Continuing our exploration of this massive art exhibition …
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Click here for Part 1. See our earlier posts on the exhibition at the Giardini site here and here.
The title of the 60th Biennale Arte Exhibition is drawn from a series of work by Claire Fontaine (a British-Italian duo). The work comprises a series of neon sign sculptures in different colors rendering the expression “Foreigners Everywhere/Stranieri Ovunque in a growing number of languages. Exhibited across diverse context and public spaces, it evokes a palpable sense of estrangement experienced by individuals navigating a globalized society.
We saw the work at the most iconic space of the Biennale Arte—a pre-industrial age Venetian shipyard, where the neon signs were suspended over water.
WangShui created three paintings on aluminum panels, manually anodized with cochineal—a globally-traded red Mexican pigment derived from insects. The panels were positioned to interact with light, creating dynamic visual effects in the space. This installation explored themes of materiality and consciousness, integrating tactile and mechanical processes to blur the line between mind and machine.
Xiyadie (1963- ) uses traditional Chinese paper technique to create works that documents the evolution of queer life including his own experience in China since the 1980s. In Sewn (1999), his yellow trunks hang from one leg as he sews his penis tight with a large needle. Pain and helplessness are suggested by the sharp blade piercing his leg, while a large snake slithering inside him represents his irrepressible desire.
“Prêt-à-Patrie” by the Mexican Barbara Sanchez-Kane.
The title takes the French fashion term Prêt-à-Porter (ready to wear) and combine it with the Spanish language concept of Patrie (homeland). The sculpture is based on men practicing a Mexican military ritual (flag escort) wearing a military uniform with an open back exposing fitted lace lingerie. It serves as a comment on the hegemonic symbol of masculinity, national power and the violent indoctrination of identities.
Nigerian artist, Ṣàngódáre Gbádégẹsin Àjàlá (1948-2021) used the wax-resist technique to create intricate and colorful batik works celebrating Yoruba traditions and everyday life – “the rich complexity of his heritage and spirituality”. The artist was knowledgeable about herbs and developed dyes used to create these works.
Full-Body Portraits by Dalton Paula is a series of paintings, the subject of which are historical figures of African descent who led, or were somewhat involved in, anti-slavery resistance movements in Brazil. Objects including glasses, rocks, chairs, columns, stairs, and sceptres – are inserted in the series in a symbolic way, making evident the possible relationships between image, memory, and power.
Jiannan Wu presented mixed-media works incorporating acrylic on resin, wood, and metal. One notable piece, Cheers, captures the energy of a lively dinner party. This and several other works were displayed in a space dedicated to works by former artists-in-residence from the Swatch Art Peace Hotel, separate from the main exhibition. Swatch served as a partner for the 60th Venice Art Biennale.
More photos to come … from the National Pavilions.
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