The show can’t go on: Russian arts cancelled worldwide

Concerts, dance recitals and exhibitions have been postponed indefinitely after Vladimir Putin’s invasion of Ukraine

The Russian invasion of Ukraine has prompted responses from the cultural sphere, with Russian artists and companies beginning to feel the repercussions of decisions taken by the Kremlin. Not only has Russia been stripped of two prestigious events – the Champions League men’s final and Formula One’s Russian Grand Prix –but an increasing number of performances by Russians are being cancelled worldwide.

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‘Bleak, marginal and unpopular’: Australia unveils divisive exhibition for Venice Biennale

Marco Fusinato describes his experimental noise project as ‘discordant intensities’, with his curator hoping that people who hate it will ‘hate it right away’

Marco Fusinato is counting on his forthcoming show at the Venice Biennale being immediately disliked.

Outlining his contribution as Australia’s representative at the world’s oldest art show this week, the 57-year-old Melbourne-based contemporary artist and noise musician said Desastres was the product of a nightmarish two years enduring the world’s longest lockdown.

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I have seen the tragedy of Mediterranean migrants. This ‘art’ makes me feel uneasy

The vessel that became a coffin for hundreds has gone on display at the Venice Biennale. It intends to stir our conscience – but is it a spectacle that exploits disaster?

On the night of 18 April 2015, about 180 kilometres from the Italian island of Lampedusa, a fishing boat capsized with hundreds of migrants on board. Among the waves and beneath the ship’s 23-metre hull, 700 passengers who had dreamed of a better life drowned in the waters of the Mediterranean.

Last week that giant, rusty vessel arrived in Venice on the occasion of the city’s Biennale art festival, where it went on display on Saturday in an installation designed by the artist Christoph Büchel.

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Venezuelan upheaval delays pavilion at Venice Biennale

Political chaos leaves country’s artists playing catch-up just days before art event begins

Switzerland is partying, sequin-clad dancers whirling on a vast screen. Russia is staging an elaborate homage to Rembrandt. But between them – or rather between their national pavilions in the public gardens of Venice – Venezuela is deserted and padlocked shut.

The Venice Biennale, the art world’s most celebrated international event, is due to open to the public on Saturday, and the venues have already thrown open their doors to curators, artists, museum directors, press and collectors. But not Venezuela’s pavilion. Winter leaves are piled up in the courtyard; discarded building materials and rubbish are heaped at the side.

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Ghana shakes up art’s ‘sea of whiteness’ with its first Venice pavilion

In curving galleries designed by David Adjaye, artists are putting Africa firmly on the biennale map

The Venice Art Biennale, the world’s most celebrated international art event, has a history that is inextricably bound up with colonialism.

Its first pavilion for the showcasing of a “national” art was established by Belgium in 1907. Britain followed soon after. European countries remain dominant at the event – at least numerically.

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