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Venice & the Common Ground
COVER Magazine No 02 Venice & the Common Ground Magazine No 02 | Venice & the Common Ground | Page 01 TABLE OF CONTENTS Part 01 of 02 EDITORIAL 04 STATEMENTS 25 - 29 EDITORIAL Re: COMMON GROUND Reflections and reactions on the main exhibition By Pedro Gadanho, Steven Holl, Andres Lepik, Beatrice Galilee a.o. VIDEO INTERVIew 06 REPORT 30 - 31 WHAT IS »COMMON GROUND«? THE GOLDEN LIONS David Chipperfield on his curatorial concept Who won what and why Text: Florian Heilmeyer Text: Jessica Bridger PHOTO ESSAY 07 - 21 INTERVIew 32 - 39 EXCAVATING THE COMMON GROUND STIMULATORS AND MODERATORS Our highlights from the two main exhibitions Jury member Kristin Feireiss about this year’s awards Interview: Florian Heilmeyer ESSAY 22 - 24 REVIEW 40 - 41 ARCHITECTURE OBSERVES ITSELF GUERILLA URBANISM David Chipperfield’s Biennale misses social and From ad-hoc to DIY in the US Pavilion political topics – and voices from outside Europe Text: Jessica Bridger Text: Florian Heilmeyer Magazine No 02 | Venice & the Common Ground | Page 02 TABLE OF CONTENTS Part 02 of 02 ReVIEW 42 REVIEW 51 REDUCE REUSE RECYCLE AND NOW THE ENSEMBLE!!! Germany’s Pavilion dwells in re-uses the existing On Melancholy in the Swiss Pavilion Text: Rob Wilson Text: Rob Wilson ESSAY 43 - 46 ReVIEW 52 - 54 OLD BUILDINGS, New LIFE THE WAY OF ENTHUSIASTS On the theme of re-use and renovation across the An exhibition that’s worth the boat ride biennale Text: Elvia Wilk Text: Rob Wilson ReVIEW 47 ESSAY 55 - 60 CULTURE UNDER CONSTRUCTION DARK SIDE CLUB 2012 Mexico’s church pavilion The Dark Side of Debate Text: Rob Wilson Text: Norman Kietzman ESSAY 48 - 50 NEXT 61 ARCHITECTURE, WITH LOVE MANUELLE GAUTRAND Greece and Spain address economic turmoil Text: Jessica Bridger Magazine No 02 | Venice & the Common Ground | Page 03 EDITORIAL Inside uncube No.2 you’ll find our selections from the 13th Architecture Biennale in Venice. -
Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Artforum (May 9, 2019)
INTERESTING. Few words have such angular ambiguity, signifying both a viewer’s interpretive generosity while subtly acknowledging that the thing in question just might not be that good. Ralph Rugoff, the artistic director of the fifty-eighth Venice Biennale, which opened Tuesday to select press and professionals, played on the word’s double meaning in the title for his show, “May You Live in Interesting Times,” a phrase attributed as an “ancient Chinese curse,” but, like, the Ivanka Trump/fortune cookie variety, with no actual “ancient” or “Chinese.” The dash of Orientalism was either snarkily intentional from the start, or simply reclaimed as snarkily intentional after news of the title riled tempers east of the Urals. So how’s the exhibition itself? Interesting. Rugoff has packed his show of roughly eighty artists with whizzbang Instagrams-in-waiting, through an eclectic survey of exclusively living artists that felt more like someone had emptied Chelsea and the Lower East Side (the new, tonier one, not the one from seven years ago) into the Giardini’s Central Pavilion. But after a day of mulling it over, I decided this zeitgeist approach could be a throwback to the biennial’s days as a salon rather than a definitive statement on our life and times. Rugoff might argue that this is his point: In an age of “fake news” and myriad malleable perspectives, consensus is no longer possible. Even his exhibition is divided in two, with Proposition A in the Arsenale and Proposition B in the Giardini. In the absence of a strong thesis or even a clear curatorial vision, what we get is call and response. -
The Best of the Venice Biennale 2015 Highlights from the International Art Extravaganza
The best of the Venice Biennale 2015 Highlights from the international art extravaganza MAY 18 2015 PERNILLA HOLMES The opening of the 2015 Venice Biennale, All the World’s Futures, struck a distinctly sobering tone, with politics, environmental degradation, social inequality, migration and conflict (often handled with a great sense of fragility) dominating Okwui Enwezor’s curated exhibition and many of the national pavilions as well. But so too was there beauty in the video works, sculpture, painting, installations, music and performances that made up Enwezor’s vision of a “parliament of forms” – the term he uses to describe his round embrace of all artistic media and disciplines. Around town there were also plenty of not-to-be-missed shows striking very different tones, and the highlights are well worth making time for. Central Pavilion 1) The Arena – This is Enwezor’s major innovation in the Central Pavilion of the Giardini, for which he invited art world star-chitect David Adjaye to design a theatre-like space for performance art. The foundation upon which the show is built is the reading of Marx’s Das Kapital, directed by Isaac Julien. Other ongoing performances include a piece by Olaf Nicolai – an homage to Italy’s avant- garde composer Luigi Nono and his Un Volto, e del Mare/Non Consumiamo Marx – and, one of the clear stars of the biennale, jazz composer and artist Jason Moran, whose Work Songs, sung by mezzosoprano Alicia Hall Moran (third picture), analyse both the structure and feeling of the songs of slaves and inmates. 2) Fabio Mauri – Viewers entering the Central Pavilion are immediately confronted by a monumental wall of old suitcases. -
Polish Pavilion at the 58Th International Art Exhibition — La Biennale Di Venezia Venice, 11 May–24 November 2019
Polish Pavilion at the 58th International Art Exhibition — La Biennale di Venezia Venice, 11 May–24 November 2019 FLIGHT artist: Roman Stańczak curators: Łukasz Mojsak, Łukasz Ronduda representative of the Zachęta: Ewa Mielczarek commissioner of the Polish Pavilion: Hanna Wróblewska organiser: Zachęta — National Gallery of Art Please feel invited to explore the texts accompanying the exhibition at the Polish Pavilion: curatorial statement by Łukasz Mojsak and Łukasz Ronduda, excerpt from text by Andrzej Szczerski concerning the Flight project, text by Dorota Michalska devoted to the artistic practice of Roman Stańczak, and essay by Adam Szymczyk devoted to the idea of the Biennale and national pavilions. Łukasz Mojsak, Łukasz Ronduda Two Aircrafts Imagining the outcome of the process, initiated by Roman Stańczak, of turning an aircraft inside out posed considerable difficulties. Based on a seemingly straightforward transformation algorithm, the artist’s concept was challenging, if not downright impossible, to visualise. Stańczak himself declared that for him the final result was shrouded in mystery. Thus, from the very beginning, Flight has borne characteristics of an artwork that seeks to convey an unimaginable situation — one that needs to be ex- perienced in order to make any attempts at understanding possible at all. Stańczak’s inside-out aircraft is a piece devoted to unimaginable reversals, extremely rare and often inexplicable events, paradoxes and shocks that shape history and determine the modern-day condition of Europe and the world. It is a monument to the obverses and reverses of reality, which — however difficult it is to imagine — pene- trate each other or unexpectedly swap places. -
Art for the Plan...Le
ART & DESIGN Review: Art for the Planet’s Sake at the Venice Biennale By ROBERTA SMITH MAY 15, 2015 VENICE — The world is a mass of intractable ills on which art must shed light. With oceans rising, climates warming, the income gap widening and human rights abuses of every imaginable kind occurring, the very future of the planet — its many futures — hangs in the balance. This is not the time for art as an object of contemplation or delight, much less a market commodity — certainly not in a public exhibition whose chief responsibility is to stimulate debate. That basically is the provocative but also confining message behind “All the World’s Futures,” the lopsided central exhibition at the sprawling 56th Venice Biennale, which runs through Nov. 22. Organized by Okwui Enwezor, a veteran curator of international undertakings like this, “All the World’s Futures” brings out into the open a central preoccupation of the moment, namely the belief that art is not doing its job unless it has loud and clear social concerns, a position whose popularity has made “social practice” the latest new thing to be taught in art schools. In its single-mindedness “All the World’s Futures” echoes its 2013 predecessor, Massimiliano Gioni’s “The Encyclopedic Palace,” but from the opposite direction. More uplifting, Mr. Gioni’s effort opened modernist art history to all kinds of self-taught and outsider artists, expanding its origins to urgent expressions from around the world, somewhat at the cost of contemporary art. Mr. Enwezor is less interested in artistic urgency than in the urgent state of the world itself. -
The Butterfly, the Garden, the Island, and the Mountain
Elke Krasny The Butterfly, the Garden, the Island, and the Mountain A Pavilion Makes You Look, and Think Every pavilion has something of the flap of a butterfly’s wing to it. Literally. The Latin word papilio (butterfly) in Late Latin already also meant tent. The shape of the spread butterfly wings gave this second meaning to the word which made it catch on in many languages and for a long time: Pavillon (German), pavilion (English), padiglione (Italian), pavillon (French), pabelón (Spanish)…From the tent of courtly culture, the pavelune, the war and shelter tent developed. In the 18th century, the concept eventually took the outward shape that we know as a pavilion today. 19th-century universal expositions gave the pavilion a specific habitat and greatly expanded the semantic catchment area of what originally was a mere piece of garden architecture. The idea of the butterfly could be spun out in a different way, too, following not its shape, but its movement. For a short moment, the butterfly alights and then flies on, spreading and folding in its wings, fluttering on until it, which so fascinates our gaze, has found another nice spot to alight. A pleasure to look at for those watching. One is tempted to keep looking so as to be sure to get a glimpse of the spread wings, of their distinctive specialness. In the same manner, pavilions attract our gaze, transcending other architectures through lightness and presence, technological inno- vation, experimental use of materials, unusual form, folkloristic authenticity. Pavilions are leaps of architectural imagination, time-bound, ahead of time, temporary and movable. -
Artforum.Com Is a Registered Trademark of Artforum International Magazine, New York, NY
login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE follow us search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E 中文版 DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT SCENE & HERD Tale of Two Cities links RECENT ARCHIVE VENICE 06.16.14 Agnieszka Gratza on “Solaris Chronicles” at the LUMA Foundation in Arles Kate Sutton at the opening of Manifesta 10 Andrew Berardini on the opening of Gavlak Gallery in Los Angeles Linda Yablonsky on Jeff Koons’s retrospective at the Whitney Museum Linda Yablonsky on Juergen Teller, Rashid Johnson, and Paweł Althamer in Greece Gemma Tipton on Marina Left: Artist Christopher Williams and architect Rem Koolhaas, director of the 14th Venice Architectural Biennale. Right: Abramović and Ed Atkins Fashion designer and collector Muiccia Prada. (All photos: Linda Yablonsky) at the Serpentine WHILE IN VENICE, I didn’t hear a single joke about architects. This is a profession that appears to take itself very seriously—no bad behavior while away from home. At least, that’s how it seemed over three preview days at the Fourteenth Venice Biennale of architecture—my first. Experienced people predicted that there would be more artists involved than in any edition before, and probably the best one to break my virginity. The reason, they all said, was “Rem”—Rem Koolhaas, the exhibition’s curator and an architect so widely respected that even those who turn up their noses at his ideas pay them close attention. What kind of show would he make? Not the usual kind, to be sure. From the moment of my arrival on Wednesday, June 4, Venice did seem quieter than it is when the art world is in town. -
Italy the Map and the City
ITALY THE MAP AND THE CITY Between Board Game and Global Theater: tween the permanent museum and the temporary exhibition pavil- Exhibiting the Venice Biennale Pavilions ion. As representative containers, they substitute for the architecture Mark Stankard of their origins. Collectively, as an ideal art colony or an embassy Iowa State University row, they chronicle an aggregate evolution of twentieth century mod- ernism. Entirely absent from histories or discussions of modernist architec- The Venice Biennale pavilions serve collectively as a connota- ture, as either autonomous nationalistic objects or as an assembled tive inventory of twentieth century architecture. Dominating their discursive project, the Venice Biennale pavilions represent the scope denotative function of sheltering contemporary works of art, they of twentieth century architectural modernism. This compact epic display acquired meaning dependent on cultural associations. In his narrative, extending from 1895 to 1995, provides architectural he- essay "A Theory of Exhibitions," Umberto Eco states, "The architec- roes and supporting figures, subplots of war and destruction, and an tural product acts as a stimulus only if it first acts as a sign."6 In this ever-changing audience. The Venice Biennale pavilions, diminutive essay, stimulated by his review of Expo '67 in Montreal, Eco reveals and neglected, communicate the vicissitudes of modernism in a con- the issues central to reading theVenice Biennale pavilions. He writes, densed and packaged format. They operate as both -
The Mobile Device Is Used for Requesting Data
JOURNAL OF ENGINEERING AND APPLIED SCIENCE, VOL. 66, NO. 4, AUG. 2019, PP. 465-489 FACULTY OF ENGINEERING, CAIRO UNIVERSITY AN ANALYSIS OF “FREE SPACE” BETWEEN RE-PRESENTATION AND EXPERIMENTATION IN VENICE BIENNALE 1 M. M. EL-HUSSEINY ABSTRACT The bi-annual architectural event of Venice Biennale has been regarded as an international melting pot for various international visions and concepts. The current year’s theme for the Biennale, “FREESPACE” curated by Yvonne Farrell and Shelley McNamara raises several questions related to the necessity of re-presenting “space”, how the different national pavilions reacted to the chosen theme, and how the pavilions of the Middle East specifically represented the issue of space. Thus, the paper will discuss the history of inauguration of the Architecture Biennale in Venice based on a literature review to reflect on the importance of the event. Following that, the theme of the cycle in 2018 will be analyzed based on two-fold streams, first is the main discussion introduced by the curators and second is the re-presentation of a selected number of national pavilions. A second discussion of literature will be presented to discuss the main concepts and philosophical debates, for instance: the quality of space, the generosity of architecture, humanity and architecture, celebrations of nature. Finally, analysis will be conducted on the work displayed in pavilions of Middle Eastern countries in order to re-question the position of our local definition of cultural production and the re-presentation of space. KEYWORDS: Venice Binnale, FREESPACE, Architecture of Display, Futuristic Architecture, Re-Presentation. 1. INTRODUCTION The bi-annual architectural event of the Venice Biennale has been regarded as an international melting pot for various international visions and concepts displayed in accordance with a general theme.