Biennale de Venise: top 3 des pavillons nationaux

Gepubliceerd op: 10 May 2019

Colette Dubois vous présente son top 3 des pavillons nationaux à la Biennale de Venise 2019.

 

En première position, le pavillon croate, situé dans le quartier Santa Croce (à deux pas de la Fondation Prada), occupe un ancien atelier de menuiserie récemment fermé et laissé à l’état brut. Katerina Gregos, la curatrice, y présente ‘Traces of Disappearing’ de l’artiste Igor Grubić (°1969, Zagreb). Le projet – des photographies et un film - résulte de 13 années de travail, dont n’est présenté ici qu’une petite partie. L’artiste documente les changements dans l’habitat, dans l’industrie, dans l’espace public, et donc dans les relations sociales qui résultent du passage de l’économie planifiée socialiste au capitalisme. L’ensemble se décline en trois chapitres distincts : ‘Wild House’ décrit un habitat de fortune et de résistance, ‘Filigree Sidewalk’ s’attache aux mutations dans les métiers traditionnels et ‘Deconstruction of the Factory’ s’intéresse aux usines désaffectées. La mise en espace utilise des structures métalliques laquées en lien direct avec l’univers industriel.

L’exposition, d’une justesse et d’une intelligence rare, contraste radicalement avec tout le reste de la biennale. Le lieu de présentation est en adéquation étroite avec le propos de l’artiste : les fissures des murs bruts de l’atelier renvoient aussi bien aux fissures de la société croate qu’à celles du monde actuel.

Croatian Pavilion at the Biennale Arte 2019, Calle della Regina, Sestiere Santa Croce 2258, Venezia.

En seconde position, l’installation d’Angelica Mesiti, présentée au pavillon australien réclame elle aussi que le visiteur prenne le temps d’assister à la totalité de la projection.

‘Assembly’ prend la forme d’une arène circulaire au desus de laquelle trois projections monumentales dialoguent à l’unisson ou s’opposent. La projection s’ouvre sur un poème qui va devenir une oeuvre musicale. Il s’agit d’interroger les potentialités (et les limites) de la traduction du verbal en non verbal, cela passe par un sténotype au clavier semblable à celui d’un piano, par une langue signée utilisée dans le cadre de ‘Nuit debout’ à Paris en 2017, par le geste et, bien sûr, par la musique. Cette recherche d’un langage, sinon commun, au moins compréhensible par tous touche à la démocratie. Elle est aussi empreinte d’une grande poésie, qu’il s’agisse du texte de David Malouf, de la chorégraphie de signes ou encore de la fabrication et de l’envol de lucioles.

Australian Pavilion, Giardini.

En troisième position, ce pourrait être le pavillon du Ghana ou celui de l’Ukraine, les deux à l’Arsenale ou encore le pavillon de Grande Bretagne aux Giardini, mais avec dans chaque cas tellement de restrictions que je ne peux pas choisir…

Colette DUBOIS

 

Praktische Info

Geen praktische info beschikbaar.

Keywords

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Colette Dubois vous présente son top 3 des pavillons nationaux à la Biennale de Venise 2019.

 

En première position, le pavillon croate, situé dans le quartier Santa Croce (à deux pas de la Fondation Prada), occupe un ancien atelier de menuiserie récemment fermé et laissé à l’état brut. Katerina Gregos, la curatrice, y présente ‘Traces of Disappearing’ de l’artiste Igor Grubić (°1969, Zagreb). Le projet – des photographies et un film - résulte de 13 années de travail, dont n’est présenté ici qu’une petite partie. L’artiste documente les changements dans l’habitat, dans l’industrie, dans l’espace public, et donc dans les relations sociales qui résultent du passage de l’économie planifiée socialiste au capitalisme. L’ensemble se décline en trois chapitres distincts : ‘Wild House’ décrit un habitat de fortune et de résistance, ‘Filigree Sidewalk’ s’attache aux mutations dans les métiers traditionnels et ‘Deconstruction of the Factory’ s’intéresse aux usines désaffectées. La mise en espace utilise des structures métalliques laquées en lien direct avec l’univers industriel.

L’exposition, d’une justesse et d’une intelligence rare, contraste radicalement avec tout le reste de la biennale. Le lieu de présentation est en adéquation étroite avec le propos de l’artiste : les fissures des murs bruts de l’atelier renvoient aussi bien aux fissures de la société croate qu’à celles du monde actuel.

Croatian Pavilion at the Biennale Arte 2019, Calle della Regina, Sestiere Santa Croce 2258, Venezia.

En seconde position, l’installation d’Angelica Mesiti, présentée au pavillon australien réclame elle aussi que le visiteur prenne le temps d’assister à la totalité de la projection.

‘Assembly’ prend la forme d’une arène circulaire au desus de laquelle trois projections monumentales dialoguent à l’unisson ou s’opposent. La projection s’ouvre sur un poème qui va devenir une oeuvre musicale. Il s’agit d’interroger les potentialités (et les limites) de la traduction du verbal en non verbal, cela passe par un sténotype au clavier semblable à celui d’un piano, par une langue signée utilisée dans le cadre de ‘Nuit debout’ à Paris en 2017, par le geste et, bien sûr, par la musique. Cette recherche d’un langage, sinon commun, au moins compréhensible par tous touche à la démocratie. Elle est aussi empreinte d’une grande poésie, qu’il s’agisse du texte de David Malouf, de la chorégraphie de signes ou encore de la fabrication et de l’envol de lucioles.

Australian Pavilion, Giardini.

En troisième position, ce pourrait être le pavillon du Ghana ou celui de l’Ukraine, les deux à l’Arsenale ou encore le pavillon de Grande Bretagne aux Giardini, mais avec dans chaque cas tellement de restrictions que je ne peux pas choisir…

Colette DUBOIS

 

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1) ART COLOGNE

Art Cologne, the world’s oldest art fair for modern and contemporary art, is now in its 53rd edition and is celebrating the ten-year tenure of its charismatic director Daniel Hug. In addition to international heavyweights such as David Zwirner, White Cube or Sprüth Magers, you can discover thirteen “young” galleries in the NEUMARKT section, six of which are participating in the fair for the first time. Besides galleries such as Supportico Lopez, Piktogram or Jan Kaps, Cologne-based Martinetz presents a solo by Selma Gültoprak, which is the outcome of a road trip through Texas. The Belgian exhibitors include Deweer and Super Dakota, in addition to galleries with a branch in Brussels, such as Daniel Templon, Nathalie Obadia and C L E A R I N G.

2) NIL YALTER

Nil Yalter has recently enjoyed renewed attention and this is fully justified. The artist, who was born in Egypt in 1938, was raised in Istanbul, then travelled to Iran and India, finally settling in Paris in 1965 – a city that was still important to artists at the time. In her work Yalter explored such themes as migration, alienation, inequality, feminism and emancipation, as you can see in the retrospective in the Ludwig Museum.

Do also visit the exhibition of the work of Jac Leirner, the Brazilian artist who won the prestigious Wolfgang Hahn Prize earlier this year. She creates work using found, everyday objects that sits at the crossroads between conceptual art, minimalism and institutional criticism. She devised an ethereal, wall-sized grid made from hundreds of cigarette papers, which gently sway in the wind, or an installation with plastic bags, which she bought in museum shops around the world.

www.museum-ludwig.de

3) MARK DION

Just like Leirner, Mark Dion also creates work by collecting, assembling and categorising items. The American artist has an obsession that borders on the scientific for the human urge to collect and categorise. His seventh exhibition at Gallery Nagel Draxler, titled ‘To Watch, To Cut, to Capture, to Kill, to Collect’, demonstrates this yet again. He refers to a collecting tradition, with sculptures and works on paper, as evidenced by the hundreds of tiny boxes, that contain all kinds of unique objects which the spectator may study.

www.nagel-draxler.de

4) KOEN VAN DEN BROEK

There is no need to introduce the Belgian painter Koen van den Broek. But because we are nice people, we’ll do it again. In the early noughties he was singled out for his paintings of urban details, such as cracks in the road surface or pavement edges, which he painted, using bold, colourful planes, with which he expressed his affinity with American abstract painting. For his seventh exhibition at Philipp von Rosen, van den Broek has traded in the Californian landscape for the Flemish countryside. His work is also more figurative. We are very curious about the result.

www.philippvonrosen.com

5) MELANGE

Mélange was founded in 2015, and aims to present the work of artists who are unknown in the Rhineland. They often collaborate with international project spaces for this, such as Brussels-based Komplot.

They are currently hosting an adapted solo of an exhibition by Tim Plamper, which was previously shown at unttld contemporary in Vienna. Plamper is, amongst others, exhibiting drawings which he made in a subconscious state. You can also visit the group show ‘All Of This, Sweetie, Will One Day Be Yours’ in an old factory hall, that is just a short walk from Mélange.

This exhibition focuses on symbols, rituals and the ambivalences of culture, religion and sexuality.

www.megamelange.com

 

Sam STEVERLYNCK

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Art Cologne, 11 > 14 April, www.artcologne.com

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El Anatsui’s solotentoonstelling in München laat zich lezen als de laatste getuigenis van een dialoog tussen een kunstenaar en een curator

‘Ghana Freedom’ staat op de cover van de catalogus. Het boek is opgedragen aan Okwuchukwu Emmanuel Enwezor (1963-2019): ‘(…) Okwui – as the world came to know him – was an exemplary and vital citizen of this world: a passionate and visionary curator whose principled vision has enriched the history of modern and contemporary African art’. Het verscheen naar aanleiding van het allereerste paviljoen van Ghana op de 58ste editie van de Biënnale van Venetië. In 2015, twee edities eerder, ging de Gouden Leeuw voor ‘lifetime achievement’ naar El Anatsui (°1944, Ghana) en voor ‘best artist’ naar Adrian Piper (°1948, USA). Okwui Enwezor was in hetzelfde jaar de artistiek leider van de biënnale en hij gaf ‘All The World’s Futures’ als titel aan de centrale, overkoepelde tentoonstelling. Ik kan me herinneren door de bijna eindeloze Arsenale te lopen – oude scheepswerven, nu tentoonstellingsruimtes – en vooral het gevoel te hebben gehad dat hier één iemand de regie had gevoerd, via minutieuze keuzes, en die een complex verhaal over kunstenaars en kunstwerken had gecomponeerd.

Het klinkt vandaag misschien vreemd, maar er ging een enorme vrijgevigheid uit van zijn blik. Alsof de tentoonstellingsbezoeker doorheen een essay liep waar alles exact zijn plek kreeg. Het was op het randje zullen sommigen zeggen (of, zoals werd verteld: het was best ‘hard werken’ om alle verbindingen te begrijpen). Want ook in 2015 al werd deze benadering door sommigen centralistisch en misschien zelfs paternalistisch genoemd. Ik blijf terugdenken aan de toen tentoongestelde kunstwerken en relaties tussen bijvoorbeeld Samson Kambalu, Adrian Piper, Sammy Baloji en Carsten Höller. Piper nodigde iedereen uit om een contract te ondertekenen: ‘I, the undersigned, hereby certify that I will always (absent uncontrollable Acts of God) do what I say I am going to do’.

Phillip VAN DEN BOSSCHE

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El Anatsui, ‘Triumphant Scale’ tot 28 juli in Haus der Kunst, München. Open ma-zo van 10-20 u., do tot 22 u. hausderkunst.de

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