I’m sitting on a plastic chair in the tiny front room of a dusty Venetian Palazzo. Just in front of me is a rickety looking cat walk and around me fellow enthusiasts in varying degrees of eccentric attire chat in hushed tones. It’s like London Fashion Week. Only not quite.
The video installation was completely beautiful and genuinely harrowing. It touched on so many of the threads that ran through the rest of the Biennale – the relationship between documenting subject and documented object; the resistance of the world’s complexities to singular narrative overlay; the overlooked and oppressed; the violence of exclusion – but with so much more urgency, dexterity and force. Totally brilliant.
What gives? As for the work, well, what work, really? It’s essentially artists doing variations on wallpaper. Needless to say, I didn’t love it.
I really hated this – Deller’s pseudo-inclusive schtick really riles me because it’s the same old self-serving art cliques who benefit from his success and ‘the people’ who he seems so keen to represent don’t really stand to gain a thing.
From wildlife attacking the super-rich to a mural of Roman Abramovich’s yacht being cast into the waves, Deller’s British pavilion strikes a combative note
The Palazzo is a live space for new ideas and co-?production, cultivating exciting relationships between people. It welcomes its audience as guests and participants. A home from home for an ever-?expanding network of creative people. The Palazzo interiors have been commissioned from international artists.