Page 73 - 50.La Biennale di Venezia issue of World of Art Magazine

BIENNALE VENEZIA

50TH INTERNATIONAL ART EXHIBITION 2003

Dreams and Conflicts - The Dictatorship of the Viewer

ARTE COMMUNICATIONS

la Biennale di Venezia ANGEL ORENSANZ

Palazzo Malipiero (ground floor), S. Marco 3021, Venice
VENICE PRESS03 A BURNING UNIVERSE

Venice, April 17, 2003. A Venice centered program of exhibitions,
performances and interventions will bring the artistic discourse of
Angel Orensanz to world attention this Summer and Fall. The focus of
this presence will be a six month retrospective of his work “Burning
Imageries” at Palazzo Malipiero (June 12 through November 30),
and a major steel sculpture temporary installation in Lido: “Homage
to Luis Bunuel” that will be part of the OPEN 2003 (August 27 to
October 5). These two events are presented under the auspices of
Arte/Communications. Then, Orensanz will have two participations
contemporary with the 50th Biennale of Venice through the International
Artists Museum: “The Itinerant Library”; and his “Digital Diaries” at the
Telecom Future Center . There will be as well two open air sculpture
presences at Campo San Maurizio and Campo San Samuele.

Over the last three decades Orensanz has developed one of the most
personal and creative bodies of work in sculpture, works on paper,
video, performance and photography. Orensanz, a Spanish born and
New York permanently based artist, develops an intense transnational
approach to the production and presentation of his work: from Berlin
to Paris, Tokyo to Florence, Central Park to Red Square, Buenos Aires,
Barcelona and Dusseldorf. “He provides a frame of deconstruction
that resides within the permanent as both a temporal incursion and
an aesthetic dissembling that alters not so much the original but
its perception” comments American art essayist Carlo McCormick.
Orensanz brings to the Venice already art saturated season an all
encompassing rapport between object and gesture, concept and
environment, and an unparalleled freshness and energy. He is the
subject of some ten monographs by Pierre Restany, Thomas McEvilley,
John Spike, Donald Kuspit, Calvin Reed, Elmar Zorn and many others.

Venice lends a very congenial setting to Orensanz’s work. He works
all his projects from one of the most beautiful buildings in New York,
that houses a foundation that carries his name and that is a strong
reference in Manhattan’s cultural landscape.

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