Joanne Laws profiles sound art at The 58th Venice Art Biennale.
Alan Phelan navigates gender identities at the 2019 Venice Art Biennale.
JONATHAN CARROLL INTERVIEWS EVA ROTHSCHILD ABOUT REPRESENTING IRELAND AT THE 58TH VENICE BIENNALE. Jonathan Carroll: Your biography is the perfect antithesis of Brexit: you were born in Dublin; studied at University of Ulster, Belfast; live in London and have an MA from Goldsmiths; and you are being brought to Venice by Void Gallery in Derry, with a curator from Cork. Is it good timing for such a European endeavour? Eva Rothschild: We were not alone in being anxious about getting everything transported to Venice before the initial Brexit date. The Scottish, Welsh and British pavilions were all installing early, to avoid any difficulties. There is nothing in the show that
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,
RAYNE BOOTH INTERVIEWS BARBARA WAGNER AND BENJAMIN DE BURCA ABOUT THEIR PARTICIPATION IN THE 2016 SAO PAOLO BIENNIAL. The 32nd São Paulo Biennial took place in Parque Ibirapuera, a rare green space in the centre of the vast and expansive city of São Paulo. The collaborative practice of Irish artist Benjamin De Búrca and Brazilian artist Bárbara Wagner featured among the biennial’s 81 participating artists. The title of the biennial, ‘Incerteza Viva’ or ‘Live Uncertainty’, echoed recent remarks by Brazil’s new president Michel Temer, who stated recently that the years of uncertainty experienced under a Socialist Party government had come to an end. The biennial strongly emphasised ecological and social
The closing event for ‘Eva 2016: Still (the) Barbarians’ was the culmination of one the most well received Eva exhibitions in recent years. Reflecting the scope and complexity of the biennial itself, the presentations and discussions were diverse and ambitious, representing a range of both Irish and international offerings on postcolonial discourse. Curator Koyo Kouoh began by introducing Alan Phelan’s “counterfactual” film Our Kind (2016), which imagines a future for Roger Casement had he not been executed in 1916.