Page 14 - La Biennale di Venezia 2022 issue of World of Art Contemporary Art Magazine
P. 14

Biennale Arte 2022  LA BIENNALE DI VENEZIA        layers of meaning and bridge present and past. What
                                                              emerges is a historical narrative that is not built
                                                              around systems of direct inheritance or conflict, but
                                                              around forms of symbiosis, solidarity, and sisterhood.
                                                              With a specific choreography of architectural
                                                              spaces developed in collaboration with the design
         sections: miniature constellations of artworks, found
         objects, and documents, clustered together to explore   duo Formafantasma, these “cabinets” also prompt
                                                              reflection on how the history of art is constructed
         certain key themes. Conceived like time capsules,    around museum and exhibition practices that establish
         these shows within the show provide additional tools   hierarchies of taste and mechanisms of inclusion and
         of investigation and introspection, weaving a web of   exclusion. Many of the stories told in these capsules
         references and echoes that link artworks of the past   have not yet been absorbed into the official canon and
         – including major museum loans and unconventional    have been for too long considered minor and obscure.
         selections – to the pieces by contemporary artists in
         the surrounding space.                               These sections thus participate in the complex
                                                              process of rewriting and rereading history that has
         This wide-ranging, transhistorical approach traces   marked the last few years, when it has become clearer
         kinships and affinities between artistic methods and   than ever that no historical narrative can ever be
         practices, even across generations, to create new    considered final.

         Merikokeb Berhanu, Untitled LVII, 2021. Courtesy the Artist; Addis Fine
         Art. © Merikokeb Berhanu                             THE ARTISTS IN THE EXHIBITION
                                                              The fulcrum of The Milk of Dreams is a gallery on the
                                                              lower level of the Central Pavilion where the first of
                                                              the five capsules features a collection of artworks
                                                              by women artists of the historical avant-garde
                                                              movements, including, among others, Eileen Agar,
                                                              Leonora Carrington, Claude Cahun, Leonor Fini, Ithell
                                                              Colquhoun, Loïs Mailou Jones, Carol Rama, Augusta
                                                              Savage, Dorothea Tanning, and Remedios Varo. The
                                                              works of these and other women artists of the early
                                                              20th century – shown in an ensemble inspired by
                                                              Surrealist exhibitions – summon up a domain of the
                                                              marvellous where anatomies and identities can shift
                                                              and change, following the desire for transformation
                                                              and emancipation.

                                                              Many of the same lines of thought return in the work
                                                              of contemporary artists on view in the other galleries
                                                              of the Central Pavilion. The mutant bodies convoked
                                                              by Aneta Grzeszykowska, Julia Phillips, Ovartaci,
                                                              Christina Quarles, Shuvinai Ashoona, Sara Enrico, Birgit
                                                              Ju rgenssen, and Andra Ursula suggest new mergers
                                                              of the organic and the artificial, whether as a means
                                                              of self-reinvention or as a disquieting foretaste of an
                                                              increasingly dehumanised future.

                                                              The ties between human being and machine are
                                                              analysed in many of the works on view, as in those by

         12   WORLD of ART
   9   10   11   12   13   14   15   16   17   18   19