REVIEWS

/ Venice
View of “The Boat is Leaking. The Captain Lied.,” Fondazione Prada, Venice, 2017.
by

Erika Balsom

THE BOAT The metaphor of the ship of state is best known from Plato’s Republic. In the “collective exhibition concept” developed by Udo Kittelmann for the Fondazione Prada, this maritime trope of political community is evoked unmistakably yet only obliquely, mediated through the titular citation of Leonard Cohen’s devastating... continue reading
Russian Pavilion: “Theatrum Orbis”

57TH VENICE BIENNALE, Venice

Grisha Bruskin, Scene from 2016-2017, 2017.
by

Maxim Ivanov

The reign of Stella Kesaeva and the Stella Art Foundation over the Russian Pavilion at the Venice Biennale ended in 2015. Over the course of three biennales, they showed western audiences works by the artists who secured Moscow conceptualism’s place in art history, and transformed it into an export commodity... continue reading
57th Venice Biennale “Viva Arte Viva”

57TH VENICE BIENNALE, Venice

Rasheed Araeen, Zero to Infinity in Venice, 2016-17.
by

Kevin McGarry

There was widespread suspicion about “Viva Arte Viva” even before Christine Macel’s 57th Venice Biennale opened last week. This year’s edition fell short of gender parity with almost two-thirds of the participants male, fomenting heated critiques on social media upon release of the artist list. Racial metrics were worse; case... continue reading
57th Venice Biennale “Viva Arte Viva”

57TH VENICE BIENNALE, Venice

View of Charles Atlas, The Tyranny of Consciousness, 2017.
by

Barbara Casavecchia

“Viva Arte Viva” is a tautological title. Since a tautological statement is one that is necessarily true on the basis of its circular syntactical structure, it’s logical to assume that Christine Macel, the curator of the 57th Venice Biennale, is asking us to believe that art is alive, and/or that... continue reading
Italian Pavilion, “Taking Care - Designing for the Common Good,” 15th Venice Architecture Biennale, 2016.
by

Nick Currie

During the first decade of neoliberalism, not long after Live Aid, Sandy Nairne made a series of six films called “State of the Art” for the UK’s Channel 4. They provide a fascinating glimpse into a 1980s contemporary art world both condemning and colluding with international capital. In the fifth... continue reading
View of Atlas of Harum Farocki's Filmography.
by

Chris Sharp

Okay, in the event that you, dear reader(s), are not too tired of the harried Venice musings of the art-agenda corps rearing up in your inbox, here’s a final reflection. Allow me to start with an offensively obvious observation. In case you haven’t noticed, Venice is not particularly adapted to... continue reading

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