Venice Biennale 2024

Here are updates from the Venice Biennale, where I’ve dived into the whirlwind of art, gossip, and the dance of geopolitics and capitalism.

Lars Von Trier once said: “A film should be like a stone in your shoe”. It’s the same with art. My journey at the Biennale this year was a fascinating exploration of the interplay between money and politics. The financial clout shaping the event’s agenda was palpable, especially at the grand opening I attended. The crowds were as thick as the intrigue, and standing in line at each pavilion; I couldn’t help but marvel at the soaring prices — not just of the art, but of everything around. It’s clear that as the Biennale has evolved, so has its commercial aspect, blurring the lines between cultural exhibition and luxury marketplace. Amidst this bustling scene, I bumped into numerous familiar faces, adding to the surreal, almost theatrical atmosphere. The stakes are high, and the conversations are deep, revealing how much influence money and politics hold over the art world’s most celebrated art showcase.

The 2024 Venice Biennale has taken a provocative turn, embracing the theme “Foreigners Everywhere.” This year, the event challenges and explores the global crises that drive migration and reshape identities. The theme reflects the current international political climate, where issues of migration and identity are at the forefront of public discourse. Curated by Adriano Pedrosa, the Biennale delves into notions of foreignness, belonging, and the complex narratives of immigrants, expatriates, and refugees. This theme resonates across the city’s 90 national pavilions and 30 collateral events. While the Biennale aims to celebrate diversity and address global crises, its impact is symbolic more than transformative. Despite its inclusive agenda, the core exhibition primarily features traditional mediums like painting, which paradoxically creates a comforting rather than challenging experience. Pedrosa suggests Venice’s historical roots as a refuge, yet today’s political actions, such as those by Italy’s government to control migration, starkly contrast the Biennale’s romantic themes. Thus, while the Biennale aspires to be a global art centre embracing ‘foreigners,’ the realities outside its pavilions tell a different story of ongoing political and social challenges. By the way, The Biennale’s traditional structure of dividing exhibitions by national pavilions is increasingly seen as an outdated concept in a globalised art world (or so-called globalised).

Let us remember that the Biennale’s reliance on funding from high-profile sponsors and the commercial art market raises significant questions about the role of capitalism in shaping the art exhibited and the narratives promoted. As public funding dwindles, the Biennale has increasingly turned to private donors, including prestigious galleries and fashion brands, to finance the extravagant costs of hosting such a sprawling international event. This year, major companies like Burberry and Christie’s and influential galleries like Lisson Gallery, Gagosian or White Cube have partnered to sponsor national pavilions. This financial model influences not just the operation of the Biennale but also impacts the broader art market. Artists featured in the Biennale often see an increase in the market value of their work, fueled by the prestige associated with participating in such a high-profile art event.

This financial model influences not just the operation of the Biennale but also impacts the broader art market. This phenomenon, known as the ‘Biennale-Basel effect,’ refers to the significantist’s market value following their participation. It is a testament to the Biennale’s influence in the art world and its ability to boost art to shape market trends. But without further ado, here are gossips and details:

Let me start with tips and life hacks:

??Walking silently and avoiding speaking Russian can reveal fascinating gossip from nearby Russian-speaking visitors. Silence is golden!

??At the Giardini venue of the Biennale, there’s a secret bathroom — explore this hidden gem.

??Vaporetto (water bus) are mean. Also, they are impervious to bribes.

??There are WhatsApp groups where people share party invitations — very handy for social butterflies.

??At the Italian exhibition opening, finding a colossal plate of Parmesan cheese is not unusual.

??People often feel embarrassed to admit when they don’t like something at the Biennale — it seems it’s easier to praise than to criticise.

This year’s Venice Biennale felt like a Eurovision for art but with better costumes and slightly less glitter. Here’s the rundown of my favourite national pavilions, each bringing flair to the artistic table. My favourite national pavilions:

Germany has presented a compelling exhibition that probes the interstices of societal structures and personal identity. This year’s German pavilion is a thought-provoking space that critically examines modern challenges through history and collective memory, creating a robust dialogue between the past and the present. I was crying. Italy hosts an evocative display that mirrors its rich artistic heritage while pushing the boundaries of contemporary art. The Italian pavilion offers a sensory experience that intertwines traditional art forms with technology. Serbia explores themes of memory and identity, presenting an immersive installation that reflects on the country’s cultural and historical complexities. The pavilion engages visitors on a journey through collective memory (again), challenging them to reconsider the narratives that shape national identity.

Meanwhile, in a surprising turn, Russia opted to lease its pavilion space to Bolivia, introducing a fascinating layer of diplomatic intrigue to the biennale. No comments here. Egypt’s pavilion elegantly bridges the ancient with the contemporary, showcasing works reflecting its rich archaeological past while engaging with current global issues. Finally, Uzbekistan presents a visually stunning installation that transports visitors into a narrative-rich environment. The Uzbek pavilion also skillfully uses scenography to weave a tapestry of stories.

Must see collateral events:

Christoph Büchel’s Exhibition at Fondazione Pr

da

Christoph Büchel’s installation titled “Monte di Pietà” transforms the historical space of Ca’ Corner della Regina into an environment that critiques and contemplates the notions of debt and the socioeconomic structures that govern our lives. The exhibition challenges visitors through a labyrinth of financial despair and historical debt, using a mix of real and fictional narratives. Büchel’s work is renowned for its critical engagement with social issues, and “Monte di Pietà” is a poignant exploration of the historical layers and contemporary realities of financial systems. Büchel mixes humour with gravitas, turning what might seem like a chaotic assemblage into a profound exploration of modern dilemmas. From meticulously crafted scenes of empty stores and fake merchandise to courtrooms and unfinished meals, the installation challenges viewers to reflect on global conflicts, capitalist excess, and the blur between museum spaces and real life. It’s an exhibition that compels visitors to question whether it’s a critique of consumer culture, an institutional critique, or simply a jest. I also couldn’t help but wonder, where do all these meticulously arranged items end up after the show?

Pierre Huyghe’s Exhibition at Punta della D

gana

The monumental total installation explores the boundaries between organic and inorganic life, reality and simulation. This major solo exhibition utilises the entire space to create an evolving ecosystem where biological and technological entities interact unexpectedly. Huyghe’s use of live elements, including animals, plants, and even weather phenomena, blurs the line between the artwork and its environment, inviting viewers to question the nature of existence and perception. The dynamic nature of “Liminal” means that each visit can offer a unique experience, reflective of Huyghe’s interest in systems of life and their continuous change.

And meme (kindly provided by Damien Cursed: https://t.me/artsinlondon )

P.S. Marina, was it y

u?