The show and the artist

It happens more and more often: I only hear the “producer”, the curator, talking; it does not really matter if what is shown is painting, sculpture, video, installation or art for that matters. The elements do not make much sense. It is the curator’s opinion on something, anything.

Even so, the question remains: is it for the show or is this what artists actually make?


There were two holes in the Giardini: one in the Russian pavilion, with the interactive installation about greed (a coin is left in my hands as souvenir…) and another one in the Israel pavilion where enthusiastic people had dug up the floor for some up-beat reasons. Was this a synchronization of minds, or availability of a big drill?

The French pavilion, hosting Germany’s participation, was clogged exactly in the same way as two years ago, only this time it was not Boltanski’s noisy installation but the stools (: Bang ) by Ai Weiwei, mainly (film available).


If we are talking about the art of imposed experience: I liked the Korean pavilion (film also available) with Kimsooja‘s installation entitled ‘to breath: bottari’; a pavilion wrapped in translucent film transforming the space in a total reflection of light iridisms mingled with the visiting figures; at the side, a dark room where we are asked to be in total detachment from the outside. Curiously enough, Mickey with his 6 years, was terrified by the transparency of the light bathed pavilion but found quite interesting the enclosure in the dark room. Loosing the ground under your feet seems more frightening than being confronted with silence, visual and acoustic.

a matter of perspective
a matter of perspective

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