Central Asian Pavilion opening day

30.05.2013

9h00 - 11h00

Palazzo Malipiero, 1st floor

San Marco 3079

Opening Reception & Breakfast Forum "Perspectives beyond Stagnation"

During the preview of the 55th International Art Exhibition – la Biennale di Venezia (29 - 30 May 2013), the Central Asian Pavilion will host the opening reception and breakfast forum in collaboration with the curators of LIAF 2013 (Lofoten International Art Festival), Anne Szefer Karlsen, Bassam El Baroni and Eva González-Sancho. Speakers include historian of social and political thoughtGopal Balakrishnan (History of Consciousness Department, UCSC) with a talk on “Further Convolutions of Capitalism” and philosopher and writer Aaron Schuster, who will address issues of transgression and constraint. This will be followed by an open discussion and tour of the exhibition with the curators, Tiago Bom andAyat Tuleubek and represented artists of WINTER,Kamilla Kurmanbekova & Erlan Tuyakov, Anton Rodin & Sergey Chutkov, Aza Shade and Saodat Ismailova.

19h00

Central Asian Pavilion

Palazzo Malipiero, 1st floor

San Marco 3079

Screening of "Mocracy - Neverland in Me" by Christian von Borries

During the preview of the 55th International Art Exhibition – la Biennale di Venezia (29 - 30 May 2013), the self-censored version for Kazakhstan of the film "Mocracy - Neverland in Me" (2012) will be screened as a European premiere and followed by a discussion with the director Christian von Borries.

Synopsis:

Since the 1980s, this world has been characterized by four developments: the growth of political democracy, the growth of Online Democracy, the growth of corporate power, and the growth of corporate propaganda as a means of protecting corporate power against democracy. Mocracy examines consumerism, capitalism, oppression, misery rule and the help industry. People become a mass ornament, architecture a tuning tool for societies, self optimizing in file. Charity is the other side of democracy, while democracy appeares as a lifestyle option for the rich.

Michael Jackson is the soundtrack of the neoliberal 80s, a choreography of democracy. The film itself is imitating democracy in a nutshell, representing a failing polyphonie. In this sense, Mocracy is a musical journey through Kasachstan, Kosovo, Pyonyong, Detroit, Moscow and Berlin, a neverland, the utopia of a non-place. Thus, the film clip serves as a disappropriation of the individual torso.

web site http://www.cap2013.net

And who are you? National representation in art today - panel discussion

A panel discussion held by the German Pavilion at the 55th International Art Exhibition—La Biennale di Venezia 2013 in collaboration with the Goethe-Institut and the Institute for Foreign Cultural Relations (Institut für Auslandsbeziehungen – ifa)

And who are you? National representation in art today

With Gilles Kepel, Simon Njami, Dayanita Singh, Mark Terkessidis, and Susanne Gaensheimer

Moderator: Koyo Kouoh

Date: Friday, May 31, 4 p.m.

Location: French Pavilion, Giardini della Biennale, Venice

The German Pavilion at the 55th Biennale di Venezia pursues a transnational approach. Due to the French-German cooperation at this year’s Biennale, the German contribution curated by Susanne Gaensheimer presenting works by Ai Weiwei, Romuald Karmakar, Santu Mofokeng, and Dayanita Singh is held at the French Pavilion. The exhibition examines the format of the national pavilion as an open concept and explores Germany as a cosmopolitan place that is actively involved in an international network, in its art as much as in the realities of its everyday life. In this context, the panel discussion And who are you? National representation in art today engages with the question of the contemporary significance of national representation in art. The speakers are the political scientist and Islam scholar Gilles Kepel, the curator and author Simon Njami, the artist Dayanita Singh, the cultural critic Mark Terkessidis, and Susanne Gaensheimer, curator of the German Pavilion. The art critic and curator Koyo Kouoh moderates the discussion.

In Germany as elsewhere, a wide range of forms of collaboration between artists from all over the world and the exchange of ideas and cultural productions across national borders have come to shape the working realities in the arts. But also everyday life in Germany, an immigration country as such, demonstrates that the concept of national belonging and nation-based classification has lost its significance and can no longer be thought in categories of unequivocal differentiation. Although we cannot just negate the question of national affiliation, internationality and intercultural exchange have become an integral part of our society and constitute one of the country’s most important cultural assets as well as a major social and political challenge for the present and future. The panel discussion, held as part of the German contribution to the 55th Venice Biennale, raises the question of whether and how the format of the national pavilion can adequately represent Germany’s cultural and social diversity and which role national and cultural identity plays for the production of art today.

The Islam scholar, sociologist, and political scientist Gilles Kepel has worked on aspects of radical Islam; his book “The War for Muslim Minds: Islam and the West” was published in 2004. Simon Njami is a writer and curator of numerous exhibitions of African contemporary art such as “African Remix” (2004–2007); he was also co-curator of the first African pavilion at the 2007 Venice Biennale. Dayanita Singh is one of the participating artists in this year’s German contribution. Mark Terkessidis is a journalist and writer who focuses on pop culture, racism, and migration; his book “Interkultur”—a neologism that has since entered German usage—came out in 2010. Kepel, Terkessidis and Njami also contributed significant essays to this year’s catalog accompanying the German contribution. Susanne Gaensheimer is director of the MMK Museum für Moderne Kunst Frankfurt am Main, and already curated the German pavilion in 2011, when her presentation of Christoph Schlingensief was awarded the Golden Lion for Best Pavilion. The moderator of the panel discussion, Koyo Kouoh, was an advisor to the artistic directors of the documenta-exhibitions 12 and 13 and is the founder and director of RAW MATERIAL COMPANY, a mobile exhibition space for artistic practices and the exchange of critical ideas headquartered in Dakar.

The panel discussion And who are you? National representation in art today is held by the German Pavilion in collaboration with the Goethe-Institut and the Institute for Foreign Cultural Relations (Institut für Auslandsbeziehungen – ifa).

The German contribution is realized on behalf of the Federal Foreign Office and in cooperation with the Institut für Auslandsbeziehungen (ifa). The Goethe-Institut and the ifa Freunde des Deutschen Pavillon/Biennale Venedig e.V.,  support the German Pavilion. The Sparkassen-Kulturfonds of the German Savings Banks Association is main sponsor of the German Pavilion at the 55th International Art Exhibition—La Biennale di Venezia.

Partners: MMK Museum für Moderne Kunst Frankfurt am Main, Deutsche Welle DW-TV

Other partners: Prince Claus Fund for Culture and Development, AXA Art Versicherung AG, Bionade

Bosnia-­Herzegovina - The Garden of Delights with Mladen Miljanovic

http://www.labiennalebih.org/

The artist Mladen Miljanovic, representing Bosnia and Herzegovina at the 55th International Art Exhibition of la Biennale di Venezia, will present a solo exhibition of new works titled “The Garden of Delights” at Palazzo Malipiero in Venice from June 1 to November 24, 2013. It is after a ten-­year intermission that Bosnia-­Herzegovina will participate again in the International Art Exhibition of the Venice Biennale. Its attendance in the 55th biennial event in Venice this year bears the heavy load of a new beginning, one that is expected to serve as a precedent for its national participation in the future. The initial impetus came from the Museum of Contemporary Art of the Republic of Srpska, which proposed a model intended to overcome the long-­standing impasse at the state level. The participation model proposed by the initiating institution has been approved by the Ministry of Civil Affairs of Bosnia and Herzegovina, in agreement with the relevant ministries of the Republic of Srpska and the Federation of Bosnia and Herzegovina. Political disagreements continually made it impossible for local artists and projects to exhibit in this prestigious internal political and economic impediments it has to encounter. And its art, although practically imperceptible from outside the country, abounds in both people and events.

In that sense, the selected project, The Garden of Delights, is a highly socially engaged work of art, which seeks to create effects from multiple historical perspectives, and with strong connotations drawing on the socio-political, ethical, economic and cultural context of the Eastern European society, which the artists come from. The project ensemble consists of three interconnected smaller ensembles, a marble triptych, a video clip and an installation, and the artist, as its creator, posits himself as an activist whose practice and production impose themeselves as a model in a highly specific way, making possible engagement originating in the local community, i.e. environment. His knowledge of the global world, up-to-the-minute and relevant, filtered through the local context, creates a new, clear artistic insight, which is a significant determinant of the entire ensemble. The idea behind the complete project of The Garden of Delights is that of people’s unbridled desires, of personal truths underneath the collective absurdity of the contemporaneity, as perceived across Bosnia. The conceptual framework of the project is reminiscent of Hieronymus Bosch’s famous Renaissance triptych The Garden of Earthly Delights (c. 1500), and it is firmly rooted in today’s physical world of common people’s various experiences, as the most authentic and the most banal realities of post-transition society. Mystical and provocative even for today’s interpreters, the triptych by Hieronymus Bosch was the initial inspiration for the work of Mladen Miljanović; rather complex and materialised in a way which is, by comparison with contemporary art techniques, quite non-standard and atypical, his ensemble consists of drawings engraved on marble slabs, a stonework tradition commonly used in tombstone decoration in the Balkans.

For this work he said:

-- The work emulates manual tombstone engraving, which I did before enrolling in the Academy of Arts.

- The installation contains more than 100 tombstone motifs found and collected in the Central Balkans. 

-- People mainly choose these motifs as illustrations of their indulgences and because they wish to see them immortalised by means of the real. 

-- The emergence of this manner of representation coincided with the rise of the kitsch and turbo-folk culture in the 1980’s and 1990’s. 

-- The scenery as shown in the painting The Garden of Earthly Delights by the Renaissance painter Hieronymus Bosch provided the foundation for this work. 

-- The work is the outcome of a five-hundred-year-long debate and revises the notion of pleasure and its different contemporary representations as a stereotypical and pessimist vision of society. 

-- The form of the image of a personal indulgence becomes an expression of the collective absurd and disharmony. 

-- In this case, the graveyard is an area storing an encyclopaedia of images of individual lives joined into a garden of a collective eternity. 

What awaits us in the future, what our reality is and how it is represented are the major issues found in this artificial post-communist paradise, in which art, according to Boris Groys, often appears innocent, insufficiently critical or radical, following the utopian logic of inclusion rather than the realist logic of exclusion, struggle and criticism. Spatial and temporal relations, their homogeneity and heterogeneity, are but formal aspects constituting the social particularities against which real life happens. 

The inherent idea of afterlife representation as Miljanović sees it is conveyed using the ready-made aesthetics, borrowed from the mass media, the everyday and some popular aspects of life of Bosnian people. Their subversive sociological, ethnological and ritual characteristics are an image of the existent representations of a mass culture that has taken over post-transition society, reflecting the failure of its economy and privatisation, political paradoxes and intolerance, and the nontransparent nature of the new models of private ownership. 

While realising his concept, Miljanović made a video to be used as an accompaniment to the exhibit, which he called Sweet Harmony of the Absurd and in which members of the Banja Luka Philharmonic simultaneously play their favourite pieces. The multiplicity of this melodious plurality, tinted with personal wishes, interests and lifestyles as found in society, reflects the heterogeneity of Bosnia and Herzegovina and its cultural dynamics, at times synchronous and stimulating, at others crippling and disasterous to utter ruin. Sweet Harmony of the Absurd is an authentic representation of the ambivalent makeup of Bosnian and Herzegovinian society, marked by conflicting sentiments and attitudes. Integrated with The Garden of Delights, it rounds off Mladena Miljanović’s peculiar artistic discourse, strongly marked by an awareness of constant affirmation, according to which human creativity is best stimulated by desire.

An extensive exhibition catalog will present reproductions of many earlier works of Mladen Miljanovic and provide artist’s biography and professional texts.

Jeremy Deller - British Pavilion Venice 2013 La Biennale

Jeremy Deller will present a much-anticipated solo exhibition in the British Pavilion at the 55th International Art Exhibition in Venice from 1st June to 24th November 2013. 

Jeremy Deller’s way of working as artist, orchestrator, filmmaker, curator and cultural archivist is both highly influential and often collaborative. People often take centre stage in Deller’s practice and, over the last two decades, the Turner Prize-winning artist has collaborated with groups as diverse as former miners, bat behavioural experts, Depeche Mode fans and numerous musicians. Deller has an infectious interest in the creativity of others, overturning cultural hierarchies and staging opportunities for interaction with characteristic wit and clarity. 

The British Council has commissioned artists to represent Britainat the Venice Biennale, celebrating the best of British art since 1938 and Deller is the 19th artist to be selected for a solo presentation. The British Council’s commission follows on from two key projects last year: Deller’s mid-career retrospective, Joy In People, which opened at the Hayward and is currently touring the US, and Sacrilege (2012), his life-size inflatable version of Stonehenge which toured around the UK during the summer.

"Wry, and very light on his feet, Deller has a great ability to draw together all sorts of people and communities and orchestrate them into unexpected patterns. He's a sort of pied piper of popular culture." Andrea Rose, Commissioner, British Pavilion.

Info http://venicebiennale.britishcouncil.org/ 

Luanda, Encyclopedic City - Angola

"Luanda, Encyclopedic City” è il progetto che il Padiglione dell'Angola presenta alla Biennale di Venezia, partecipandovi per la prima volta. Saranno presentate opere di Edson Chagas, presso  Palazzo Cini, sul tema urbano sviluppo di un progetto che si era già avviato alla precedente Biennale di Architettura.

Commissioner: Ministry of Culture. 

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos. 

Venue: Palazzo Cini, San Vio, Dorsoduro 864 

Fired but unexploded - Hungarian Pavilion Biennale Venice

About the Hungarian pavilion Hungary has taken part at the International Art Exhibition of Venice since its inception in 1895.

Before its own exhibition facility (pavilion) opened for the 8th Biennale (1909), Hungary had featured its artists at a venue provided by the organizers of the event. The practice has been maintained ever since, and several newly founded countries are to this day presented in some of Venice’s palaces.

The success of Hungarian art at the international exhibitions of Turin (1902) and Milan (1906) went a long way towards influencing decision-makers to establish the Hungarian pavilion. It was designed by Géza Maróti, an eminent Art Nouveau architect, and its ornamentation was contributed by two artists of the Gödöllő colony, Sándor Nagy and Aladár Körösfői Kriesch. Over its history of more than a century, the pavilion was renovated on a number of occasions, and continues to serve its original function. Since it was first organized, Hungary has been present continuously at the International Art Exhibition of Venice, with a few short hiatuses. Its greatest recognition to date has been the Golden Lion for the best national pavilion in 2007, awarded to Andreas Fogarasi’s video installation, Kultur und Freizeit (curator: Katalin Timár).

About the concept

grace – terror – (in) memory (of)

Each bomb has its own story. Which is essentially one of two kinds. Bombs may explode and thus fulfil their role as objects made specifically for the purpose of destruction, and then enter history books and the personal histories that families maintain.

Zsolt Asztalos in his turn looks into another possible story in the installation he has created for the 55th International Art Exhibition in Venice: the story of the malfunctioning device which stays with us, generating, interpreting and symbolizing conflicts among humans. In what semantic fields can these destructive objects, these relics of wars waged and raging, these latent carriers of a constant threat, be interpreted, asks Asztalos. His “found objects” are multiple representations of conflict situations, open to simultaneous interpretations on personal, local, regional and global levels.

An unexploded bomb makes a statement. It thinks. Motionless. Mathematically. The process frozen by chance devours time. They are manifestations of a state of grace. The machine that was created to destroy man left its original function, and went on (may go on) to write the history of hu•manity on its own, creating personal myths and narratives which may make the inexplicable, if not interpretable, at least relatable. It is with its own disorders that technicized society creates an opportunity for mystery to work—while denying its very existence. Their fault or “unnatural” behaviour extends the temporal dimensions of the conflicts, even reveal them as timeless.

The theoretical approaches, as well as the research and installation praxes of the visual arts have been instrumental in processing the brutal traumas of the late 20th and 21th centuries. It shows that bloody genocides occur in the name and shadow of false slogans about humanism.

They were dropped but did not explode. What has become of them? How did they determine the future, our future? These are the questions that Asztalos’s installation makes us ponder on, rigorously, in all their ramifications.

Fired but unexploded – A video installation by Zsolt Asztalos

55th International Art Exhibition – la Biennale di Venezia, 2013

Hungarian Pavilion, Giardini di Castello, Venice

1 June–24 November, 2013

Curator: Gabriella Uhl

National commissioner: Gábor Gulyás

Organization: István Puskás – Biennale Office, Műcsarnok, Budapest

Exhibition opening: 30 May, 2013, 10.30 am

Opening speech by: Zoltán Balog, Minister for National Resources

Featuring: Félix Lajkó, violin

Inserisci il tuo sogno - Submit your dream - Pavilion of the Republic of Croatia

http://arhivsnova.hr/start

More about dreams/databases and links about research of dreams

These pages are dedicated to various contents about new connotations of dreams, including disciplines like history of art, alternative practices, psychology, sociology, and philosophy, while also opening different communication channels directed towards the research and further problematisation of oneiric phenomena. These contents are meant to prompt the discussion about the questions yet unanswered: why people dream; what are the possibilities given by the process of dreaming, and how does the unconscious participate in the construction of reality. 

The Intimate Subversion by Ángel Marcos

 
 

(italiano sotto)

“If you do not change direction, you may end up where you are heading.” Chinese Proverb. What can we do? This question forms the fundamental body of the project, though adding a synthesis: possibly the actions that we can undertake to set-up a sustainable civilization must be linked to our intimate feelings and thoughts, those territories of creative and affective thinking, charged with energy and of very difficult destruction. We know what the territories close to belongings can give of themselves, as well as the impersonation of the states of mind for consumption; thus, let us try with affections because we have no other choice, The Intimate Subversion

(Italiano)

 “Se non cambiamo direzione, è probabile che finiremo esattamente dove siamo diretti”. Proverbio cinese. Che cosa possiamo fare? Questa domanda è il corpo fondamentale del progetto, ma è necessario compiere una sintesi: probabilmente le azioni che possiamo portare a termine per instaurare una civiltà sostenibile devono essere collegate ai nostri sentimenti e pensieri più intimi, le aree del pensiero creativo e affettivo cariche di energia e di difficile distruzione. Sappiamo, invece, quanto le aree che riguardano i beni materiali siano deboli, così come lo sono gli stati d’animo che dipendono dal consumo. Non ci resta quindi che provare con gli affetti, anche perché non ci resta altro che L’intima sovversione.

Scuola di San Pasquale, Castello 2786 (San Francesco della Vigna)

1 giugno – 30 settembre

Organizzazione: MUSAC-Museo de Arte Contemporáneo de Castilla y León; Junta de Castilla y León

www.musac.es

Gilad Ratman to present The Workshop (2013) for the Israeli Pavilion at the 55th International Art Exhibition – La Biennale di Venezia

Gilad Ratman has been selected to present The Workshop (2013), a multichannel site-specific installation at the Israeli Pavilion at this year’s 55th International Art Exhibition – La Biennale di Venezia. Commissioned by the Israel Ministry for Culture and Sport, Ratman is one of the youngest artists ever to be chosen for the Israeli Pavilion.

Ratman works primarily with film and installation, often distorting and disrupting narrative as a way to examine the friction between thereal and imaginary. The op position between universal patterns of human behaviour - as definedthrough language, nationality, government or other kinds of representation - is a key concern inRatman’s work, expressed through gestures that draw attention to resistance through struggle.

The Workshop documents thejourney of a community of people from Israel to Venice, through a nonlinear presentation of video, installation, sound and a physical intervention in the fabric of the Pavilion itself. The Workshop’s site-specificity reflects on the Biennale as a utopian model of nations’ connectivity.

Ratman shows a world where transit can take place across national borders in hidden networks – free, undetected and unidentified. For this – operating in small communities in a utopian, presocial and even pre-linguistic stage, as the ones recurrent in Ratman’s work – is essential.

Rhapsody in Green all'Istituto Santa Maria della Pietà, Castello 3701 Venezia

 (Italiano sotto) 

In 1924, when George Gershwin created his Rhapsody in Blue, Huang Tu-Shui, (1895-1930), the first modernist Taiwanese artist, cast his bronze In the Outskirts depicting an ox and cranes, a common view in Southern Asian rice fields. The color green, semantically ambiguous in Chinese tradition and absent from the bronze cast, yet obviously implied in Huang's creation, is the departing point of Rhapsody in Green. This exhibition explores how three contemporary Taiwanese artists, Kao, Tsan-Hsing (1945), Huang, Ming-Chang (1952), and Chou, Yu-Cheng (1976), artistically react to the color green, either taking an optical, an intersubjective, or a conceptual approach, reminding us of its RIGHTful place in our present living environment.

Istituto Santa Maria della Pietà, Castello 3701

June 1st –  September 15th 

Organization: National Taiwan University of Arts

portal2.ntua.edu.tw/enntua/index.htm

  Italiano

Nel 1924, quando George Gershwin componeva la sua Rhapsody in Blue, Huang Tu-Shui (1895-1930), il primo artista modernista Taiwanese, fondeva il suo bronzo In the Outskirts che rappresentava un bue e le gru, un paesaggio molto comune nei campi di riso dell’Asia meridionale. Il colore verde, semanticamente ambiguo per la tradizione cinese e assente dal bronzo fuso, è tuttavia ovviamente implicito nella creazione di Huang, e costituisce il punto di partenza della Rhapsody in Green. Questa mostra analizza come tre artisti taiwanesi contemporanei, Tsan-Hsing Kao (1945), Ming-Chang Huang (1952) e Yu-Cheng Chou (1976), reagiscano artisticamente al colore verde, sia con un approccio visivo, che intersoggettivo, in altre parole concettuale, ricordandoci il suo GIUSTO posto nel nostro ambiente di oggi.

Istituto Santa Maria della Pietà, Castello 3701

1 giugno – 15 settembre

Organizzazione: National Taiwan University of Arts

portal2.ntua.edu.tw/enntua/index.htm

Scotland + Venice 2013

(Italiano sotto)

An exhibition of new work by three distinctive artists working in Scotland today. Corin Sworn creates installations that explore the way objects circulate to disseminate stories and create histories. Duncan Campbell produces films that combine archive material with his own footage, questioning the information presented. Hayley Tompkins makes painted objects that transform familiar, commonplace things - such as knives, hammers, mobile phones or furniture. The exhibition is curated and organised by The Common Guild, Glasgow. Scotland + Venice is a partnership between Creative Scotland, British Council Scotland and the National Galleries of Scotland.

Palazzo Pisani (Santa Marina), Cannaregio 6103 (Calle delle Erbe)

June 1st – November 24th

Organization: Scotland + Venice

www.scotlandandvenice.com

(Italiano)

La mostra presenta un nuovo lavoro di tre artisti significativi che operano oggi in Scozia. Corin Sworn crea installazioni che esplorano il modo in cui gli oggetti circolano, diffondono e creano storie. Duncan Campbell produce film con materiale d’archivio e sue riprese, rimettendo in questione le informazioni presentate. Hayley Tompkins realizza oggetti dipinti che trasformano oggetti familiari e banali come coltelli, martelli, cellulari o pezzi d’arredamento. La mostra è curata e organizzata dal Common Guild, Glasgow. Scotland + Veniceè un partenariato tra Creative Scotland, British Council Scotland e le Gallerie Nazionali di Scozia.

Palazzo Pisani (Santa Marina), Cannaregio 6103 (Calle delle Erbe)

1 giugno - 24 novembre

Organizzazione: Scotland + Venice

www.scotlandandvenice.com

Zhanna Kadyrova Album 2013 - Presentazione e Cocktail Party in Onore della Pubblicazione del Libro

Venerdì 31 maggio alle ore 15.00, in occasione della 55ma Biennale di Venezia, la Fondazione Vladimir Smirnov e Kostantine Sorokin presenta presso il Padiglione Ucraino (Palazzo Loredan, Campo San Stefano) il catalogo antologico ALBUM 2013 di Zhanna Kadyrova (Brovary, 1981), artista che nonostante la sua giovane età vanta oltre dieci anni di carriera artistica essendosi aggiudicata quasi ogni premio possibile nel suo paese di origine ed avendo esposto, tra le altre nazioni, in Polonia, Germania, Francia, Stati Uniti e Italia (dove collabora con la Galleria Continua di San Giminiano, Pechino, Le Moulin).

Con ironia, ma anche con un approccio estetico-filosofico e sociologico, Zhanna Kadyrova crea nuovi paradigmi visuali a partire dagli elementi architettonici e urbani diffusi nel suo paese di origine: sezioni di manto stradale che diventano tele o piastrelle di ceramica di produzione locale, che l'artista utilizza per creare oggetti dall'aspetto fragile e transitorio e sculture monumentali (più della metà dei suoi interventi sono infatti di arte pubblica) con la superficie frantumata e incerta dove la piastrella perde ogni sua valenza modernista di immacolata regolarità. 

Da un lato l'eredità formale della tradizione sovietica del mosaico, dall'altra una visione "pop" ma filtrata da una vena nostalgica ambigua, legata a doppio filo a quel cambiamento epocale che rivoluzionò tutto il territorio sovietico a cavallo tra gli anni Ottanta e Novanta. 

L’obiettivo della Fondazione Vladimir Smirnov e Konstantine Sorokin è quello di sostenere i giovani artisti, sviluppando progetti e diffondendo informazioni sulle nuove generazioni, sia in Russia che all’estero. Siamo orgogliosi di presentare il catalogo di un’artista straordinaria di cui abbiamo seguito da vicino il lavoro artistico negli ultimi anni. Il suo nome è Zhanna Kadyrova.

 

Zhanna Kadyrova è nata nella città ucraina di Brovary e si è laureata al Dipartimento di Scultura della Scuola d’Arte Taras Shevchenko di Kiev. A partire dal 2002, ha preso parte a numerosi progetti espositivi, tra cui quindici mostre personali e oltre un centinaio di mostre collettive. Kadyrova collabora con la Galleria Continua (San Gimignano / Pechino / Le Moulin). Ha vinto numerosi premi di arte contemporanea, come il Premio Kazimir Malevich Artist (2012), il Premio d’arte pubblica Sergei Kuryokhin 2012), il Gran Premio “Kyiv Sculpture Project” International Festival of Contemporary Sculpture (2012) e il Premio speciale del PinchukArtCentre (2011). Zhanna Kadyrova è membro del gruppo R.E.P. (Revolutionary Experimental Space). Vive e lavora a Kiev.

 

Zhanna Kadyrova si distingue da altri artisti che lavorano nel campo della scultura urbana e della produzione di oggetti. Fin dall’inizio, ha percepito distintamente e definito chiaramente la sua gamma di materiali d'uso e di tematiche artistiche. Ad esempio le piastrelle a buon mercato e il cemento comunemente utilizzati nell’urbanismo post-sovietico - materiali spesso scelti in edilizia come rimedio per difetti di costruzione, errori di calcolo o carenze tecnologiche. Ad oggi, le piastrelle sono ancora ampiamente usate per rivestire le facciate degli edifici in Ucraina. Incorporando tutta l’energia della cultura popolare “bassa”, luminosa e scintillante, la piastrella è il materiale dei mosaici di Zhanna, sculture e oggetti frantumati e incerti, che sembrano a volte così fragili e transitori. Quando è filtrato dalla Kadyrova, anche il kitsch perde la sua abituale auto-sufficienza, si carica invece di sentimenti complessi, di nostalgia, anelando alla sincerità perduta e al sentimento di fragilità della fama e delle prosperità mondane.

 

Nonostante sia ancora un’artista relativamente giovane, Zhanna Kadyrova è già una delle più influenti personalità nel campo dell'arte contemporanea in Russia e Ucraina. A Mosca ha partecipato a molte mostre di primo piano nell’arte contemporanea, tra cui Formalism al Moscow Museum of Modern Art (2007), The Conquered City presso la Galleria Regina (2009), WC (2010), Test Alarm (2011), On/Off (2011) e Angry Birds (2012). Le ultime quattro mostre sono state organizzate dalla Fondazione Vladimir Smirnov e Konstantine Sorokin.

 

Immagine: Do not enter, 2005, metallo galvanizzato, piastrelle di ceramica, cemento, poliuretano, cm 140x140x20. Collezione Vladimir Ovcharenko, Mosca. Foto: Andrew Yagubsky

Nell’acqua capisco da un progetto di Lea Mattarella e Claudio Libero Pisano a cura di Claudio Libero Pisano

Evento collaterale alla 55.  Esposizione Internazionale d’Arte la Biennale di Venezia

Venezia, Ateneo Veneto e Procuratie Vecchie 29 maggio – 29 settembre 2013

Nell’acqua capisco da un progetto di Lea Mattarella e Claudio Libero Pisano  a cura di Claudio Libero Pisano

Gregorio Botta, Simone Cametti, Paolo Canevari, Davide D’Elia, Alberto Di Fabio, Bruna Esposito, Andrea Galvani, Laurel Holloman, Regina José Galindo, Donatella Landi, Marina Paris, Simone Pellegrini, Gioacchino Pontrelli, Annie Ratti, Barbara Salvucci, Donatella Spaziani, Francesco Vaccaro

The Hart Foundation in collaborazione con CIAC presenta a Venezia dal 29 maggio al 29 settembre nelle prestigiose sedi dell’Ateneo Veneto e delle Procuratie del Sansovino in Piazza San Marco Nell’Acqua Capisco, un progetto espositivo che ha come protagonista assoluto l’elemento liquido, inteso come veicolo di relazioni, comunicazioni, sentimenti e aspirazioni che passano attraverso di esso per ottenere un riscontro o uno stato d’animo. L’acqua è la zona sospesa, il ponte verso paesaggi della mente dove trovare risposte. La storia, la mitologia e l’arte stessa hanno rappresentato l’acqua nella sua accezione più arcana. Nell’acqua ci si perde nel tentativo di cercare risposte. Ma l’acqua è anche stata rappresentata come luogo dove sospendere tutto, dove ogni pensiero e aspirazione trovano risposta. A volte dall’acqua arrivano anche messaggi di orrore e di violenza.

Le opere esposte in mostra hanno tutte in questo elemento il loro tratto comune, nei suoi inconfondibili suoni sono espresse le necessità di relazione e comunicazione dell’uomo. Nel suo fragore c’è il tentativo di nascondere stati di disagio. Nell’acqua, per contrasto, ci si immerge per recuperare tutto ciò che è fuori da essa. L’acqua è raccontata come elemento di condivisione, come interprete di messaggi inclusivi è un elemento circolare, di respiro e di morte. Tutte le opere presentate creano un dialogo, a volte gioioso, spesso doloroso, ma sempre comunque riflessivo.

La scelta dei 17 artisti invitati ha seguito il criterio di trovare un giusto equilibrio tra artisti affermati dal curriculum internazionalmente riconosciuto e giovani artisti che nonostante siano all’inizio del loro percorso, hanno già una poetica matura. L’obiettivo del progetto è anche quello di misurare la capacità evocativa e progettuale di generazioni diverse, raccolte intorno a un’idea curatoriale. La sinergia tra Hart Foundation e il museo CIAC ha consentito la realizzazione di questa iniziativa nel migliore dei contesti auspicabili, nell’ambito degli Eventi Collaterali della 55. Esposizione Internazionale d’Arte.

La mostra divisa in due importanti sedi espositive, di per sé portatrici di importanti valori storici e artistici come l’Ateneo Veneto in Campo San Fantin e le Procuratie in Piazza San Marco, coniuga al meglio la ricerca artistica al prestigio di due luoghi simbolo della città.

Pavilion of Slovenia Jasmina Cibic - for our economy and culture

(sotto italiano)

The Museum and Galleries of Ljubljana and Škuc Gallery are proud to present the work of Jasmina Cibic at the Slovenian Pavilion at La Biennale di Venezia, the 55th International Art Exhibition. Cibic’s project entitled For our Economy and Culture is curated by Tevž Logar, artistic director of Škuc Gallery, Ljubljana.

Currently based between London and Ljubljana, Jasmina Cibic is one of a new generation of Slovenian artists whose practice, although acutely conscious of a specific national political, cultural and artistic lineage creates a very distinctive language of its own.  Whilst she clearly shares and addresses some of the same theoretical and political concerns present in the work of other artists from a post-communist Europe, Cibic operates within a global rather than nationalized discourse.   Her work is generally site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment or space.  She has specifically conceived works in 'non-places' such as airports, waiting rooms or aircrafts, which are characteristically anonymous, transitory and without any established identity or fixed nationality.  As a result they evoke a very singular relationship with the visitor/spectator - something that is key to Cibic’s artistic investigations. 

Cibic's presentation for the Slovenian Pavilion, For our Economy and Culture, continues her interests and methodologies and takes the curatorial directive of the 55th International Art Exhibition ? la Biennale di Venezia: The Encyclopedic Palace as a starting point to further explore systems and hierarchies of knowledge and presentation. 

Using the architectural specificity of the Slovenian Pavilion, a repurposed private residence, and referencing state architectural strategies, Cibic will create an immersive multi-media installation that appropriates the entire space and explores issues around national representation and framing. 

Into this context, Cibic places a variety of elements, which further examine modes of exchange, reception and constructions of identity.  These include two films, shot on official state locations, which underwent numerous redesigns concurrent with national cultural and political imperatives.  The films present philosophical and architectural theories of purpose, form, function and aesthetic priorities through, in one, a staged interview between a (male) architect and (female) journalist, and in the other, a recreation of a 1957 parliamentary debate set up to decide which artworks might be suitable (i.e. nationally representative enough) to ‘decorate’ the newly built People’s Assembly.  In each film, the re-imagining and re-contextualising of such issues, dramatizes not only the power paradigms inherent in systems of authority, but also the explicit contradictions present in the transmutation of a national identity from past to present, place to place.  

For our Economy and Culture also features a series of historical and contemporary paintings of flower arrangements drawn from the official art collection of the National Assembly of the Republic of Slovenia. Such paintings are routinely selected to decorate the current government offices, literally framing MP’s as they hang behind their heads and presenting a particular ideal of state image.  By utilising these apparently neutral and decorative images within the context of her installation, Cibic further articulates her interest in art as ‘souvenir’ a token of national identity.  As a further framing device, the interior of the pavilion will be entirely covered with wallpaper carrying obsessively repetitive scientific illustrations of an endemic Slovene beetle, a 'failed' national icon that has almost been completely exorcised solely because of its ideologically charged name, Anophthalmus hitleri.

Of her practice, Cibic says: 'I am interested in exploring the architectural apparatuses of the exhibition space itself, the ideological constructs behind such a space, the operative mechanisms that define its character and values as well those that frame the works' reception.  I want to construct theatrical interventions and events, mise-en-scènes, which open up a dialogue between their origin and the place in which they are ultimately received.  The idea of the spectator as an accidental or even 'faux' tourist fascinates me, as does the way that an artwork within a specific often displaced architectural framework, becomes a souvenir object par excellence – a fetish of the original experience'

For our Economy and Culture will be accompanied by an extensive publication, and further presents a conference in Autumn 2013.

The publication will include in–depth texts by Lina Džuverovi?, Dr. Nika Grabar, Dr. Petja Grafenauer, Tevž Logar, Dr. Suzana Milevska, and Dr. Jane Rendell and also feature a range of visual material and documentation of the project itself.

The conference, convened by curator and writer, Lina Džuverovi? in collaboration with Jasmina Cibic and Tevž Logar, aims to further explore key themes raised in the presentation and further contextualize the project within an international framework of contemporary art and theory.

The Slovenian Pavilion at the 55th International Art Exhibition – La Biennale di Venezia has been produced by the Museum and Galleries of Ljubljana and co-produced by Škuc Gallery, Ljubljana.  The commissioner is Blaž Peršin.

www.slovenianpavilion.net

About the artist:

Born in Ljubljana, Slovenia in 1979, Jasmina Cibic studied at the Accademia di Belle Arti, Venice, Italy, before receiving an MA in Fine Art at Goldsmiths College, London, 2006. She is the recipient of prestigious awards including Bevilacqua la Masa (Venice 2002, 2005), The Trend Award for outstanding achievements in visual art in Slovenia, (2011) and Catlin Commission Award, (London, 2011).

Recent projects and exhibitions include: Borderline, Joanneums Museum Graz; The Object of the Spectacle, Galerija Škuc, Ljubljana; U3 – 6th Triennial of Contemporary Art, curated by Charles Esche, Museum of Modern Art Ljubljana; The Secret of the Ninth Planet, California College of the Arts, San Francisco; Percorsi d’Arte, Museum of Modern Art, Bologna and Tourists Welcome, Ljubljana International Airport. Forthcoming exhibitions include U3- 7th Triennial of Contemporary Art, (June 2013) curated by Nataša Bachelez-Petrešin, MSUM, Ljubljana and an artist’s project for the 30th Biennial of Graphic Arts in Ljubljana, September 2013) curated by Dr. Petja Grafenauer.

Website of the artist: www.jasminacibic.org

Italiano

Il Museo e le Gallerie di Lubiana e la Galleria Škuc sono orgogliosi di presentare il progetto dell'artista Jasmina Cibic nel Padiglione della Slovenia alla 55° Esposizione Internazionale d'Arte - Biennale di Venezia. Il curatore del progetto, intitolato Per la nostra economia e cultura, è Tevž Logar, il direttore artistico della Galleria Škuc di Lubiana.

L'artista Jasmina Cibic vive tra Londra e Lubiana ed è un’esponente della giovane generazione degli artisti sloveni, le cui pratiche artistiche creano a un linguaggio artistico particolare, pur affondando le loro radici in uno specifico contesto nazionale, politico, culturale e artistico. Anche se i suoi lavori si fondano su delle premesse di tipo teorico e politico tipiche anche di altri artisti dell'Europa postcomunista, Jasmina Cibic opera preferibilmente nell'ambito di un discorso globale sovranazionale. La sua opera ha in genere specifici riferimenti locali e contestuali, è di carattere performativo e come tale include varie attività, varie tecniche mediatiche e teatrali con le quali ridefinisce o ripensa l'ambiente o lo spazio esistente. In particolar modo si è dedicata a progetti in non-luoghi quali aeroporti, sale d'attesa o aeroplani che sono per loro natura anonimi, di transito, privi di un'identità propria o di una composizione nazionale stabile. In questo modo le sue opere stimolano un rapporto unico con il visitatore/spettatore – questo è un aspetto fondamentale di tutte le ricerche artistiche di Jasmina Cibic.

Il progetto Per la nostra economia e cultura di Jasmina Cibic rappresenta la continuazione di queste tendenze e si basa sul tema ispiratore della 55° Biennale, al Palazzo Enciclopedico, sviluppando il concetto della sua natura utopica e sull'assenza di un processo di selezione. L'artista sottolinea le (possibili) censure insite nella stessa forma di una mostra di questo tipo, riferite a una forte posizione nelle strategie di strutturazione dell'iconografia nazionale.

La Cibic punta sulla struttura architettonica del padiglione sloveno proponendo la rivisitazione di un'abitazione privata che parla di un'esperienza intima piuttosto che dell'impegno pubblico di una galleria d'arte. L'artista propone un'installazione immersiva con la quale invade tutto lo spazio espositivo, trasformando l'architettura in un boudoir evocando allo stesso tempo le strategie di un'architettura ufficiale di stato.

In questo contesto Jasmina Cibic presenterà numerosi elementi atti a studiare i processi di scambio, ricezione e di costruzione dell’identità. L'allestimento si compone tra l'altro di due filmati che drammatizzano le contraddizioni insite nei cambiamenti dell'identità nazionale dal passato al presente e propongono i principi filosofici e architettonici sullo scopo, la forma, la funzione e le priorità estetiche. Il primo si basa su un dialogo tra un architetto (uomo) e una giornalista (donna), e tra le altre cose ricostruisce un dibattito parlamentare del 1957 inteso a definire le opere più adatte (più rappresentative sotto l'aspetto nazionale) a ornare il neocostruito Parlamento. In entrambi i film compaiono la riflessione e la contestualizzazione di tali questioni che non riguardano solo i modelli tipici dei sistemi di potere, ma anche le evidenti contraddizioni che sono inscindibilmente legati ai mutamenti delle identità nazionali e culturali dal passato al presente, di luogo in luogo.

Il progetto Per la nostra economia e cultura include anche le nature morte - sia datate che recenti – della collezione ufficiale del Parlamento e concesse in prestito per la Biennale. Questi dipinti sono originariamente esposti a fini decorativi negli uffici parlamentari, dove circondano i rappresentanti dell'apparato statale, essendo appesi sulla parete alle loro spalle e incarnano così un'immagine ideale dello stato. Includendo questi dipinti decorativi dall'apparenza neutra nella sua installazione, Jasmina Cibic ribadisce il suo interesse per l'arte come "memoria" e simbolo dell'identità nazionale. L'interno del padiglione sloveno è ricoperto da immagini di una specie di scarafaggio endemica della Slovenia, un'icona nazionale fallita e quasi totalmente estinta solamente a causa della potente carica ideologica del suo nome: Anophthalmus hitleri.

Jasmina Cibic commenta il suo lavoro: "Sono molto interessata alla ricerca degli apparati architettonici, dello stesso spazio della mostra, delle strutture ideologiche che stanno dietro a tale spazio, dei meccanismi operativi che definiscono il carattere e il valore e plasmano la ricezione dell'opera. Vorrei creare degli interventi e degli avvenimenti teatrali, delle messinscene che aprano lo spazio al dialogo tra la sua origine e lo spazio stesso dove questi eventi sono accolti e si svolgono. L'idea di uno spettatore visto come un turista casuale mi entusiasma, come pure l’idea di un'opera d'arte collocata in un quadro architettonico specifico, solitamente dislocato, che diventa dunque un souvenir par excellence – un feticcio dell'esperienza originaria.”

Il progetto Per la nostra economia e cultura, che comprenderà anche un'ampia pubblicazione, sarà presentato in modo approfondito nel corso di una conferenza che si terrà nell’autunno del 2013.

La pubblicazione includerà testi di: Lina Džuverovi?, Nika Grabar, Petja Grafenauer, Tevž Logar, Suzana Milevska e Jane Rendell. Sarà composta, oltre che da testi di carattere teorico, anche da materiale visivo e documentario inerente al progetto.

La conferenza, convocata da Lina Džuverovi? in collaborazione con l'artista e il curatore della mostra, contribuirà a inserire il progetto in un ambito più ampio, collegandolo al contesto internazionale dell'arte e delle teorie artistiche internazionali.

Il Padiglione sloveno alla 55° Esposizione Internazionale d'Arte – la Biennale di Venezia è stato allestito a cura dei Musei e Gallerie di Lubiana e coprodotto dalla Galleria Škuc. Il commissario del padiglione sloveno è Blaž Peršin.

Per ulteriori informazioni: www.slovenianpavilion.net

L'artista:

Jasmina Cibic è nata a Lubiana, nel 1979. Dopo la laurea all’Accademia di Belle Arti di Venezia ha frequentato il Master in Belle Arti presso il Goldsmiths College di Londra. L'artista ha ricevuto numerosi riconoscimenti tra cui il premio della Fondazione Bevilacqua la Masa (Venezia 2002, 2005), il Trend Award per l’arte contemporanea e il Catlin Commission Award (2011).

I suoi ultimi progetti e mostre sono: Borderline, Museo Joanneum Graz; Objekt Spektakla, Galerija Škuc, Lubiana; U3 – 6. trienale sodobne umetnosti (curatore: Charles Esche), Galleria Moderna, Lubiana; The Secret of the Ninth Planet, California College of the Arts, San Francisco; Percorsi d’Arte, Museo d'Arte Moderna, Bologna e Turisti dobrodošli, Aeroporto Jože Pu?nik, Lubiana. Le sue prossime mostre sranno: U3 -7° triennale d'arte moderna (curatrice: Nataša Bachelez-Petrešin), giugno 2013, Museo d'arte contemporanea Metelkova, Lubiana; 30° biennale di grafica (curatrice: Petja Grafenauer), settembre 2013, varie location.

Il sito web dell'artista è: www.jasminacibic.org

Marc Quinn alla Fondazione Cini

La Fondazione Giorgio Cini annuncia un nuovo importante progetto espositivo che aprirà al pubblico sull’Isola di San Giorgio Maggiore il 29 maggio 2013: Marc Quinn, grande mostra personale a cura di Germano Celant e prodotta in collaborazione con l’artista, che vedrà una selezione di oltre 50 opere – tra sculture, dipinti, disegni e altri oggetti d’arte – realizzate da Marc Quinn, uno dei più noti esponenti della generazione degli Young British Artists.

Con oltre 50 opere tra cui  13 mai esposte prima,la mostra dal titolo Marc Quinn sarà tra le più importanti mai dedicate all’artista. Oltre a celebrare il rinnovarsi della collaborazione tra Quinn e Celant (che risale all’esposizione Garden organizzata da Fondazione Prada a Milano nel 2000), Marc Quinn segna il ritorno a Venezia dell’artista inglese dopo The Overwhelming World of Desire alla Collezione Peggy Guggenheim nel 2003, e ribadisce il crescente interesse della Fondazione Giorgio Cini per l’arte contemporanea.

Nelle intenzioni di Marc Quinn – che da sempre attua una profonda indagine 

su alcuni temi privilegiati, quali il rapporto tra arte e scienza, il corpo umano e 

i suoi meccanismi di  sopravvivenza, la vita e la sua conservazione, la 

bellezza e la m orte – l’antologica alla Fondazione Giorgio Cini che aprirà al 

pubblico il 29 maggio 2013 è un “viaggio dalle origini della vita” e celebra, 

attraverso opere originali, “il timore e la meraviglia nei confronti del mondo in 

cui viviamo”.

Sarà possibile ammirare, in un nuovo ed unico spettacolare allestimento concepito appositamente per l’Isola di San Giorgio, il ciclo Evolution (2005): serie di dieci monumentali blocchi di marmo raffiguranti feti di varie dimensioni, che riproduce il mistero della vita come dono extraterreno che emerge dalla laguna. Un omaggio alla natura, che vede l’arte come componente intrinseca e misteriosa, sono le sette colossali conchiglie della serie The Archaeology of Art: queste perfette forme simmetriche sono infatti realizzate da minuscole creature senza cervello, che sembrano seguire un ordine apparentemente più grande di loro. Infine sarà possibile vedere la grande opera Alison Lapper Pregnant (2005), installata dal settembre 2005 su una della basi al centro della londinese Trafalgar Square. L’opera, che era il pezzo centrale della cerimonia di chiusura dei Giochi Paralimpici per celebrare il trionfo della forza vitale sulle avversità, propone “un nuovo modello di eroismo femminile” in cui amore, maternità, vitalità raggiungono una forma imprevedibile e un picco inaspettato.

Il lavoro concettuale di Marc Quinn si realizza attraverso scultura, pittura, installazioni e video. Il forte interesse dell’artista per la capacità di metamorfosi sia della natura che della vita umana lo guida verso un’attrazione per la spiritualità innata dell’uomo. Quinn mette in discussione i codici della natura attraverso l’utilizzo di materiali che non accettano compromessi, quali ghiaccio, sangue, marmo, vetro e piombo. Attraverso l’utilizzo di tali materiali le opere di Quinn esplorano vita, morte, sessualità e religione in modo poetico e allo stesso tempo provocatorio. Quinn trasforma l’atto del semplice osservare, forzando lo spettatore a mettere in discussione quanto lo circonda, spingendolo verso l’ignoto, per favorire la riscoperta.

English

The Giorgio Cini Foundation is delighted to announce Marc Quinn, a major exhibition which opens on the island of San Giorgio Maggiore on 28 May 2013 in tandem with the inauguration of the 55th Venice Biennale of Visual Arts. Curated by Germano Celant, the solo show includes sculptures, paintings and other art objects by one of the original Young British Artists. Admission to the exhibition is free and it runs until 29 September 2013.

Consisting of more than 50 works, including the public debut of at least 13 new works, Marc Quinn will be one of the artist’s most important exhibitions to date. In addition to reuniting Quinn and Celant, who last worked together on the exhibition Garden at the Prada Foundation, (Milan, 2000) Marc Quinn marks a return of the artist to Venice, following his 2003 show at the Peggy Guggenheim Collection, The Overwhelming World of Desire, and highlights the Giorgio Cini Foundation’s growing interest in contemporary art.

Marc Quinn began his career exploring issues such as the relation between art and science, the human body and its survival mechanisms, life and its preservation, and beauty and death. Slated to open to the public on 29 May 2013, Quinn describes the exhibition as “a journey from the origins of life” that celebrates through very powerful works “the awe and wonder of the world in which we live.”

The works on view will include a unique site-specific installation specially adapted for the island of San Giorgio titled Evolution (2005). This series of ten monumental flesh-pink marble sculptures represent foetuses at different stages of gestation. Placed in the water these sculptures conjure up the mystery of life as an extraterrestrial gift that emerges from the lagoon. In another homage to nature, seven colossal seashells in the series The Archaeology of Art seem to ask if art is an enigmatic, intrinsic part of nature. These perfectly symmetrical, naturally occurring forms belie a strange intelligence and seem to follow some order greater than themselves. Lastly, also on view is a new form of the artist’s monumental work, Alison Lapper Pregnant (2005), the original having been previously installed in September 2005 on the fourth plinth of London’s Trafalgar Square. Also a prominent feature in London’s Paralympic Games’ closing ceremony, the work celebrates the triumph of life force over adversity and suggests “a new model for female heroism” in which love, maternity and vitality take on an unexpected form and reach new heights.

Quinn’s conceptual practice incorporates sculpture, painting, installations and films. The artist’s preoccupation with the metamorphic ability of both human life and nature points to his fascination with our innate spirituality. Quinn questions the codes of nature through his use of uncompromising materials such as ice, blood, marble, glass and lead. Through the use of such materials, Quinn’s works are at once poetic and confrontational through their exploration of life, death, sexuality and religion. Quinn transforms the act of seeing by forcing us to question what is around us, propelling us into the unknown in order to rediscover.

29 Maggio – 29 Settembre 2013

10-19 tutti i giorni

Isola di San Giorgio Maggiore, Venezia

Ingresso libero