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Hajra Waheed

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 Giardini

by Paddy Johnson on May 11, 2017
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What’s the best way to understand art? One tactic is to see a lot of it. Another is to spend time with artists. And yet another is to curate an entire show around the idea that artist practices are God’s gift to the world and include as many studios, meditations on studios, and virtual studio renderings as humanly possible. Guess which approach Biennale curator Christine Macel takes in the Giardini section. A look at the show below. Arsenale pics here.

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