Marco Fusinato’s DESASTRES, curated by Alexie Glass-Kantor is an experimental noise project that synchronises sound with image and takes the form of a durational solo performance as installation. DESASTRES is a visceral experience of sound and image that places the audience at the centre of the work. Fusinato will perform live in the pavilion using an electric guitar as a signal generator into mass amplification to improvise slabs of noise, saturated feedback and discordant intensities that trigger a deluge of images. The resulting all-consuming experience is open for the audience to interpret and make sense of.
The exhibition is titled Invitation of the Soft Machine and Her Angry Body Parts by artists Jakob Lena Knebl and Ashley Hans Scheirl. The Austrian pavilion will be curated by Karola Kraus.
For the 59th International Art Exhibition, La Biennale di Venezia, the Belgian Pavilion (Flemish Community) has invited curator Hilde Teerlinck and artist Francis Alÿs to develop an exhibition project. Alÿs will present The Nature of the Game, an exhibition featuring a selection of films and a series of paintings. Almost all of the films will be new productions.
Jonathas de Andrade’s installation Com o coração saindo pela boca (With the Heart Coming Out of the Mouth), Brazil’s presentation at the 59th International Venice Biennale, suggests that the path towards “representing” Brazil today inevitably passes through the body. A body literally and repeatedly fragmented, silenced, ignored, torn into pieces again and again, year upon year, decade after decade, century after century. Yet these isolated and objectified parts also transcend the body, as the other structural element of this exhibition comes into play: language. The living everyday language of countless idiomatic expressions which, in speaking of the personal and collective weaknesses, virtues, attitudes and failures of the Brazilian people, resort to these very body parts: feet, hands, tongue, head, ears, backs, stomach, legs, arms, teeth, chest, bottom, eyes, jaw and this heart that, for being so big, generous and despairing, at times won’t fit in the chest and ends up coming out of the mouth. An index of more than 200 of those expressions is the backbone of the immersive installation, which comprises photographs, sculptures, and a video, all produced specifically for the Brazilian pavilion. Jacopo Crivelli Visconti is curating the pavilion.
Stan Douglas will represent Canada at La Biennale di Venezia in 2022. Stan Douglas: 2011 ≠ 1848 unfolds across two venues in Venice, a first for Canada’s presentation at the Biennale Arte. Four large-scale photographs will be shown in the Canada Pavilion in the Giardini, and a major new two-channel video installation will be presented in the Magazzini del Sale No. 5, a sixteenth-century salt warehouse on Dorsoduro. Reid Shier will be curating the pavilion that is comissioned by The National Gallery of Canada in Ontario.
Weaam Ahmed El-Masry, Mohamed Shoukry, and Ahmed El-Shaer will work on a project titled Eden Like Garden. The project has been chosen to represent Egypt by the Ministry of Culture through the Supreme Council of Culture headed by Hisham Azmy.
For Estonia’s exhibition for the 59th International Art Exhibition – La Biennale di Venezia, Kristina Norman and Bita Razavi will present, in close collaboration with curator Corina L. Apostol, Orchidelirium. An Appetite for Abundance – a multi-layered ecocritical display within the Rietveld Pavilion in the Giardini di Castello Biennale.
Close Watch, a newly commissioned video installation by Pilvi Takala, premieres at the Pavilion of Finland at the 59th International Art Exhibition – La Biennale di Venezia. Commissioned and produced by Frame, the exhibition is curated by Christina Li. The multi-channel installation is based on Takala’s experience in the private security industry, where she worked covertly as a fully qualified security guard. The piece is centred on workshops she developed in response to issues encountered on the job during her six-month employment at one of Finland’s largest shopping malls.
Uffe Isolotto will be representing the country and Jacob Lillemose will be curating the presentation.
For the French Pavilion at the Venice Biennale, Zineb Sedira presents an immersive installation consisting of film, sculpture, photography, sound and collage. In line with her practice to date, Sedira uses autobiographical narrative, fiction and documentary to shed light on past and present international solidarities related to historical liberation struggles. Her contribution serves as a cautionary tale about the failure of an emancipatory promise which, for many people, remains an unfulfilled, not to say an impossible dream. The exhibition is curated by Yasmina Reggad, Sam Bardaouil and Till Fellrath.
The German Pavilion at the 59th International Art Exhibition—la Biennale di Venezia in 2022 will feature the artist Maria Eichhorn. By choosing Eichhorn, who was born in Bamberg in 1962 and lives in Berlin, the curator Yilmaz Dziewior has decided in favor of an internationally highly recognised artist known as much for her conceptual approach as for her subtle sense of humour. With her visually minimal gestures, spatial interventions, and process-based works, Eichhorn critically examines institutional power structures and political and economic interrelationships.
Great Britain Pavilion
Sonia Boyce OBE RA will represent Great Britain at the 59th International Art Exhibition – La Biennale di Venezia. Commissioned by the British Council, the exhibition features a major solo exhibition of new work from the artist. British artist Sonia Boyce’s powerful exhibition explores the potential of collaborative play as a route to innovation. Boyce’s installation brings together video works featuring five Black* female musicians (Poppy Ajudha, Jacqui Dankworth MBE, Sofia Jernberg, Tanita Tikaram and composer Errollyn Wallen CBE) who were invited to improvise, interact and play with their voices. Emma Ridgway will curate Boyce’s presentation.
Representing Greece at the 59th Venice Biennale, the artist Loukia Alavanou restages an ancient drama to reflect contemporary events. The centerpiece of her exhibition Oedipus in Search of Colonus, curated by Heinz Peter Schwerfel, is a 15-minute VR film that transposes an almost 2500-year-old drama by Sophocles into the present and tells the story through a combination of docufiction, video clip, farce, and immersive technology. Infamous for his horrible deeds, Oedipus is banished from Thebes at the end of his life and comes to Colonus to die. For the first time in his tragic life, he goes against the will of the gods. In the face of their resistance, he chooses Colonus as his resting place, a sacred site consecrated by the gods.
Zsófia Keresztes puts on display her new, multi-sculpture installation in the Hungarian Pavilion that she created specifically for the 2022 Venice Biennale 2022. Her work deals with the stages in one’s search for identity. Its concept reaches back to Schopenhauer’s porcupine dilemma. This metaphor was frequently used by the philosopher, and later by Freud and exponents of modern psychology, as a way of conveying the nature of intimacy. A human, as a social being, is incapable of living alone, and so constantly seeks others with whom to share thoughts, feelings and love. The exhibition is curated by Mónika Zsikla.
Dumb Type‘s 2020 exhibition at the Museum of Contemporary Art Tokyo. Dumb Type’s 2020 exhibition at the Museum of Contemporary Art Tokyo. Dumb Type is a pioneering Japanese art collective that was founded in 1984, it include Shiro Takatani and special participant Ryuichi Sakamoto. The exhibition displays an installation on the theme “post truth” and “liminal spaces”, exploring how humans communicate with each other and perceive the world which has changes with the evolution of social media and the pandemic.
Gyre at the Korean Pavilion at the 59th International Art Exhibition–La Biennale di Venezia will present a series of interconnected and large-scale installations by artist Yunchul Kim, that will invite visitors into an alternative universe wherein objects, beings and nature co-exist. Seven installations, including three new works, on display will each work together like a breathing body, powered by invisible matter to decentralise anthropocentric perceptions of reality. The exhibition will reflect Kim’s transdisciplinary practice that spans art, literature, mythology, philosophy, and science. Gyre will be a swirling cosmic event in the Giardini that invites visitors on a journey into the world of materials, centred around three themes: The Swollen Suns, The Path of Gods, and The Great Outdoors. The exhibition is curated by Young-chul Lee.
The project Re-enchanting the World by Małgorzata Mirga-Tas, prepared specifically for the Polish Pavilion at the Biennale Arte 2022, is an attempt to find the place of the Roma community in European art history. The exhibition, which consists of twelve large-format textiles installation, alludes to the famous ‘Hall of the Months’ fresco series from the Renaissance Palazzo Schifanoia in Ferrara, Italy, one of the most mysterious buildings in European architecture. The project proposed by curators Wojciech Szymański and Joanna Warsza was the winner of a competition organised by Zachęta — National Gallery of Art.
Artist and filmmaker Adina Pintilie has been selected to represent Romania at the 59th International Venice Biennale 2022, with the project You Are Another Me—A Cathedral of the Body, closely developed with curators Cosmin Costinaș and Viktor Neumann. The project consists of a multi-channel film installation at the Romanian Pavilion, complemented by a VR extension, hosted by the New Gallery of the Romanian Institute for Culture and Humanistic Research, as well as a public program taking place over the course of the biennial.
The artists selected to represent Russia at the 2022 Venice Biennale of contemporary art were Kirill Savchenkov and Alexandra Sukhareva. Their project was supposed to be curated by Raimundas Malašauskas. The pavilion was canceled as the artists pulled out amid the Russian invasion on Ukraine.
The pavilion will be presenting Walking with Water by Vladimir Nikolic,the exhibition is curated by Biljana Ciric. Through the two works 800m and A Document, Nikolic’s explorations underline relations to technology and nature—in this case, water as an elemental part of our bodies, but also water as a space of connection rather than separation. Living through the isolation of the last two years, technology became our mode of connection but also of separation. It accelerated the difference between the privileged and those who are not. Those whose world views are mediated by the screen, and those whose eye remains a direct optical instrument. The artist reflects these worldviews in this exhibition.
Correction is the project presented by artist Ignasi Aballí (Barcelona, 1958) for the Pavilion of Spain at the 59th International Venice Biennale, curated by Bea Espejo. Aballí’s proposal consists of two actions: a 1:1 scale architectural intervention of the pavilion and the publication of six guides. Both actions were conceived with the idea of correcting the apparent errors the artist found during his research on the physiognomy of the pavilion and the city of Venice. First, Aballí corrects the layout of the Spanish building by rotating the whole structure by ten degrees, thus aligning it with the neighboring pavilions in the Giardini. With the second action, he corrects the generally accepted idea of a tourist guide to this Italian city.
The exhibition in the Swiss Pavilion at the 59th International Venice Biennale is titled The Concert and conceived by Latifa Echakhch, in collaboration with percussionist and composer Alexandre Babel and curator Francesco Stocchi. The exhibition plays with harmonies and dissonances, with the mixed feelings of expectation, fulfilment and disappearance. The sculptures are part of an orchestrated and enveloping experience, a rhythmic and spatial proposal that allows viewers to experience a fuller perception of time and of their own body.
Simone Leigh will represent the United States at the 59th International Art Exhibition of La Biennale di Venezia in 2022. Leigh’s unique sculptural work explores and elevates ideas about history, race, gender, labor, and monuments, creating and reclaiming powerful narratives of Black women. Leigh’s new body of work for the Biennale will include a monumental bronze sculpture for the U.S. Pavilion’s outdoor forecourt. The Pavilion’s five galleries will house interrelated works in ceramic, bronze, and raffia, populating the gallery space with figurative representations for the first time in many years.
Gerardo Goldwasser is representing Uruguay, for the Venice Biennale, he will show new works that envision humans as being similar to machines in a presentation curated by Laura Malosetti Costa and Pablo Uribe.
Titled Tierra, País, Casa, Cuerpo (Land, Country, House, Body), the exhibition is curated by Zacarías García and wil include works by Palmira Correa, César Vázquez, Mila Quast, and Jorge Recio
Info is extracted from the press releases of the pavilions