FOREIGNERS EVERYWHERE: LATIN AMERICA TAKES OVER THE VENICE BIENNALE
The exhibition of the 60th edition of the Venice Biennale - Stranieri Ovunque (Foregneirs Everywhere) - curated by Brazilian Adriano Pedrosa, presents 331 artists, significantly more than the usual number. More than a third of those artists come from Latin America.
The 2024 edition of the Venice Biennale has been highlighted by a broad and vibrant participation of Latin American artists, consolidating the region as a hub of innovation and creativity in the global art scene. This robust presence reflects both the vitality of contemporary Latin American art and the growing international interest in the narratives and perspectives emerging from this part of the world. Throughout the biennial, Latin American artists have presented works that address diverse themes related to migration and decolonization, focusing on artists who represent the experience of the foreigner, the immigrant, the diasporic, the exile and the refugee.
Brazil has an outstanding representation at the 60th Venice Biennale, not only because of the curatorship of Adriano Pedrosa, the first Latin American to assume this responsibility, but also because of the participation of Brazilian artists. Dalton Paula presents his series "Full-Body Portraits (2023-24)", where historical figures of African descent such as Chico Rei and Zeferina are represented in large-scale bipartite canvases. This series not only establishes a dialogue between memory and history through a stylistic composition that evokes 19th century photographic studies, but also incorporates symbolic objects that delve into the relationship between image and power.
On the other hand, Manauara Clandestina, debuts with her video art "Migranta", which explores her family's migratory history. This emotionally charged work reveals personal experiences of migration and the search for identity, resonating with universal themes of belonging and memory. The Mahku Collective from Brazil presented in the Central Pavilion a monumental mural painting that invites the public to reflect on social and cultural issues. This collective work not only celebrates the diversity and richness of contemporary Brazilian art, but also underscores the importance of collaboration and dialogue in artistic creation.
Among the representatives from Argentina are contemporary figures like Claudia Alarcón and La Chola Poblete, as well as historical notables like Libero Badii, Lidy Prati and Elda Cerrato.
The textile work of Claudia Alarcón, originally from the Wichí community of northern Salta, stands out for its deep connection with indigenous cultural practices. In addition, the syncretism and vision of La Chola Poblete, with her queer virgins, offer a powerful critique of cult dynamics and the representation of gender diversity. These pieces invite us to reflect on openness and inclusion, central themes in this biennial.
From Mexico, the biennale features the outstanding participation of Frida Kahlo, whose work "Diego and I" is one of the most anticipated pieces. In addition, artists such as Bárbara Sánchez-Kane, known for her works that merge fashion and art, address the intersection between clothing and gender identity, challenging traditional conventions. On the other hand, Rosa Rolanda and Diego Rivera will also be present with works that reflect Mexico's rich cultural and artistic heritage.
From Colombia, conceptualist Miguel Ángel Rojas, a pioneer in addressing issues of sexuality, violence and marginal culture, presents works that invite reflection on contemporary social issues. Abel Rodríguez, an empirical artist from the Nonuya people, brings a unique vision of the Amazon with his detailed paintings of the jungle's biodiversity, showing the deep connection between nature and culture. Ivan Argote, known for his works exploring the relationship between history, politics and subjectivity, will present videos, sculptures and collages that challenge viewers to reconsider their relationship with the state and traditions.
Textile art and collaborative practices also have a prominent place. The Isla Negra embroiderers collective from Chile, formed by women under the guidance of Leonor Sobrino in the 1960s, is presenting vivid and colorful scenes of their daily environment, highlighting the importance of artisanal practices in cultural representation.
From Bolivia, River Claure, considered one of the most important emerging artists, presents works that question the notion of identity and the relationship with the landscape, addressing how its destruction conditions community identities. Likewise, Beatriz Cortez, from El Salvador, fuses diverse temporalities and modernities in her sculptures, exploring memory and loss after the war and the experience of migration.
From Guatemala, Paula Nicho, known for creating a community of Maya Tz'utuhil women artists, exhibits work that reflect surreal worlds and the Maya cosmovision, highlighting the power of women in artistic representation. Her works address nature, the Kakchiquel Maya cosmovision and the power of women, qualifying as a reflection of naïf art.
May interest you
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
WATER AS A PRISM: GREEK PAVILION AT THE VENICE BIENNALE
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
WATER AS A PRISM: GREEK PAVILION AT THE VENICE BIENNALE
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
TECHNO ZEN BY MÁRTON NEMEZ: THE HUNGARIAN PAVILION IN VENICE BIENNALE
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
CLAUDIA ALARCÓN AND SILÄT’S VENICE BIENNALE PARTICIPATION
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
DUTCH PAVILION AT THE VENICE BIENNALE
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
THE ART OF SEEING: GEORGIA’S PAVILION IN THE VENICE BIENNALE
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
DUE QUI/TO HEAR: ITALY’S PAVILION FOR THE VENICE BIENNALE
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
KISS AND DON’T TELL: TIMOR-LESTE IN THE VENICE BIENNALE
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
EXPERIMENTAL ART PROJECTS IN ARGENTINA
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
FLORENCIA BLANCO ON THE ARCHITECTURE OF FREDDY MAMANI SILVESTRI
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
UKRAINE AND THE EFECT OF WAR AT VENICE BIENNALE
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
PINACOTECA MIGRANTE: SPAIN AT THE VENICE BIENNALE
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
TRACES – PANAMÁ’S DEBUT AT THE VENICE BIENNALE
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
WATER AS A PRISM: GREEK PAVILION AT THE VENICE BIENNALE
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
TECHNO ZEN BY MÁRTON NEMEZ: THE HUNGARIAN PAVILION IN VENICE BIENNALE
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
CLAUDIA ALARCÓN AND SILÄT’S VENICE BIENNALE PARTICIPATION
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
DUTCH PAVILION AT THE VENICE BIENNALE
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
THE ART OF SEEING: GEORGIA’S PAVILION IN THE VENICE BIENNALE
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
DUE QUI/TO HEAR: ITALY’S PAVILION FOR THE VENICE BIENNALE
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
KISS AND DON’T TELL: TIMOR-LESTE IN THE VENICE BIENNALE
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
EXPERIMENTAL ART PROJECTS IN ARGENTINA
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
FLORENCIA BLANCO ON THE ARCHITECTURE OF FREDDY MAMANI SILVESTRI
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
UKRAINE AND THE EFECT OF WAR AT VENICE BIENNALE
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
PINACOTECA MIGRANTE: SPAIN AT THE VENICE BIENNALE
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
TRACES – PANAMÁ’S DEBUT AT THE VENICE BIENNALE
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
WATER AS A PRISM: GREEK PAVILION AT THE VENICE BIENNALE
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
TECHNO ZEN BY MÁRTON NEMEZ: THE HUNGARIAN PAVILION IN VENICE BIENNALE
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
CLAUDIA ALARCÓN AND SILÄT’S VENICE BIENNALE PARTICIPATION
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
DUTCH PAVILION AT THE VENICE BIENNALE
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
THE ART OF SEEING: GEORGIA’S PAVILION IN THE VENICE BIENNALE
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
DUE QUI/TO HEAR: ITALY’S PAVILION FOR THE VENICE BIENNALE
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
KISS AND DON’T TELL: TIMOR-LESTE IN THE VENICE BIENNALE
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
EXPERIMENTAL ART PROJECTS IN ARGENTINA
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
FLORENCIA BLANCO ON THE ARCHITECTURE OF FREDDY MAMANI SILVESTRI
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
UKRAINE AND THE EFECT OF WAR AT VENICE BIENNALE
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
PINACOTECA MIGRANTE: SPAIN AT THE VENICE BIENNALE
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
TRACES – PANAMÁ’S DEBUT AT THE VENICE BIENNALE
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
WATER AS A PRISM: GREEK PAVILION AT THE VENICE BIENNALE
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
TECHNO ZEN BY MÁRTON NEMEZ: THE HUNGARIAN PAVILION IN VENICE BIENNALE
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
CLAUDIA ALARCÓN AND SILÄT’S VENICE BIENNALE PARTICIPATION
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
DUTCH PAVILION AT THE VENICE BIENNALE
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
THE ART OF SEEING: GEORGIA’S PAVILION IN THE VENICE BIENNALE
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
DUE QUI/TO HEAR: ITALY’S PAVILION FOR THE VENICE BIENNALE
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
KISS AND DON’T TELL: TIMOR-LESTE IN THE VENICE BIENNALE
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
EXPERIMENTAL ART PROJECTS IN ARGENTINA
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
FLORENCIA BLANCO ON THE ARCHITECTURE OF FREDDY MAMANI SILVESTRI
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
UKRAINE AND THE EFECT OF WAR AT VENICE BIENNALE
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
PINACOTECA MIGRANTE: SPAIN AT THE VENICE BIENNALE
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
TRACES – PANAMÁ’S DEBUT AT THE VENICE BIENNALE
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
WATER AS A PRISM: GREEK PAVILION AT THE VENICE BIENNALE
Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
TECHNO ZEN BY MÁRTON NEMEZ: THE HUNGARIAN PAVILION IN VENICE BIENNALE
For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
CLAUDIA ALARCÓN AND SILÄT’S VENICE BIENNALE PARTICIPATION
For the 60th International Exhibition of la Biennale di Venezia Stranieri Ovunque (Foregneirs Everywhere), artist Claudia Alarcón and art-collective Silät are presenting their reflections on being treated as foreigners in their own country.
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
DUTCH PAVILION AT THE VENICE BIENNALE
The International Celebration of Blasphemy and The Sacred is a presentation by Congolese artist collective Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) for the Dutch Pavilion at the 60th Venice Biennale.
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
THE ART OF SEEING: GEORGIA’S PAVILION IN THE VENICE BIENNALE
The Georgian Pavilion in the 60th Venice Biennale presented The Art of Seeing– States of Astronomy, a collaborative project presented by a team of Georgian and French curators and artists.
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
DUE QUI/TO HEAR: ITALY’S PAVILION FOR THE VENICE BIENNALE
Due qui / To Hear is the project for the Italian Pavilion at the 60th Venice Biennale Curated by Luca Cerizza (with the assistance of Francesca Verga), it presents work that Massimo Bartolini has created in collaboration with several musicians (for the permanent installations) and writers (for the public program), employing the cooperative approach that is a hallmark of his practice.
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
KISS AND DON’T TELL: TIMOR-LESTE IN THE VENICE BIENNALE
Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
EXPERIMENTAL ART PROJECTS IN ARGENTINA
The Museum of Modern Art of Buenos Aires inaugurated El Aprendizaje Infinito (Infinite Learning), an exhibition that recognizes Argentina's master artists and puts in dialogue the historical tradition of arts education and the experimental projects of the latest decades.
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
FLORENCIA BLANCO ON THE ARCHITECTURE OF FREDDY MAMANI SILVESTRI
Ch'ixifuturismo is the exhibition at Fundación Larivière that presents photographs by Florencia Blanco on Freddy Mamani Silvestri's architecture, in dialogue with works by Narda Alvarado, Tin Ayala, Iván Cáceres, Cristina Collazos, Miguel Hilari and Claudia Joskowicz, and curated by Santiago García Navarro. The exhibition includes 40 photos, a series of drawings, three videos and a film.
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
UKRAINE AND THE EFECT OF WAR AT VENICE BIENNALE
The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60th Venice Biennale.
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
PINACOTECA MIGRANTE: SPAIN AT THE VENICE BIENNALE
Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
TRACES – PANAMÁ’S DEBUT AT THE VENICE BIENNALE
The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.
