WATER AS A PRISM: GREEK PAVILION AT THE 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.

Juana Subercaseaux, a Chilean artist based in Mexico City, presents Esto es Eso, her first exhibition at OMR, showcasing her latest works that intertwine a feminine perspective with the intimate, the mystical, the ephemeral, and the spiritual aspects of nature.

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.

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 Georgian Pavilion in the 60^th 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.

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 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 Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60^th 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.

The Mongolian Pavilion at the Venice Biennale presents artist Ochirbold Ayurzana with the exhibition Discovering the Present from the Future. The proposal is curated by Oyuntuya Oyunjargal, the Cultural Envoy of Mongolia to Germany, and co-curated by Gregor Jansen, director of the Kunsthalle Düsseldorf in Germany.

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.

Juana Subercaseaux, a Chilean artist based in Mexico City, presents Esto es Eso, her first exhibition at OMR, showcasing her latest works that intertwine a feminine perspective with the intimate, the mystical, the ephemeral, and the spiritual aspects of nature.

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.

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 Georgian Pavilion in the 60^th 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.

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 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 Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60^th 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.

The Mongolian Pavilion at the Venice Biennale presents artist Ochirbold Ayurzana with the exhibition Discovering the Present from the Future. The proposal is curated by Oyuntuya Oyunjargal, the Cultural Envoy of Mongolia to Germany, and co-curated by Gregor Jansen, director of the Kunsthalle Düsseldorf in Germany.

Juana Subercaseaux, a Chilean artist based in Mexico City, presents Esto es Eso, her first exhibition at OMR, showcasing her latest works that intertwine a feminine perspective with the intimate, the mystical, the ephemeral, and the spiritual aspects of nature.

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.

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 Georgian Pavilion in the 60^th 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.

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 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 Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60^th 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.

The Mongolian Pavilion at the Venice Biennale presents artist Ochirbold Ayurzana with the exhibition Discovering the Present from the Future. The proposal is curated by Oyuntuya Oyunjargal, the Cultural Envoy of Mongolia to Germany, and co-curated by Gregor Jansen, director of the Kunsthalle Düsseldorf in Germany.

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.

Juana Subercaseaux, a Chilean artist based in Mexico City, presents Esto es Eso, her first exhibition at OMR, showcasing her latest works that intertwine a feminine perspective with the intimate, the mystical, the ephemeral, and the spiritual aspects of nature.

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.

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 Georgian Pavilion in the 60^th 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.

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 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 Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60^th 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.

The Mongolian Pavilion at the Venice Biennale presents artist Ochirbold Ayurzana with the exhibition Discovering the Present from the Future. The proposal is curated by Oyuntuya Oyunjargal, the Cultural Envoy of Mongolia to Germany, and co-curated by Gregor Jansen, director of the Kunsthalle Düsseldorf in Germany.

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.

Juana Subercaseaux, a Chilean artist based in Mexico City, presents Esto es Eso, her first exhibition at OMR, showcasing her latest works that intertwine a feminine perspective with the intimate, the mystical, the ephemeral, and the spiritual aspects of nature.

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.

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 Georgian Pavilion in the 60^th 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.

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 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 Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60^th 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.

The Mongolian Pavilion at the Venice Biennale presents artist Ochirbold Ayurzana with the exhibition Discovering the Present from the Future. The proposal is curated by Oyuntuya Oyunjargal, the Cultural Envoy of Mongolia to Germany, and co-curated by Gregor Jansen, director of the Kunsthalle Düsseldorf in Germany.