This dissonance might be intentional. If it isn’t, so much for the better.
Denić took the Biennale’s theme literally, as though he was not in on the art world joke.
One of the novelties in Venice is the artwork that looks good but on reflection isn’t.
It’s Sunday in the village. And the main square is deserted.
Czwartos’ painting proves little and his sign-writer’s hand loses art history’s bet.
This Elysium is part panel house block, half Roman ruin
This closed circulation project speaks to and agrees with only itself.
Ntjam’s Biennale presentation has all the hallmarks of world-building ambition. For one, it boasts two separate locations, one dedicated solely to the work’s public programme. The main feature is housed in a giant purpose-made structure which occupies a third of an exceptionally spacious courtyard. The shiny blue surface of this installation plays here the part…
Urgessa’s figures are contorted in love, death, or merely life.
The applause was rapturous. A sense of tragedy, however, was altogether missing.
The giraffe’s taxidermied corpse is host to an ideological stunt.
Stage fright is real. Cowardice is another thing altogether.
Whatever the purpose of this confusion, it’s not to be found in the gallery.
The exhibition’s user experience rivals that of the Apple Store.
The contemporary is of no interest to a nation whose future is yet to be dug out from the ground.
This fishbowl universe is easy sea comfort but ultimately no sushi.
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