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David Medalla

The Venice Biennale: An Orphanage for the Terminally Out-of-Touch

by Paddy Johnson on May 17, 2017
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It was close to midnight when my phone started lighting up last week. James Comey, the head of the FBI, was fired and the freak out was almost immediate. I felt lucky to be in Italy. A buffer from US news was necessary to maintain any kind of focus on the Venice Biennale, not to mention one’s sanity. And yet, even from this distance, the turmoil back home certainly drove home one point: Art isn’t going to save democracy. Art has no impact on Donald Trump’s actions, the FBI, or any of the Republicans in the senate and congress. People can call their representatives. Art cannot.

All of which is to say, the art professional who believes artists are magical unicorns who will save us all is looking increasingly silly. And so, visiting this year’s Venice Biennale Viva Art Viva curated by Christine Macel, which begins with the premise that artists will shape the world to come, felt a bit like walking through a United Way commercial. The upside of this: the 2017 Biennale more diverse than many of its predecessors. The downside: diversity isn’t of much value if the show is bad.

The Biennale fails both thematically and visually.

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The Venice Biennale, Viva Arte Viva: Images from the Arsenale

by Paddy Johnson on May 10, 2017
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We’ve spent the better part of a day looking at the Venice Biennale’s exhibition, “Viva Arte Viva”. Curated by Christine Macel and described as a Biennale designed “with artists, by artists and for artists”, the show amounts to a love letter addressed to artists. Studios have been transported, materials worshipped, and methodologies examined. Weaving as a metaphor for making, togetherness, and life, is completely and utterly ubiquitous. The sincerity of it all can be a bit much. But more on that later. A look at the Arsenale section of the show below.

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This Week’s Must See Events: Is Gagosian Having an Identity Crisis?

by Paddy Johnson and Corinna Kirsch on March 10, 2014
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After the tide of art fairs and biennials last week, we get a lighter events listing this week. For those of you interested in luxury, there’s Gagosian’s exhibition of Chinese antiques—a strange choice for a contemporary art gallery. We’re going to William Powhida’s solo exhibition at Postmasters for a dose of art-as-criticism and checking out Smack Mellon’s open studios for a glimpse into what artists are working on outside of the galleries.

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