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National Participations. Biennale of contemporary art 2009/4
Written by Redazioneweb   
faremondi2.jpgBeginning on purpose, five première on the world horizon : United Arab Emirates, Comoros, Republic of Gabon, Principality of Monaco and Iran I Indefinite spaces: Swiss I The Latin town: Latin America

 

 

pademirati.jpg[United Arab Emirates, Comoros, Republic of Gabon, Principality of Monaco, Iran]

Being for the first time at the Biennaledi Venezia: this is what joins different countries as the United Arab Emirates, Comoros, Republic of Gabon, Principality of Monaco and Iran, that this years are going to be officially represented at the Venetian kermesse. It’s quite obvious now that the division in national pavilions corresponds to an insufficient idea of contemporary art complexity; nevertheless, it doesn’t invalidate the importance of their existence and their function at the present time, especially for those countries who have been often forgot and still aim at a concrete reputation in a so global and exposed to media context as the Biennale of Venezia is..


pademirati2.jpg

 

 

This one will be “a first time” rich on subjects and debates of “glocal” interest: from the history of traditional boats of Comoros, forbidden because of the progress, to the ecological and environmental topics by Philippe Pastor with his “totem threes”, for the Principality of Monaco; from Iran collection, whose title Hope for the future is more than eloquent, to the personal photographic exhibition by Owanto from Gabon, those pavilions reintroduce the right of expressing their own voices. It is not by chance if the United Arab Emirates have named their pavilion with the provocative title It’s not You, It’s Me. Just to say: now it’s our turn!

 

United Arab Emirates, Comoros, Republic of Gabon, Principality of Monaco, Iran
Info www.labiennale.org

 

 

Indefinite spaces
Bächli and Gygi among drawings and objects [Swiss]

 

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The works on paper by Silvia Bächli appear to the audience visiting the Swiss pavilion like indefinite and hanging silences; scattered drawings on the walls and in the space dealing in an elegant and moderate way with body and landscape details, moving the attention to essential, sober and simple particulars. They are like tracks of a “permanent temporariness” - as H.R. Reust wrote - that free the force of imagery and, with it, an unlimited vulnerability. Instead, Fabrice Gygi has reinvented the space of San Stae Church through the upset of the ritual moving of the believers by collocating in the middle of the building a ambiguous place where goods are stored: a frame made of empty iron cabinets. In that way the holy place becomes a space in which the objects pass waiting for been sorted.

 

Silvia Bächli Giardini della Biennale
Fabrice Gygi Chiesa di San Stae
Info www.silviabaechli.ch e www.bak.admin.ch/biennale09

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The Latin town
Procedures of an applied cosmology  [Latin America]

 

Latin America names its pavilion Mundus Novus. Generally, a ‘new world” needs a cosmology, an urban project, a manifesto illustrating its main philosophy: the South American artists reply to this request by representing a national identity made of multiple essences. The centre of this mixed world is once again man, as suggested by Paul Ramírez Jonas (Honduras) with his Yo creo como hablo. In the new world the vegetation is crabbed and anthropomorphic; in the Costa Rican Federico Herrero’s plants, skies and birds there are the influences of the interior world of the artist. In the new world the Gods of Darío Escobar (Guatemala) and Alberto Baraya (Colombia) become embarrassing approaches in which mythology merges with the contemporary bleakness.


«Mundus Novus - Arte Contemporáneo de América Latina»
Artiglierie-Arsenale
Info www.iila.org