56th Venice Biennale Arte

The Italian pavilion in Venice's Giardini, hosting the 56th Venice Biennale, sets a somber tone at first glance, with dark flags draped below a neon sign reading "blues blood bruise," artworks by Oscar Murillo and Glenn Ligon. Curated by Okwui Enwezor, the exhibition, "All the World's Futures," boldly delves into themes of violence, conflict, and the repercussions of global capitalism through the works of approximately 140 artists. While at times heavy-handed and uneven, the exhibition offers moments of quiet beauty amidst its brutal exploration.

Isaac Julien's dual showcases exemplify the Biennale's contrasting facets. In a luxurious palazzo along the Grand Canal, Julien presents captivating views of glacier caves in Iceland, a stark contrast to his live reading of "Das Kapital" at the official Giardini venue, emblematic of the Biennale's critique of capitalism.

The thematic show in the Italian pavilion, curated by Enwezor, juxtaposes high fashion with grim realities, featuring works addressing global starvation, industrial pollution, and labor exploitation. Notably, El Anatsui's Golden Lion-winning hangings transform consumption into beauty, while other pavilions delve into dark subjects like Brazilian prisons and Soviet psychiatric hospitals, predominantly through film and photography.

Sarah Lucas's British pavilion stands out for its lack of political content, offering custard-yellow rooms filled with provocative sculptures. In contrast, the French pavilion's minimalist display of trees creates an immersive experience with recorded sap sounds, while Finland's enchanted forest and Australia's imaginative creations showcase the Biennale's diverse artistic expressions. Fiona Hall's pavilion, in particular, captivates with its wondrous objects, blurring the lines between past and future through imaginative artistry.

words LUCA PELLEGRINELLI