Biennale Arte Venezia 2022. The milk of dream
The Biennale Arte focuses on three thematic areas in particular: the representation of bodies and their metamorphoses, the relationship between individuals and technologies and the connection between bodies and the Earth.
Here are some of the guiding questions for this edition. How is the definition of the human changing? What constitutes life, and what differentiates plant and animal, human and non-human? What are our responsibilities towards the planet, other people, and other life forms? And what would life look like without us?
a strange hybrid time period where elements from the historical past of Danish farm life blend with unfamiliar phenomena from the sci-fi future of a trans-human world
The whole setting by Uffe Isolotto is haunted by a deep uncertainty. It is impossible to tell whether it is tragic or hopeful.
Małgorzata Mirga-Tas expands the European iconosphere and art history with representations of Roma culture, which is often overlooked.
The interior of the Polish pavilion consists of an installation: twelve panels covered with depictions of the twelve months of the year in large-format textiles. Zodiac signs, the decan system, the time cycles, and the migration of images across time and continents, stand as visual and ideological points of reference, which the artist inscribes in a Polish–Roma identity, building the affirmative iconography of the largest European minority.
Simone Leigh’s large-scale sculptural works join forms derived from vernacular architecture and the female body, rendering them via materials and processes associated with the artistic traditions of Africa and the African diaspora, redefining notions of space, time, and existence.
Jonathas de Andrade installation is linked together by an index of idiomatic expres- sions and sayings involving human body metaphors along with a series of artworks that materialise the extraordinary poetic charge of those sayings, making them tangible.
Two huge ears placed at the pavilion’s entrance and exit allude to the popular expression Entrar por um ouvido e sair pelo outro, allowing the visitors to go “in one ear and out the other,” while an inflatable balloon, which invades the space at various moments during the day, refers to the expression: Coração saindo pela boca (the heart coming out of the mouth).
Latifa Echakhch creates an exhibition akin to an orchestrated time-travel experience. Ephemeral sculptures inspired by the folk statuary emerge in the orches-trated lighting capturing the rhythms composed by percussionist Alexandre Babel.
You can see the music, but you can’t hear it. The artist draws from the vocabulary of ephemeral chariot constructions, tackling concerns and disputes, dreams, and utopias, playing with harmonies and dissonances, with the mixed feelings of expectation, fulfilment, destruction, and memories.
The exhibition by Yunchul Kim explores the world as a labyrinth, where there are both motion in stillness and stillness in motion, embracing nonhuman objects and material reality.
Based on the artist – Yunchul Kim’s transdisciplinary research into literature, mythology, philosophy, and science, he creates a universe within the Korean Pavilion, where his pataphysical installations continuously metamorphoses and are affected by cosmic events, atmosphere, light, and nature.