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I don’t remember how many Italian artists I have, but I have a lot. I think it’s my responsibility. There is something about Venice—you always consider it an international exhibition. You never think you go to the Venice Biennale to learn about Italian art now. There’s plenty of international, but there’s also plenty of space for Italian art. So there will be big presentations by them.
To me, they’re like time capsules. The idea is you enter one of these spaces and, because of the exhibition design, you will feel you are in a different space. So in a room in the pavilion, where you normally have one or two artists, you might have 30 or 40 because I install them salon style or with different strategies. It’s a hint, a suggestion—looking at the work of someone like Christina Quarles after you see the work of Carol Rama, maybe you can find some connection. I’m not saying Christina Quarles is influenced by Carol Rama. The goal for me was not necessarily thinking that the Biennale needs to be just a picture of the last two years of production but that we can intertwine the contemporary with the historical, especially at a time like this one, where lots of museums and institutions are revising and revisiting their own history, a history of inclusion and exclusion. So these capsules look at many practices that were very, very important but were completely excluded or obliterated by art history.
Oh, there are so many discoveries in my show. One is Ulla Wiggen, who is an artist from Sweden. She’s older now, 80 probably. She started working in the ’60s and made amazing paintings of the inside of computers and machines. She was very young, and she made these very, very powerful paintings imagining technology and engineering that was almost exclusively the field of male colleagues. She was part of groundbreaking exhibitions like “Cybernetics Serendipity” at the ICA in ’68. Then she stopped making work for decades, and now she’s making gorgeous, gorgeous works that are hyperrealistic depictions of people’s irises—eyes that look at you. So in a way it’s looking not at the external machine but the body as the machine that functions through vision and the senses. She has a big installation. Then Gabriel Chaile, who is an artist from Argentina with whom I worked when I did a project there. He’s an incredible sculptor who makes quite monumental works using adobe and indigenous iconology and mythology with autobiographical and very personal stories. He’s going to have a major presentation at the very beginning of the Arsenale.
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- Material Type: 35% Cotton – 65% Polyester
- Soft material feels great on your skin and very light
- Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes
- Taped neck and shoulders for comfort and style
- Print: Dye-sublimation printing, colors won’t fade or peel
- Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary
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