NĀ KĀNĀWAI KĀWAI HAWAIʻI ʻO JOANNE KĀLĀ KĀNĀ MA KA 58TH VENICE ART BIENNALE.
ʻO ka 58th Venice Art Biennale 2019 i kahi holomua i ka hōʻoki ʻana i ka hōʻino ʻana i nā paʻi o mua ma ka hāʻawi ʻana i kahi kaulike kaulike kaulike, ʻoiai ke hōʻike nei i nā mea pena kiʻi ola wale nō. Hoʻonui ʻia kēia hana koʻikoʻi e kahi hōʻike ikaika o nā mea kaha kiʻi ʻōpio, e hōʻike nei i nā pāpāho hou a me nā hana interdisciplinary. ʻO Deviating mai nā hana i hala aku nei, ua hōʻuluʻulu ʻo curator Ralph Rugoff i nā hōʻike pālua ma nā wahi nui ʻelua - kahi hoʻolālā hōʻike hōʻike kūpono e hiki ai i kēlā me kēia o nā mea pena kiʻi 79 e hōʻike i nā kaula he nui o kā lākou hana, ʻoiai e hana ana i kahi kamaʻilio hoʻomanaʻo hou aʻe ma waena o nā wahi kūʻokoʻa kūʻokoʻa ʻelua.
Ua kanikau kekahi mau loiloi nūhou no ka hoʻokomo ʻana i nā hana he nui i hōʻike ʻia ma kahi ʻē; eia naʻe, ʻaʻole i loaʻa iaʻu kēia pilikia. He mea maikaʻi ke nānā hou i nā ʻāpana kū i kū mua i nā hanana ʻē aʻe - e like me kā Suki Seokyeong Kang kiʻi kiʻi kiʻi enigmatic, i hōʻike ʻia ma Liverpool Biennale o Liverpool i ka makahiki i hala, a ʻo Shilpa Gupta paha ke hoʻokani kani hoʻoweliweli, i hoʻokumu mua ʻia e Edinburgh Arts Festival. Hoʻomaka mua ʻia nā komisina leo-ʻike hou mai The Store X The Vinyl Factory, me ia pū kekahi ʻIkepili ʻ Verselelo 1 (2019), kahi hoʻonohonoho multi-sensory me kahi kani leo minimalist e pili ana i ka leo keʻokeʻo, na ka mea haku mele uila Kepanī a me ka mea pena kiʻi, ʻo Ryoji Ikeda, ka mea i hoʻokau pū kekahi hiʻohiʻona III - kahi kaila Kubrick, ke ala hele kukui uila, e hōʻike ana i kahi 'blizzard o ka ʻikepili' ma ka puka o ka Central Pavilion. Eia hou, Hito Steryl's epic new multi-screen install, ʻO kēia ka wā e hiki mai ana (2019), nā mines nā kaʻao psychedelic o nā lāhui kahiko a me futuristic, i ka ʻimi ʻana i nā pane i nā hopohopo o ka honua i kēia manawa (e like me ka ʻōlelo huhū, austerity propaganda a me ka hoʻoweliweli ʻana i ka nohona kaiaulu).
Ke pane hou nei i ka geopolitical instability i kēia manawa, nui nā mea pena kiʻi e hōʻike nei i ka manawa kūpono e ʻimi nei i nā palena, nā hale paʻahao a me nā ʻano o nā pā. ʻO ka paia pōhaku haʻihaʻi, i uhi ʻia me ka uea ʻiʻo, kekahi o nā pale mua i kū ʻia e nā mea nānā, ke komo ana i ka huhū nui o ka Central Pavilion. Kau inoa ʻia Muro Ciudad Juárez (2010), na Teresa Margolles, ua hāʻawi mua kēia pā i kahi kua i ke kaua lāʻau ma Ciudad Juárez - kahi kūlanakauhale Mekiko e pili ana me USA. Ke hoʻohana nei paha i ke kino o nā paia i mea hoʻonāukiuki, ʻo ka biennale pū kekahi me kahi kani o ke kani leo ʻole i hana ʻia ma mua, e hana ana i nā wahi acoustic e hoʻoliʻiliʻi hou i nā wahi hōʻike nui.
E like me ka mea i kākau ʻia e ka mea pena Lebanona a me ka mea haku mele, ʻo Tarek Atoui - nona ka leo heahea, KA HONUA (2018), ua kau ʻia i loko o ka Giardini - ke huki nei ka 'abstraction of sound' iā mākou mai ka 'kaumaha o ke kiʻi', no laila e hoʻokuʻu nei iā mākou mai kahi honua ʻike ʻia. Ke kiʻi nei i ka hoʻoilina o nā mea haku mele 1960s e like me John Cage, ʻimi ʻo Atoui e hoʻonui i nā manaʻo o ka hoʻolohe ʻana, ma o nā hōʻike leo a me ka lōʻihi mau. Ma loko o kā Atoui tactile a me kahi ākea ākea, hana pono nā mea hana lima lima i ke kani kūʻokoʻa, e pili ana i nā papa mele i hana ʻia e ka mea pena ma ka muliwai Delta ma Kina. Hele mai a hele aku nā mea hoʻolohe, nā mea hoʻokani pila, nā mea hana mea hana a me nā mea hoʻomaikaʻi ʻē aʻe, akā ke paʻa nei ka hana, ma ke ʻano he hui pū a me kahi hālāwai sonic no ka noiʻi ʻeleu.
Ma waena o nā komo aupuni ʻana, ʻo nā hana sonic i ʻoi aku ka maikaʻi me kā Panos Charalambous mea hoʻonoho no Greece's National Pavilion, nona nā ʻāpana inu inu 20,000, hoʻonohonoho ʻia e hana i kahi papahele, kahi pae aniani moakaka. Ke hele nei ka poʻe kipa ma waena o ka paepae, hana lākou i nā papa o ka tintinnabulation, kahi e echo i loko o ka pavilion e like me ka vortex. ʻO nā mea kālai kiʻi, e like me nā megaphones a me kahi aeto ʻauhau, hana ʻia e like me ke koena o ke mele kani o Charalambous i hana mua ʻia, i wehewehe ʻia ma ke ʻano he 'ecstatic ultrasonic dance', i manaʻo ʻia e hoʻokani hou i nā moʻolelo i hoʻopoina ʻia, e nā hana mana hegemonic. I loko o ka Japanese Pavilion, ua hōʻike ʻia nā wānana wikiō ʻeleʻele a keʻokeʻo na Motoyuki Shitamichi e hōʻike ʻia nā 'pōhaku tsunami' ma nā kahakai, ʻoiai kahi moʻo o nā paia o ka paia e hōʻike nei i nā moʻolelo anthropological, e pili ana i nā moʻolelo pili i pili i ke kai eʻe. Hoʻohui ʻia kēia mau mea e kahi helu, hoʻomanaʻo i ka leo manu, hana ʻia ma nā pū ʻohe kani automate e noʻonoʻo ai i kahi olaola sonic kahi e hiki ai i nā kānaka a me nā kānaka ʻole ke noho pū.
Ke hāhū nei i loko o ka Giardini kekahi mau manawa kūlohelohe mai ka puka noho mīkini o Shilpa Gupta, a ʻo ia ka mea e hiolo ai ka pā. ʻImi pinepine ʻo Gupta i ka hana kino a me ka ideological o nā palena, a me nā hanana o ka mākaʻikaʻi e komo ana i kēia mau pūnaewele. ʻO ke kani kani lua o Gupta, aia ma ka Arsenale, he 100 microphones e kau ana. Ma mua o ka hana ʻana ma ke ʻano he mau lako hoʻopaʻa leo, hana lākou ma ke ʻano he mau haʻi ʻōlelo, e hoʻoili ana i kahi leo o ka hawanawana a me ka papahō o nā hawanawana, kūpaʻa a paʻipaʻi. Ke hāʻawi nei i ka leo i nā mea haku mele he 100 i hoʻopaʻahao ʻia a i hoʻokō ʻia paha no kā lākou kūlike politika, ʻo ka haunting recital me nā heluhelu ʻana i nā ʻōlelo like ʻole, ʻoiai nā ʻāpana ʻāpana, i kākau ʻia ma nā ʻaoʻao, ua hou ʻia e nā kui hao. Aia ma waena o nā wahi kani mālie kahi leo hoʻonanea, e ahu mai ana mai kahi hoʻonoho ʻia e ka mea pena ʻApelika Hema, ʻo Kemang Wa Lehulere. ʻO kēia mele ʻohana kahi ʻāpana o kahi hana hoʻomaka kāne, hana ʻia e ka poʻe Xhosa, ka mea i hoʻokaumaha ʻia e nā aupuni kolone a me Apartheid. Hoʻokomo ʻia nā mea kamaʻilio i loko o kahi noho kula, ʻoiai nā hale manu, i haku ʻia i ka lāʻau mai nā papa kula i hoʻopihapiha ʻia, ke kūkā kūkākūkā koʻikoʻi ma ʻApelika Hema, e pili ana i ka decolonization o nā curricula kula.
ʻO Dane Mitchell's nā hana o ke kani ʻoi aku ka maikaʻi Kau Hoc no ka New Zealand Pavilion, kahi e waiho ai nā papa inoa o nā phenomena vanity, extinct a i ʻole ʻike maka ʻole ʻia e hoʻolele leo ʻia me nā leo muffledly muffled, ma o nā hale kiaʻi lāʻau e kokoke ana iā Venice. Paʻi pū ʻia kēia papa inoa i loko o ka waihona puke Palazzina i kahi ʻole, e hōʻike ana i ka holo o kēia hālāwai sonic underwhelming. ʻO nā leo papa manamana e kū mai ana mai kā Sun Yuan a me Peng Yu mau mea like like me robotic i Giardini a me Arsenale, ʻoiai e kū hou ana nā automotons weliweli i ka Pavilion ʻo Belgian - hana ʻia ma ke ʻano he hale hoʻoilina hoʻoilina 1940s a i hoʻopuni ʻia e nā hale paʻahao - e like me ka hoʻokani ʻana o nā mea kani harpsicord i mau mele e 'hōʻoluʻolu i ka hoʻohewa ʻia '.
Ke kamaʻilio pū nei hoʻi i nā 'acoustics of incarceration', hoʻokomo ʻo Lawrence Abu Hamdan i kahi wikiō koʻikoʻi, Pa, Unwalled (2018) kahi hana kū i kōkua iaʻu e hoʻohui i koʻu noʻonoʻo e pili ana i ke kumuhana biennale. Hoʻonohonoho ʻia i loko o nā keʻena kani kani Funkhaus ma East Berlin - kahi i hoʻolele leo ʻia ai ʻo Radio East State State Radio - hōʻike ʻia ke kiʻi ʻoniʻoni i ka haʻiʻōlelo a Abu Hamdan e pili ana i ka 'politika o ka hoʻolohe ʻana'. Ua kākau ʻo ia i ke kaua anuanu a me ka wā Regan-Thatcher ma mua o ka paʻa ʻana o ka palena ʻāina i kēia manawa, ma mua o ka hōʻike ʻana i nā hihia kū kānāwai kahi e lawe ai nā hōʻike i ke ʻano o ka leo i lohe ʻia ma o nā paia. Hāʻawi ʻo ia i nā ʻike o nā paʻahao, hoʻomaʻamaʻa i ko lākou pepeiao e ʻoi aku i nā paia o kā lākou keena. Me ka hale paʻahao e hana nei ma ke ʻano he lumi echo, hoʻonui ʻia nā leo o nā nīnau nīnau a me ka hoʻomāinoino ʻia i nā lumi ʻē aʻe, e hana ana i kahi 'ʻano arkonic o ka hoʻomāinoino'.
E like me ka mea a Salomé Voegelin i wehewehe ai, i loko o kāna puke, ʻO ke kūpono politika o ke kani: nā ʻāpana o ka hoʻolohe ʻana (Bloomsbury, 2018), “ʻaʻohe palapala ʻāina o kahi kani ʻaʻohe palapala ʻāina; hana ʻole ia i nā kiʻi paʻi kiʻi. ʻO ia ka palapala ʻāina o nā hālāwai, nalo, hanana a me nā hanana. nā ala helehelena e ʻike ʻole ʻia ma waena o nā poʻe a me nā mea ”. Porous a immaterial, hiki i ke kani ke kani, komo i luna a pale i nā hanana paʻa pono ʻole. Inā ʻaʻohe palena kaiaulu i ka manaʻo nui o ka sonic materialism, a laila ʻo ka hui ʻana o nā hana sonic i hoʻonui ʻia ma Venice i kēia makahiki e hoʻonui i ka positivity a me ka lana o ka manaʻo. Hāʻawi kēia polyphony o nā leo, nā lōkō a me ka dissonant, i nā ala e pale ai i ka hoʻokaʻawale a i ʻole ka pā, e ka nānā ʻana a hana ʻana i kahi honua i pili aku.
ʻO Joanne Laws he mea hoʻoponopono o ʻO ka Pepa Nūhou Artists. Ke hoʻomau nei ka 58th International Venice Biennale a hiki i ka 24 Nowemapa.
Kiʻi hiʻohiʻona
ʻO Shilpa Gupta, Untitled, 2009, MS Mobile Gate, nānā hoʻonohonoho, 58th International Art Exhibition; na Francesco Galli ke kiʻi, na La Biennale di Venezia i ʻoluʻolu.
