Venice – Biennale di Arte 2015: Mexican Pavilion

L1170948 (Large)Possessing Nature is a single, site-specific installation, conceptualized collaboratively by artists Tania Candiani and Luis Felipe Ortega. The work not only integrates, but also discerns each of their artistic practices, while interweaving their research interests and aesthetic discourses with the curatorial concept and the discussion proposed by Okwui Enwezor for the 56th edition of the Art Biennale 2015. The resulting work of the trace addresses modernizing technological remedies and their pervading effects.

Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: French Pavilion

L1170982 (Large)Céleste Boursier-Mougenot transforms the French Pavilion in the Giardini from a vast, vaulted space to a kinetic forested oasis intended for reflection and retreat. The French artist presents “revolutions” as an experimental ecosystem that reveals the constantly evolving state of nature through sound, light and motion. The exhibition transports viewers to an otherworldly oasis of vegetation, where trees have been liberated from their original place of habitation and their roots revealed outside the pavilion and on the gallery floor. A low-voltage electrical current makes the trees move around inside the pavilion, producing an electric rustling sound environment, where visitors can find a place to relax on the semicircle of surrounding steps.

Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Nordic Pavilion

L1170980 (Large)This year Norway will be solely responsible for the Nordic Pavilion in the Giardini at the Venice Biennale for the first time in its history. For this unprecedented occasion, the Office for Contemporary Art Norway (OCA) has commissioned artist Camille Norment (born 1970) to develop the project.

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.

Invented by Benjamin Franklin and once played by Mozart and Marie Antoinette, the glass armonica was at first celebrated for curing people with its entrancing music, but later it was banned because it was thought to induce states of ecstasy and arouse sexual excitement in women. If it had the power to cure, so the logic went, this bewitching instrument might also have the power to kill through over-exciting its listeners.

In a contemporary context, Norment explores the tensions this music raises today by creating a multi-sensory space, which reflects upon the history of sound, contemporary concepts of consonance and dissonance, and the water, glass and light of Venice.

The artist composes a chorus of voices that correspond to the unresolved notes of the much censored „devils’s“ tritone and of the glass armonica, and this chorus immerses visitors to „Rapture“.

„Rapture“ explores the relationship between the human body and sound, through visual, sonic, sculptural and architectural stimuli. Today the sonic realm can be both a space of misuse, as we have seen in the militaristic use of sound to abuse the body, and of affirmation, as in the performative utterance of free speech to affirm the right of the body’s very existence. The body can be stimulated and moved by sound, and in Norment’s work, the Nordic Pavilion itself becomes a body in rapture and rupture, consonance and dissonance.L1170981 (Large)Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Russian Pavilion

L1170976 (Large)The Russian Pavilion in the Giardini at the 56th Venice Biennale presents Irina Nakhova’s The Green Pavilion. Since the mid-1970s, Nakhova (born 1955) has made a significant contribution to the development of Moscow Conceptualism, infusing its logocentric model with visual intensity and a critical edge. In the early 1980s, using one of the rooms in her Moscow apartment, Nakhova embarked on a series of environments entitled „Rooms“. The series anticipated Ilya Kabakov’s iconic Moscow installation „The Man Who Flew into the Cosmos from His Room“. The Russian Pavilion is painted green, a color deliberately chosen to evoke the original appearance of the building, designed by Aleksei Shchusev in 1914.L1170975 (Large) L1170978 (Large) L1170977 (Large)Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: German Pavilion

L1180005 (Large) L1170997 (Large)The German Pavilion has often acted as an artistic echo chamber for German history and identity. This year in the Giardini, the Pavilion’s large, quiet interior with its great height and accompanying sense of volume is a resonant space in which the productive sound of a globalized world can be heard. Starting from their varied reflections on the notions of „work“, „migration“, and „revolt“, the four artistic positions transform the building into a factory, into a vanished, virtual factory of the imagination, into a factory for political narratives and for analysing our visual culture.

The actors who populate the works by Olaf Nicolai, Hito Steyerl, Tobias Zielony, and Jasmina Metwaly/Philip Rizk are figures of revolt. We are confronted by these figures in all four works – be they theatrical, photographic, filmic, virtual, and/or physical in nature. The interpretation of the building’s verticality provides a number of different stages for this pavilion with its inherent spirit of resistance: Ranging from a basement area all the way up to the roof. It is important too that the roof appears as a heterotope, as „another place“, in which freedom is evoked.L1170998 (Large) L1170999 (Large) L1180001 (Large)Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Argentinian Pavilion

L1170946 (Large)Artist: Juan Carlos DistéfanoL1170943 (Large) L1170940 (Large)

Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Georg Baselitz

L1170933 (Large)One of the significant styles which uses Georg Baselitz in his art are the figures with the head upside down.L1170934 (Large)Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Arsenale II

Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: British Pavilion

L1170985 (Large)„Humour is about negotiating the contradictions thrown up by convention. To a certain extent humour and seriousness are interchangeable. Otherwise it wouldn’t be funny. Or devastating.“
Sarah LucasL1170988 (Large)Sarah Lucas is representing Britain in the Giardini at the 56th Venice International Art Biennale 2015 with her major solo exhibition, I SCREAM DADDIO, in the British Pavilion.

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.L1170994 (Large) L1170995 (Large) L1170993 (Large) L1170992 (Large) L1170991 (Large) L1170989 (Large) L1170986 (Large)Biennale di Venezia, Italy till November 22, 2015