It takes time to metabolize a Biennale. The second meaning in the dictionary, the etymological union of biennalis and annus, is “a plant that develops within two years […] after which it dries up and dies: e.g, carrot, parsley, beetroot”.

I do not want to compare the Biennale of Venice to a beetroot because by definition, at least for these two years, the manifestation wants to be as lively as ever. However, I want to start from a lightening of intent, of feeling, from a less political and more poetic and perhaps more true activism. “Viva Arte Viva” docet.

The right word is fragility. The subtle game is fragile, the human psyche is fragile and Warhol’s 15-minute of celebrity are even more.

According to Christine Macel, there are 9 chapters “to be read”, from the Pavilion of the Earth to that of the Shamans to the Pavilion of Time and the Infinity. I put a period to these chapters made of glazed gold like “Square” by Liu Jianhua and like the natural stones combined with the sound of Alicja Kwade leading to the last part of the exhibition. I will start a new line at the end of the Biennale when I will find out the tenth chapter and I will plant a pure rose in the Garden of the Virgins.

Reverie, rosa, La Biennale, Venezia, 2017

Action. I lost all my orientation points, I left the chapters home and started my feet on. Active perception. Every time I go to the Biennale I always starts from the Giardini and the Swiss Pavilion. That’s why I’ll be out of time and out of sync.

Reverie, La Biennale, Venezia, 2017

“The Magic World” is the revelation. The Italian Pavilion for these two years is woven with myths, rituals, beliefs and fairy tales, and the three artists, under the guidance of Cecilia Alemani, become shamans of a reflected world.

Reverie, La Biennale, Venezia, 2017

“Avoid investigating with unnecessary curiosity around the deepest Sacrament, if you do not want to be submerged in the abyss of doubt”: I enter the experimental process of modeling matter, memory and icon, I discover Roberto Cuoghi’s “Imitatio Christi”. The magic of reality expands through Adelita Husni-Bey’s “Seat”: extraction, menace, technology, exploitation, value and vulnerability. The boys who are attending talk, read their self and a bunch of tarots for the first time. “Hey, this is my planet!” The risk of falling into a wonderful reflection is very high, the generating force of water is scaring, the apparent solidity of a game of infinite mirrors is reassuring: Giorgio Andreotta Calò uses water for his “Untitled (The End of the World)”

Reverie, La Biennale, Venezia, 2017

What is this world of intuition in addition to my representation?

Reverie, La Biennale, Venezia, 2017

Δίλημμα “double proposition”: I arrive to the Greece by George Drivas.

Reverie, La Biennale, Venezia, 2017

I seek asylum in a hostile environment. I climb up the stairs and look at men like mice lost in a maze of a few lights. But is that really true? I find myself in an experiment where scientists study a group of new cells.

Reverie, La Biennale, Venezia, 2017

Apparition: Geta Brătescu. Apparitions of the Pavilion Romania: femininity as the perfect incarnation of “nomadic subject”. Stills from “The Studio”: I move with her. 

Reverie, La Biennale, Venezia, 2017

A mirrored room of reflection: a constant female quest that delicately fights all the battles of the modern world. And in the end there is always the positivity of a gestation in becoming, “The Demoness” is fertility. “No To Violence” is powerful lightness against violence. I have come out so changed by her body-poetry.

Reverie, La Biennale, Venezia, 2017

“Folly” is described in Venice as “ambition”: Phyllida Barlow occupies Great Britain Pavilion.

Reverie, La Biennale, Venezia, 2017

She changes perspectives and invite us to ask what we see. So, as we search deep in our depths for poetry, we find nothing more than a Scottex tube in front of us.

Reverie, La Biennale, Venezia, 2017

A bulbous mass rising from the ceiling: United States of America. Pushed to the side of room, I almost crawl. Art-Medusa chairs the center. Mark Bradford teaches that “Tomorrow Is Another Day”

Reverie, La Biennale, Venezia, 2017

The artist would like to do it using “beauty,” perhaps the most “recycled material” of all, and instead he succeeds with a statement of intent: “Niagara” emphasizes that all black lives count.

Reverie, La Biennale, Venezia, 2017

Where there is light, there is shadow; where there is loneliness every one sings of his own ego. Anne Imhof’s “Faust” burns. I queued 70 minutes under a heavy sun. I looked at the dogs and the men in the cage and above the roof of the German Pavilion. “Hard realism”: I look at young bio-techno-bodies moving within a Humanity in which I recognize myself, and I crush their stifled breaths. Between uniformity and punk, I find the purity of a white sheet and a lighter’s flame. Among reality, objectification, struggle and capitalism, I see the transformation of the group and its individualities. I hear the sense of nuisance that all this causes me. Who will be saved? I would like to lie down but not to enter their subsoil that belongs to them and to no one else. The annoying sound enriches my experience. Black sun, and everything becomes visible.

Reverie, La Biennale, Venezia, 2017

I reflect myself in six reflections: artists and interpretations of urban contamination based on the concept of “place without place”. Utopia: The Nordic countries (Finland, Norway, Sweden) has the title of “Mirrored”. From infinitely small industrial material that is like limen on the threshold of the dynamic expansion of a modular sculpture wing and virtuosity up to the energy shifts through forty-four films in Super8: Siri Aurdal, Nina Canell, Charlotte Johannenson, Jumana Manna, Pasi ” Sleeping “Myllymäki e Mika Taanila.

Reverie, La Biennale, Venezia, 2017

Bruno Giacometti built the space hosting the Pavilion of Switzerland in 1952. Alberto Giacometti has always refused to present his works here. In 2017, Teresa Hubbard, Alexander Birchler and Carol Bove describe the women of Venice: seven sculptures to remind the absence of the best-known Swiss artist; Flora Mayo’s life and work returns to light; theatricality and autonomy. They are the vocabulary of sculpture.

Reverie, La Biennale, Venezia, 2017

Final note:
“Bitter Honey”
Explain the oxymoron.

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, Stati Uniti D'America

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Reverie, La Biennale, Venezia, 2017

Credits
Special thanks to MARIOS for the Goshka Macuga x Marios “Lost Fortuny”  dress
Photo: Caterina De Zottis

AMOlink:
labiennale.org
exibart.com/vivaartevaga
flashartonline.comnational-pavilions