SPANISH PAVILION AT THE VENICE BIENNALE
Correction is the project presented by artist Ignasi Aballí (Barcelona, 1958) for the Pavilion of Spain at the 59th International Venice Biennale, curated by Bea Espejo. Aballí's proposal consists of two actions: a 1:1 scale architectural intervention of the pavilion and the publication of six guides.
Both actions were conceived with the idea of correcting the apparent errors the artist found during his research on the physiognomy of the pavilion and the city of Venice. First, Aballí corrects the layout of the Spanish building by rotating the whole structure by ten degrees, thus aligning it with the neighboring pavilions in the Giardini. With the second action, he corrects the generally accepted idea of a tourist guide to this Italian city.
Correction arises from an apparent error that Ignasi Aballí noticed when he looked at the blueprints for the Spanish Pavilion with respect to its location in the Giardini of the Venice Biennale. They reveal that the building appears slightly displaced compared to the neighboring pavilions of the Netherlands and Belgium. Moreover, there is a disturbing proximity with the latter, where the walls of both pavilions seem to touch. Based on this, Aballí embraces the hypothesis that the current location of the Spanish Pavilion is an error and poses the question, what would happen if we moved the pavilion to align it with the rest of the adjacent buildings, and what changes would that modification imply?
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Malgastar - 250 kg of industrial paint left to dry, 19 aluminum pots (Dimensions variable); Print on paper (31 x 22 cm); Different types of paint left to dry (Dimensions variable); Ink cartridge on paper (24 pieces of 29,7 x 21 cm) - 2001
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Mapamundi (2011-2012-2013-2014) – Collage on paper – 29,7 x 21 cm
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Malgastar - 250 kg of industrial paint left to dry, 19 aluminum pots (Dimensions variable); Print on paper (31 x 22 cm); Different types of paint left to dry (Dimensions variable); Ink cartridge on paper (24 pieces of 29,7 x 21 cm) - 2001
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Timeline – Collage on paper - 15 pieces de 33 x 23 cm each – 2014
As a consequence, Correction "rebuilds" the interior of the Spanish Pavilion by rotating it ten degrees to align it with the neighboring buildings. An intervention of the building's architecture that upends the memory in spatial terms and modifies the exhibition space, its location in the Giardini and its relationship with the city itself. The visitor will find a reconsidered space in which the original walls, which have not been touched or manipulated, but converted into disused material, will be mixed with the new walls resulting from the ten-degree "turn" made by the artist.
Parallel to the rotating of the pavilion, the project is completed with the publication of six books about Venice that aim to correct what we would normally understand to be a tourist guide to the city. The artist identifies another apparent error in relation to the city: Venice is claimed to be one of the most visited cities in the world and, at the same time, faces serious problems due to mass tourism, which puts it on the brink of collapse. This contradiction, added to the global pandemic, which has led the city to be "erroneously" empty, as if that were an anomaly, leads the artist to look at it from another perspective: a Venice that slows down the everyday tourist's quick visit to pause at everything central to the artistic practice of Ignasi Aballí.
The themes of the guides revolve around:
Almost. A conceptual tour through the pavilion, the Biennale or the city. It is about the impossibility of retaining a definitive meaning and not taking anything for granted.
Inventory. A walk through the streets observing the different shades of the walls. Venice, through the color of its houses.
Stories. Slides of Venice compiled by Aballí showing works of art, other cities and other trips, that appear discolored by the sun in his studio. They have been gathered in this volume to discuss the visual saturation that both the city and the Venice Biennale itself can cause.
Panorama. Venice seen in its details and in a myriad of worthless materials susceptible of being works of art. It is a story about absence.
Horizons. Landscapes of skies and seas that merge into the Venetian horizon extracted from newspaper clippings. The sky as a great, unmeasurable void, and the sea as an unreachable crossing.
Landscape. Texts that classify concepts and atmospheric phenomena. The probable, but not impossible, in a single image showing the invisible side of the landscape.
The architectural work inside the Spanish Pavilion was done in collaboration with MAIO Architects, a studio located in Barcelona made up of María Charneco, Alfredo Lérida, Guillermo López, and Anna Puigjaner. The artist collaborated with Caniche Editorial for the publication of the new guides to the city.
Ignasi Aballí
Correction
April 23 – November 27, 2022
Spanish Pavilion at the Venice Biennale
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For the 59th International Art Exhibition, La Biennale di Venezia, the Belgian Pavilion (Flemish Community) has invited curator Hilde Teerlinck and artist Francis Alÿs to develop an exhibition project. For the Belgian Pavilion, Alÿs will present The Nature of the Game, an exhibition featuring a selection of films and a series of paintings. Almost all of the films will be new productions.
FRANCIS ALŸS WILL REPRESENT BELGIUM AT THE VENICE BIENNALE
For the 59th International Art Exhibition, La Biennale di Venezia, the Belgian Pavilion (Flemish Community) has invited curator Hilde Teerlinck and artist Francis Alÿs to develop an exhibition project. For the Belgian Pavilion, Alÿs will present The Nature of the Game, an exhibition featuring a selection of films and a series of paintings. Almost all of the films will be new productions.
For the Austrian Pavilion in Venice in 2022, Jakob Lena Knebl and Ashley Hans Scheirl have conceived stage-like installations, entitled Invitation of the Soft Machine and Her Angry Body Parts, in which they unfurl their entire artistic cosmos – from paintings, sculptures, textile works, photographs, text and video to a fashion collection and a publication in the form of a magazine. These “spaces of desire” upset conventional notions of museum presentations and subvert the hierarchies of art and design, of high and low.
AUSTRIAN PAIVILION AT THE VENICE BIENNALE
For the Austrian Pavilion in Venice in 2022, Jakob Lena Knebl and Ashley Hans Scheirl have conceived stage-like installations, entitled Invitation of the Soft Machine and Her Angry Body Parts, in which they unfurl their entire artistic cosmos – from paintings, sculptures, textile works, photographs, text and video to a fashion collection and a publication in the form of a magazine. These “spaces of desire” upset conventional notions of museum presentations and subvert the hierarchies of art and design, of high and low.
Following its highly acclaimed debut at the 2019 Biennale, Ghana will present the exhibition Black Star—The Museum as Freedom for the Ghana Pavilion at the 59th International Art Exhibition—la Biennale di Venezia in 2022. With the patronage of Ghana’s President Nana Addo Dankwa Akufo-Addo and curatorship by Nana Oforiatta Ayim, the featured artists are Na Chainkua Reindorf, Afroscope and Diego Araúja.
BLACK STAR – GHANA PAVILION AT THE VENICE BIENNALE
Following its highly acclaimed debut at the 2019 Biennale, Ghana will present the exhibition Black Star—The Museum as Freedom for the Ghana Pavilion at the 59th International Art Exhibition—la Biennale di Venezia in 2022. With the patronage of Ghana’s President Nana Addo Dankwa Akufo-Addo and curatorship by Nana Oforiatta Ayim, the featured artists are Na Chainkua Reindorf, Afroscope and Diego Araúja.
In this 59th International Art Exhibition – La Biennale di Venezia, the largest contemporary art event in the world, the artist selected to represent Argentina is Mónica Heller, who will show in the Argentine pavilion the video installation entitled The Origin of Substance Will Matter the Importance of Origin. The project, which has the curatorship of Alejo Ponce de León, was chosen among the 40 proposals that were presented in a public and open call.
THE IMPORTANCE OF THE ORIGIN WILL BE IMPORTED BY THE ORIGIN OF THE SUBSTANCE – ARGENTINE PAVILION AT THE VENICE BIENNALE
In this 59th International Art Exhibition – La Biennale di Venezia, the largest contemporary art event in the world, the artist selected to represent Argentina is Mónica Heller, who will show in the Argentine pavilion the video installation entitled The Origin of Substance Will Matter the Importance of Origin. The project, which has the curatorship of Alejo Ponce de León, was chosen among the 40 proposals that were presented in a public and open call.
Chilean artist Cecilia Vicuña is a recipients of the Golden Lions for Lifetime Achievement of the 59th International Art Exhibition of La Biennale di Venezia - The Milk of Dreams.
CECILIA VICUÑA RECEIVES THE GOLDEN LION AT THE VENICE BIENNALE
Chilean artist Cecilia Vicuña is a recipients of the Golden Lions for Lifetime Achievement of the 59th International Art Exhibition of La Biennale di Venezia - The Milk of Dreams.
The National Pavilion UAE exhibitis Mohamed Ahmed Ibrahim: Between Sunrise and Sunset at the Biennale Arte 2022 (Venice Biennale). Curated by Maya Allison, Executive Director of The New York University Abu Dhabi Art Gallery, the exhibition presents an installation of human-sized, abstract and organic sculptural forms.
BETWEEN SUNRISE AND SUNSET - UNITED ARAB EMIRATES PAVILION AT THE VENICE BIENNALE
The National Pavilion UAE exhibitis Mohamed Ahmed Ibrahim: Between Sunrise and Sunset at the Biennale Arte 2022 (Venice Biennale). Curated by Maya Allison, Executive Director of The New York University Abu Dhabi Art Gallery, the exhibition presents an installation of human-sized, abstract and organic sculptural forms.
Located on the border between La Latina and Embajadores neighbourhoods, inside a 60’s trade complex, El Chico is one of the main spaces of the emerging scene that is occupying Madrid’s centre. Space is just a general and practical nomenclature. Founder and director Javier Aparicio (Mexico 1985) explains that the limits of this project are not that important, but if we insist on defining it: "El Chico is, for now, a Podcast with a space," he explains. "The podcast has become an approximation tool for visitors.”
‘EL CHICO' LABORATORY OF THE NEW GENERATION - INTERVIEW WITH JAVIER APARICIO
Located on the border between La Latina and Embajadores neighbourhoods, inside a 60’s trade complex, El Chico is one of the main spaces of the emerging scene that is occupying Madrid’s centre. Space is just a general and practical nomenclature. Founder and director Javier Aparicio (Mexico 1985) explains that the limits of this project are not that important, but if we insist on defining it: "El Chico is, for now, a Podcast with a space," he explains. "The podcast has become an approximation tool for visitors.”
