The Venice Biennale, which runs this year from April 20 to November 24, is one of the world’s most prestigious international art shows. It is also held alongside the Documenta in the German city of Kassel.
The lagoon city will once again become the center of the international art world in the coming weeks and months. Over 800,000 art lovers made a pilgrimage to the previous Biennale held two years ago, and two-thirds came from abroad, a new record.
Israeli pavilion to remain closed in protest
The Israel-Hamas war is having a direct impact on the prestigious art show.
A collective of pro-Palestinian activists, the “Art Not Genocide Alliance” or ANGA for short, had been calling for the exclusion of Israel from this year’s Biennale amid the conflict.
In an open letter, the activists criticized Israel for its military action in the Gaza Strip — which the collective calls a “genocide” against the Palestinians.
The open letter condemns the “double standards” of Biennale organizers, noting that they remained silent on the situation in the Middle East while they had condemned Russia’s war of aggression against Ukraine two years earlier. According to the alliance, more than 23,750 people have signed the call so far, including US photographer Nan Goldin.
The Biennale rejected the calls for a boycott. The curators had already decided on the concept and participants of the central Biennale exhibition long before the Hamas terror attack on October 7 that prompted Israel’s retaliation in the Gaza Strip.
But now the doors to the Israeli pavilion will stay closed anyway. The exhibition’s featured artist, Ruth Patir, an Israeli born in New York in 1984, announced in a statement on Tuesday that the show will only open “when a cease-fire and hostage release agreement is reached.”
Italian soldiers are now patroling the Israeli national pavilion at the Biennale contemporary art fair Image: Colleen Barry/AP Photo/picture alliance
“The decision by the artist and curators is not to cancel themselves nor the exhibition; rather, they choose to take a stance in solidarity with the families of the hostages and the large community in Israel who is calling for change,” the statement on Patir’s website adds.
Patir’s exhibition, “M/otherLand,” features a video installation of ancient museum figurines representing “broken women” who “come to life and take part in a procession, in a shared public expression of grief, sorrow, and rage. The camera’s point of view is that of a bystander or a witness to the scene, thereby claiming a subjective, embodied take on world events.”
Israel has had its own national pavilion in Venice since 1950.
Russia’s pavilion to remain empty again
Meanwhile, the Russian pavilion will once again remain empty.
The Biennale did not officially exclude Russia, but after the country’s full-scale invasion of Ukraine in February 2022, the artists and curators selected for the Russian pavilion resigned from participating under the national banner.
Ukraine is participating through a group exhibition titled “Net Making.”
The empty Russian pavilion, a photo from 2022Image: Antonio Calanni/AP Photo/picture alliance
‘Foreigners Everywhere’
Titled “Stranieri Ovunque – Foreigners Everywhere,” the main exhibition is curated by the Brazilian Adriano Pedrosa, who becomes the Venice Art Biennale’s first artistic director born and based in the Global South. The artistic director aims to show art from the Global South’s less privileged and less industrialized regions.
Pedrosa’s “primary focus is thus artists who are themselves foreigners, immigrants, expatriates, diasporic, émigrés, exiled or refugees,” he said in a statement. The exhibition extends across the Giardini park, the historic shipyard halls known as Arsenale and other art locations in the lagoon city.
The slogan itself is inspired by a work by a Parisian artist collective called Claire Fontaine, who had created different versions of the neon sign in 53 different languages. They now light up the Arsenale.
The German version of Claire Fontaine’s neon light installations: ‘Fremde Überall’ (‘foreigners everywhere’)Image: Galerie Neu, Berlin
The international art show features 330 artists, with 88 countries presenting their own exhibitions. Most of them are showing their works in the Arsenale, without their own exhibition hall.
This year, four countries will participate for the first time at the Venice event: Benin, Ethiopia, Tanzania and Timor Leste. Nicaragua, Panama and Senegal will also participate with their own national pavilions for the first time.
African voices at the Art Biennale
The African continent, in particular, has been strengthening its presence at the world’s oldest art show. Ghana and Madagascar participated for the first time in 2019; Uganda, Cameroon and Namibia followed in 2022.
Based on the theme “Everything Precious is Fragile,” Benin’s pavilion features the works of artists Chloe Quenum, Moufouli Bello, Ishola Akpo and Romuald Hazoume. It is organized by Nigerian curator and critic Azu Nwagbogu, who is also the founder and director of the Lagos Photo Festival and the African Artists’ Foundation (AAF), a non-profit organization dedicated to promoting contemporary African art worldwide.
Among the foundation’s success stories is Romuald Hazoume. The now 62-year-old Yoruba artist and sculptor had already gained acclaim through his participation at Documenta 12 in Kassel in 2007, where he presented an impressive installation commenting on flight, expulsion and the loss of home.
Through Benin’s pavilion, curator Nwagbogu also wants to spark a new perspective on the decolonization of art, he told journalists ahead of the exhibition. Beyond the restitution of objects, he also wants to promote the “restitution of knowledge.” With the help of a “library of resistance,” he aims to give voice to women on topics such as African identity, ecology and science.
Azu Nwagbogu is the curator of Benin’s pavilionImage: African Artist Foundation
Does he feel that African voices are sufficiently represented in Venice? “I would like to see many more,” Nwagbogu told DW. “More importantly, I would like to see more deep cultural infrastructure built and supported on the [European] continent and more support for those impressive events we have already built across Africa.”
Germany’s multicultural approach
Among the 28 permanent country pavilions in the Giardini Park, the German pavilion’s program opens with a presentation by Berlin theater director Ersan Mondtag and Israeli artist Yael Bartana.
Cagla Ilk is the curator of the German pavilionImage: Nick Ash/Staatliche Kunsthalle Baden-Baden/dpa/picture alliance
Under the title “Thresholds,” they offer an exploration of the past and the future inspired by various artistic concepts. The curator this year, after Yilmaz Dziewior in 2022, is the Istanbul-born architect and co-director of the Staatliche Kunsthalle Baden-Baden, Cagla Ilk. Referring to the title of the show, she explained that on the threshold, “Nothing is certain.”
The pope expected at the event
The Vatican offers one of the attention-grabbing shows this year: It is placing its pavilion in the women’s prison in Venice. Inmates accompany visitors on an art itinerary through the prison.
Pope Francis also wants to visit the pavilion. He would be the first pontiff to date to visit the Venice Biennale.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
