Laura Gascoigne on how the Venice Biennale is searching for its place in art history
Picture one of the world’s largest private yachts moored at the quayside of the Riva dei Sette Martiri, protected by a metal perimeter fence and a security detail. Now imagine two battered sea freight containers dumped in the shape of a tau cross on the quay just out of spitting distance of the security fencing. One is Roman Abramovich’s 115m superyacht Luna; the other is a Haitian pavilion showing Vodou-inspired sculpture by the Grand Rue Sculptors from the slums of Port-au-Prince.
Welcome to the opening of this year’s Venice Biennale (until 27 November), bigger than ever and more deeply riven with contradictions. The 54th International Exhibition, ILLUMInations, has been selected by art world queen bee Bice Curiger — curator of the Zurich Kunsthaus and editor of Parkett — who, to judge from interviews in the magazine Bice! put out in her honour, follows the postmodern tendency to view art as a visual branch of philosophy.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in