Viewing articles tagged with 'Venice'

V-A-C Collection, Palazzo delle Zattere, Dorsoduro 1401, Venice

The Electric Comma: V-A-C Collection

Installation view, The Electric Comma

Taking its title from Shannon Ebner’s installation The Electric Comma, the exhibition focuses on shifts in language, perception and understanding in the age of artificial intelligence. Through varied practices and from different backgrounds, participating artists deal with the negotiations between the conscious mind and today’s pervasive learning machine, imagining pathways of exchange between human and nonhuman, ranging from the poetic and intuitive to the algorithmical and analytical.

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Scotland Pavilion, Chiesa di Santa Caterina, Fondamenta Santa Caterina, 30121, Cannaregio

Venice Biennale 2017: Rachel Maclean: Spite Your Face

Installation view, Rachel Maclean, Spite Your Face, 2017.

The large portrait format screen in place of the altar of the deconsecrated church creates an ambience of a religious service and the audience are made to sit in pews. Maclean's previous work has taken Old Testament stories retelling them as contemporary fables that poked fun at cults and fads. 'Spite Your Face' presents the story of Pinocchio – one of those children's tales that having only known from the cleaned up Disney version is far darker than I assumed. Review by Piers Masterson

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Estonia Pavilion, Palazzo Malipiero, San Samuele Square, San Marco 3199, 2nd floor, Venice, Italy

Venice Biennale 2017: Katja Novitskova: If Only You Could See What I’ve Seen with Your Eyes

Katja Novitskova, If Only You Could See What I've Seen with Your Eyes, exhibition view at the Estonian Pavilion, Palazzo Malipiero, 57th Venice Bienniale

Outside the entrance of the Estonian Pavilion in the 57th Venice Biennale, the phrase ‘If only you could see what I’ve seen with your eyes’ is printed on a poster in glowing red type. Katja Novitskova’s exhibition title originates from the 1982 post-apocalyptic film ‘Blade Runner’ and points toward several themes that run throughout the exhibition. Review by Ashley Janke

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ALMA ZEVI, Salizzada San Samuele, 3357, 30124 Venice, Italy

John Smith: Films in Sheep’s Clothing

John Smith, Films in Sheep's Clothing, Om, 1986, ALMA ZEVI, 2017

In an increasingly earnest art world, visitors to Alma Zevi’s gallery off the main sway of the Grand Canal can take relief in the comedic value of mistranslation and mistaken identity. John Smith’s films - showcased for the first time in Italy in Zevi’s solo exhibition – are arranged into an artful, tightly curated presentation, and span Smith’s forty-year involvement at the frontline of British conceptual film-making. Review by Olivia Paterson

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British Pavilion, Viale Giardini Pubblici, 30122 Venezia, Italy

Venice Biennale 2015 - Sarah Lucas: I SCREAM DADDIO

Sarah Lucas, I SCREAM DADDIO, Installation View, British Pavilion 2015

The heavily political and theoretical tone of this year’s Biennale makes Lucas’ work seem even brasher and somehow at odds with the other, sometimes earnest and frequently socially engaged, works on display. Review by Will Gresson

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Romanian Pavilion, Giardini della Biennale, Sestiere Castello, 30122 Venice

Venice Biennale 2015 - Adrian Ghenie: Darwin’s Room

Adrian Ghenie, Darwin's Room, installation view, 2015

In his solo exhibition ‘Darwin's Room’ presented at Venice, Ghenie intriguingly takes the mode of inhabiting historical characters in order to reflect upon the difficult and often traumatic underpinnings of local histories. Review by Giuseppe Marasco

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Pavilion of Iran, Cannaregio, Calle San Giovanni, 1074b, Venezia

Venice Biennale 2015 - The Great Game

The Great Game, installation view

Relatively isolated from the heart of the Venice Biennale, the Pavilion of Iran is located in a former shipbuilding factory in the Cannaregio district. The search, however, is worth the effort, as visitors are presented with an industrial, squat-like labyrinth, unfolding an eclectic mix of strong artworks making strong statements. Review by Evelyn Simons

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Palazzo Grassi, Campo San Samuele, 3231, 30124 Venice

Venice Biennale 2015 - Slip of the Tongue

Martin Wong, INRI, 1984

Taking its title from Nairy Baghramian’s phallic resin covered concrete piece, ‘Slip of the Tongue’ is a scenario for chance, an opportunity in a conversation for diversion. Review by Bob Gelsthorpe

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