Page 15 - La Biennale di Venezia 2022 issue of World of Art Contemporary Art Magazine
P. 15

Candice Lin, Seeping, Rotting, Resting, Weeping, exhibition view from Walker Art
         Center, Minneapolis, 2021. Courtesy the Artist; François Ghebaly Gallery

         Agnes Denes, Lillian Schwartz, and Ulla Wiggen, for   artists such as Bronwyn Katz, Sable Elyse Smith,
         instance, or the screen-like surfaces by Dadamaino,   Amy Sillman, and Charline von Heyl, while Jacqueline
         Laura Grisi, and Grazia Varisco, collected in a second   Humphries’ typographic paintings are juxtaposed
         historical presentation that explores Programmed     with Carla Accardi’s graphemes and with the
         Art and kinetic abstraction in the 1960s.            machine code that informs the art of Charlotte
                                                              Johannesson, Vera Molnár, and Rosemarie Trockel.
         The bonds between body and language are
         at the heart of another capsule inspired by          In contrast with these hypertechnological scenarios,
         Materializzazione del linguaggio, a showcase of      the paintings and assemblages by Paula Rego and
         Visual and Concrete Poetry at Biennale Arte 1978     Cecilia Vicuña envision new forms of symbiosis
         that was one of the first openly feminist exhibitions   between animals and human beings, while
         in the institution’s history. Visual and concrete    Merikokeb Berhanu, Mrinalini Mukherjee, Simone
         poems by Mirella Bentivoglio, Tomaso Binga, Ilse     Fattal, and Alexandra Pirici craft narratives that
         Garnier, Giovanna Sandri, and Mary Ellen Solt are    interweave environmental concerns with ancient
         juxtaposed here with experiments in automatic        chthonic deities, yielding innovative ecofeminist
         writing and mediumistic communication by             mythologies.
         Eusapia Palladino, Georgiana Houghton, and Josefa
         Tolrà, and other forms of “feminine writing” that    The exhibition at the Arsenale opens with the
         range from Gisèle Prassinos’s tapestries to Unica    work of Belkis Ayón, an artist whose work draws
         Zürn’s micrographies. Signs, symbols, and private    on Afro-Cuban traditions to describe an imaginary
         languages also crop up in the work of contemporary   matriarchal society.

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