GIARDINI - Central Pavilion

Paolo Baratta - President of la Biennale di Veneziala Biennale di Venezia - Biennale Arte 2015

PAOLO BARATTA - President of la Biennale di Venezia

We celebrate this year the 120th anniversary of the first Art Exhibition (1895). The International Exhibition curated by Okwui Enwezor expands from the Central Pavilion at the Giardini to the Arsenale, and to external areas. 89 partecipating countries (58 un 1997), 29 in the historic pavilions in the Giardini, 31 in the spaces dedicated to the countries within the Arsenale (where restoration work continues on 16th century buildings), and the rest in other buildings in Venice. 44 Collateral Events presented by non-profit organisations and admitted by our curator. The Biennale moves forward and builds on its own history, which is formed of many memories but, in particular, a long succession of different perspectives from which to observe the phenomenon of contemporary artistic creation. Curiger, Gioni, Enwezor: three chapters in a research process engaged by la Biennale to explore the benchmarks that can help us formulate aesthetic judgments on contemporary art, a critical question following the demise of the avant-gardes and non-art. Okwui does not claim to pass judgment, his wish is to bring together arts and artists from throughout the world and from different disciplines, to instate a Parliament of Forms, as it were. 136 artists, of which 89 for the first time, from 53 countries, many of them from geographical areas that we paradoxically insist on defining as peripheral. 159 works on display are expressly realized for this year edition. In the more intimate Biennales as in the ones that more dramatically draw in history, what is important is that the Exhibition must always be seen as a venue for free and indipendent dialogue.

Okwui Enwezor - Curator of the 56th International Art Exhibitonla Biennale di Venezia - Biennale Arte 2015

OKWUI ENWEZOR - Curator of the 56th International Art Exhibition

Rather than one overarching theme that gathers and encapsulates diverse forms and pratices into one unified field of vision, All the World's Futures is informed by a layer of three intersecting Filters, namely; Garden of Disorder, Liveness: On Epic Duration, and Reading Capital. Questi The three Filters represent a constellation of parameters, which will be touched upon in order to imagine and realize a diversity of pratices. In 2015, the 56th International Art Exhibition, La Biennale di Venezia will employ the historical trajectory of the Biennale itself, one that I have so far sketched out as a Filter through which to scan the latent historical body of the event. The goal of three Filters is to describe both the current state of things and the appearance of things. With each Filter superimposed on the other, the 56th International Art Exhibition will delve into the contemporary global reality as one of the constant realignment, adjustment, recalibration, motility, and shape-shifting. It will play host to what could be described as a Parliament of Forms whose orchestration and episodic unfolding will be broadly global in scope. At the core of the project is the notion of the exhibition as stage where historical and counter-historical projects will be explored. These projects, works, and voices, like an orchestra will occupy the spaces of the Biennale and pre-occupy the time and thinking of the public.

Central Pavilion - Room 1la Biennale di Venezia - Biennale Arte 2015

Room 1

The End (1966) by Fabio Maurila Biennale di Venezia - Biennale Arte 2015

Fabio Mauri
Schermo fine , 1966
letraset on paper

Leo Castelli (1974) by Fabio Maurila Biennale di Venezia - Biennale Arte 2015

Fabio Mauri
Leo Castelli, 1974
silkscreen

Installation View (1965/1994) by Fabio Maurila Biennale di Venezia - Biennale Arte 2015

Fabio Mauri
Schermo fine , 1965
mixed media on paper

Fine – Ricami , 1994
embroidery

Disegno , no date
painting on canvas

Disegno fine , 1985
painting on canvas

Il Muro Occidentale o del Pianto, Fabio Mauri, 1993, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Macchina per fissare acquerelli, Fabio Mauri, 2007, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Installation View (1959/1994) by Fabio Maurila Biennale di Venezia - Biennale Arte 2015

Fabio Mauri
Disegno , 1985
painting on canvas

Disegno , no date
painting on canvas

Disegno , no date
painting on canvas

The End , 1959
collage and oil on paper

The End – Ricami , 1994
embroidery

L’Homme qui tousse (1969) by Christian Boltanskila Biennale di Venezia - Biennale Arte 2015

Room 2 - Christian Boltanski

L'Homme qui tousse, 1969 - 16mm film, color, sound (3’)

Following the Light of the Sun, I Only Discovered the Ground (2012/2014) by Runo Lagomarsinola Biennale di Venezia - Biennale Arte 2015

Room 2a - Runo Lagomarsino

Following the Light of the Sun, I Only Discovered the Ground, 2012–2014 - dia projection with sound and framed stamp

Following the Light of the Sun, I Only Discovered the Ground (2012/2014) by Runo Lagomarsinola Biennale di Venezia - Biennale Arte 2015

Runo Lagomarsino
Following the Light of the Sun, I Only Discovered the Ground, 2012-2014
dia projection with sound and framed stamp

Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground, Runo Lagomarsino, 2012/2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Following the Light of the Sun, I Only Discovered the Ground (2012/2014) by Runo Lagomarsinola Biennale di Venezia - Biennale Arte 2015

Runo Lagomarsino
Following the Light of the Sun, I Only Discovered the Ground, 2012-2014
dia projection with sound and framed stamp

Following the Light of the Sun, I Only Discovered the Ground (2012/2014) by Runo Lagomarsinola Biennale di Venezia - Biennale Arte 2015

Runo Lagomarsino
Following the Light of the Sun, I Only Discovered the Ground, 2012-2014
dia projection with sound and framed stamp

Last Man in Dhaka Central (The Young Man Was, Part 3) (2015) by Naeem Mohaiemenla Biennale di Venezia - Biennale Arte 2015

Room 3 - Naeem Mohaiemen

Last Man in Dhaka Central (The Young Man Was, Part 3), 2015 - two-channel video installation, sound, color (82' and 17”)

Biennale Arte 2015 - Naeem Mohaiemen: Last Man in Dhaka Central (excerpt)la Biennale di Venezia - Biennale Arte 2015

Naeem Mohaiemen
Last Man in Dhaka Central (The young man was, Part 3), 2015.
two-channel video installation, sound, color (82' and 17”)
courtesy the artist and Experimenter

In his Dutch flat, Peter underlined and drew exclamation marks on Abu Yusuf Khan’s post mortem (the body is cold) of the November 7th, 1975 soldier’s mutiny. The headlines read: ‘Zia embraced Taher and said “You have saved my life”’; ‘The Officers were frightened and fled Cantonment’; ‘In spite of precautions Taher was seized’; ‘Sirajul Alam Khan had acquired an image for himself’; ‘Why November 7th uprising failed’ (2014) by Naeem Mohaiemenla Biennale di Venezia - Biennale Arte 2015

Naeem Mohaiemen
In his Dutch flat, Peter underlined and drew exclamation marks on Abu Yusuf Khan’s post mortem (the body is cold) of the November 7th, 1975 soldier’s mutiny. The headlines read: ‘Zia embraced Taher and said “You have saved my life”’; ‘The Officers were frightened and fled Cantonment’; ‘In spite of precautions Taher was seized’; ‘Sirajul Alam Khan had acquired an image for himself’; ‘Why November 7th uprising failed’, 2014
five archival prints on rice paper

Giving Birth (2015) by Fatou Kandé Senghorla Biennale di Venezia - Biennale Arte 2015

Room 4 - Fatou Kandé Senghor

Giving Birth, 2015 - video, color, sound (30’)

Giving Birth (2015) by Fatou Kandé Senghorla Biennale di Venezia - Biennale Arte 2015

Fatou Kandé Senghor
Giving Birth, 2015
video, color, sound (30') - still

Room 5la Biennale di Venezia - Biennale Arte 2015

Room 5

Installation View (1969/1971) by Roberth Smithsonla Biennale di Venezia - Biennale Arte 2015

Roberth Smithson
Ashpalt on eroded cliff, 1969
ink and colored chalk on paper

Floating Island – Barge to Travel Around Manhatten Island, 1971
graphite on paper

The Hypothetical Continent of Lemura, 1969
brown ink, crayon, graphite and collage on paper

Island Project, 1970
pencil on paper

Dead Tree (1969) by Robert Smithsonla Biennale di Venezia - Biennale Arte 2015

Robert Smithson
Dead Tree, 1969
installation dimensions variable

Four Date Drawings (2011) by Runo Lagomarsinola Biennale di Venezia - Biennale Arte 2015

Runo Lagomarsino
Four Date Drawings , 2011
sundrawings and metal structure

La Muralla Azul, Runo Lagomarsino, 2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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La Muralla Azul, Runo Lagomarsino, 2014, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Swamp (1971) by Nancy Holt & Robert Smithsonla Biennale di Venezia - Biennale Arte 2015

Nancy Holt & Robert Smithson
Swamp, 1971
16mm film transferred to video, color, sound (6’)

Untitled (TI3) (2015) by Daniel Boydla Biennale di Venezia - Biennale Arte 2015

Daniel Boyd
Untitled (TI3), 2015
oil, charcoal and archival glue on polyester

Untitled (TI4) (2015) by Daniel Boydla Biennale di Venezia - Biennale Arte 2015

Daniel Boyd
Untitled (TI4), 2015
oil, charcoal and archival glue on polyester

Untitled, 14, 15.04.1974 (1974) by Teresa Burgala Biennale di Venezia - Biennale Arte 2015

Teresa Burga
Untitled, 14, 15.04.1974
Series of 13 drawings, ink on paper

Teresa Burga
Untitled, 14, 15.04.1974
Series of 13 drawings, ink on paper

Teresa Burga
Untitled, 14, 15.04.1974
Series of 13 drawings, ink on paper

Installation View (2013) by Walead Beshtyla Biennale di Venezia - Biennale Arte 2015

Room 6 - Giardino Scarpa

Walead Beshty, installation view

La Ciudad en Llamas (February 17 – March 1, 2015: Cerámica Suro Contemporánea, Guadalajara, Jalisco, Mexico) (2015) by Walead Beshtyla Biennale di Venezia - Biennale Arte 2015

Walead Beshty
La Ciudad en Llamas (February 17 – March 1, 2015: Cerámica Suro Contemporánea, Guadalajara, Jalisco, Mexico), 2015
Ceramica Suro slip cast remnants, glaze, and firing plate

Room 8la Biennale di Venezia - Biennale Arte 2015

Room 8

Installation View, Inji Efflatoun, 1962/1975, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Workers, Inji Efflatoun, 1975, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Installation View, Inji Efflatoun, 1950/1986, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Rude Rocks N.1 (from the series Rude Rocks) and The Victory Atlas series (2012/2015) by Elena Damianila Biennale di Venezia - Biennale Arte 2015

Elena Damiani
Rude Rocks N.1, 2015
hand carved and polished travertine, copper, stainless steel

The Victory Atlas Series, 2012-2013
collage on found map and Kawanaka paper

Rude Rocks N.2 and Rude Rocks N.3 (from the series Rude Rocks), Elena Damiani, 2015, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Rude Rocks N.4 (Turrón after Bratke) - (dalla serie / from the series Rude Rocks), Elena Damiani, 2015, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Nachrichten aus der ideologischen Antike, Marx, Eisenstein – Das Kapital (2008/2015) by Alexander Klugela Biennale di Venezia - Biennale Arte 2015

Room 9

Nachrichten aus der ideologischen Antike, Marx, Eisenstein – Das Kapital (2008/2015) by Alexander Klugela Biennale di Venezia - Biennale Arte 2015

Alexander Kluge
Nachrichten aus der ideologischen Antike, Marx, Eisenstein – Das Kapital , 2008–2015
three-channel video installation, color, sound (90’, 180’, 90’)

Biennale Arte 2015 - Alexander Kluge: Nachrichten aus der ideologischen, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Biennale Arte 2015 - Alexander Kluge: Nachrichten (2), From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Biennale Arte 2015 - Alexander Kluge (3), From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Roof Off (2015) by Thomas Hirschhornla Biennale di Venezia - Biennale Arte 2015

Room 10

Thomas Hirschhorn
Roof Off, 2015
site specific installation

Thomas Hirschhorn
Roof Off, 2015
site specific installation

Thomas Hirschhorn
Roof Off, 2015
site specific installation

Nyau Cinema (2012/2015) by Samson Kambalula Biennale di Venezia - Biennale Arte 2015

Room 11 - Samson Kambalu

Nyau Cinema, 2012–2015 - video installation, color and b&w, silent

KAPITAL (2013) by Isaac Julienla Biennale di Venezia - Biennale Arte 2015

Room 12

Isaac Julien
KAPITAL, 2013
double-monitor HD video installation, color, sound (31’)

Demonstration Drawings (2015) by Rirkrit Tiravanijala Biennale di Venezia - Biennale Arte 2015

Rirkrit Tiravanija
Demonstration Drawings, 2015
one hundred drawings, graphite on paper, MDF frames

Demonstration Drawings (2007) by Rirkrit Tiravanijala Biennale di Venezia - Biennale Arte 2015

Rirkrit Tiravanija
Demonstration Drawings, 2007
one hundred drawings, graphite on paper, MDF frames

Everything #2.2, #2.3, #2.4, #2.5, #2.6, #2.7, #2.8, #2.9, #2.10, #2.11a, #2.12a, #2.12b, #2.13, #2.14, #2.15 (2003) by Adrian Piperla Biennale di Venezia - Biennale Arte 2015

Adrian Piper
Everything #2.2, #2.3, #2.4, #2.5, #2.6, #2.7, #2.8, #2.9, #2.10, #2.11a, #2.12a, #2.12b, #2.13, #2.14, #2.15, 2003
photocopied photographs on graph paper, sanded with sandpaper, overprinted with inkjet text

Adrian Piper
Everything #2.2, #2.3, #2.4, #2.5, #2.6, #2.7, #2.8, #2.9, #2.10, #2.11a, #2.12a, #2.12b, #2.13, #2.14, #2.15, 2003
photocopied photographs on graph paper, sanded with sandpaper, overprinted with inkjet text

Adrian Piper
Everything #2.2, #2.3, #2.4, #2.5, #2.6, #2.7, #2.8, #2.9, #2.10, #2.11a, #2.12a, #2.12b, #2.13, #2.14, #2.15, 2003
photocopied photographs on graph paper, sanded with sandpaper, overprinted with inkjet text

Adrian Piper
Everything #2.2, #2.3, #2.4, #2.5, #2.6, #2.7, #2.8, #2.9, #2.10, #2.11a, #2.12a, #2.12b, #2.13, #2.14, #2.15, 2003
photocopied photographs on graph paper, sanded with sandpaper, overprinted with inkjet text

Adrian Piper
Everything #2.2, #2.3, #2.4, #2.5, #2.6, #2.7, #2.8, #2.9, #2.10, #2.11a, #2.12a, #2.12b, #2.13, #2.14, #2.15, 2003
photocopied photographs on graph paper, sanded with sandpaper, overprinted with inkjet text

Peru 73 (1973) by Teresa Burgala Biennale di Venezia - Biennale Arte 2015

Teresa Burga
Peru 73, 1973
3 drawings, pen on paper

Peru 73, Teresa Burga, 1973, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Peru 73, Teresa Burga, 1973, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Peru 73, Teresa Burga, 1973, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Un Jardin d’Hiver (1974) by Marcel Broodthaersla Biennale di Venezia - Biennale Arte 2015

Room 13 - Marcel Broodthaers

Un Jardin d'Hiver, 1974 - installation with 26 Kentya palm trees, 6 b&w photographs, 16 garden folding chairs, 2 museum vitrines containing art prints and catalogues, rolled fitted carpet

Theory of Justice (1992/2010) by Peter Friedlla Biennale di Venezia - Biennale Arte 2015

Room 14 - Peter Friedl

Theory of Justice, 1992–2010 - newspaper clippings, sixteen display cases of stainless steel, Plexiglas, and painted plywood

Owls at Noon Prelude: The Hollow Men (2005) by Chris Markerla Biennale di Venezia - Biennale Arte 2015

Chris Marker
Owls at Noon Prelude: The Hollow Men, 2005
CD-ROM video for six screens (19’)

Autorretrato. Estructura. Informe. 9.6.72 (1972/2006) by Teresa Burgala Biennale di Venezia - Biennale Arte 2015

Teresa Burga
Autorretrato. Estructura. Informe. 9.6.72, 1972-2006
mixed media installation

Autorretrato. Estructura. Informe. 9.6.72, Teresa Burga, 1972/2006, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Autorretrato. Estructura. Informe. 9.6.72, Teresa Burga, 1972/2006, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Autorretrato. Estructura. Informe. 9.6.72, Teresa Burga, 1972/2006, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Autorretrato. Estructura. Informe. 9.6.72, Teresa Burga, 1972/2006, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Installation View (1974/2014) by Teresa Burgala Biennale di Venezia - Biennale Arte 2015

Teresa Burga
installation view, 1974-2013
mixed media

Untitled (contigo….), Teresa Burga, 2013, From the collection of: la Biennale di Venezia - Biennale Arte 2015
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Logic of Disappearance, A Marx Archive (2014) by Madhusudhananla Biennale di Venezia - Biennale Arte 2015

Madhusudhanan
Logic of Disappearance, A Marx Archive, 2014
thirty charcoal drawings on paper

Logic of Disappearance, A Marx Archive (2014) by Madhusudhananla Biennale di Venezia - Biennale Arte 2015

Madhusudhanan
Logic of Disappearance, A Marx Archive, 2014
thirty charcoal drawings on paper

Arenala Biennale di Venezia - Biennale Arte 2015

ARENA

The Arena program has been realized with the support of: LUMA Foundation, Registration of an epic series of live performances in ARENA from the Vinyl Factory, Helga de Alvear, with the technical support of Kwadrat Moroso

Biennale Arte 2015 - The Arenala Biennale di Venezia - Biennale Arte 2015