Here are a few excerpts from this morning’s viewing of the Giardini at the Venice Bienniale:
I admired the simple and surprising, like the pavilion of books (though there was some irony there in the inflated wall texts). Above is a beautiful troupe l’oeil painting by Liu Ye. Look, no words!
Another really simple and really moving piece called “Niagara” by Mark Bradford in the U.S. Pavilion: it’s three minutes long and my sister and I watched it over and over marveling at the painterly flatness of the setting, while the young man, larger than life then smaller and smaller as he walks away, just walking, compels attention. Here the catalogue text quotes Zadie Smith: “he does more than is necessary with less than he needs.” Exactly.
Finally, I was glad to see that the national pavilions had a sort of consistency and modesty that I hadn’t expected. The Biennial looks like a World’s Fair but it doesn’t exactly seem to be about competition. I’m clearly not in the art world, but as a visitor all the pavilions seemed the same size, of the same importance etc. My favorite, though, has to be Canada’s, which was so understated (I know, cliche) that I couldn’t even find the label that identified or described it. There was just this really interesting, dynamic space that actually had some relationship with its location: the water and light and wood in an unexpected composition.
- France’s pavilion, where various musicians enact their routines by setting up, rehearsing, performing at random. Just not that interesting to watch, though when the music finally starts it’s a nice break from the visual.
- The over-sized, over-decorated stuffed sculptures by Phyllida Barlow in Great Britain’s pavilion. Admittedly not my thing.
- Olafur Eliasson‘s over-complicated social project “Green Light,” which was not engaging despite its good intentions and despite my usual appreciation for his work.
Overall, though, lots to think about and admire, with more work stretching all across the city.