THE ALTERSEA OPERA: THE NORDIC COUNTRIES PAVILION'S PROPOSAL
For the 60th International Art Exhibition – La Biennale di Venezia, the Nordic Countries Pavilion invites the audience to embark on a journey aboard a spectral dragon ship which occupies the light and open architecture of Sverre Fehn’s meditative masterpiece in the Giardini of the Biennale, Venice.
The 38-metre-long bamboo structure, which extends beyond the confines of the Pavilion, is book-ended by a huge and ornate dragon’s head prow and tail, which has voyaged from its mooring on the frozen waters of the Stockholm Archipelago to the Venetian Lagoon.
Conceived and conceptualized by Swedish artist Lap-See Lam, and realized in collaboration with Norwegian composer Tze Yeung Ho, Finnish textile artist Kholod Hawash, The Altersea Opera is a poetic exploration of the existential implications of displacement and belonging which veers between the real and the imaginary
Visitors become passengers as they cross the threshold into the skeletal vessel, powered by magical sails made of stories and filled with mythological water creatures trying to find their way back to the places of their past. A richly layered audio-visual installation, The Altersea Opera is inspired by the spirit of the Red Boat Opera Company – the travelling opera troupe which popularized Cantonese opera in the 19th century.
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Exterior installation view, Lap-See Lam, The Altersea Opera, 2024. With Kholod Hawash and Tze Yeung Ho.
The Nordic Countries Pavilion, 60th International Art Exhibition, La Biennale de Venezia, 20 April - 24 November, 2024.
Photo: Michael Miller/Moderna Museet. Textile work © Kholod Hawash. © Lap-See Lam. Courtesy the artist, Moderna Museet and Galerie Nordenhake. Dragon head made by Lu Guangzheng.
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Exterior installation view, Lap-See Lam, The Altersea Opera, 2024. With Kholod Hawash and Tze Yeung Ho.
The Nordic Countries Pavilion, 60th International Art Exhibition, La Biennale de Venezia, 20 April - 24 November, 2024.
Photo: Michael Miller/Moderna Museet. Textile work © Kholod Hawash. © Lap-See Lam. Courtesy the artist, Moderna Museet and Galerie Nordenhake. Dragon head made by Lu Guangzheng.
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Installation view, Lap-See Lam, The Altersea Opera, 2024. With Kholod Hawash and Tze Yeung Ho.
The Nordic Countries Pavilion, 60th International Art Exhibition, La Biennale de Venezia, 20 April - 24 November, 2024.
Photo: Michael Miller/Moderna Museet. Textile work ©️ Kholod Hawash. ©️ Lap-See Lam. Courtesy the artist, Moderna Museet and Galerie Nordenha
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From The Altersea Opera LIVE - a unique activation Friday 19 April and Saturday 20 April to mark the opening of The Altersea Opera, 2024, by Lap-See Lam with Kholod Hawash and Tze Yeung Ho. The Nordic Countries Pavilion, 60th International Art Exhibition, La Biennale de Venezia, 20 April - 24 November, 2024. Bruno Hibombo as Past Lo Ting, in background Anja Nedremo on saxophone, Ivan Cheng as Future Lo Ting, Joshua Spear on saxophone.
Photo: Jan Ahlstedt /Moderna Museet. Textile work © Kholod Hawash. © Lap-See Lam. Courtesy the artist, Moderna Museet and Galerie Nordenhake.ke.
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Detail. Installation view, Lap-See Lam, The Altersea Opera, 2024. With Kholod Hawash and Tze Yeung Ho.
The Nordic Countries Pavilion, 60th International Art Exhibition, La Biennale de Venezia, 20 April - 24 November, 2024.
Photo: Michael Miller/Moderna Museet. Textile work ©️ Kholod Hawash. ©️ Lap-See Lam. Courtesy the artist, Moderna Museet and Galerie Nordenhake.
Lap-See Lam’s research for the creation of the opera’s dragon ship took her to Hong Kong, and she has worked closely with master bamboo scaffolder Ho Yeung Chan. For centuries, bamboo scaffolding has played an important role in the cultural and architectural history of the region, and has been used to build temporary stages for Cantonese opera, a celebrated art form in Guangdong province in southern China.
The dragon ship is inspired by Floating Restaurant Sea Palace, a three-storey vessel built in Shanghai and towed to Gothenburg in 1991. When the business failed, it took on an afterlife as a ghost ship at the Gröna Lund theme park, where Lam discovered it in a dilapidated state before it was moved to its present home in a remote boatyard.
At the center of the installation, and brought to life by a film shot on board the Sea Palace, we find Lo Ting – half fish, half man – a figure from Hong Kong mythology reimagined across the passage of time through Lam’s script that tells the tale of his longing to return to a former home, Fragrant Harbour – only to find it transformed beyond recognition.
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Lap-See Lam, “The Altersea Opera”., 2024 Film still: Lisabi Fridell/Egerstrand&Blund. Textile work © Kholod Hawash. © Lap-See Lam. Courtesy the artist, Galerie Nordenhake and Moderna Museet.
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Lap-See Lam, “The Altersea Opera”., 2024 Film still: Lisabi Fridell/Egerstrand&Blund. Textile work © Kholod Hawash. © Lap-See Lam. Courtesy the artist, Galerie Nordenhake and Moderna Museet.
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Textile work (detail), “The Altersea Opera”., 2024 Textile work © Kholod Hawash. Photo: My Matson/Moderna Museet
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From left to right: Artists Tze Yeung Ho, Lap-See Lam, Kholod Hawash infront of The Nordic Countries Pavilion, 60th International Art Exhibition, La Biennale de Venezia, 20 April - 24 November, 2024. Photo: Jan Ahlstedt /Moderna Museet. Courtesy the artist, Moderna Museet and Galerie Nordenhake.
The haunting composition by Tze Yeung Ho, which combines extended playing techniques with baroque ornamentation, is performed with an eclectic array of instruments. The piece blends the libretto, written by Lap-See Lam (with contributions by Ivan Cheng as Future Lo Ting) with poetry, lullabies, and pop songs that draw on the artists’ diverse cultural histories. Kholod Hawash’s textile works form a sculptural installation in the Pavilion. Her embroideries conjure a distinctive world of motifs, sewn stitch-by-stitch through jodaleia and tatreez (Arabic for quilting and embroidery), with elements from folktales and archaeological landscapes.
The Altersea Opera is curated by Asrin Haidari, Curator of Nordic Contemporary Art at Moderna Museet, Stockholm.
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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.
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 Venice Bienanale’s Swiss Pavilion presents Super Superior Civilizations: an exhibition with the sixth and seventh chapters of Guerreiro do Divino Amor’s monumental “Superfictional World Atlas” saga: The Miracle of Helvetia and Roma Talismano. Curated by: Andrea Bellini.
THE SWISS PAVILION’S VENICE BIENNALE EXHIBITION BY GUERREIRO DO DIVINO AMOR
The Venice Bienanale’s Swiss Pavilion presents Super Superior Civilizations: an exhibition with the sixth and seventh chapters of Guerreiro do Divino Amor’s monumental “Superfictional World Atlas” saga: The Miracle of Helvetia and Roma Talismano. Curated by: Andrea Bellini.
The Japan Foundation, the commissioner of the Japan Pavilion presents Compose, a solo exhibition created by Yuko Mohri and curated by Sook-Kyung Lee at the 60th International Venice Biennale.
COMPOSE: JAPAN PAVILION AT THE VENICE BIENNALE
The Japan Foundation, the commissioner of the Japan Pavilion presents Compose, a solo exhibition created by Yuko Mohri and curated by Sook-Kyung Lee at the 60th International Venice Biennale.
The heart of a giraffe in captivity is twelve kilos lighter tells the story of Lenka the giraffe, drawing on the history of Czechoslovakia’s acquisition of animals from the Global South. Interpreted through contemporary ecological and decolonial perspectives, Eva Kotátková’s project of the Czech and Slovak Republic Pavilion at the Venice Biennale builds a space for imagining a different way of relating to nature.
THE VENICE BIENNALE: CZECH AND SLOVAK REPUBLIC PAVILION
The heart of a giraffe in captivity is twelve kilos lighter tells the story of Lenka the giraffe, drawing on the history of Czechoslovakia’s acquisition of animals from the Global South. Interpreted through contemporary ecological and decolonial perspectives, Eva Kotátková’s project of the Czech and Slovak Republic Pavilion at the Venice Biennale builds a space for imagining a different way of relating to nature.
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.
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.
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.
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.
