VENICE —
On my last afternoon in Venice, I decided to make a quick detour on my way back to the hotel to pick up my luggage.
Without a little discipline in the Biennale, the city can be an afterthought, a place to have dinner and a quick espresso while running between the affiliate exhibition and Giardini, the park where the main pavilion is located.
So I want to go to the Marco square for the last time, just to immerse the tourists and the others, because no matter how many times you look at it, the square is still one of the most beautiful people
Got a place on this planet.
There, just before the governor\'s house, there is also a logo with a unique red box that marks the venue of the Biennale, this time a side event in Taiwan, he was held in an old prison upstairs.
The project by artist Shuli Chaang called \"3x3 x6\" is one of the hot works of the Biennale and is a mix and match
The rise of video and narrative, the imitation of pornographic works and
Use the story of the famous sex traitor to challenge the technical devices of the contemporary use of state power surveillance and imprisonment.
Casanova X, fu ke X, Sade X (
Played by a woman who uses sex toys on the camera)
It\'s one of those characters in a lively and interesting video (
Classic Photo of Robert Maplethorpe in a polyester suit (comic appearance).
According to a brochure, the goal is to \"create a real
Time interface
\"Once again, like the statements of many artists, it is better to ignore the language and try to ignore the unedited feeling of this device, like many national pavilions, which need to be trimmed, stronger design hand, a little clearer.
The fun of this vigorously promoted work (
When you arrive at Venice airport there is an advertisement for it)
Has a lot to do with its location, right in the center of the tour of Venice, so close, a sign at the door tells those who want to visit the governor\'s palace prison, they are in the wrong place.
Over the past few days, some of Venice\'s wonderful moments have moved away from the two main sites of the Biennale, exploring the exhibitions that blend into the old town, in the historic palazzos and museums, still retaining the past features and splendor of Venice.
If visitors see San for the first time, their mouths will be dumbfounded (
Happen to everyone)
, When I entered a room called Tribuna at Grimani Palace, so was my room, a recently restored 16 thcentury palace.
The museum re-assembled in court the collection of historical relics originally obtained by Giovanni Grimani, a descendant of the elite family of Venice, who held an important position in the church.
The statue fills every niche, groaning with statues and masks, and almost every horizontal ledge and prowl designed by gorgeous classical walls is filled with some remains of the Roman or Greek era.
The bust on a wall of Hadrian looks like his boyfriend anttinous on the other wall, second-
Hanging from the ceiling is century Ganymede.
I don\'t know if Giovanni Grimani is as loud, aggressive and vulgar as some of the ultra-creative collectors with ridiculous glasses, who struggled in the crowd on my last day.
But when you feel the continuity of the history of the Art Society, the court offers a rare moment, which is Grimani, and I want a room full of everything he can get, and there has always been tension in the initial greed, between the desire to know and understand and the desire to hold and have.
The Grimani Palace upstairs is a valuable painting exhibition by Helen frankler, a horizontal oil painting of her entire career, where people also feel continuity.
The color of the dyed painting in Frankfurt, the occasional thick paint application, and reference to the landscape and other painter\'s works (
Not only are other abstract expressives, but also Cezanne and Turner)
Make her a smart and subtle artist, and the paintings seem to be smarter in the context of the Grigny Palace.
For exhibitions like this, I have done a few quick views.
Investigation of AfriCOBRA (
African Commune of related artists)
African-American artists from Chicago formed a black power collective in the 1960 s, held in the Gothic palace near the Rialto Bridge, and was promoted as the first major exhibition of the work in Europe.
Venice is a city with a long history and rich in color art and mosaic art.
The color of the Ade obra painter is significantly different from the surface of the broken, restless gesture, which is still a powerful resistance in the context of American aesthetics, but it is also related to the long history of human happiness in the energetic eyes.
Capture the surface.
More importantly, the use of text by these artists, and the painful but powerful feeling that our identity is woven from words --
What we choose to use and what others use to define us-
Given what is happening now in Arsenale and Giardini, it feels very prescient to make these pieces.
In the Biennale, history is not a single thing, nor a concept, but it is felt in countless ways.
In the Dutch pavilion, the modernist history of the Mondrian and de stile movements is considered a legacy of nostalgia that needs to be cleaned up, compressed and cleverly combined.
In the Australian Pavilion, a complex and fascinating film shot by Angelica Mesiti dramatizes the disintegration of Old Order, power structure and aesthetic ideology, dissolved in the liquid of rhythm and dance
Maybe in imagination)
Utopia of communication
In the Swiss Pavilion, artist Pauline bowdeland lennath Lorenzo expressed the idea of \"going backwards\" in dramatic dance, both of which were going backwards to the state of barbarism, this, and the possibility of liberating the backward movement, may be some kind of revolutionary \"reset\" in our relationship with each other and the world \".
The worst works of art at the Biennale were created by artists who want to belong here transparently --and-
Now, in the Biennale, the art of the particular social class gathered here is immediately concerned.
The best art is always different.
The Ghanaian Pavilion is the overkill of smart video, painting, art and design and is the best, and is even more powerful for the sense of tranquility that is prevalent in the design of architect David Ajaye, albeit crowded.
In the Brazilian pavilion, the dance films of Barbara Wagner and Benjamin de Boka show us the attractive young people, gender mobility, homosexuality and racial diversity that are different from contemporary Brazil, they have just elected a homophobic populist who likes a rough social divide. The U. S.
The pavilion I will review separately shows the work of sculptor Martin Puryear, who has worked in his own space for decades, has worked productively and is very upright.
What do I remember after watching art for a few days?
Things with me, things that I can\'t stop thinking about, may never be art.
In the touching exhibition of Arshile Gorky\'s works at the Museum of Modern Art in the classic Venetian palace, Ca\'Pesaro, there is a wooden rocking horse he made for his daughter.
Gorky, born in Armenia, fled the genocide in Turkey, lost his mother in hunger, and immigrated to the United States in 1920.
He changed his name, built an emotional wall around the trauma he had experienced, absorbed the history of modern painting like a sponge, and became one of the greatest artists in the country.
He hanged himself in 1948.
I don\'t know why I like the rocking horse so much. ———
Venice, May 9, 2019-
The international art exhibition at the Venice Biennale may not have an overall theme or a management philosophy, but there is an amazing consistency between many national pavilions, with accompanying events and independent exhibitions.
The status of refugees, the plight of stateless persons and the situation of indigenous peoples were the main themes.
Artists often support the poor, the savage, and the marginal, but here it has a special relevance as the structure of the Biennale is still largely based on the national pavilion, many of them were built when Europe became the dominant colonial country in the world.
One of the largest, most notable and most controversial exhibitions is the metal hull of a fishing boat that left Tripoli, Libya, in April 2015.
There were more than 800 migrants on board who wanted a better life in Europe, when the ship was accidentally hit by a Portuguese ship trying to provide assistance.
These immigrants were actually imprisoned on board, so when the ship sank, everyone but 28 people was on board, the worst maritime disaster in Europe\'s history.
The ship is now on display in Arsenale, known by Swiss Icelandic artist Christoph Büchel as \"Barca Nostra\" or \"our ship \".
Büchel managed to bring the salvaged wreckage to Venice as an art project to commemorate the deceased, sparking a backlash
Immigrant political power, sparking thinking in the Biennale audience, they can enjoy a snack in front of a rusty cafeout vessel.
I was frightened when I finally got to the waterfront where the boats were displayed.
It sits in a heavy metal cradle on wheels, a short and short boat painted red and blue, and it\'s hard to imagine hundreds of people (
Some estimates say up to 1,100)
It can be installed inside.
The ship has been parked on both sides and has rusted.
There are several people taking pictures, but most people just pass.
Maybe after a bit of a bad name in the media, this is the news of yesterday, and the art world works like this.
In the world defined by events such as the Venice Biennale, such a gesture can be both a sincere commemoration and a profound work of art, which is self-evident.
But here, at the center of a complex intellectual game, which is also a huge industry and a huge investment market, I have always wanted to distinguish between commemorative and artistic functions.
A few days ago, the meaning of the ship was linked to the life lost inside.
Now, the significance of the ship is also linked to Marcel Duchamp, who took a potty in 1917 and said it was art.
I admire Duchamp\'s intellectual insight and cheeky, but I feel that the lives of those who die here need to be freed from this spectacular carnival of visual consumption.
I tried to do this: when the light rain fell, I put down my umbrella and looked up under the wooden deck, imagining it was the last thing I saw.
Other critics believe that many of the recurring themes of the Biennale have been greatly sublimated in Barca Nostra, not just refugees, but it is a ship, venice, built on islands, is becoming more worrying as rising inequality and nationalism have exacerbated the global social temperature and the world is warming.
Water is definitely a fixture for many artists.
Artist Joan Jonas shows an old one in an abandoned old church --
School performance-
The night of art, in which she swims in a thin red dress, underwater photography is fascinating.
She drew a picture of the fish on the stage, dipped it in red paint with a long brush, and when a shellfish was out of date upstream of the screen, she hugged it.
In the Emirates pavilion, artist and filmmaker Nujoom Al-
Ghanem created two films with the same soundtrack.
On a ship, a woman floating in a dreamy space carrying a shabby suitcase.
Artist Dan Mihar Tiannu created a large, shallow and dark pool on the floor of the Romanian Pavilion.
A young woman asked the guard if it was OK to throw a coin, he said.
I looked at her and waited to see if she had thrown a coin, but she left without a deposit.
At the Luxembourg Pavilion, there is a striking device designed by Marco Godinho: on two video screens, we see a beach, turning over the page of The Notebook, one of them was repeatedly washed by the waves.
Above the small theater where the video was played, a sloping platform was full of old notebooks, presumably wiped clean by the power of water.
It is about memory, about the call of the sea, about the ancient adventure of exploring and crossing the waters.
But the mood is not good.
It can be seen from the catalogue: \"Under the romantic appearance of an epic space, the imagination is lit up to hide a dark geopolitical dimension, during which conflicts, large-scale immigration and economic imbalances occur from time to time.
\"The scale and quality of the National Pavilion are very large.
The Kosovo Pavilion is a simple, direct and passionate space with video screens showing interviews with young people who share the painful memories of being a child during 19981999 war in Kosovo
Poland chose a single, strong vision
\"Flight\" by Roman Steinke\"a full-
Its seat stands out and a bunch of hair-like wires appear on the body.
On 2010, a Polish military plane crashed, killing everyone on board, including the president.
This loss is a national trauma that has cast a shadow over the country that is now in an authoritarian state.
There are also some happy places like Iceland.
Located on the island of Giudecca, you need to take the city\'s steamboat (
Floating bus service)
Iceland Pavilion is a small, gorgeous, colorful cave with hair.
I have 10 minutes and I appreciate the color control of this space which should be half tone.
However, I do not feel that I have entered the \"works as Homo sapiens\" and have appeared \"transformed into Homo sapiens\", which is the title of the work.
But I don\'t regret the short trip.
On the boat back from Giudecca, I was surrounded by water, and I tried to make a mental list of all the artists who are critical to water.
There\'s too much to mention here.
But the last one: at the International Exhibition, the German artist Hito Steyerl created a room for a video monitor, accessed through a raised platform, just as it was released during the rising waters and street floods in Venice, this is a kind of periodic hate and slow --
Civil Movement disaster known as \"acqua alta.
In Steyerl\'s video, urban spaces seem to flow, liquidity is a popular concept here, an ideal state of spiritual flow that seems to allow the mind to understand the fusion of opposites, or discord between big contradictions or opposing ideas.
This is a hypnotic experience that perfectly captures some of the important things of the Biennale and Venice, they somehow dissolve time with us in a mess that is neither happy nor sad, but happiness and melancholy are equal. ———
Venice, May 8, 2019-
In less than 24 hours, these things happened in Venice: The cruise ship deldeliziosa, which runs nearly three football fields, passed through the entrance to the Grand Canal, dwarf the Baroque church of St. Maria de la.
A woman in the Castello community knocked on the door of an unmarked building and shouted in Italian, almost certainly about love.
Strangely, a faint cloud floated at the top of the central pavilion of the Venice Biennale, a white building bare
Today is the classic porch of the global art center.
Only Cloud is art.
Caused by Lala Favaretto, they are made by water through fine
Mist nozzles, after a brief rotation above the pavilion, stabilize them to allow visitors to slightly damp below.
The ease of the work contrasts with the three black garbage bags, which are placed in the deformed neighborhood, as if forgotten by the cleaning staff or maintenance staff.
They are also art, carved from marble by the ethnic Arabic artist Andreas loriis, who works in Greece.
The Venice Biennale, which was first held in 1895, is called the \"Super Bowl of the art world,\" although it is only said by journalists trying to convince editors to send them here.
Others compare it to the Olympics, an occasional event that attracts international audiences, but the comparison is not appropriate.
Venice Biennale is not popular
Events for the masses, but in an art city that is already more dense than any other city on Earth, the recurrence of elite society.
It\'s also a cultural festival-
A lot of consumers never
Enough, although the Biennale did not officially open until Saturday, a series of mega yachts have been moored at the marina near the entrance to the Biennale venue.
\"Those are small,\" said one who knows the scene well.
On my first day here, it was sunny and cold and the crowd had not arrived yet.
The grounds of the park Giardini, where the main pavilion is located, are still a work area where people carry ladders, deliver goods, and label the walls.
I am trying to understand the structure of this great, clumsy, exciting spectacle.
Paul Barata, president of the Biennale, said that the center of this phenomenon is the international art exhibition, which is a free exhibition.
A wide-ranging investigation, supervised by a curator, is responsible for making some substantive comments on the state of art every two years.
This year\'s curator is Ralph lugev, an American and curator of the Hayward Gallery in London.
The global vision around this field is the pavilions of various countries, in which each country has put forward its own artistic ideas.
Martin Pearl, a respected sculptor, represents the United States.
In a wider circle, there are more than 20 \"side events\" related to the official Biennale, and more unofficial exhibitions and events are pouring into the field, because of course, why not?
The whole world is watching.
\"60% is under our control,\" Baratta said . \".
However, the whole thing feels a bit like freefor-
Everything, even the strictly curated international exhibition, was the first place I had to see art all day long.
Lugev called his big show \"may you live in an interesting time\" a reference to the ancient curse of China, but for those who feel the end of the world, it\'s also a dog whistle --
In terms of environment, politics and spirit.
He divided his large-scale installations into two \"propositions\", one arranged in a long brick building in Arsenale (the centuries-
The old shipyard of the Mediterranean Navy during the glorious period of Venice)
Another one is in the central pavilion.
The same artist contributed to the two buildings.
From the beginning, Rugoff stressed that he did not want to make a statement, nor did he want to prove the hypothesis, nor did he want to imply the commonality of the work.
Standing outside the central pavilion, he looked exhausted and spoke softly, saying, \"I want to highlight these things that art does, not a theme.
Break barriers, cross discipline, confuse categories, question identity, ask questions, and bring up an incredible contradiction of repetition or contradiction --
In short, the usual philosophical and aesthetic dance.
I\'m here because everyone who loves art wants to come here.
But I \'ve also come here because I\'m curious about the language Rugoff speaks, and the way it floats in the brain is a bit like the water vapor cloud of Favaretto.
This is how lugev spoke, and he chose this mysterious but useless title because it is difficult to talk about art in any other way today.
The art world is developing so fast, developing so fast, and constantly integrating into Africa.
The world of art itself creates new forms of art and has such endless arguments with itself that only vague things can be said safely.
Over the next three days, I decided to benefit his language from doubt.
If people are skeptical about the intellectual buildings that support it, his exhibition will become interesting, beautiful, lackluster and engaging. The two-
Part of the structure is to give some artists a comprehensive smart approach.
The artist Teresa Margolles from Mexico contributed one of the most powerful pieces in the play, a work called \"La búsqueda\", using the missing-
Poster of female characters attached to glass wall, making ominous response to low sound
Frequency Sound (
Train close to passing).
Another piece of her work is a coal slag wall covered with barbed wire, which is an old talk.
The two most striking works in the exhibition were created by Chinese artists Sun Yuan and Peng Yu.
A work seen in Guggenheim, New York in 2016, is an avid robotic arm that mopps the ground and spreads blood on transparent acrylic walls.
The other is a huge chair, like the Lincoln throne on the Washington Monument, with a rubber tube attached to it that flies violently every few minutes, made a terrible noise and destroyed everything in the show.
Both seem to make significant, clear and clear statements about how power, how people who commit to clean things often spill more blood, and how violence is a basic but unpredictable tool of power.
But the work that makes a first impression is not always lasting.
In the main exhibition, it takes nearly three hours to pass two \"propositions\" at a time, which does not even allow time to browse longer videos or wait in line for virtual videos
Radio reality
But there is still something lingering here: the magical depth of flickering in Julie Mehretu\'s paintings, shining with golden highlights, turning the ugliness of the world into perfect serenity;
The rooms of Tarek Atoui are filled with strange instruments, creating a mixed sound of Stone Age and electronic sound;
Photos of extremely poor people in Kolkata, India, taken by Suham Gupta, may or may not be exploited;
And Gutierrez\'s self.
Play games with portraits of mannequins, where Latin cross artists play with identity and agency and authorized ideas.
There, I have fallen into a language that I don\'t trust very much because I can\'t find a better way to describe the brilliant off-track and affirmative work of Gutierrez.
I will have to come back to watch the video and sit longer with the work, work slower and talk quieter.
I haven\'t even touched the national pavilion.
My phone says I\'m on the 7 th.
Six miles on the first day.
The Venice Biennale opened on Saturday and will last until November. 24. labiennale. org/en.