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Biennale reflected on empires old and new,[link widoczny dla zalogowanych]
VENICE-Paradise Lost is the perfect name for an exhibit in "the first Roma Pavilion" in the 110-year history of the Venice Biennale. It is a lonely place since the art world's movers and shakers have moseyed on within their grand tour of European contemporary art hot spots,[link widoczny dla zalogowanych], or have simply dragged themselves back home,[link widoczny dla zalogowanych], exhausted.
For one thing, the pavilion - the grimy Palazzo Pisani,[link widoczny dla zalogowanych], a huge pile of weathered stone nearly lost in labyrinthine back alleys - represents a fiction. With its assortment of artists from eight European democracies, Paradise Lost is an exhibition, angry and hugely alive, of a boundary-defying culture,[link widoczny dla zalogowanych], "otherwise referred to as Gypsy,[link widoczny dla zalogowanych]," like a spokesperson explains. Like,[link widoczny dla zalogowanych], what paradise? "Imagine," goes a pamphlet available at the door, "you board a bus and all sorts of the other passengers grab onto their wallet(s)."
For an additional thing, Paradise Lost points towards the 52nd Biennale's own reflection of empires lost. Here you find the Czech and Slovak republics hosting Irena Juzová's "Collection Series" in what was the Czechoslovakian pavilion. Then there's great sculptor Mrdjan Bajic, within the Biennale's more searching shows,[link widoczny dla zalogowanych], representing Serbia while incorporating imagery obtained from the United Nations' 1999 campaign against what was Yugoslavia. Bajic couldn't make the 1993 Biennale because of anti-Yugoslav sanctions.
Within their place, empires of another kind have emerged,[link widoczny dla zalogowanych], as art formulates its own empire-building with François Pinault as its current role model. The Paris-based luxury products zillionaire recently turned the Biennale right into a one-stop shopping experience,[link widoczny dla zalogowanych], buying an entire room in the Italian Pavilion within the Giardini of sumptuous, mural-size paintings from German artist Sigmar Polke. Resembling light-shifting curtains suggesting the drama in the future after they're drawn, Polke's new pieces will eventually be set up in an area created specifically on their behalf in Pinault's new art gallery in Venice, the restored Punta della Dogana,[link widoczny dla zalogowanych], or Venetian customs office.
This boundary-less, multi-national milieu defines this Biennale, where a sizeable quantity of its art stars maintain studios in a minimum of two continents. Canadian sculptor David Altmejd - his glinting installations within the Canadian Pavilion,[link widoczny dla zalogowanych], "The Index" and "The Giant 2," are attracting positive press almost everywhere - is really a prime example, with roots in London and Ny.
There's a correspondingly complex group of concerns accompanying these trans-national lifestyles. The almost prerequisite America-critiquing begins this time around with the American Pavilion, where the late Cuban-born American minimalist artist, Felix Gonzalez-Torres, is presented by a thick stack of posters, one reading "Memorial Day Weekend," endlessly taken away simply to be constantly replenished inside a never-ending cycle of loss.
But,[link widoczny dla zalogowanych], in general, the greater righteous, vigorous brand of anti-war anger has seemingly evolved into elegy - as in American artist Emily Prince's finely drawn portraits of yankee Iraqi war dead - or dark satire as with Adel Abidin's "Abidin - Thanks for visiting Baghdad."
After listing Baghdad-area museums in the parody of the typically slick travel brochure, Abidin, an Iraq-born Finnish artist showing within the Nordic Pavilion, writes: "Most museums have either been closed or looted. They are probably not worth visiting."
Expensive is being made by director Robert Storr of the Biennale's sensitivity to the 77 national representations as well as their ability "to close the gaps," because he puts it,[link widoczny dla zalogowanych], on modern art's otherwise unstoppable, border-challenging,[link widoczny dla zalogowanych], "cross-pollinating growth."
But few glimpses remain of Biennale's imperial past,[link widoczny dla zalogowanych], where it had been still believed that culture may be stamped having a national identity - or the other way around. Confronting nationalism now means a walk across the lawn fronting the bone-dry white façade from the Brazilian pavilion,[link widoczny dla zalogowanych], only to be confronted by an impossibly skinny Japanese transvestite teetering around on elevator shoes posing for Egyptian tourists.
In some cases, some new Biennale attempts at nation-shaping have just plain backfired, like the pan-African exhibit "Africa - Check List Luanda Pop" in the far end of the Arsenale, the shadowy structure where the Venetian sailing fleet was once constructed. Although taken from a single collection,[link widoczny dla zalogowanych], very few works representing such a vast area as continental Africa will not make any collective sense apart from perhaps Storr's hope it will result in some sort of "greater, more permanent inclusiveness."
Yet Storr has imaginatively orchestrated the majority of the Arsenal's enormous display space to great effect. He's added comics towards the Biennale mix the very first time, with a wall full of panels from African-born artists Eyoum Nganguè and Faustin Titi.
One end is filled from floor to high ceiling with a vivid tapestry made from bottle tops from Nigerian-based artists El Anatsui. At the far end,[link widoczny dla zalogowanych], there's another handcrafted wall work,[link widoczny dla zalogowanych], equally majestic. Marching down the walls on each side are row after row of Argentine artist Guillermo Kuitca's huge, circular diary paintings, their surfaces all messed up like favourite old LPs which have been played too often.
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