Art, art, art, Aperol, ice cream, and extremely sore feet: yes, we’re back for the 56th instalment of the Venice Biennale. And this time, it’s political.
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.
A new exhibition curated by Crystal Bennes, The Woman, The Gaze, The World is loosely themed around a picking apart of the question of whether women see the world differently than men.
The second exhibition staged by SALON (LONDON) continues its objective of using nontraditional spaces, but shifts focus from the large-scale… Read More