Abu Bakarr Mansaray draws futuristic worlds inhabited by flying machines piloted by skeletons, tanks that look like dinosaurs, dangerous computer virus, ‘Hell Extinguisher’, aliens and other ‘sinister projects.’
The 56th Biennale is thus set against the backdrop of economic, ecological and humanitarian crises. Any kind of art or design event has to pretend you care for the state of the world these days (unless you’re at the Frieze art fair of course) but somehow this edition of the biennale demonstrates far more energy, determination and spirit in tackling the sufferings of our world than many much younger and openly socially-engaged events i’ve attended recently
I finally made it to the Venice Bienniale this week. I hadn’t set foot there for years. My number one preoccupation was to locate the Pavilion of the Indonesian Republic. It’s at the Arsenale, I had seen a photo of it. Some kind of rusty dinosaur with angels flying around it.
It turns out there was no dinosaur but a cross between the Trojan Horse and a Komodo dragon, a large species of lizard found in Indonesia
The main theoretical question underpinning the project is: “Can photography be the site where the history of an exhibition is produced and still retain its independent artistic autonomy, thus overcoming pure documentation?”
The event brought together two men who share a passion for whales. One is environmental scientist and marine biologist Mark Peter Simmonds who investigates and raises awareness about an issue that is far away from our sights: the threats to the life of marine mammals caused by the increasing emissions of loud noise under water. The other is artist and inventor Ariel Guzik who has spent the last ten years looking for a way of communicating with cetaceans
Matteo Bittanti and Domenico Quaranta, the authors of the very enjoyable and clever book GameScenes. Art in the Age of Videogames, are onto great game art adventures again. This time, they curated an exhibition that celebrates the work of Italian artists who have been experimenting with game-based technologies for more than two decades
Thousands of buildings in the Netherlands lie vacant. Some of them for a week or a few months, many even for years. The exhibition at the Dutch pavilion, “Vacant NL, where architecture meets ideas”, is a call for the intelligent reuse of temporarily vacant buildings around the world in promoting creative enterprise