The Boulevardiers — ~Perspectives on the Language of Culture~No matter how many times one is fortunate enough to visit Venice it is impossible to be blasé about the wonders of this most liquid of cities. This is especially true when, every two years, significant cultural capital is expended staging what is still the most venerated of Biennales, in an all out effort to expand art’s multifarious impact on global culture. In addition to the major venues at the Giardini and the Arsenale, and the many national pavilions scattered around the city, there are the ever increasing ancillary mega- exhibitions staged in spectacular palazzi by billionaire tycoons and art- loving luxury super- brands.

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The 5. 7th International Art Exhibition called “Viva Arte Viva” was curated this year by Christine Macel who comes to Venice from the Centre Pompidou in Paris. In introductory interviews she emphasized her desire to spotlight artists over the more usual emphasis on the thematic and the curatorial, all while acknowledging the overwhelming pressure and urgency of issues on the planet. As she said, “with artists by artists for artists.” Many reviewers felt she fell short in achieving some of these aims. Nonetheless my wife Jill and I saw flashes of brilliance everywhere. To this viewer however, the Italian Pavilion in the Giardini, now simply called the Central Pavilion, which has traditionally been the kick- off curatorial stage for the Biennale, was a significant disappointment.

The architectural interior of this pavilion is in dire need of a makeover or even a rebuild. It takes an extraordinary installation to overcome its now tired structure. This was not it. As one enters under a lively exterior draped painting by Sam Gilliam honoring Yves Klein, among the first works encountered are installations by Dawn Kasper and the provocateur Franz West that confront assumptions about our hyper- active lives and our propensity to see work- production as the only way to assess or validate our selves. They suggest, instead, the value inherent in moments of rest or idle repose. Kasper set up a studio for a six month stay and included musical instruments.

As she says, “I brought all these different clothes, I might learn Italian.”Interesting options no doubt but a rather slack way to engage an anxious audience in anxious times. I love Franz West’s furniture and his offer to be lazy and hang out but had no time to rest, first thing in the morning. Somewhat more along the expected lines of social practice and activist themes was a large workshop installation by the now ubiquitous Olafur Eliasson where a group of immigrants and asylum- seekers were being trained to assemble lamps. The lamps were for sale, in order to help fund the project. Anne Imhof, Faust, Installation and Performance in German Pavillion, 2.

Jana Harper. Back out in the Giardini grounds, the deserved winner of the prestigious Palme D’Or was the German Pavilion, which featured a powerful installation and performance by Anne Imhof called Faust. Above and below a powerfully elegant double- thick glass surface, perhaps four feet above the pavilion ground floor, a handful of performers moved among the assembled attendees, sometimes awkwardly parting the now complicit audience, moving sometimes with athletic grace, sometimes displaying menacing aggression.

The glass divided but made transparent the conditions between actors and spectators. Outside, two large dogs, Doberman Pinschers I think, circulated in a caged area assessing the line of spectators waiting to be ushered inside. I heard tell of very raucous and rude behavior on this very long line, during the opening days. The Hills Season 1 Episode 3 Watch Online. So many polarities of power were in play here.

Many other national pavilions impressed; too many to enumerate. As anyone who has attended one of these now everywhere global art affairs can attest, it is impossible to see and take in everything or anywhere close to it. That said the Swiss pavilion, curated by Philipp Kaiser, featured a compelling doubled narrative video by Teresa Hubbard and Alexander Birchler touching on Alberto Giacometti’s reluctance to represent his home country in International exhibitions. The double video narrative thread presents on one side the rather desolate figure of the son of one of Giacometti’s Parisian lovers who, on leaving Paris, began a long slow decline, in sad circumstances in Los Angeles.

On the other side, and remarkably with the same shared sound track, an actress acts out scenes from the same woman’s life. In Venice the exterior of the US Pavilion was, I assume, deliberately and fittingly left worn, tired, shabby, while in the first room a heavy gargantuan foot- like form weighed down and impeded the progress of the visitor. It was said that the shape might also suggest the hull of a slave ship. More simply installed were three huge, beautiful paintings. Mark Bradford, Tomorrow is Another Day, mixed media, 2.

Jeffrey Bishop. As a painter I have long admired this year’s US representative Mark Bradford. Early on in his extended stay in Venice he opened a shop called Process Collettivo where incarcerated people make products while aiming to transition to self- sufficiency. This project parallels an enterprise in his native South LA called Art + Practice, which reaches out to neighborhood youth at risk. On this first of three days allocated to the Biennale we bailed on the Giardini in the late afternoon and hopped a vaporetto to the Gallerie Dell’ Academia to take in the superb Philip Guston among the Poetsshow, staged by the uber gallery Hauser & Wirth. I admit I can never get too much of Guston and this show’s touchstone was not only his deep connection with poetry, but also his time spent in Italy and his reverence of masters, from Pierro and Masaccio to de Chirico. We ended a satisfying first day by meeting up with artist friends for a very impressive seafood feast at Corte Sconta. I will mention a few restaurants for Boulevardier readers largely because we have eaten so poorly in past visits and finally came prepared with some well- considered recommendations.

Philip Guston, Pantheon, 1. Jeffrey Bishop. Day two began at the Arsenale, a daunting, imposing space, once home to Venetian assembly- line shipbuilding and rope making, an imperative function of Venice’s centuries- long maritime dominance. Dating to the 1. 4th C. Part of the Arsenale is still shared with the Italian Navy and one occasionally sees warships, in jolting contrast to the contemporary art.