Sculpture, photography and multimedia, the three European pavilions of the Giardini della Biennale dedicated to Latifa Eshakhsh and Frances Alice and Jacob Duo Lena Knebel-Ashley Hans Scherl and Lucia Alafano stand out for the 59th edition and definitely worth a visit
Giant heads, multi-shaped sculptures, bright colors and suggestive lights: wings Austria, Greece, Belgium And Swiss It stands out in the Giardini della Biennale d’Arte 2022 for its complexity and richness. Let’s see them in detail.
– Julia Guillaume and Massimiliano Tonelli
1. The Swiss Pavilion at the 2022 Biennale Dart
the artist nice clowns (El-Khnansa, 1974) Turns the Swiss Pavilion into a ritual house with concert: With a series of large sculptures, heads and hands of burnt straw, all made of materials retrieved from previous biennials, it focuses on the devastating moment of fire, the beginning of a rebirth, and its reconnection with the traditional fire of Nordic and Mediterranean cultures. An outdoor space, one bathed in the red light of Bruno Giacometti’s pavilion, and one immersed in darkness express a captivating story – curated by Alexandre Babel and Francesco Stucci – and contrasting, stretched between darkness and choppy flashes of light. Like a silent party.
2. Belgium Pavilion at the 2022 Dart Biennale
Screams, howls, provocations and satisfied laughter await the Belgian pavilion in a cheerful tone: all employees of Francis Alice (Antwerp, 1959), the former commissioner of the Iraqi pavilion in 2017, is dedicated to the Games, hence the title nature of the game. Large screens of different sizes in the main room display a selection of short films with children from all over the world, made over the years by the Belgian artist but based in Mexico: Hunting for Mosquitoes in the Democratic Republic of the Congo, the Colored Snail Contest in Belgium, Kites (banned) ex) in Afghanistan, and the hunts to capture opponents in Mexico all share a universal language of the game. The image of innocent fun suggested by the pavilion, curated by Hilda Terlink, is crafted in a realistic context: children transform even the not-so-fun, using shards of mirrors in the middle of uninhabited areas or a frame that rolls off the ground. from a quarry. The climax of this contrast is reached in a series of delicate postcard-sized paintings, in which children are forced to work or flown in by military vehicles.
3. The Austrian Pavilion at the 2022 Dart Biennale
The Austrian Pavilion is dedicated to double action soft machine from Jacob Lena Nebel (Baden, 1970) H Ashley Hans CherThe (Salzburg, 1956), partner in life and work. The space – curated by Carola Krause, director of the Moderner Kunst Stiftung Ludwig Wien Museum in Vienna – is divided by a double colonnade into two sections, each of which can be linked to an artist: paintings, sculptures, photographs, textiles, writings and videos, all the way to a fashion collection and a magazine, building a space of discussion And the confrontation, between the serious and the wonderful, to the identity of the new human body, in the world of machines. On the one hand, we see the transformation of identity in the cyber age and the mechanisms of inclusion and exclusion in human society – all immersed in a sci-fi landscape of undisguised opulence – and on the other the theatrical and hyper-corporeal self – image and hysterical creativity: the two universes in a satirical and tragic way position themselves as a commentary on the world, giving Great expressive power of the contradictory ideas we pass through, we talk about gender and identity with great irony.
4. The Greek Pavilion at the 2022 Dart Biennale
Futurists have been saying it for months: One of the tools that will allow us to enjoy cultural content in the coming years will be skylight. Or in any case, other than the specified brand, devices that allow us to access virtual facts. Then you see a full biennial not even a shadow of these devices. The Greek pavilion is an exception, as the 43-year-old’s project was amazing Luke Avano. The suite has been transformed into a dark environment, and there are dim lights targeting about fifteen metal seats like beds in some dental offices. We sit, in fact, we are equipped with an Oculus, and a headset. The 15-minute artist movie begins. The first movie of this kind, using cutting-edge VR technologies, was filmed in Greece. It’s the artist’s version ofOedipus to Colonus by Sophocles. Greek Tragedy is played by a series of amateur Roman actors and takes place in the context of a nomadic camp west of Athens, not far from the town of Kolonos.