Many of us, at some point in our lives, want to make a difference in the world. Nan Goldin actually has. His burning, tender, diaristic and commemorative slide show, The ballad of sexual addiction, Was an innovation in the late 1970s, when she began to show. At the time, many people who should have known better did not consider his photographs – composed expertly, crude, richly saturated color and portraits absolutely fearless – as art. In the mid 1980s, she was a force. More recently, it has been widely and rightly recognized for its highly effective campaign to remove dirty money opioid killers produced by the family members of the Sackler museums bearing his name supposedly philanthropic. Yet it took until now for someone …Cecile Alemanithat is to say, to bring his work to a Venice Biennale.
“It’s my first and it Biennale the work I’ve ever done happy! “She joked Tuesday night at Marian Goodman Gallery dinner held in his honor in the Fortuny factory gardens on the Giudecca. The work is Sirens (2019-21), a harmonious film-collage (accompanied by an otherworldly, sibilant soundtrack by composer Mica Levi) that is a perfect fit for the “enchantment” part of Alemani’s thesis for his exhibition. An earlier version of the work appeared in the first exhibition of Goldin with the gallery there a year ago. “I changed it,” she said. It was poignant then. Now it’s happy.
Marian Goodman, 94, was wary of traveling in these times of Covid-19 and we sorely missed. But the artists Julie Mehretu and Nairy Baghramian stepped into the breach to toast Goldin impromptu welcoming to the fold. Clearly moved, Goldin told them that joining the gallery had been a longtime dream — the best in the world, she said — “because of the artists, and because of Marian’s morality, not just her aesthetic.” the art forum editor David Velasco – curator of self-portraits and essay wherein Goldin revealed the downward spiral of its dependency, and the subsequent recovery of opioid added prescribed his own words esteem. “Thus Pain (his activist group, Prescription Addiction Intervention Now) started,” admitted Goldin. “So thanks!”
Personally, it has been very satisfying to see Goldin’s work at the Biennale placed close to the exhilarating installations by Louise Lawler, Barbara Kruger and Amy Sillman. Amazingly, this is the first appearance in the Venice Biennial for each of them. And the big stage is more than ready to receive them. How do you stay relevant in a world that changes orientation in a flash? “You just need to be careful, I suppose,” Lawler thought.
I constantly think about the exposure of Alemani, The milk of dreamsIn particular the role in the Giardini. Are there any previous Biennials which included the soft carpet and pigmented walls? Amazing in itself, the design highlights each work that adorns. (Part of the credit goes to FormaFantasmathe Italian design studio that worked with Alemani, with our thanks to the David Teiger Foundation for additional funding.) “The installation is immaculate,” said a dazzled Jack Shear, whose collection of works on paper recently had an equally flawless run at the Drawing Center in New York.
The artists were equally delighted. “I’m so glad this room!” exclaimed Charline de Heylincluding Pop-ish abstractions are from a musical collaboration with Prima Vera Project involving no less than 81 cello solos by as many musicians. (The playlist is on the wall and online.)
“I am delighted,” echoed her best friend, Jacqueline Humphries, whose impastoed and monumental abstractions resonate with the show’s technological undercurrents, another theme that brings surprise upon surprise. Witness to a digital animation 1978 by American artist vanguard Lillian Schwartz (Born in 1927) alongside the cosmic eyeballs painted by the Swedish artist modest Ulla Wiggen (born in 1942).
Indeed, the breadth of knowledge and the nature magnificent and assured of this exhibition – of Rosemarie Trockelthe beautiful range of textile paintings Paula RegoThe navy blue room with paintings and puppets to stun the eye and brain. Overall, it’s a moving and uplifting show.
So I was in a vulnerable state when I fell on the conservative Maria Lanka pause outside the Ukrainian flag with the architects who designed Fountain of exhaustion: Acqua Alta (1995-2022), the installation of the artist pavlo makov. Its peaceful “fountain”, a tin cones pyramid inspired by the head of the Tin Man in the Wizard of Ozbrings a certain calm to chaos.
How is it like for this group in Venice while the bombs fall at home? “Every day and night we read the headlines,” Lanko said. “And we just want to cry.” And what about the representatives of India, China or the United Arab Emirates, who did not join the unified Western position against Russia?