VENICE BIENNALE 2024 – LATIN AMERICA EVERYWHERE

Noutoupatou, Mondes caribéens en mouvement is the collective exhibition organized by A plus A Gallery and School for Curatorial Studies Venice, in collaboration with Campus Caraïbéen des Arts and curated by Paola Lavra. The exhibition, supported by the Institut français, coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing. 

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Noutoupatou, Mondes caribéens en mouvement is the collective exhibition organized by A plus A Gallery and School for Curatorial Studies Venice, in collaboration with Campus Caraïbéen des Arts and curated by Paola Lavra. The exhibition, supported by the Institut français, coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing. 

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing. 

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Noutoupatou, Mondes caribéens en mouvement is the collective exhibition organized by A plus A Gallery and School for Curatorial Studies Venice, in collaboration with Campus Caraïbéen des Arts and curated by Paola Lavra. The exhibition, supported by the Institut français, coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing. 

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Noutoupatou, Mondes caribéens en mouvement is the collective exhibition organized by A plus A Gallery and School for Curatorial Studies Venice, in collaboration with Campus Caraïbéen des Arts and curated by Paola Lavra. The exhibition, supported by the Institut français, coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing. 

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.