Thursday 16th November, 2017
What this visit allowed me to do was to explore the Venice Biennale. I was hoping for my mind to open up further when it came to the making and theoretical process of producing art.
This post documents my journey which I undertook, It will highlight upon aspects which I felt relevant to my own art practice, I will list in chronological order each event I attended when on my visit, Which will also be specific and draw out the particular themes to why I found the artist / artwork so inspiring and important.
- Tehching Hsieh – Doing Time
Left, (the work – Doing Time) Right, (the work – Exposure)
- Working with a strict set of rules which governs his own behaviour as well determining the outcome of the work.
- Each performance is executed through a real physical endurance.
- An adamant conviction in the display of the work, proving that art is a living process.
- Real discipline and dedication.
- Expressive performances which notifies the subject of human existence – Almost filing and capturing a moment of time.
- A relation to controlled systems which are activated through time.
- The nature of a consistent repetitive and ritualised method.
- Ideas forming from the organic, the fluid and the elemental.
- Damien Hirst – Treasures from the Wreck of the Unbelievable
Left, (the work – Demon with Bowl) Right, (the work – Andromeda and the Sea Monster
- A real celebration of craftsmanship. – The time and delicate precise detail showcases a beautiful moment of labored processes.
- The strength in scale is fantastic throughout the exhibition, from the monumental to the minute.
- Researching into what is value? How should something be valued and how can something be deemed valuable.
- The Arsenale
Artists and Artwork from Left to Right (Erika Verzutti, Turtle, 2017 – Achraf Touloub, Untitled, 2017 – Karla Black, Presumption Prevails, 2017)
- An illustration characterized by form.
- A tactile ability of materials – which includes the suggestion towards unexpected results.
- There is no unveiling of identity, instead the process of materialization lives on.
- A real merging and collaborating of materials.
- A direct encounter with experimentation. It is this which keeps the question open.
- A method of drawing time – Through a process creatively and theoretically.
- A mode towards trying to depict.
- A crossover process between everyday materials with more traditional media.
- A sculptural inflammation consumed within an installed setting.
- The Giardini
Artists and Artwork from Left to Right (Phyllida Barlow, Untitled: folly; Slashed column x5, 2016/17 – Mark Bradford, Medusa, 2016 – Gal Weinstein, sun stand still, 2017)
- A twisted process which is both fun / playful and foreboding and monstrous.
- A confrontation on the audience – This calls for constant questioning of your own surroundings and physical presence.
- A use of cheap and readily available materials which becomes reused, allowing the work to fall into the context of art. This enables the possibility of exploring new avenues and limits.
- A connection between architectural structure of the body – Combining both a labours and manual process.