#Arsenale di Venezia

[toosvanholstein]

't Is weer tijd voor …… een ReisKunst-Verhaal: De Inspiratie door La Serenissima

Venetië, een van mijn muzen, met altijd ook weer Biënnale-avonturen. Altijd ook goed voor kleurrijke inspiratie en m'n traditionele Campari-Spritz bij Bar La Palanca op Giudecca. En altijd goed voor een ReisKunst-Verhaal. #BiennaleVenezia#art#kunst#expo

‘t Is weer tijd voor…. Dat is een van die bekende kreten van Arjen Lubach in zijn ‘De Avondshow’. Dan weet je dat er weer een of andere rubriek aankomt waarin hij een maatschappelijk probleem humoristisch en vilein tot op de bodem fileert. Niet dat ik dit nu ook ga doen. Maar het was toch al een poos geleden, vorig jaar oktober, dat ik hier in TOOS&ART met een ReisKunst-Verhaal kwam aanzetten.…

[simonarinaldi]

Biennale di Venezia 2024 - Arsenale

[positive-magazine]

Uzbekistan Takes Center Stage at the 60th International Art Exhibition in Venice

In a celebration of art, culture, and the resilience of women, the Republic of Uzbekistan proudly announces its participation in the prestigious 60th International Art Exhibition — La Biennale di Venezia. The event, scheduled to run from April 20 to November 24, 2024, promises to be a captivating exploration of identity and migration through the lens of Central Asian women, under the guiding…

[fabriziosbardella]

Il Carnevale di Venezia 2023 dopo 18 giorni di festa, millecento spettacoli, centinaia di migliaia di visitatori, milioni di visualizzazioni in rete è finito. #carnevaledivenezia #carnevalerecord #smartcontrolroom #laguna #terraferma #calliveneziane #arsenale #piazzasanmarco #carnevale2023, #carnevale2024 #fabriziosbardella

[beautifulvenezia]

Day 253: Arsenale di Venezia | Daily Venice for you!

[sound0fyourheart]

Arsenale di Venezia, November 2023

[meramu-meramu]

Brett Graham, Wastelands (2024)

Arsenale, La Biennale di Venezia 2024

[espadamiura]

Biennale, Arsenale di Venezia.

[optikestrav]

Arsenale di Venezia (opened 1104 CE) (2019)

© optikestrav

[toosvanholstein]

't Is weer tijd voor …… een ReisKunst-Verhaal: La Serenissima

Venetië, een van mijn muzen, met altijd ook weer Biënnale-avonturen. Altijd ook goed voor kleurrijke inspiratie en m'n traditionele Campari-Spritz bij Bar La Palanca op Giudecca. En altijd goed voor een ReisKunst-Verhaal. #BiennaleVenezia#art#kunst#expo

‘t Is weer tijd voor…. Dat is een van die bekende kreten van Arjen Lubach in zijn ‘De Avondshow’. Dan weet je dat er weer een of andere rubriek aankomt waarin hij een maatschappelijk probleem humoristisch en vilein tot op de bodem fileert. Niet dat ik dit nu ook ga doen. Maar het was toch al een poos geleden, vorig jaar oktober, dat ik hier in TOOS&ART met een ReisKunst-Verhaal kwam aanzetten.…

[susanmains]

Posted @withregram • @andcostalighting The world's biggest architecture festival is about to kick off and we are glad to be part of it! Discover Walking on Water project at the Grenada National Pavilion Biennale di Architettura 2023 Base Nautica Vela al Terzo Bacini Arsenale Nord- Venezia . . . . . #andcostalighting #grenadapavilionvenezia #grenadapavilionvenice #venice #architecture #italiandesign #italy #grenada #biennaledivenezia #biennalediarchitettura https://instagr.am/p/Csa_ubBrqM7/

[myusualluck]

Hidden Corners of Venice - Angoli Nascosti di Venezia

Buongiorno e buona Domenica

Arsenale

https://www.facebook.com/groups/hiddencornersofvenice/permalink/1622988081756597/?

@charliechange8 TikTok

https://vm.tiktok.com/ZNeoGTqx8/

[paoloferrario]

Biennale di Venezia 2024 – Arsenale, in La Dimora del Tempo Circolare

Biennale di Venezia 2024 – Arsenale

[chez-mimich]

La seconda parte della cronaca dalla Biennale di Venezia (per coloro che non si fossero già addormentati al primo)

[sound-art-text]

Sound at the 57th Venice Biennale (2017)

Guide to sonic works in the 57th edition of this international art exhibition. Titled VIVA ARTE VIVA and curated by Christine Macel, chief curator of Paris's Centre Pompidou, La Biennale di Venezia is open from May-November 2017.

Couldn't help but put a few other non sound things in here too…

This years Golden Lion winner is the German pavilion - artist Anne Imhof has choreographed an epic performance, between five and seven hours in length and ever changing, where you walk on a glass floor with millennials trapped underneath. During my visit they threw themselves against the floor, dejectedly hosed down the glass separating us from the performers, one escaped and climbed the imposing fence outside… An extremely bleak view.

The French pavilion for the Venice Biennale has been transformed by Xavier Veilhan and the pavilion’s curators, Christian Marclay and Lionel Bovier, into a musical space in which professional musicians from all over the world work throughout the duration of the exhibition. The producer shuffled around inside the fishbowl studio whilst I was there - not much sound coming out and it all felt a bit insanely privileged - massive money music studio being a far cry from what most of us work with, and who knows where the results of what the musicians have created will go.

Lots of cool things in the Korean pavilion. My fav was a small room full of clocks, all set at different speeds. Voices that seem to come from behind the clocks tell you how long it takes each person, name and profession inscribed on the clock, to earn a meal.

Not entirely sure what was happening in the Russian pavilion - dark, light, space, projections, subterranean lair with an app that makes naked figures appear… Lable says 'Baudrillard's silent majority, intimidated by power and terrorists'. I can hear eerie voices and mechanical hiss.

Radical act in the Canadian pavilion - most of roof gone and water spurting everywhere. Got wet listening to lovely sounds of water chiming and enjoyed watching visitors hop around to avoid new streams.

In the Greek pavilion - how much of this is real? I'll never know. Strange videos of scientists with ethics under question. Guided round a maze by eerie recorded voices. Either I'm a genius or it wasn't a real maze though as walked straight through it, no wrong turns.

Arsenale

Drumming the water - reviving the tradition with locals of the Atrato river, a work by Marcos Avila Forero. Really nice thoughtful film, about how we lose our traditions and history through globalisation. Showed a seemly futile struggle as locals attempt to revive tradition of drumming with water with varying degrees of managing to keep in time between bursts of annoyance and disheartenment. Nice community spirit came through.

Moves like an insect, slowly creeping across the wall. A music box plays the wallpaper, transforming visual motifs into sounds. A work by a Anri Sala.

Audio cassettes made for women by religious leaders, to tell them how they should act. Visually impactful - the array of tapes is fitted to the wall on bread dishes to spell out poignant words in Arabic - 'temptation', 'forbidden', 'struggle'. Saudi artist Maha Malluh says that she doesn't create new objects, believing that the world has already produced enough, many of which are discarded.

The city plays itself. No humans required as Nevin Aladag leaves instruments to create sound by themselves. Artist dealing with re-appropriation of public space and sound creation, setting the city up to become the voice of it's absent inhabitants.

Always interested in broken pianos and all they symbolise… Small man with axe destroys piano amongst other things in Liliana Porter's work.

Enjoyed this activist performance work - shouting messages across the city about public vs private space, home, and freedom to wander. Pavilion transformed into a moving stage. In defence of nomadism - collective actions in the Spanish pavilion.

In town

Murmuri - a work by Eva Ariza in the Andorra pavillion.

Investigating the boom of the 'charity single' as a symbol of globalisation of pop music and rise of 'neo liberalist aspirations'.' Songs for Disaster Relief sound lounge by Samson Young in the Hong Kong pavilion.

Five artists collaborate through image, film, sculpture and sound to question the future of Mongolia.

Deeply moving work - my favourite of the Biennale. Artist subjects himself to limits of endurance through 'one year performances'. In the first, he clocks on to a worker's time clock every hour, day and night, for one year. In the second, he takes no shelter - spending a year outdoors. Heartbreaking film accompanying the relics of these performances showing his treatment whilst sleeping outdoors, including as police force him indoors whilst under arrest. I shed a tear.

[mcgiggers]

Venice - May 2024

Just back from the Floating City which served as a beautiful backdrop for the 60th edition of La Biennale di Venezia, the world’s longest running and most extravagant contemporary art festival. Thematically grouped under the banner Foreigners Everywhere – Stranieri Ovunque, the exhibit privileged lesser-known artists from the global south who are foreigners, immigrants, expatriates, diasporic, exiled or refugees, and it showcased craft, tradition and the handmade which often is considered outsider or strange in the world of fine arts. The result was a marvelous adventure where some initial trepidation was quickly assuaged by an explosion of colours and creative renderings. In addition to the Biennale, numerous other exhibits and museum shows were staged concurrently throughout the city and visiting many of these in the two and a half days at hand made the experience that much more memorable.

Training for the Venice marathon was held in the hilltop village of Petritoli in the Le Marche region of Italy, where swims in the Adriatic, biking between neighboring towns and hiking in the Sibillini Mountains prepared the mind, body and soul for the viewing experience to come. The prelude to Venice also included a short stop in Monza and Carlazzo where family and food were graciously celebrated. Fuel throughout was local fare and featured Il Grecale’s calamarata in San Benadetto del Tronto, Antonio’s wood fired margherita pizza in Carlazzo and Osteria Ai Do Farai’s carpaccio di Branzino in Venice.

This year’s Biennale presented the works of over 330 artists, mostly first-time participants, and over 85 countries were represented with their own national pavilions. The principal venues were the Arsenale, a former Venetian military dockyard, which housed themed exhibits as well as some national pavilions, and the Giardini, a lush garden area at the mouth of the Grand Canal that is home to 30 or so permanent national pavilions and a Central Pavilion that featured a curated selection of works by artists from Latin America, Africa, the Middle East and Asia. In addition, there were numerous other Biennale offsite locations scattered about town.

Among the national pavilions, the Australian entry featuring Archie Moore’s monumental family tree dating back 65,000 years took top prize among in-the-know jurors.  Other standouts included: Canada with Kapwani Kiwanga’s sculptures and all-over bead work; Nigeria which featured the photography, sculpture and painting of eight artists; and Italy with Massimo Bartolini’s labyrinth of metal scaffolding and sound machines. The highlights in the themed sections included: Costantino Nivola’s “Bozzetto per lo show-room Olivetti a New York”, 1953, plaster casting on sand and polychromy; Dalton Paula’s “Chico Rei”, 2024, gold leaf and oil on canvas; Pacita Abad’s “You Have to Blend In, Before You Stand Out”, 1995, oil, painted cloth, sequins, buttons on stitched and padded canvas; Fanny Sanin’s ”Oil No. 7”, 1969, oil on canvas; and Kim Yun Shin’s “Add Two Add One, Divide Two Divide One”, 1979, Korean red pine wood.

Piggybacking on the Biennale fanfare, numerous museums and converted palazzos and churches also staged wonderful shows all over the city. Stops included: The Peggy Guggenheim Collection which displayed its permanent collection of 20th century masterworks by leading European and American artists; the “William de Kooning and Italy” exhibit at Galerie dell’Accademia di Venezia; Pierre Huyghe’s “Liminal” at Punta della Dogana; Julie Mehretu’s “Ensemble” at Palazzo Grassi; the “Beati Pacifici: The Disasters of War and the Hope for International Peace” from the Bailey Collection at Chiesa San Samuele; and Berlinde De Bruyckere’s “City of Refuge III” installation at the Abbazia di San Giorgio Maggiore. Particularly memorable were: Pierre Huyghe’s “Offspring”, 2018, sensor based self-generative system for sound and light; Julie Mehretu’s “Among the Multitude XIII”, 2021-2022, ink and acrylic on canvas (48 x 60 in.) and “Black City”, 2007, ink and acrylic on canvas ( 120 x 192 in.); and magnificent de Kooning statues, including “Cross-Legged Figure”, 1972, bronze (edition of 7 plus 3 AP) and “Clamdigger”, 1972, bronze (edition of 7 plus 3AP). As for the Bailey and De Bruyckere exhibits, both were eerie and beautiful and set in surreal repurposed church spaces which were worth seeing on their own.

Meanwhile, crunch time hoops were being played in the new world. Regrettably Crazy Eyes and his Pacers were efficiently ousted by the Celtics, and with that, Dino fans on the legacy bandwagon were left a bit short of reliving glory days through the success of former players. The show nonetheless must go on, and the finals will tip off featuring the dominant Celtics and the surprising Mavericks and arguably the best guard matchups in the game. As for the Dinos, the focus turns to the upcoming draft and planning for next season. As of yet, neither Crazy Eyes nor OG-Wan Kenobe have signed with the teams they were traded to, and, by now, they surely must realize that change is overrated. So maybe, just maybe, is a return to Jurassic Park a possibility? Highly unlikely. The Biennale runs through November 2024. With the next edition two years away, it would be great if the Dino rebuild was on the same timeline, but that’s probably being a bit too optimistic. The next few years will truly test the mettle of fans.

For more information on the Biennale, the other exhibits and the ongoing Raptor reset, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.