THE VENICE BIENNIAL
The Biennale, a large international exhibition, this year will be curated by Cecilia Alemani and divided between the Corderie dell'Arsenale and the Central Pavilion in the Giardini; there are several National Pavilions scattered throughout the latter, including at the Arsenale and scattered around the city.
Afterwards there are the collateral exhibitions, which will be held in the extraordinary Venetian palaces during the exhibition.
The topics addressed are disarmingly current and most of the artists are participating in this event for the first time.
Full ticket: 25 euros;
Reduced ticket for students: 16 euros (valid for one entrance to the Giardini headquarters and one entrance to the Arsenale headquarters) which can also be used on different days.
Here are the pavilions not to be missed:
- The Swiss Pavilion, one of the most beautiful: along the way you are pervaded by a strong smell of charred wood. Once inside, darkness reigns supreme, interrupted by streaks of red light, responsible for illuminating immense wooden sculptures; made by Latifa Echakhch. They are hands that reach out, faces without gazes, signs of a life that has now reached its end.
- Continuing, there is the Danish Pavilion, entitled "We Walked the Earth", in what appears to be a Danish farm, we will find on one side an extremely realistic centaur, dangling hanged and, on the opposite side, his companion, who is on the ground, torn by the pains of childbirth. A dystopian and disturbing fairy tale.
- Moving forward, you immediately notice the evocative barred Russian Pavilion: a guard ready to put an end to any gestures of protest.
- In the Japan Pavilion we will be able to contemplate our image reflected in one of the many mirrors, it is impossible not to stop and dedicate a minute of admiration.
- A few steps further begins the Pavilion of the Republic of Korea, which presents us with a concentration of mechatronics, placing us in front of a cyborg-dragon, which contracts without a precise reason. Gyre, the artist Yunchul Kimqui, decided that this would be the title of the work; movement in immobility and immobility in movement coexist. The result is hypnotic.
- This year the French Pavilion is entrusted to an artist called Zinebe Sedira, who offers us “Les rêves n'ont pas de titre”, “Dreams have no titles”; a path conceived thinking of a film set that reflected her real home.
Inside you find yourself in front of a bar counter, then you enter the living room, where a TV is on. A representation of the "power" of cinema understood as social commitment. Finally, in one corner of the room there is a coffin whose lid is not yet nailed down.
- Sonia Boyce presents “Feeling Her Way,” a musical installation positioned on a series of giant screens looping the performances of five black female artists. Pop but minimalist setup, colorful in full Brit style: a tribute to Afro-descendant artists, those who have played a role of great importance within the British musical panorama, a work later judged as the best of this 2022 Biennial.
- The German Pavilion: inside the reigning color is white, just as the texts painted on the white walls are white. White is the color out of time, an empty and partially excavated space, it represents the past that returns to the present (the expansion made in the Nazi era which constitutes the current structure), in a game of continuous renewal with multiple meanings.
- The Malta Pavilion is simply "magical": thanks to technology you will be able to delight in the mere sight of this work which consists of many small drops of molten steel that fall from the sky into seven rectangular-shaped tanks filled with water , placed to represent the subjects of the Beheading. A hypnotic rhythm, composed of incandescent drops that fall into the water.
- Lastly, the Ukrainian Pavilion: the work The Fountain of Exhaustion by Pavlo Makovdalk, art with a liberating character that aims to underline and show a paradoxical symbol of life: one river flows into another and then into another, without a solution of continuity, until the moment when they dry up.
Afterwards there are the collateral exhibitions, which will be held in the extraordinary Venetian palaces during the exhibition.
The topics addressed are disarmingly current and most of the artists are participating in this event for the first time.
Full ticket: 25 euros;
Reduced ticket for students: 16 euros (valid for one entrance to the Giardini headquarters and one entrance to the Arsenale headquarters) which can also be used on different days.
Here are the pavilions not to be missed:
- The Swiss Pavilion, one of the most beautiful: along the way you are pervaded by a strong smell of charred wood. Once inside, darkness reigns supreme, interrupted by streaks of red light, responsible for illuminating immense wooden sculptures; made by Latifa Echakhch. They are hands that reach out, faces without gazes, signs of a life that has now reached its end.
- Continuing, there is the Danish Pavilion, entitled "We Walked the Earth", in what appears to be a Danish farm, we will find on one side an extremely realistic centaur, dangling hanged and, on the opposite side, his companion, who is on the ground, torn by the pains of childbirth. A dystopian and disturbing fairy tale.
- Moving forward, you immediately notice the evocative barred Russian Pavilion: a guard ready to put an end to any gestures of protest.
- In the Japan Pavilion we will be able to contemplate our image reflected in one of the many mirrors, it is impossible not to stop and dedicate a minute of admiration.
- A few steps further begins the Pavilion of the Republic of Korea, which presents us with a concentration of mechatronics, placing us in front of a cyborg-dragon, which contracts without a precise reason. Gyre, the artist Yunchul Kimqui, decided that this would be the title of the work; movement in immobility and immobility in movement coexist. The result is hypnotic.
- This year the French Pavilion is entrusted to an artist called Zinebe Sedira, who offers us “Les rêves n'ont pas de titre”, “Dreams have no titles”; a path conceived thinking of a film set that reflected her real home.
Inside you find yourself in front of a bar counter, then you enter the living room, where a TV is on. A representation of the "power" of cinema understood as social commitment. Finally, in one corner of the room there is a coffin whose lid is not yet nailed down.
- Sonia Boyce presents “Feeling Her Way,” a musical installation positioned on a series of giant screens looping the performances of five black female artists. Pop but minimalist setup, colorful in full Brit style: a tribute to Afro-descendant artists, those who have played a role of great importance within the British musical panorama, a work later judged as the best of this 2022 Biennial.
- The German Pavilion: inside the reigning color is white, just as the texts painted on the white walls are white. White is the color out of time, an empty and partially excavated space, it represents the past that returns to the present (the expansion made in the Nazi era which constitutes the current structure), in a game of continuous renewal with multiple meanings.
- The Malta Pavilion is simply "magical": thanks to technology you will be able to delight in the mere sight of this work which consists of many small drops of molten steel that fall from the sky into seven rectangular-shaped tanks filled with water , placed to represent the subjects of the Beheading. A hypnotic rhythm, composed of incandescent drops that fall into the water.
- Lastly, the Ukrainian Pavilion: the work The Fountain of Exhaustion by Pavlo Makovdalk, art with a liberating character that aims to underline and show a paradoxical symbol of life: one river flows into another and then into another, without a solution of continuity, until the moment when they dry up.