Biennale Arte - Venezia 2015
The exhibition expands from the Central Pavilion at the Giardini (29 countries) to the Arsenale (31 countries), and to external areas (29 countries).
Φανταστική εμπειρια - μια ημέρα δεν ειναι ποτέ αρκετή
Luxembourg (Ca’ del Duca, S. Marco 3052)
Luxembourgish pavilion is hosted in the ground floor of an historical building in Venice. Filip Markiewicz ‘’is interested on the one hand, the mythological aspect, close to the fable, and on the other hand, popular appearance. The various waves of immigration recorded since the beginning of the twentieth century in Luxembourg have led to the country being seen as a sort of haven for integration. Again, there is a strong allusion to the image of Luxembourg given by some foreign media, the tax haven, a theme addressed here head-on but also with a certain irony.’’
Όλα τα μεγάλα θέματα της επικαιρότητας σε πεντε δωματια δίπλα στο κανάλι!
Nordic pavilion (Giardini)
Norway is solely responsible for the Nordic Pavilion at the Venice Biennale for the first time in its history. For this unprecedented occasion, OCA has commissioned artist Camille Norment to develop the project ‘Rapture’. Norment’s ‘Rapture’ is a site-specific, sculptural and sonic installation in the Nordic Pavilion, for which the American-born, Oslo-based artist has composed new music on the glass armonica – a legendary 18th-century instrument that creates ethereal music from glass and water.
Γυαλιά καρφιά τα έκαναν οι Νορβηγοί
Berlin-resident artist Chiharu Shiota creates large-scale installations by stretching yarn across the exhibition space, and produces works out of materials that are filled with memories and traces of everyday life. Shiota notes: ‘’ Through my installation objects (the boat and the keys), my aim is to represent memories, opportunities and hope. The hanging old keys represent all these human conditions. They are held by a boat which symbolizes a hand wrapping and gathering each human being along with their important features. Visitors may feel as if walking around an ocean of memory. The keys are connected to each other by thousands of red strings. Keys are everyday objects that protect valuable things and by coming into contact with people’s warmth on a daily basis, the keys accumulate a web of memories that coexist within us. They are a medium that conveys our true feelings and they are connected to one another just as humans are. They even resemble the shape of a human body.’’
Four artists reflect on the notions of ‘work’, ‘migration’, and ‘revolt’. Hito Steyerl’s video installation Factory of the Sun shows a world in turmoil and a world of images on the move. It involves the translation of real political figures into virtual figures and an innovative experience of making and engaging with images, somewhere between a documentary approach and full-on virtuality. The new ‘digital light’ is the main medium used to transfer what is left of reality into a circulating digital visual culture.
Bαθύτερες σκέψεις πάνω στο Ελληνικό ζήτημα … από Γερμανούς βέβαια!
Beyond the typically chaotic and shabby shop it is a loft-like living space: though far more organized, this area is evidently the preserve of a recycling enthusiast. Next comes “the studio,” a place crowded with countless objects of all kinds, including stacks of tin cans covered with dribbles of paint. Having made their way through this bizarre living/working domain, spectators can relax for a while on a terrace that offers a marvellous view over the Giardini.
Great Britain (Giardini)
Sarah Lucas’s works for the British Pavilion reprise and reinvent the themes that have come to define her powerfully irreverent art – gender, death, sex, and the innuendo residing in everyday objects. Throughout this latest group of works, the body – sexual, comedic, majestic – remains a crucial point of return, while Lucas’s work continues to confront big themes with a distinctive wit.
Maria Papadimitriou's installation, AGRIMIKÁ. Why Look at Animals? is a shop, a vestige of the past that sells animal hides and leather, transferred from the central Greek city of Volos, where it operates. This presentation of the relationship of humans to animals sparks series of concerns ranging from politics and history to economics and 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.
Arsenale All the World’s Futures – more the 100 artists present their work.