living rooms, but their bedrooms, their toilets and their kitchens,” Wurm says. “They didn’t even need to have contact with the people living there — they brought it all themselves. I wanted to give people the chance to escape, levitate and in a way infiltrate the life of this camper. In a way, the whole art world is a caravan.”
https://www.nytimes.com/2017/05/16/t-magazine/art/venice-biennale-best-highlights-mark-bradford-tehching-hsieh-alicja-kwade.html?mcubz=0
http://www.e-flux.com/announcements/93528/erwin-wurmperformative-sculptures/
For the next five months, an orange freight truck will be standing on its head outside the Austrian Pavilion at the Venice Biennale. Visitors are invited to go up the stairs to a small enclosure at the top, where labels on all sides read: “Stand quiet and look out over the Mediterranean Sea.” [...] Inside the pavilion, Mr. Wurm has recreated the body of work for which he is best known: “One Minute Sculptures,” first performed in 1997. Visitors are instructed — via sketches and inscriptions — to strike poses with the objects on site. The pavilion contains a mobile home with holes in its sides through which visitors are to insert an arm or a pair of legs. The message next to the arm cavity reads, “Touch the world.” A small suitcase in the next room, which visitors are asked to sit on, is marked with the words “Drift away.” https://www.nytimes.com/2017/06/15/arts/venice-biennale-erwin-wurm-sculpture.html?mcubz=0
Erwin Wurm’s work at the Austrian pavilion conflates two waves: the moment when Homo sapiens first arrived in Europe via the Mediterranean and the rise of Italian tourism in the 1970s. A camper with holes cut into its exterior sits in a white room with its parts and furniture scattered across the floor; each presents a perch for meditation. “When tourists flocked to Italy in the ’70s, their caravans were not only their living rooms, but their bedrooms, their toilets and their kitchens,” Wurm says. “They didn’t even need to have contact with the people living there — they brought it all themselves. I wanted to give people the chance to escape, levitate and in a way infiltrate the life of this camper. In a way, the whole art world is a caravan.”
https://www.nytimes.com/2017/05/16/t-magazine/art/venice-biennale-best-highlights-mark-bradford-tehching-hsieh-alicja-kwade.html?mcubz=0
2 –
Arsenale
Italy | Il
mondo magico
Roberto Cuoghi, The Imitation
of Christ
Giorgio Andreotta Calò, Untitled
(the end of the world)
The title of the exhibition,
Il Mondo Magico, is borrowed from that of the best-known book by
anthropologist Ernesto de Martino, published in 1948, which described magic
rituals as the tools through which individuals tried to find their own identity
in uncertain historical and social contexts.
Imitazione di Cristo (The Imitation of Christ) by Roberto Cuoghi, […] investigates the transformation of matter and the fluid concept of identity through a research on the historical depiction of Christ in Italian art.
The entrance space of the Italian pavilion has been transformed into a sort of workshop, a factory which produced devotional statues inspired by the De Imitatione Christi, a medieval text describing the path to achieve a state of ascetic perfection.
The statues of Christ manufactured in the workshop are then moved to an array of tables positioned inside a long tunnel made in transparent plastic, thus creating a sequence of “bodies” in progressing conditions of deterioration and crumbling of the matter.
The statues, almost decomposed, are subsequently “dried” in an oven to stop their decay.
Finally, the remains of the figures, distorted and broken to pieces, are re-composed and arranged on a long, dark wall at end of the gallery.
Senza Titolo – la fine del mondo (Untitled – the end of the world) by Giorgio Andreotta Calò is a large-scale installation conceived in relationship to the architecture of the pavilion.
The work is composed of two parts.
In the lower part the visitor has to walk through a sequence of scaffolding which divides the hall into five aisles in order to reach the stair leading to the upper part of the installation. Here, the view is powerful and staggering: the timber truss ceiling of the pavilion is mirrored by a thin layer of dark stillwater which covers the platform supported by the scaffolding, with a deeply disorienting effect. https://www.inexhibit.com/case-studies/italian-pavilion-venice-biennale-of-art-2017-il-mondo-magico-the-magic-world/
Imitazione di Cristo (The Imitation of Christ) by Roberto Cuoghi, […] investigates the transformation of matter and the fluid concept of identity through a research on the historical depiction of Christ in Italian art.
The entrance space of the Italian pavilion has been transformed into a sort of workshop, a factory which produced devotional statues inspired by the De Imitatione Christi, a medieval text describing the path to achieve a state of ascetic perfection.
The statues of Christ manufactured in the workshop are then moved to an array of tables positioned inside a long tunnel made in transparent plastic, thus creating a sequence of “bodies” in progressing conditions of deterioration and crumbling of the matter.
The statues, almost decomposed, are subsequently “dried” in an oven to stop their decay.
Finally, the remains of the figures, distorted and broken to pieces, are re-composed and arranged on a long, dark wall at end of the gallery.
Senza Titolo – la fine del mondo (Untitled – the end of the world) by Giorgio Andreotta Calò is a large-scale installation conceived in relationship to the architecture of the pavilion.
The work is composed of two parts.
In the lower part the visitor has to walk through a sequence of scaffolding which divides the hall into five aisles in order to reach the stair leading to the upper part of the installation. Here, the view is powerful and staggering: the timber truss ceiling of the pavilion is mirrored by a thin layer of dark stillwater which covers the platform supported by the scaffolding, with a deeply disorienting effect. https://www.inexhibit.com/case-studies/italian-pavilion-venice-biennale-of-art-2017-il-mondo-magico-the-magic-world/
Georgia | Vajiko Chachkhiani – Living Dog Among
Dead Lions
This year’s Georgian Pavilion at the Venice Biennale will take the form of a small, abandoned, wooden hut, the project of Georgian artist Vajiko Chachkhiani and curator Julien Heynen […].
Originally found in the Georgian countryside and reassembled in Venice specifically for the biennale, the small abode holds all that would typically be found inside of a home: furniture, pictures, and other everyday items.
In an aim to address the process of decay, Chachkhiani will install an irrigation system inside that mimics permanent rain—thus playing on the concept of the indoor versus outdoor. Audience members will be able to witness the hut’s interior slowly growing ever-more derelict. https://news.artnet.com/art-world/vajiko-chachkhiani-venice-biennale-870497
Ver: https://vimeo.com/217300620
This year’s Georgian Pavilion at the Venice Biennale will take the form of a small, abandoned, wooden hut, the project of Georgian artist Vajiko Chachkhiani and curator Julien Heynen […].
Originally found in the Georgian countryside and reassembled in Venice specifically for the biennale, the small abode holds all that would typically be found inside of a home: furniture, pictures, and other everyday items.
In an aim to address the process of decay, Chachkhiani will install an irrigation system inside that mimics permanent rain—thus playing on the concept of the indoor versus outdoor. Audience members will be able to witness the hut’s interior slowly growing ever-more derelict. https://news.artnet.com/art-world/vajiko-chachkhiani-venice-biennale-870497
Ver: https://vimeo.com/217300620
Philippines | Manuel Ocampo
Manuel Ocampo has […] a
reputation for fearlessly tackling the taboos and cherished icons of society
and of the art world itself. Now based in Manila, the Philippines, he had an
extended residency in California in the late 1980s and early 1990s and
continues to spend significant time working in both the US and Europe. Ocampo
is currently featured in the Philippine Pavilion for the 2017 Venice
Biennale, with a selection of paintings from the 1990s in dialogue with his
recent work. […]
In recent years, Ocampo’s works have featured more mysterious yet emotionally charged motifs that evoke an inner world of haunting visions and nightmares. He often makes use of an eclectic array of quasi-religious, highly idiosyncratic icons featuring teeth, fetuses, sausages, and body parts alongside more traditional Christian motifs. The process of artistic creation is often a central concern, with many works making ironic commentaries on notions of artistic inspiration, originality, and the anxiety of influence. The artist himself is frequently the subject of parody and self-mockery; sometimes he appears as a buzzard, a kind of cultural scavenger, or assumes slightly deranged alter egos. He frequently includes sly references to the works of other artists, just as in the past he often referred to the work of provincial painters of Catholic altars. http://www.trfineart.com/artist/manuel-ocampo/#artist-works
In recent years, Ocampo’s works have featured more mysterious yet emotionally charged motifs that evoke an inner world of haunting visions and nightmares. He often makes use of an eclectic array of quasi-religious, highly idiosyncratic icons featuring teeth, fetuses, sausages, and body parts alongside more traditional Christian motifs. The process of artistic creation is often a central concern, with many works making ironic commentaries on notions of artistic inspiration, originality, and the anxiety of influence. The artist himself is frequently the subject of parody and self-mockery; sometimes he appears as a buzzard, a kind of cultural scavenger, or assumes slightly deranged alter egos. He frequently includes sly references to the works of other artists, just as in the past he often referred to the work of provincial painters of Catholic altars. http://www.trfineart.com/artist/manuel-ocampo/#artist-works
New
Zealand | Lisa Reihana – Emissaries
(Jean-Gabriel Charvet, Les
Sauvages de la mer du Pacifique)
Les Sauvages de la mer du Pacifique, encore appelé Les Voyages du capitaine Cook ou Paysages indiens est un papier peint panoramique […]. Jean-Gabriel Charvet s'inspire en grande partie du troisième voyage de Cook pour la réalisation de l'esquisse, puis par la suite du papier peint. Il est fort probable qu'il se soit même directement inspiré de certains dessins de John Webber, dessinateur lors du 3e voyage de James Cook. https://fr.wikipedia.org/wiki/Les_Sauvages_de_la_mer_du_Pacifique
In revolutionary year XIII (September 1804 – September 1805) the French entrepreneur Joseph Dufour produced a concept in wallpaper design that secured the new direction of decorative interiors. It was the largest panoramic wallpaper of its time, depicting a fantasy of coloured landscapes featuring the people, events and places encountered during the exploration of the Pacific. […] In this were expressed some of the ideals of the Enlightenment such as human equality, overcoming ignorance through popular education, and scientific progress. These sentiments reflected the belief that progress could be achieved through knowledge of the natural world, which could be manipulated by technology to enhance the human sciences and ultimately produce tolerant and secular societies. […] The complete panorama consists of 20 individually numbered drops or le’s […]. Extending approximately 2.5 metres high and 10.5 metres long, it was the largest work of its type at this time. https://nga.gov.au/conservation/Paper/LesSauv.cfm
Les Sauvages de la mer du Pacifique, encore appelé Les Voyages du capitaine Cook ou Paysages indiens est un papier peint panoramique […]. Jean-Gabriel Charvet s'inspire en grande partie du troisième voyage de Cook pour la réalisation de l'esquisse, puis par la suite du papier peint. Il est fort probable qu'il se soit même directement inspiré de certains dessins de John Webber, dessinateur lors du 3e voyage de James Cook. https://fr.wikipedia.org/wiki/Les_Sauvages_de_la_mer_du_Pacifique
In revolutionary year XIII (September 1804 – September 1805) the French entrepreneur Joseph Dufour produced a concept in wallpaper design that secured the new direction of decorative interiors. It was the largest panoramic wallpaper of its time, depicting a fantasy of coloured landscapes featuring the people, events and places encountered during the exploration of the Pacific. […] In this were expressed some of the ideals of the Enlightenment such as human equality, overcoming ignorance through popular education, and scientific progress. These sentiments reflected the belief that progress could be achieved through knowledge of the natural world, which could be manipulated by technology to enhance the human sciences and ultimately produce tolerant and secular societies. […] The complete panorama consists of 20 individually numbered drops or le’s […]. Extending approximately 2.5 metres high and 10.5 metres long, it was the largest work of its type at this time. https://nga.gov.au/conservation/Paper/LesSauv.cfm
Lisa Reihana, In
Pursuit of Venus [infected]
In Pursuit of Venus
[infected]
is a filmic re-imagining of the French scenic wallpaper Les Sauvages De La
Mer Pacifique, 1804–05. Two hundred years later, Lisa Reihana employs
21st century digital technologies to animate the wallpaper scenes. Enlivened
with the sights and sounds of performance, cultural ceremonies and encounters,
an expansive video panorama is populated by a myriad of people drawn from
across New Zealand and the Pacific as well as European shores. Challenging
historical and contemporary stereotypes, the work returns the gaze of
imperialism with a speculative twist that disrupts notions of beauty,
authenticity, history and myth. As a multi-channel projection, the work creates
an immersive cinematic experience. http://www.e-flux.com/announcements/11727/lisa-reihanaemissaries/
3 – Outros
espaços
Gallerie dell’Accademia | Philip Guston and the
Poets
In a spirit reflective of
how Guston himself cultivated the sources of his inspiration, ‘Philip Guston
and The Poets’ considers the ideas and writings of major 20th century poets as
catalysts for his enigmatic pictures and visions. Featuring works that span a
fifty-year period in Guston’s artistic career, the exhibition includes 50 major
paintings and 25 prominent drawings dating from 1930 until his death in 1980.
The exhibition draws parallels between the essential humanist themes reflected
in these works, and the language of five poets: D. H. Lawrence (British, 1885 –
1930), W. B. Yeats (Irish, 1865 – 1939), Wallace Stevens (American, 1879 –
1955), Eugenio Montale (Italian, 1896 – 1981) and T. S. Eliot (American-born,
British, 1888 – 1965). http://www.gallerieaccademia.org/exhibitions-and-events/philip-guston-and-the-poets/?lang=en
In the last years of Philip Guston’s life, the painter found comfort in the melancholia of T.S. Eliot, especially his “Four Quartets.” At least that is how his daughter, Musa Mayer, remembers it. “I think he connected to the way Eliot was able to find meaning in the darkness,” Mayer says. “Of course, throughout his life, he always felt a certain allegiance to poetry. I think it’s because of the metaphysical aspect of poetry, the way in which symbols and imagery are used to suggest something larger, something deeper.” […] “The Gallerie dell’Accademia was one of his favorite places to see art in the world,” Mayer says. “He would be so thrilled and honored to have his show here. He was deeply touched by Italian painters and the language they used.” https://www.nytimes.com/2017/05/16/t-magazine/art/philip-guston-venice.html?mcubz=0
In the last years of Philip Guston’s life, the painter found comfort in the melancholia of T.S. Eliot, especially his “Four Quartets.” At least that is how his daughter, Musa Mayer, remembers it. “I think he connected to the way Eliot was able to find meaning in the darkness,” Mayer says. “Of course, throughout his life, he always felt a certain allegiance to poetry. I think it’s because of the metaphysical aspect of poetry, the way in which symbols and imagery are used to suggest something larger, something deeper.” […] “The Gallerie dell’Accademia was one of his favorite places to see art in the world,” Mayer says. “He would be so thrilled and honored to have his show here. He was deeply touched by Italian painters and the language they used.” https://www.nytimes.com/2017/05/16/t-magazine/art/philip-guston-venice.html?mcubz=0
Philip Guston: A Life Lived, 1980, Michael Blackwood
Productions
Palazzo Grassi / Punta della Dogana | Damien Hirst – Treasures
from the Wreck of the Unbelievable
Like previous Hirst
extravaganzas, this project is being rolled out with the same hypervigilant
level of control and fanfare. And hovering over the project is whether — given
the precipitous drop in his prices after his all-Hirst Sotheby’s auction in
2008 — the celebrity artist can have another chapter. [...] will collectors
give him another chance? (By Robin Pogrebin, Feb. 21, 2017)
https://www.nytimes.com/2017/02/21/arts/design/damien-hirst-alienated-collectors-will-his-new-work-win-them-back.html
Treasures from the Wreck of the Unbelievable – Damien Hirst’s decade-in-the-making Venetian extravaganza – is as unbelievable as his title implies. I have never seen a bigger show in my life. The artist has filled not one but two museums with hundreds of objects in marble, gold and bronze, crystal, jade and malachite – heroes, gods and leviathans all supposedly lost in a legendary shipwreck 2,000 years ago and now raised from the Indian Ocean at Hirst’s personal expense. It is by turns marvellous and beautiful, prodigious, comic and monstrous. (By Laura Cumming, 16 April 2017)
https://www.theguardian.com/artanddesign/2017/apr/16/damien-hirst-treasures-from-the-wreck-of-the-unbelievable-review-venice
The British art superstar made his big come-back in Venice on April 9th. Invited by the Pinault Collection, Damien Hirst takes over 4,500m2 of the Palazzo Grassi and Punta della Dogana. [...] In 2008 off the coast of East Africa a team discovered a collection of precious artifacts that had been buried under water for two thousand years. This exhibition assembles the hundred found objects: giant sculptures encrusted with coral, Greek statues, a bronze sphinx, Buddha, drawings, precious pieces, golden jewels… Obviously none of it is real. All these enormous creations, just like the project itself, have been produced in the artist’s studio. Among the pieces brought back from the depths (and there are videos to prove it!) is a statue of Mickey Mouse and a Transformer. [... ] So we walk through this exhibition passing by a Buddha, a sculpture worthy of Murakami, a pseudo-Koons with antique parchments and unicorn figures that recall the work of Tracey Emins. It’s like an Instagram account. Everything looks like everything else... (By Thibaut Wychowanok, April 2017)
http://www.numero.com/en/art/damien-hirst-pinault-collection-venice-2017-palazzo-grassi-punta-della-dogana
It may be hard to believe, […] but the best works here are actually light boxes of photographs showing scuba divers pretending to rescue sculptures from the deep. Immaculately shot, they are the only vestiges of the mystery and glamor that Hirst no doubt hoped his project would evoke. (By Andrew Russeth, 05/08/2017)
http://www.artnews.com/2017/05/08/a-disastrous-damien-hirst-show-in-venice/
https://www.nytimes.com/2017/02/21/arts/design/damien-hirst-alienated-collectors-will-his-new-work-win-them-back.html
Treasures from the Wreck of the Unbelievable – Damien Hirst’s decade-in-the-making Venetian extravaganza – is as unbelievable as his title implies. I have never seen a bigger show in my life. The artist has filled not one but two museums with hundreds of objects in marble, gold and bronze, crystal, jade and malachite – heroes, gods and leviathans all supposedly lost in a legendary shipwreck 2,000 years ago and now raised from the Indian Ocean at Hirst’s personal expense. It is by turns marvellous and beautiful, prodigious, comic and monstrous. (By Laura Cumming, 16 April 2017)
https://www.theguardian.com/artanddesign/2017/apr/16/damien-hirst-treasures-from-the-wreck-of-the-unbelievable-review-venice
The British art superstar made his big come-back in Venice on April 9th. Invited by the Pinault Collection, Damien Hirst takes over 4,500m2 of the Palazzo Grassi and Punta della Dogana. [...] In 2008 off the coast of East Africa a team discovered a collection of precious artifacts that had been buried under water for two thousand years. This exhibition assembles the hundred found objects: giant sculptures encrusted with coral, Greek statues, a bronze sphinx, Buddha, drawings, precious pieces, golden jewels… Obviously none of it is real. All these enormous creations, just like the project itself, have been produced in the artist’s studio. Among the pieces brought back from the depths (and there are videos to prove it!) is a statue of Mickey Mouse and a Transformer. [... ] So we walk through this exhibition passing by a Buddha, a sculpture worthy of Murakami, a pseudo-Koons with antique parchments and unicorn figures that recall the work of Tracey Emins. It’s like an Instagram account. Everything looks like everything else... (By Thibaut Wychowanok, April 2017)
http://www.numero.com/en/art/damien-hirst-pinault-collection-venice-2017-palazzo-grassi-punta-della-dogana
It may be hard to believe, […] but the best works here are actually light boxes of photographs showing scuba divers pretending to rescue sculptures from the deep. Immaculately shot, they are the only vestiges of the mystery and glamor that Hirst no doubt hoped his project would evoke. (By Andrew Russeth, 05/08/2017)
http://www.artnews.com/2017/05/08/a-disastrous-damien-hirst-show-in-venice/
Talvez seja útil relembrar o texto "The Opera
is Over", de Donald Kuspit, publicado em 1988, precisamente no ano da
exposição "Freeze", que marcou a emergência de Damien Hirst e da sua
geração (Young British Artists), onde este fazia a apologia de uma arte
diferente do modo "operático" de muita da pintura da década de 1980. Passo a citar: “We are badly
in need of a restoration of artistic balance by way of a chamber music of
silent communication, full of secret currents. Such an art is altogether
incompatible with operatic sensibility. Only a visual chamber music can restore
integrity to art, leaving the grandiosity of the eighties behind to create a
new preciousness – a new sense of intimacy”.
Fondazione Prada | Alexander Kluge, Thomas Demand, Anna Viebrock
(curator: Udo Kittelmann) – The
Boat is Leaking. The Captain Lied
“The Boat is Leaking. The
Captain Lied.” is a transmedia exhibition project, the result of an ongoing,
in-depth exchange between writer and filmmaker Alexander Kluge, artist Thomas
Demand, stage and costume designer Anna Viebrock and curator Udo Kittelmann.
The exhibition unfolds on three storeys of the 18th century palazzo – the
ground floor and the two main ones – and include photographic and film works,
as well as spatial settings and loans from private and public collections.
http://www.fondazioneprada.org/project/the-boat-is-leaking-the-captain-lied/?lang=en
The design of the show is provocative, blurring distinctions between discrete works and a single massive installation piece. Viebrock’s stage sets from previous theatrical productions have been appropriated throughout, providing a physical frame of contingency for the other artists’ work. https://www.artforum.com/picks/id=70098
The exhibition – which purportedly takes a point of departure from a sequence of paintings by Angelo Morbelli – examines politics in an era where statecraft resembles stagecraft, and where the proverbial captain has fallen asleep at the helm. https://frieze.com/article/57th-venice-biennale-site-pavilions-and-collateral-shows
I don’t think that there is just one captain; we might all be captains, and the shipwreck metaphor as a conception of the world is a cultural trope. The works of the protagonists of this project [...] often deal with things and events that evoke how the world is constituted…in their very different ways, of course.
[...] All three artists weave a richly depicted panorama in excerpts and scenes that describe a world caught up between storms and calm, threats and hopes, standstill and transitions, and truths and falsehoods. Maritime motifs, with their exuberant metaphorical fecundity, remained our intellectual and structural anchor throughout the process of our project. Thus was born some time ago the title of our exhibition, The Boat is Leaking. The Captain Lied.
[...] In addition to taking into account the intrinsic value of the individual artistic contributions by Thomas Demand, Alexander Kluge, and Anna Viebrock, we also positioned the objects (photography, film, and architecture) in relation to each other in such a way that each could be reconstructed and interpreted as both an object in its own right, outside the original context, as well as an integral part of its intended environment, i.e. the exhibition.
[...] Everything is acting or reacting more or less with everything else. In the process, the formal and thematic references do not at any time constitute a finished system, but rather draft an open system of infinite cross-references.
Udo Kittelmann http://moussemagazine.it/boat-leaking-captain-lied-fondazione-prada-venice-2017/
The design of the show is provocative, blurring distinctions between discrete works and a single massive installation piece. Viebrock’s stage sets from previous theatrical productions have been appropriated throughout, providing a physical frame of contingency for the other artists’ work. https://www.artforum.com/picks/id=70098
The exhibition – which purportedly takes a point of departure from a sequence of paintings by Angelo Morbelli – examines politics in an era where statecraft resembles stagecraft, and where the proverbial captain has fallen asleep at the helm. https://frieze.com/article/57th-venice-biennale-site-pavilions-and-collateral-shows
I don’t think that there is just one captain; we might all be captains, and the shipwreck metaphor as a conception of the world is a cultural trope. The works of the protagonists of this project [...] often deal with things and events that evoke how the world is constituted…in their very different ways, of course.
[...] All three artists weave a richly depicted panorama in excerpts and scenes that describe a world caught up between storms and calm, threats and hopes, standstill and transitions, and truths and falsehoods. Maritime motifs, with their exuberant metaphorical fecundity, remained our intellectual and structural anchor throughout the process of our project. Thus was born some time ago the title of our exhibition, The Boat is Leaking. The Captain Lied.
[...] In addition to taking into account the intrinsic value of the individual artistic contributions by Thomas Demand, Alexander Kluge, and Anna Viebrock, we also positioned the objects (photography, film, and architecture) in relation to each other in such a way that each could be reconstructed and interpreted as both an object in its own right, outside the original context, as well as an integral part of its intended environment, i.e. the exhibition.
[...] Everything is acting or reacting more or less with everything else. In the process, the formal and thematic references do not at any time constitute a finished system, but rather draft an open system of infinite cross-references.
Udo Kittelmann http://moussemagazine.it/boat-leaking-captain-lied-fondazione-prada-venice-2017/
Portugal
(Villa Hériot , Giudecca) | José Pedro Croft (comissário: João Pinharanda) – Medida
incerta
Six sculptures will be
installed in the gardens and an exhibition will be presented inside the Villa
Hériot to make up a project that inscribes monumental pieces on the landscape
[…]. The steel structures will support monumental, transparent, translucent
glass and mirrored window panes, which will both frame reality, and reflect and
transform it.
Medida Incerta (Uncertain Measure) is a proposal for the deconstruction of the plane and orthogonality, a game between the objectivity of space and its illusion, challenging stability and balance. With each frame measuring approximately eight meters in height by three metres in width, each plane will present unique dimensions, angles and frames.
[…] Villa Hériot is an architectural complex dating from 1929, situated on the island of Giudecca, consisting of two main houses surrounded by gardens facing the lagoon. This framework stimulates a multiplication of the real, capturing fragments both distant and close to architecture and organic, atmospheric and aquatic landscapes. http://www.e-flux.com/announcements/102900/jos-pedro-croftmedida-incerta/
As esculturas simulam […] a instabilidade da sua própria estrutura, provocando “desacertos e desvios, vertigens e arritmias, alterações de cor, aproximações e afastamentos de planos e de reflexos”. “Isto tem tudo que ver com o maneirismo e não com o barroco, apesar da presença dos espelhos”, explica [João] Pinharanda ao PÚBLICO perante as obras que vamos descobrindo no jardim desta casa de Verão […]. “Não nos dão um ponto de estabilidade. E isso tem tudo que ver com as questões contemporâneas, porque a melhor maneira de pensar toda a falta de estruturação, de cânone, é entendermos que o mundo está permanentemente em desequilíbrio”.
“Foi um trabalho complexo, ambicioso e tão difícil como estimulante, começado com um projeto no Campo di Marte, a desenvolver em diálogo com a arquitetura de Álvaro Siza […] ”, lembrou Croft […].
[…] para o novo cenário, de certa forma paradisíaco, do jardim da Villa Hériot, “adaptaram-se as esculturas a condições novas e bem diversas. Com novos cálculos de engenharia, elas transportaram, no entanto, a memória desse primeiro lugar, ganhando outras possibilidades.” Isabel Salema https://www.publico.pt/2017/05/10/culturaipsilon/noticia/as-esculturas-de-jose-pedro-croft-sao-capazes-de-pintar-veneza-1771695
Medida Incerta (Uncertain Measure) is a proposal for the deconstruction of the plane and orthogonality, a game between the objectivity of space and its illusion, challenging stability and balance. With each frame measuring approximately eight meters in height by three metres in width, each plane will present unique dimensions, angles and frames.
[…] Villa Hériot is an architectural complex dating from 1929, situated on the island of Giudecca, consisting of two main houses surrounded by gardens facing the lagoon. This framework stimulates a multiplication of the real, capturing fragments both distant and close to architecture and organic, atmospheric and aquatic landscapes. http://www.e-flux.com/announcements/102900/jos-pedro-croftmedida-incerta/
As esculturas simulam […] a instabilidade da sua própria estrutura, provocando “desacertos e desvios, vertigens e arritmias, alterações de cor, aproximações e afastamentos de planos e de reflexos”. “Isto tem tudo que ver com o maneirismo e não com o barroco, apesar da presença dos espelhos”, explica [João] Pinharanda ao PÚBLICO perante as obras que vamos descobrindo no jardim desta casa de Verão […]. “Não nos dão um ponto de estabilidade. E isso tem tudo que ver com as questões contemporâneas, porque a melhor maneira de pensar toda a falta de estruturação, de cânone, é entendermos que o mundo está permanentemente em desequilíbrio”.
“Foi um trabalho complexo, ambicioso e tão difícil como estimulante, começado com um projeto no Campo di Marte, a desenvolver em diálogo com a arquitetura de Álvaro Siza […] ”, lembrou Croft […].
[…] para o novo cenário, de certa forma paradisíaco, do jardim da Villa Hériot, “adaptaram-se as esculturas a condições novas e bem diversas. Com novos cálculos de engenharia, elas transportaram, no entanto, a memória desse primeiro lugar, ganhando outras possibilidades.” Isabel Salema https://www.publico.pt/2017/05/10/culturaipsilon/noticia/as-esculturas-de-jose-pedro-croft-sao-capazes-de-pintar-veneza-1771695
4 –
Epílogo
Fondazione Musei Civici di Venezia | David Hockney, 82 Portraits and 1 Still-life
From pastel drawings to oil
paintings, photo collages with different points of view to laser printers and
even drawings on iPad, Hockney has unceasingly portrayed the life around him,
distilling the essence of individuals, capturing the constant movement of water
and revealing the spectacular scenery. Painted between 2013 and 2016, and
considered by the artist as a single corpus of works, the eighty-two portraits
displayed at Ca’ Pesaro offer a vision of Hockney’s life in Los Angeles, his
relationships with the international art world, and specifically with
galleries, critics, curators, artists. These pictures portray famous faces,
such as those of John Baldessari, Larry Gagosian and Stephanie Barron, but also
family and others who became part of his daily life. Hockney paints each
portrait in the same way, taking three days for each picture or, as the artist
puts it, “twenty hours of exposure”, during which the subject is accommodated
in a chair on a pedestal with the same neutral background as backdrop. The
eighty-two canvases, all of the same format, bring together a taxonomy of types
and characters, […]. Within the seemingly limited format of the figure shown
against a two-toned backdrop, an infinite range of human temperaments is
fragmented and expressed […].
http://capesaro.visitmuve.it/en/mostre-en/mostre-in-corso-en/david-hockney-exhibition/2017/03/18611/82-portraits-and-1-still-life-hockney/
http://capesaro.visitmuve.it/en/mostre-en/mostre-in-corso-en/david-hockney-exhibition/2017/03/18611/82-portraits-and-1-still-life-hockney/
Taiwan (Palazzo
delle Prigioni) | Tehching Hsieh, Doing Time
Tehching Hsieh – born in
1950 in the Nan-Chou, Taiwan, lives and works in Brooklyn, New York
Tehching Hsieh, One Year
Performance 1980–1981 ("Time Clock
Piece")
Tehching Hsieh, One
Year Performance 1981–1982 ("Outdoor
Piece")
In Manhattan’s downtown art
scene in the late 1970s and early '80s, the young Taiwanese artist Tehching
Hsieh made an exceptional series of artworks. Working outside the art world’s
sanctioned spaces and economies Hsieh embarked on five separate yearlong
performances. In each, he made a strict rule that governed his behavior for the
entire year. The performances were unprecedented in terms of their use of
physical difficulty over extreme durations and in their absolute conception of
art as a living process.
Doing Time exhibits two of Hsieh’s One Year Performances together for the first time, assembling his accumulated records and artifacts into detailed installations. In One Year Performance 1980-1981 ("Time Clock Piece"), Hsieh subjected himself to the dizzying discipline of clocking on to a worker’s time clock on the hour, every hour, for a whole year. In One Year Performance 1981-1982 ("Outdoor Piece"), Hsieh inhabited a further sustained deprivation: he remained outside for a year without taking any shelter. Together these monumental performances of subjection mount an intense and affective discourse on human existence, its relation to systems of control, to time and to nature. Hsieh’s fugitive presence—traced throughout—speaks both of the abjection and ingenuity found in survival by those who have nothing. During the course of his One Year Performances Hsieh was an illegal immigrant.
http://www.e-flux.com/announcements/54717/tehching-hsiehdoing-time/
A letter, dated 26 September 1981, contains a statement in which Hsieh writes: ‘I shall stay OUTDOORS for one year, and never go inside. I shall not go in to a building, subway, train, car, airplane, ship, cave, tent.’ In one room, we see a slide presentation of his performance in which he clocked in on the hour, every hour, and photographed himself doing so; and numerous vertical strips of photographic prints of this performance cover the walls like so many prison bars. These works – including the clothing Hsieh wore, and some new works in which he reflects on his past performances – are extremely acute, as they prefigured a 24-hour working economy and our contemporary entrapment with ‘clocking in’ and availability, as well as a gradual effacement of nearly any private sphere, as lives, images, and experiences are externalized in real time. Documentation from Hsieh’s Outdoor Piece (1981-82), in which he existed outdoors in New York’s TriBeCa for an entire year, are genuinely moving: we see maps of Manhattan describing where he went, when and how he spent his time. In the video documentation of this action presented on a monitor, we see Hsieh accosted by police and struggling to resist them taking him inside the police station. The ability of the works to speak to themes as broad and prescient as shelter, the culture of working and externalization, and the effacement of any public space is, for me, evidence of art’s versatility and contextual agility.
Pablo Larios https://frieze.com/article/57th-venice-biennale-site-pavilions-and-collateral-shows
Doing Time exhibits two of Hsieh’s One Year Performances together for the first time, assembling his accumulated records and artifacts into detailed installations. In One Year Performance 1980-1981 ("Time Clock Piece"), Hsieh subjected himself to the dizzying discipline of clocking on to a worker’s time clock on the hour, every hour, for a whole year. In One Year Performance 1981-1982 ("Outdoor Piece"), Hsieh inhabited a further sustained deprivation: he remained outside for a year without taking any shelter. Together these monumental performances of subjection mount an intense and affective discourse on human existence, its relation to systems of control, to time and to nature. Hsieh’s fugitive presence—traced throughout—speaks both of the abjection and ingenuity found in survival by those who have nothing. During the course of his One Year Performances Hsieh was an illegal immigrant.
http://www.e-flux.com/announcements/54717/tehching-hsiehdoing-time/
A letter, dated 26 September 1981, contains a statement in which Hsieh writes: ‘I shall stay OUTDOORS for one year, and never go inside. I shall not go in to a building, subway, train, car, airplane, ship, cave, tent.’ In one room, we see a slide presentation of his performance in which he clocked in on the hour, every hour, and photographed himself doing so; and numerous vertical strips of photographic prints of this performance cover the walls like so many prison bars. These works – including the clothing Hsieh wore, and some new works in which he reflects on his past performances – are extremely acute, as they prefigured a 24-hour working economy and our contemporary entrapment with ‘clocking in’ and availability, as well as a gradual effacement of nearly any private sphere, as lives, images, and experiences are externalized in real time. Documentation from Hsieh’s Outdoor Piece (1981-82), in which he existed outdoors in New York’s TriBeCa for an entire year, are genuinely moving: we see maps of Manhattan describing where he went, when and how he spent his time. In the video documentation of this action presented on a monitor, we see Hsieh accosted by police and struggling to resist them taking him inside the police station. The ability of the works to speak to themes as broad and prescient as shelter, the culture of working and externalization, and the effacement of any public space is, for me, evidence of art’s versatility and contextual agility.
Pablo Larios https://frieze.com/article/57th-venice-biennale-site-pavilions-and-collateral-shows
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