Suchergebnisse

This short essay presents the contingent and dramatic genesis of the Anartist (Anarchist Artist). The Anartist's praxis consists of subversive and disruptive interventions in urban space that produce uncoded dissensus in the sensible partitions of the global city. The Anartist's nomadic strategy unfolds in a line of flight between politics and sacred, single and multiple, counter-sorcery and subversion. This uncompromising attitude of proceeding on a nomadic and smooth edge of dangerous "sovereignty", forcefully clashes with the fortress erected by today's art-system - an exclusive, striated space dominated by capitalist logic and the rise of the "creative class". This introduction is necessary to present the non-authorized interventions performed by the Anartist inside and around Venice Biennale 2017. The 3 interventions, especially "Death in Venice: Contemporary Chinese Slavery", are dramatic reports on the transformation of an art institution, once considered the heretical temple of free expression, in a militarized cage of repression of every heterologous and anti-capitalist attitude. ; Peer reviewed

Video Ergo Sum: Venice Biennale A discursive and reflective review of the Venice Biennale and Berlin Art Week, 2019, which draws inferences and conclusions from these events, contextualising them within wider cultural politics.

This review considers the curatorial strategies employed by each pavilion at the Fifty-Fourth Venice Biennale in 2011 and the ways that they represent national perspectives through themed group exhibitions. The works of individual artists are discussed in terms of their contribution to the curators' intentions. The new pavilions representing Zimbabwe, South Africa, and Haiti brought an influx of artistic positions to Venice but also demonstrated anxiety about under-or misrepresenting their art scenes back home.

The interconnectivity of seemingly disconnected situations and stories throughout the 56th International Art Exhibition All the World's Futures (2015), curated by Okwui Enwezor and organized by La Biennale di Venezia, contributes to an exhibition that is simultaneously fragmented, overlapped, and intertwined. The result is a complex structure of stories that exists between past and present, combines shared histories with personal stories, and ranges from the highly visual to the completely invisible. Throughout the exhibition past and present are in constant ebb and flow, as contemporaneity is influenced by history, memory, loss, absence, and displacement. The stories throughout relate to distinctions of power and class hierarchy, social injustice, mass migration, absence, and loss. In the spirit of Edward Said, topics of displacement and exile abound in works that are woven together from the ragged, yet beautiful, threads of daily life as influenced by the long-term effect of history and its implications on what plays out in the present. These narratives are punctuated by an abundance of words, text, and literary references that are written, spoken, sung, recited, projected, sculpted, drawn, whispered, murmured, or simply inferred. Stories conveyed through the universal language of music also resonate throughout All the World's Futures, while the potential of art to change lives and the implementation of art as a tool for social activism provide a beautiful subtext for the entire exhibition. The relationship between history and contemporaneity creates a fascinating subtext that links past, present, and future throughout the exhibition. Ultimately, the stories, poems, narratives, sound, music, and images come together to convey a real sense of all the world's futures.

"This monograph uses the national pavilions of the Venice Biennale as a vehicle to examine the development of international contemporary art trends within the Asia-Pacific region including Australia, Japan and Korea, and sixteen additional national entities who have had less continuous participation in this global art event. Analysing both the spatial and visual representation of contemporary art presented at the Venice Biennale and incorporating the politics behind national selections, this monograph provides insights into a range of important elements of the global art industry. Areas analysed include: national cultural trends and strategies, the inversion of the peripheral to the centre stage of the Biennale, geopolitics in gaining exhibition space at the Venice Biennale, curatorial practices for contemporary art presentation, and artistic trends that seek to deal with major economic, cultural, religious and environmental issues emerging from non-European art centres. This monograph will be of interest to scholars in art history, museum studies, and Asia-Pacific cultural history"--

This thesis examines the 1973 institutional restructuring of the Venice Biennale and the radical programming that resulted from it. For the first time in its history, the Biennale engaged deeply with leftist political discourse, and set forth a series of programs that were fundamentally committed to politics and civic engagement. Titled Liberta al Cite (Freedom for Chile) with the subheading, per una cultura democratica e antifascista (for a democratic and anti-fascist culture), the Biennale's 1974 program demonstrated solidarity in its commemoration of the one-year anniversary of the military coup in Chile, and also signaled the Biennale's moment of transition. Though never recognized as a true Biennale, the events were presented by the organization as a 'prologue' to indicate the intent to continue its engagement in politics and with local audiences in the future. Through a study of the history of the Biennale, I trace the long-standing criticism of the institution alongside some important milestones that led to the restructuring in 1973. I also closely examine some of the productions of the Biennale, the outdoor mural and photography installations on display, and the experimental catalogue. These productions are studied in relation to Chile's political history, suggesting that a mirroring of Chilean political activism took place at the events that year. Further, by placing the productions in dialogue with some of the avant-garde exhibitions and artistic practices of the time, I argue that the Biennale stands as an important precursor to exhibition models that have developed since. This project aims not only to situate the 1974 events firmly in the history of the Biennale, but also to highlight Liberta al Cite's program as important to the history of exhibitions in general.

Although largely overlooked in genocide and atrocity prevention scholarship, the arts have a critical role to play in mitigating risk factors associated with genocide and atrocity. Grounded in analysis of "Artivism: The Atrocity Prevention Pavilion," the Auschwitz Institute for the Prevention of Genocide and Mass Atrocities' 2019 Venice Biennale exhibition and drawing from fieldwork, interviews, and secondary research, this article explores why one of the leading NGOs working to prevent future violent conflict would choose to curate an art exhibit at the Venice Biennale and what might be accomplished through such an exhibit. Ultimately, the Artivism exhibit, in its collection and range, provides a canvasing of multiple and directed creative interventions that allow for deeper understanding of how the arts can be used as a tool for mitigating risk factors associated with the prevention of genocide and atrocity in such a manner that has important ramifications for future prevention efforts.

The French pavilion at the 2004 Venice Biennale of Architecture took up the theme of sustainable design through a "prospective game" that challenged participating architects to imagine an urban neighborhood's transformation in response to economic, social, and environmental constraints over the following 30 years. The exhibition paradoxically appeared to proclaim French sustainable know-how at a time when French architects viewed the profession as lagging behind their European neighbors in terms of ecological approaches. By framing sustainability as avant-garde, experimental design, the pavilion reconciled "French" and "sustainable" architecture. Examining this exhibit and its impact contributes to an understanding of French self-fashioning of national identity around culture. Moreover, this case demonstrates how cultural elements of identity influence responses to global challenges such as climate change.

Founded in 1895, the Venice Biennale is the world's oldest and arguably most prestigious international art exhibition, gathering artists, curators, and museum and gallery directors from more than one hundred nations to exhibit and discuss contemporary art. Although the Canada pavilion is neither a museum nor a gallery in traditional terms, seminal curatorial and museological practices are in its core. Throughout the years, the Canada pavilion has hosted innumerous exhibitions of several notable Canadian artists under the vision of influential Canadian curators. The pavilion has not only marked the history of Canadian art, but has also functioned as a meaningful encounter point between Canadian and international art - a window through which Canada shows to the world its national artistic and curatorial practices. Considering the significant role of the pavilion in the Canadian art history, this paper examines the pavilion's impact and relevance to contemporary Canadian art and museology in the international scenery. Through the investigation of the Biennale and the pavilion's history and development, the study explores issues of governance and management, understanding the pavilion as a national gallery-like structure wrapped in a broader political context. Additionally, the paper analyses the pavilion's importance not only as window to showcase Canadian art but also national museological practices at an international level.

This thesis examines three case studies from the 201 Os at the Israeli Pavilion in Venice in which Tsibi Geva, Sigalit Landau, and Gal Weinstein use the pavilion as a frame to reflect on the current state of the country and Israeli society. Through the digging of holes, camouflaging of the far;ade and infestation of mold, I argue that the artists' structural interventions and installations perform a critique of the nation which operates on different registers. In Geva's exhibition Archeology of the Present, I examine the tension between international and vernacular aesthetics through the hybridized visual language Geva enacts in his exhibition. Drawing on his use of modernist elements such as the grid and canonical Israeli symbols, I maintain that Geva's installation works extend and build upon the Pavilion's position as a hybridized space by adapting aspects of Modernism and "Orientalizing" them to create a vernacular visual language rooted within the locale oflsrael. Through Weinstein's Sun Stand Still, I turn towards representations of the nation and constructed national mythologies, examining how Weinstein uses materiality and installations disrupting the Modernist architecture of the Pavilion as a means of critiquing how the nation forged its image on a global stage. Drawing on the structure's tie to the spread of Modernism in Israel and its influence in forging the country's image as a progressive and global nation, I argue that Weinstein's installations serve as an allegory for the nation, his manipulation of the Pavilion's interior functioning as a metaphorical critique of the state and the "outdated" myths central to its image. Lastly, in Landau's One Man's Floor is Another Man's Feelings, I focus on the charged relationships between Israel and its neighbors through Landau's poetic and political works around themes of infrastructure, shared resources and territory. Site-specific to the Pavilion, the interventions I examine reflect on the malleability of the structure, how its architectural design was meant to represent the nation (both then and now), and how the arts and the position of artists figure into national representation (and subversion) within the context of transnational art fairs.

This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.