{"id":10447,"date":"2015-05-05T19:14:01","date_gmt":"2015-05-05T17:14:01","guid":{"rendered":"http:\/\/www.conceptualfinearts.com\/cfa\/?p=10447"},"modified":"2015-05-05T19:19:06","modified_gmt":"2015-05-05T17:19:06","slug":"venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium","status":"publish","type":"post","link":"https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/","title":{"rendered":"Venice Biennale 2015: is this the best edition of the new millennium?"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-10447 gallery-columns-3 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0488\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0488-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10450\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10450'>\n\t\t\t\tArtist collective BGL, Canada.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0704\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0704-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10464\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10464'>\n\t\t\t\tMaria Papadimitriou, Greece.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0682\/'><img loading=\"lazy\" decoding=\"async\" width=\"84\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0682-270x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10463\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10463'>\n\t\t\t\tAndre Komatsu, Brazil.\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0537\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0537-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10460\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10460'>\n\t\t\t\tChiaru Shiota, Japan.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0560\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0560-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10461\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10461'>\n\t\t\t\tChiaru Shiota, Japan.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0452\/'><img loading=\"lazy\" decoding=\"async\" width=\"84\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0452-270x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10453\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10453'>\n\t\t\t\tSarah Lucas, Great Britain.\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0636\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0636-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10465\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10465'>\n\t\t\t\tPamela Rosenkranz, Swiss.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0626\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0626-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10466\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10466'>\n\t\t\t\tdanh Vo, Denmark.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0444\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"84\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0444-480x270.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10451\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10451'>\n\t\t\t\tCamille Norment, Nordic Pavilion.\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/05\/venice-biannale-2015-is-this-the-best-edition-of-the-new-millennium\/dsc_0589\/'><img loading=\"lazy\" decoding=\"async\" width=\"84\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/DSC_0589-270x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10462\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10462'>\n\t\t\t\tJoan Jonas, United States.\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>Eight hours spent visiting the national pavilions at the Giardini have convinced us that the edition 2015 of the Venice Biennale is indeed a remarkable one, possibly the best in recent years. And a first indisputable evidence of it is that finally the toilet beside the Dutch pavilion has been properly restored and kindly equipped with updated Dyson hand-dryers: costumers care is important, even for the brave and too often unkind art people.<\/p>\n<p>&nbsp;<\/p>\n<p>The second important fact is that this year at the Giardini most of the pavilions are presenting charming installations and promising artists, in most of the cases surprisingly consistent with the ideological and social side of the approach to big exhibitions typical of this year International Pavilion&#8217;s curator Okwui Enwezor. Starting from Canada, for example, which is presenting a group of new works by the artist collective BGL, composed by Jasmin Bilodeau, S\u00e9bastien Gigu\u00e8re and Nicolas Laverdi\u00e8re. The useless but contorted path leading coins into the building windows is a perfect metaphor of how certain economic institutions work today: Keynesian economist Paul Krugman would definitely love it. And he would probably also love to see how clearly Maria Papadimitriou has pictured Greece\u2019s present social identity by transferring from the Greek city of Volos to Venice a traditional animal hides and leather shop (again, \u201cThe remainder\u201d strategy). As pointed out by the exhibition&#8217;s introductory text, this \u201cespace trouv\u00e9\u201d sparks series of \u201cconcerns ranging from politics and history to economics and traditions, ethics and aesthetics, fear of the foreign and the incomprehensible, and our profound anthropocentrism that allows us to define ourselves as non-wild, different from all other animals\u201d.<\/p>\n<p>&nbsp;<\/p>\n<p>To our admired Paul Krugman \u2013 whose essay \u201cStop the crisis now\u201d could have been a valid alternative to Marx&#8217;s \u201cDas Kapital\u201d reading \u2013 we would also suggest the installation by Andre Komatsu at the Brazilian pavilion. As the Japanese-Brazilian artist told us, \u201cit reflects on how \u00a0freedom could seem such a narrow passage, while a wide cage is still a cage\u201d.<\/p>\n<p>&nbsp;<\/p>\n<p>But if despite Komatsu&#8217;s warning you got trapped, you can always send someone to look for a key at the Japanese pavilion, where Chiaru Shiota&#8217;s project \u201cThe key in the hand\u201d is located: among the 150.000 keys she has gathered together from every part of the world he will certainly find the right one (and if not, it will certainly be comforted by the cute video at the ground floor).<\/p>\n<p>&nbsp;<\/p>\n<p>Nothing but perfect is the collection of works presented by Sarah Lucas at the British Pavillion: provocative, visually efficient, poetic. And similar is the Denmark pavilion, hosting an installation by Danh Vo \u2013 titled \u201cMothertongue\u201d &#8211; that is only apparently cryptic. Just read the booklet and consider that religion is, after all, one of the artist&#8217;s guidelines. That is why his art practice fits always so well in Venice, and please note that both the Greek marble torso of Apollo and the chestnut wood and polychrome Christ figure in Flemish style hanging on the pavilion&#8217;s front window have been bought at auction. Short circuits.<\/p>\n<p>&nbsp;<\/p>\n<p>Another enlighting parallel could be the one set between the impressive sound installation by Camille Norment (Rapture, Nordic Pavillion) and Pamela Rosenkranz\u2019s esoteric use of colours, light, water, scent, sound, but also organic elements such as hormones and bacteria (&#8220;Our product&#8221;, Swiss pavilion). As Rosenkranz\u2019s \u00a0not accessible pink water surface \u2013 \u201ca reminiscent of the carnate\u00a0 used in Renaissance painting to render the visual quality of human flesh\u201d &#8211; plays the role of a visual support for the synthetic sound of water coming from loudspeakers, so the giant broken windows in the Nordic pavilion seem to be the physical result of the powerful music composed by the artist herself on the glass armonica, a legendary instruments creating music from glass and water to which the installation is indirectly dedicated. Here is where the metaphoric vernaculars spoken by Vo, Lucas, Komatsu, Papadimitriou, or also Joan Jonas (theatrical at the United States pavilion, with a series of clever references to Venice) make way for the pure formal approach typical of not-iconic art. Symbols.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Eight hours spent visiting the national pavilions at the Giardini have convinced us that the edition 2015 of the Venice Biennale is indeed a remarkable one, possibly the best in [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":10449,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1796],"tags":[1963],"class_list":["post-10447","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mapping-the-artscape","tag-venice-biennale-2015"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/10447","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/comments?post=10447"}],"version-history":[{"count":0,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/10447\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media\/10449"}],"wp:attachment":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media?parent=10447"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/categories?post=10447"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/tags?post=10447"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}