Page 40 - La Biennale di Venezia issue of World of Art Magazine

LA BIENNALE DI VENEZIA
58TH INTERNATIONAL ART EXHIBITION

GREECE
Mr Stigl
EVA STEFANI, ONLY Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan
MEN (AS PART OF Organization of Museums of Visual Arts of Thessaloniki - MOMus). Curator: Katerina Tselou.
ANAGLYPHS-M
Exhibitors: Panos Charalambous,Eva Stefani, Zafos Xagoraris.
Venue: Giardini

Misunderstanding, a fantastical hero of an unknown story
whose poetics take us to the periphery of official history, but
also of reality. He may be an ironic narrator who introduces
us to a space of doubt, paraphrased sounds, and nonsensical
identities and histories. What does history reword and what does
it conceal, consciously or not? In the environment created by
the three Greek artists Panos Charalambous, Eva Stefani, and
Zafos Xagoraris, there is a transposition occurring, from grand
narratives to personal stories. The unknown (or less known) of
history emerge, subverting the indisputable character of the
official record - in a playful manner. These fragmentary narratives
do not attempt to retrieve the past but to create polyphonic
stories in a condition of active present.(excerpt)

HUNGARY

Imaginary Cameras
TAMAS WALICZKY Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
STEREO FLIPBOOK Curator: Zsuzsanna Szegedy-Maszák.
VIEWER FOR LA Exhibitor: Tamás Waliczky.
BIENNALE
Venue: Giardini

The mapping of human vision has been a recurring theme in the
work of the internationally acclaimed new media artist Tamás
Waliczky. The spatial representation of time, futuristic renderings
of augmented reality, and the examination of optical distortions
have all played central roles in his works.
Our vision, which evolves continuously over the course of our
lives and which is deeply rooted in our own culture, defines what
we regard as a faithful rendering of our world, and conversely
these images affect and seem to confirm our cultural ways of
seeing. Over the past two centuries, the invention of various
picture-recording devices has shaped our ways of seeing,
thereby manipulating our image of the world, in much the same
way, indeed, that computers manipulate ways of seeing.
The designs of the cameras, which operate on analogue
principles and which were made with digital software, are
displayed in 23 light boxes. In addition to these static renderings,
animations and an interactive digital installation present the
ways in which these devices, which could in fact be constructed,
would operate. As for the kinds of pictures his fantasy cameras
would produce, the artist entrusts this to the beholder’s
imagination. (excerpt)

40 WORLD of ART