|The installation 'The Key in the Hand', designed by the Japanese Chiharu Shiota, Japan Pavilion at the Venice Biennale. / GABRIEL BOUYS (AFP)|
GARBAGENEWS. Creative and impressive exhibit risky proposals. The pavilions of the great event of contemporary art opened the doors. The name of the Japanese flag passed from mouth to mouth among journalists and professionals in the days before the public opening of the Venice Biennale. His visit was inexcusable. And yesterday, the public can also enjoy the dazzling installation of the Japanese Chiharu Shiota (Osaka, 1972). It is titled The Key in the Handy in it thousands of small keys, from all over the world, hang a huge tangle of red threads that fly two barges. Sitting in the shade of some trees in front of the pavilion, which the artist had wanted to write a poem dedicated to the absence and the traces of the past. His red threads are a way to frame memory to know one's origins.
She is one of the many artists of the 56th edition of the global showpiece of contemporary art with its stunning women and risky proposals. Maybe it was chance or the desire to be at the level of criticism and equal awareness of the general curator, Okwui Enwezor, but the truth is that women's role in the event, which lasts until November 22, is greater than Never.
Suffice it to note some of the historical pavilions occupied by women: United States (Joan Jonas), Russia (Irina Nakhova), Britain (Sarah Lucas), Japan (Chiharu Shiota), Greece (Maria Papadimitriou), Sweden (Lina Selander) Norway (Camille Norment) or Chile (Paz Errazuriz and Lotty Rosenfeld). In addition, a significant presence of women in other wards carrying various artists is appreciated, as is the case of Mexico (Tania Candiani) or Spain, where Helena Cabello & Ana Carceller with Francesc Ruiz Pepo Salazar and reinterpret the figure of Dalí. Attendees will also see the winners with the Golden Lions to the flag of Armenia and artist Adrian Piper for his work goes All the World's Futures
A few meters from Japan is the UK Pavilion with the media artist of the Biennial: Sarah Lucas (London, 1962), famous since the late eighties by works that move between eroticism and sense rawer the sharpest humor. The sculpture of a phallus on all fours welcomes visitors. Over four rooms, it recreates the creative life-size parts of the male or female body in which holes placed cigarettes. With less media glamor, but with a greater interest if possible, the US Pavilion exposes Joan Jonas (New York, 1936), a pioneer of performance art, experimental film, video and installation. Known for its militant feminism, Jonas describes itself as an anthropologist of art. His work in the pavilion is a tribute to the oceans as a source of life and the universe of living things. Nature and memory also speaks Nakhova Irina (Moscow, 1955) in the Russian Pavilion. Inside the building, the artist has recreated a building full of artificial windows in which simultaneously images of the past and snapshots of the most modern and cosmopolitan Russian project.
In this installation it is inspired by Maria Papadimitriou (Athens, 1957) for the Pavilion of Greece. The artist, who was the protagonist of an exhibition at the Reina Sofia in January 2004, recreates the house of an old taxidermist who has lost their home and possessions. Entitled Why do you look at the animals ?, the work starts with a video in which the protagonist, Dimitris Ziogos, talks about the origins of his family displaced Armenians. Papadimitriou said that the facility has multiple readings and, although the first is the economic ruin that support in Greece, everyone can have their own view: "This speaks of a man with a certain work, but can be translated by a Greek metaphor. Life is a long journey with many readings and everyone learns the lessons that interest them. "
In the new Pavilion of Mexico for the first time within the official premises, Tania Candiani Luis Felipe Ortega shares with the same installation, Possesing Nature, in which a wall built to contain the spread of water is recreated, as in Venice as in some Mexican cities. Regarding the new increased presence of women artists, Candiani ensures that equality will be achieved only day that we stop counting the number of women present at an event: "It will be a sign that equality is here to stay" .
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