Dispatch from the Venice Biennale: rewarding obscurity

2016-05-31T17:22:00-04:00

Much will be published over the coming days about the Biennale's national pavilion winners—Spain’s “Unfinished” (with the Golden Lion) and Japan’s “en: Art of Nexus” and Peru’s “Our Amazon Frontline” (with special mentions). It is a phenomenon that conceals the terrain, limiting the perspective of the majority, and inaccurately reduces the dynamism of the lived experience. At the same time, after the fascination with the nominations wears off, it garners those passed over with a certain mystique. In the interest of representation and curiosity, then, it seems fitting to acknowledge a (very) small sampling of the more and wider.

Oh, Canada. This year, per curator Pierre Bélanger, the Canadians overcame “a list of every possible bureaucratic, logistical, and material blockade imaginable multiplied times three” in order to participate in the Biennale. With their permanent pavilion closed for construction and an agitator’s stance, the “Extraction” team’s contribution is all fight. They t...

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Dispatch from the Venice Biennale: rewarding obscurity