ANNE MULLEE REPORTS ON THE CONTRIBUTION OF IRISH ARTISTS AND CURATORS AT THE 57TH VENICE BIENNALE.
Many of the reviews of curator Christine Macel’s ambitious handling of her two huge, artist-centered ‘Viva Arte Viva!’ exhibitions at La Biennale di Venezia have drawn less than fulsome praise, with critics variously citing too many weak works, not enough diversity and flabby contextualisation, among other criticisms. Of course, the 57th Biennale is far more than a sum of these parts. Perhaps reflecting the increasingly globalised art world, this year sees the inclusion of new pavilions from first-time participants Antigua and Barbuda, Kiribati and Nigeria. As more countries are invited to participate in the event, reflections on nationhood are becoming an increasingly common trope. Virtual utopian state NSK hosts Turkish artist Ahmet Öğüt, who has worked with young refugees to run a live passport office, where I secured an NSK State Passport (nskstate.com). In contrast, the southern part of the globe is represented in Venice by the Antarctic Pavilion, which is not so much an imagined state as a state of enquiry. Instigated by Russian artist and biennale stalwart Alexander Pononmarev, the pavilion provides a platform to showcase artworks and projects by various invited artists who participated in the first Antarctic Biennale – a 12-day artistic research expedition undertaken in March 2017 with 100 participants aboard the research vessel Akademik Ioffe.