#venice biennial

[kwojciechowicz]

Hello, Everyone! I'm back from Greece, and wanted to post some photos taken during the Art Party in Venice 😀

#artboxproject #venice #venezia #italy #kamaarts #painting #kamilawojciechowiczkrauze

P.S. The painting is available for sale. ;)

“Aphrodite with Tattoos”

100x70cm

Acrylics on canvas

4500 pln

#kamilawojciechowicz #kamaarts #kamila wojciechowicz-krauze #polish artist #painting #aphrodite #greek mythology #artbox project #venezia #italy #cipriarte gallery #venice #venice biennial #tumblr artist alley

[kittesencula]

Anonymous. Italian actor Alberto Sordi, wearing a suit and a tie, peeking into the ‘Nude’ by Alberto Viani. Venice Biennial. 1958

#Venice Biennial #Alberto Viani #Alberto Sordi

[karensilve]

A New Chapter

          As we enter the spring season, I am filled with gratitude for your continued support and enthusiasm for my art. Exploring the world as a painter is truly an incredible journey and one that has led me to embark on a new chapter filled with inspiration and adventure.

I'm excited to share with you that I have embarked on an artistic pilgrimage to France for nine months! France and Europe have long captivated my inspiration, ever since I went to art school here as a young student. Now I have the opportunity to immerse myself fully in their rich cultural tapestry. I arrived in February and soon after went to Venice for the installation of my work for the biennial exhibition "Personal Structures".

Behind the scenes in Venice !

I am overjoyed to have been selected to be featured in “Personal Structures - Beyond Boundaries”, the European Cultural Center’s 7th edition of the Biennial Contemporary Art Exhibition in Venice. This coincides with the prestigious 2024 Venice Biennale. The show officially opens next month and will run until November. This is an extraordinary honor and a dream come true for any artist. I cannot express how humbled and grateful I am for this opportunity to showcase my work to a global audience. 

See my "Sneak Peek" blog here of arriving in Venice and the installation. It's been such a lovely whirlwind!

I am truly excited to share this journey with all of you. As the exhibition draws nearer, I will keep you updated on the details and behind-the-scenes insights into the creation of my featured painting. Your support and encouragement mean the world to me, and I am deeply grateful for the opportunity to share my passion for art with such an amazing community.

Very Warmly, Karen

PERSONAL STRUCTURES — BEYOND BOUNDARIES VENICE 2024

APRIL 20TH - NOVEMBER 24TH, 2024

— PALAZZO MORA STRADA NOVA, 3659 - VENICE ITALY

Follow me on Instagram to see more behind the scenes reels. And forward if you know of someone that my be interested in receiving my email.

And please share on your favorite social app.

#Personal Structures #ECC #sneak peek #personal structures exhibition #venice #venice italy #grand life #artist's life #venice biennial #Contemporary art exhibition

[annerossart]

When the body says Yes, immersive video experience, Dutch Pavilion, Venice 2022

Artist: melanie bonajo

I walked into a cavernous cathedral lined with pillows and cushions built into the floor. A movie played overhead and light filtered through stained glass windows on the other three walls. Bead and string tapestry curtains hung floor-to-ceiling. Visitors rested in softness. Onscreen, a group of a dozen or more people lay together and poured clear oil over one another’s naked bodies. I wondered (not happily) if an orgy was being filmed.

Looking closer, I saw not eroticism but gentleness, like a mother to a child, a skilled masseuse, a loved one, or a dear friend. A sense of trust and safety filled the room. Onscreen people began to discuss boundaries: the empowerment found in clarifying what you do or do not want, the joy of not being forced into anything you don’t want to do, and the shared pleasure of honoring yours and another’s boundaries and requests. I began to wonder about lines around sensuality and, what makes sex sex? Not always nakedness not always touch; boundaries make sex sex. Boundaries being crossed agains your will make it, whatever it is, wrong.

Onscreen brings us back to the naked group. In the center, a woman with what would be a disability in another context was surrounded by attention, acceptance, and honor. Racial minorities next shared the center space with the young, the old, the thin, the fat, everyone had special honor in appropriate proportion. Bodies that daily are shamed “out there,” here onscreen were beautiful and complete.

Without the cushions and the lying down, and without a friend’s assurance that the film was worth seeing, I might not have stayed. I’m glad I did. I left the venue feeling clean, refreshed, comforted, rejuvenated, healed without having known beforehand what needed healing. I felt loved and honored as a being, a woman, a person who may or may not be accepted by general society. Here was welcome from the greater community of humanity and compassion for the bodies’ wisdom as we are.

Find more information here: https://www.e-flux.com/announcements/458555/melanie-bonajowhen-the-body-says-yes/

#melaniebonajo #venice biennial #biennalearte2022

[merelygifted]

Jeffrey Gibson is first Indigenous artist with U.S. solo show at Venice Biennale : NPR

The U.S. State Department has selected an Indigenous artist to represent the country at the 2024 Venice Biennale.

Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians, will be the first such artist to have a solo exhibition in the U.S. Pavilion at the prestigious international arts event.

That's according to a statement this week from the U.S. Department of State's Bureau of Educational and Cultural Affairs, the government body responsible for co-curating the U.S. Pavilion, alongside Oregon's Portland Art Museum and SITE Santa Fe in New Mexico.

The State Department's records of the U.S. Pavilion exhibitions date back to when it was built, in 1930.

Although Indigenous artists have shown work more broadly in Venice over the years, the last time Indigenous artists appeared in the U.S. Pavilion at the Biennale was in 1932 — and that was in a group setting, as part of a mostly Eurocentric exhibition devoted to depictions of the American West.  ...

#Jeffrey Gibson #Arts #Native Peoples #Native Americans #Venice Bienniale #ABOUT TIME TOO

[toosvanholstein]

Het Arsenale: hoe een gouwe ouwe verviel tot zieltogend eendje en toch nog een trotse zwaan werd

Het Arsenale in Venetië, eeuwen her het mythische en grootste industrieterrein van Europa. Toen vervallen en nu omgetoverd tot de intrigerende kunstparel van de Biënnale. Een dag dwaalde TOOS er rond en dit is haar beeldverslag met toelichting. #art

kaart van rond 1720 van het Arsenale terrein Het Arsenale di Venezia. Ik kondigde het vorige week al aan. Nu een magisch gebied voor de kunst, voor de Biënnale van Venetië. Maar eeuwen geleden naast symbool voor de grote macht van de Republiek Venetië ook de plek waar die macht concreet werd gemaakt. Elke keer opnieuw onderga ik daar de speciale sfeer van dat eeuwenoude, geheimzinnig complex.…

View On WordPress

#Arsenale #Basilica di San Pietro di Castello #Basiliek van San Marco #Biënnale #Biennale di Venezia #Biennial of Venice #Castello #Cecilia Alemani #curator #doge #Giardini #La Serenissima #laguna #landenpaviljoen #Napoleon #vaporetto #Venedig #Venetië #Venezia #Venice

[spyroskaprinis]

“Yatsushiro Pavilion”, Kumamoto Prefecture, Japan _ 25.07.2022 _ SK

Architect / Design: Jean Nouvel, French Pavilion, 44th Venice Biennial, Italy (1990).

http://www.jeannouvel.com/en/projects/pavillon-francais-de-la-biennale/

Teramatsu, Y. (1995)  The Japan Architect; No. 17, Spring 1995-1, Tokyo: Shinkenchiku-Sha Co. Ltd.

#Yatsushiro Pavilion #Kumamoto #Japan #Jean Nouvel #French Pavilion #44th Venice Biennial #Italy #1990 #The Japan Architect #Anatopism #Collage #Architecture #Spyros Kaprinis #2022

[vtvten]

Venice Art Biennale 2024: Foreigners Everywhere / Arsenale

#youtube #arsenale #biennalearte2024 #veniceartbiennale #biennial #foreignerseverywhere #venezia #venice #contemporaryart #arte #exhibition

[neotaissong]

ANGA: ART NOT GENOCIDE

Sign the letter for the exclusion of Israel from the Venice Bienniale

In 2022, with Russia’s war on Ukraine freshly underway, the Biennale and its curator issued numerous public statements in support of the Ukrainian people's right to self-determination, freedom, and humanity. The Biennale's public condemnation of “the unacceptable military aggression by Russia” included an avowal to reject “any form of collaboration with those who have carried out or supported such a grievous act of aggression" and a refusal to "accept the presence at any of its events of official delegations, institutions or persons tied in any capacity to the Russian government."

The Biennale has been silent about Israel's atrocities against Palestinians. We are appalled by this double standard. Israel's assault on Gaza constitutes one of the most intense bombardments in history. By the end of October 2023 Israel had already fired tonnes of explosives on Gaza equal in force to the nuclear bomb dropped on Hiroshima, Japan in 1945. In January 2024 it was reported that the daily death rate in Gaza exceeds that of any other major conflict in the 21st century.

The Israeli pavilion curators and artist have issued a simplistic statement about the necessity of art in dark times, insisting on a “pocket for free expression and creation amidst everything that’s happening.” Another double standard.

Art does not happen in a vacuum (let alone a "pocket"), and cannot transcend reality. Euphemisms cannot erase violent truths. Any work that officially represents the state of Israel is an endorsement of its genocidal policies. There is no free expression for the Palestinian poets, artists, and writers murdered, silenced, imprisoned, tortured, and prevented from travelling abroad or internally by Israel. There is no free expression in the Palestinian theatres and literary festivals shut down by Israel. There is no free expression in the museums, archives, publications, libraries, universities, schools, and homes of Gaza bombed to rubble by Israel. There is no free expression in the war crime of cultural genocide.

While the Israeli pavilion presses ahead, the genocidal death toll in Gaza and the West Bank increases daily. While Israel's curatorial team plans their "Fertility Pavilion" reflecting on contemporary motherhood, Israel has murdered more than 12,000 children and destroyed access to reproductive care and medical facilities. As a result, Palestinian women have C-sections without anaesthetic and give birth in the street.

Any official representation of Israel on the international cultural stage is an endorsement of its policies and of the genocide in Gaza.

The Biennale is platforming a genocidal apartheid state.

No death in Venice.

No business as usual.

NO GENOCIDE PAVILION AT THE VENICE BIENNALE.

More info here

#undeniable #free palestine #free gaza #palestine #anga #venice biennale #art

[mybeingthere]

Rusudan Khizanishvili was born in 1979 in Tbilisi, Georgia where she still lives today. She studied painting at the J. Nikoladze Art School and the Tbilisi State Academy of Art. In 2015, the Georgian National Museum acquired ten of her works, and in the same year, her works were shown at the 56th Venice Biennial as part of a group exhibition at the Georgian pavilion. Since then her works have been shown in numerous solo and group exhibitions worldwide.

[germanpostwarmodern]

Many artists that were popular during the postwar decades have consecutively fallen into oblivion as their art has been ousted by contemporary artistic developments. One such example is Hans Uhlmann (1900-1975) whose wire and steel sculptures became the embodiment of progressive German art after World War II: his works were shown at the São Paulo and Venice Biennials, in numerous international exhibitions and were commissioned for public places all over West-Germany. In particular his exhibition activities in an international context declined sharply, probably because it had all too often been presented as part of the predominant narrative of abstract art as „free“ art of the West and the former by the 1960s was no longer propagated with the same intensity.

Against this background it is nonetheless surprising that it took more than 50 years for an Uhlmann retrospective to take shape: the Berlinische Galerie until 13 May presents a comprehensive selection of some 80 sculptures and drawings from all of Uhlmann’s work phases. In chronological order, beginning in the 1930s, and along four chapters the exhibition recounts Uhlmann’s artistic development from his early experiments with wire developed during his imprisonment for communist activities to his late columns. Throughout his career Uhlmann remained an experimental artist who thanks to his studies of mechanical engineering knew about the innate qualities and capabilities of wire and steel. Another quality that connects all of his works is, sometimes more, sometimes less, transparency, an artistic imprint he likely received in the 1920s from the inspection of works by Alexander Calder.

Those who seek for an even more in-depth access to Uhlmann’s life and work are well-advised to get the exhibition catalogue published by Kerber Verlag : in four essays and a comprehensive biography different authors enlarge upon Uhlmann’s reception history, his Bauhaus derived teaching, his participation in the 1954 Venice Biennial and Milan Triennial and his public works. Through this contextualization the reader gets to understand his art, his significance for postwar art in Germany and thus why it’s high time for a rediscovery!

#hans uhlmann #exhibition catalogue #art book #kerber verlag #german art #abstract sculpture #public art #modern art #book

[kwojciechowicz]

ArtBoxy in Cipriarte, Venice

Dear All,

I wanted to let you know that I'm exhibiting on screen my painting of Aphrodite, the Greek goddess of Love and Beauty, at the ArtBox exhibition in Cipriarte Gallery in Venice.

#kamaarts #kamilawojciechowicz #kamila wojciechowicz-krauze #polish artist #painting #aphrodite #afrodyta #venezia #venice #wenecja #venice biennial #artboxy #cipriarte gallery

[longlistshort]

Chiharu Shiota’s gorgeous installations are just one part of her engaging exhibition, Signs of Life, at Templon in NYC. The installations lead to other rooms of smaller sculptures as well as  paintings.

From the press release-

After a foundation degree in painting at Seika University in Kyoto, Chiharu Shiota chose to pursue her artistic studies in Berlin, focusing on performance. Her practice soon shifted towards site-specific installations. She skilfully weaves knotted threads to create fantastical scenes combining salvaged window frames, a piano, suitcases, books and used clothes. Bordering on drawing and sculpture, her fabulous ephemeral, immersive installations have become her signature. Since her impressive installation for the Japanese Pavilion at the Venice Bienniale in 2015, she has become one of the key figures on the international art scene and is regularly invited to show her work at museums worldwide.

In a hyper-connected world, Chiharu Shiota’s new exhibition questions the notion of the “web”, a living organism similar to the structures that make up the universe or the neurons our brains are built on. Created on-site over two weeks, a large-scale installation made of red threads symbolizes this permanent connection of information, collective memory and the world’s knowledge which cuts across cultures and continents. At the heart of the work are two arms, her own, placed on the ground. They are cast in bronze, palms facing up to the sky. “I always thought that if death took my body, I wouldn’t exist anymore,” explains the artist. “I’m now convinced that my spirit will continue to exist because there is more to me than a body. My consciousness is connected to everything around me and my art unfolds by way of people’s memory.”

The installation is followed by a series of sculptures. Enfolded at the centre of each one, as though frozen in place by the intertwined threads, are objects from daily life. “I feel that the objects we possess are like a third skin,” she says. “We accumulate these things and transpose our presence and our memory to them.” Often obsolete, weighed down by impenetrable histories, these objects — old suitcases, stained dolls, miniature pieces of furniture and tiny bottles — represent the treasures offered up by memory, to be seen but not touched.

This exhibition closes 3/9/23.

#chiharu shiota #templon #templon gallery #templon gallery nyc #art installation #nyc art shows #installation art #sculpture #collage #mixed media #painting #drawing #memory #web #art #art shows #chelsea art galleries

[semioticapocalypse]

Anonymous. Italian actor Alberto Sordi, wearing a suit and a tie, peeking into the 'Nude' by Alberto Viani. Venice Biennial. 1958

#BW #Black and White #Preto e Branco #Noir et Blanc #黒と白 #Schwarzweiß #retro #vintage #Alberto Sordi #Alberto Viani #sculpture #Venice Biennal #1958 #1950s #50s #portrait #retrato #Celebs #celebridade #ポートレート #肖像 #Porträt #Berühmtheit #有名人 #名士 #célébrité

[annerossart]

Simone Leigh’s sculptures remind me there is so much more than what we know at first glance. She honors black women by rendering her work via materials and processes associated with the artistic traditions of Africa and the African diaspora. Her work commingles images from colonization and slavery with autonomous and self-sufficient women.

Sovereignty, Sculpture series, United States Pavilion 2022

Artist: Simone Leigh

Find more information here: https://simoneleighvenice2022.org/

#Venice biennial #biennaledivenezia #art #us pavilion 2022 #simone leigh

[thinkingimages]

Chen Chieh-jen. Military Court and Prison. Glass Cabinet, 2008

The work of Chen Chieh-Jen (Taiwán, 1960) focuses on the political and historical dimensions of the image, as well as on the effects of the process of economic globalisation. He has developed his work using photography and video, while using the new technologies to produce and edit images.

In what is his first solo exhibition in Spain, Chieh-Jen presents two recent videos Bade Area (2005) and Factory (2003), which deal with the political and economic situation of his country faced by the global economy and, in particular, the disastrous process of the dismantling of the textile industry, which has gradually been transferred to others countries like China.

One of the most relevant aspects of Chieh-Jen’s work is the way he configures an analytical and critical approach to history and its images, in close connection to a reflection on the very nature of devices used to analogically create visual representations. Hence the reason for his artistic rhetoric in his technical, aesthetic and conceptual preciseness- being accentuated by a pronounced metaphoric nature, that evokes a critical speculation on different problems related to modern and contemporary history: image and power, history and local and global identity, body and performance, etc.

Chen Chieh-jen has been chosen to participate in prominent collective exhibitions such as Venice Biennale (1999 Taiwan Pavillion, 2005), Bienal de Sao Paulo (1998), Biennale de Lyon (2000), Taipei Biennial (1998, 2002, 2004), Shangai Biennial (2004) and Fukuoka Triennial (2005).

#chen chieh-jen