The Venice Biennale is in full swing. Last week we featured Phyllida Barlow’s entry in the British pavilion, today we look at a number of other highlights from the world’s greatest art show.
José Pedro Croft’s installation for the Portuguese pavilion sees six giant, coloured glass panels positioned around the gardens of Villa Hériot. The stark geometric shapes act as a filter when viewing the surrounding environment, creating a colourful lens through which to view. The work brings a touch of minimalist modernity to the biennale not really seen in any other exhibits.
Georgia’s entry into the Biennale captures the sullen mood of decay. Vajiko Chachkhiani has reassembled an abandoned wooden hut, a traditional feature of the Georgian countryside, within the Arsenale. The interior is furnished with similarly traditional objects making it near enough to the real thing. However, Chachkhiani’s hut features a constant rainstorm that falls from inside the roof, constantly beating down on the the interior. Over time viewers will witness the huts slow decay and transformation.
Korea’s pavilion is shared by artists Cody Choi and Lee Wan. Outside, Choi’s neon signage decorates the pavilion in a style the artist has coined as casino capitalism. The decadent colours and flashy lights beam out in a garish but enticing manner. Inside, Wan’s exhibit is a touch more sombre with a stark installation of clocks with a central sculpture of a faceless family unit. The clocks indicate the number of hours people in various parts of the world have to work in order to afford a basic meal.
Israel’s Gal Weinstein has transformed the pavilion from one of beauty into one of decay. Using metallic wool, stuffing, felt and mould, Weinstein has created decrepit rooms full of historical and geographical references telling the Israel story of miraculous acts, neglect and destruction.
The German pavilion took out the Golden Lion for Anne Imhof’s installation and performance work, Faust. The work fills the space with a glass floor that is held up above the ground via a network of metal pillars. Through the space underneath, performers writhe and contort in the minimalist space that feels somewhat like a mental asylum. Above the glass, Adidas-clad figures perch on suspended wall plinths and perform acts that could relate to destruction or madness.
Images: Via Wallpaper.com