Page 52 - La Biennale di Venezia issue of World of Art Magazine
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LA BIENNALE DI VENEZIA
         58TH INTERNATIONAL ART EXHIBITION


                                   PERU
                                   “Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

          CHRISTIAN BENDAYÁN. “AMAZONAS”   Commissioner: Armando Andrade de Lucio.
           [“AMAZONS”]. 2007. OIL ON CANVAS   Curator: Gustavo Buntinx.
              269X220CM. (MODEL FOR THE   Exhibitors: Christian Bendayán, Otto Michael (1859 – 1934), Manuel Rodríguez Lira (1874 – 1933), Segundo
          AZULEJO MURAL TO BE EXHIBITED AT   Candiño Rodríguez, Anonymous popular artificer.
                 THE BIENNALE ARTE 2019)
                                   Venue: Arsenale

                                                              “Indios antropófagos” is essentially a paradox: a post conceptual
                                                              exploration of the fiery sensorial impact of Amazon culture
                                                              on certain (neo)baroque horizons in contemporary Peruvian
                                                              art. Christian Bendayán has been well recognised as one of
                                                              the protagonists of that tropical eruption. The pulsion always
                                                              throbbing in his work, however, is also energized by a critical
                                                              reconsideration of the Amazon as a constructed image. A mise-en-
                                                              scène thus becomes a mise-en-abîme - or viceversa. An operation
                                                              that is made evident by the rhetorical quotation marks that are
                                                              an integral part of this exhibition’s title: a visible act of citing
                                                              related to the frequent inscription of similar phrases on early 20th
                                                              century postcards showcasing exoticised images of jungle natives.
                                                              Postcolonial subjects whose difference became exacerbated into
                                                              an absolute otherness: the alterity of the supposedly ‘primitive’-
                                                              not the primordial––was hence used to justify the ‘civilising’
                                                              incursion of the State and the Market in the ‘wild lands’.  At times
                                                              those postcards prudishly overprinted false drapings on the naked
                                                              presences. In other instances the intent was rather to eroticise the
                                                              exposed anatomy, highlighting the carved and painted bodies. In a
                                                              keen reversal of such procedures, Bendayán makes of those skin
                                                              markings the cutaneous ... (excerpt)
                                   PHILIPPINES

                                   Island Weather
                      NOAH BY MARK   Commissioner: National Commission for Culture and the Arts (NCCA)/Virgilio S. Almario.
                     JUSTINIANI (2011)  Curator: Tessa Maria T. Guazon.
                   PHOTO CREDIT: MARK   Exhibitor: Mark O. Justiniani.
                         JUSTINIANI
                                   Venue: Arsenale


         It is often difficult for humans to notice life forms that exist on
         a scale different from theirs, such as microscopic organisms,
         the slow workings of toxic agents, or durational processes of
         decaying organic matter. By heightening the visitors’ awareness
         of the materiality of the space and the artworks, and by
         assimilating their bodies to other life forms, the exhibition
         attempts to establish a connection with more-than-human
         agencies.
         The biennial gardens are bordered by the Venetian Lagoon, a
         tourist-infested city, and hubs of mainland industry, all spurring
         contemplation of the eco-crisis, the erosion caused by centuries
         of mass tourism, and the survival prospects of marine species
         native to the lagoon, which compete for space with massive
         cruise ships. The pavilion itself is susceptible. (excerpt)










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