Over the past years, most of my visits to contemporary art exhibitions have ended in disappointment. I consider myself an ex-curator: after my last show in 2015 I decided to step out of the art world. I usually tell people I enjoyed working with artists but increasingly disliked the art world, in both its commercial and institutional aspects. But this Biennale has left me inspired and hopeful for the art world – reviving my old hope that artists give creative expression to the deep undercurrents of collective development, giving an indication of where we are heading. This impression was left especially by “The Milk of Dreams” show curated by Cecilia Alemani, but surprisingly also by many of the national pavilions and some of the collateral events.
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An Encyclopedia of National Representation: Review of the Venice Biennale, 2013
Although I came to Venice to test and explore an artist’s project that fundamentally critiques the system of national representation at the Biennale, I must admit I enjoyed the national pavilions much more than the group show “The Encyclopedic Palace” and some of the collateral events.
Artists and curators asked to represent their country invariably grapple with the question how to ‘represent the nation’ and why they should be the ones called to do it. This intellectual quandary produces some interesting artistic results. Besides, this system does allow for a plurality of approaches to be present in the same event, notably empowering voices from the periphery.
I had my hands full with checking the national pavilions around town and relating what I saw to Jonas Staal’s Ideological Guide to the Venice Biennale. This guide, an app for android and apple-ware, describes each pavilion in detail, providing statistical data for the country, its conflicts and alliances, with a cover piece by an art professional well acquainted with that country, usually a ‘national’ (sic).
It has a navigation system, and although I usually spurn such devices, preferring to rely on my sense of orientation, knowledge of the city map and passers-by, I did use this one. Venice is a labyrinth. The precise GPS pinpointing is more useful than the Biennale’s map. So I managed to see quite a lot in two days, while maintaining the time for long exchanges with the artists and an occasional curator.
What follows are reflections about the national pavilions, interspersed with comments about the Biennale in general and personal perspectives on artists and shows that were not part of the national representation mechanism.
I will be adding the chapters on the national representations as I finish writing them.
All the Middle Eastern national presentations