A GUIDE FOR PRACTICING DISOBEDIENCE

The first half of the year concluded on a low note, and as the art market gets ready to gear up for the last semester, a clearer picture of the challenges faced is emerging.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

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 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.

It takes an Island to Feel this Good is Darja Bajagić’s exhibition for the Montenegro pavilion at Venice Biennale 2024. Curated by Ana Simona Zelenović and organized by the Museum of Contemporary Art of Montenegro at the initiative of commissioner Vladislav Šćepanović, the exhibition will present a critical consideration of the culture of collective memory and the relationship to shared historical heritage.

The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

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.

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 first half of the year concluded on a low note, and as the art market gets ready to gear up for the last semester, a clearer picture of the challenges faced is emerging.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

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 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.

It takes an Island to Feel this Good is Darja Bajagić’s exhibition for the Montenegro pavilion at Venice Biennale 2024. Curated by Ana Simona Zelenović and organized by the Museum of Contemporary Art of Montenegro at the initiative of commissioner Vladislav Šćepanović, the exhibition will present a critical consideration of the culture of collective memory and the relationship to shared historical heritage.

The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

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.

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 Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

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 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.

It takes an Island to Feel this Good is Darja Bajagić’s exhibition for the Montenegro pavilion at Venice Biennale 2024. Curated by Ana Simona Zelenović and organized by the Museum of Contemporary Art of Montenegro at the initiative of commissioner Vladislav Šćepanović, the exhibition will present a critical consideration of the culture of collective memory and the relationship to shared historical heritage.

The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

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.

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 first half of the year concluded on a low note, and as the art market gets ready to gear up for the last semester, a clearer picture of the challenges faced is emerging.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

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 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.

It takes an Island to Feel this Good is Darja Bajagić’s exhibition for the Montenegro pavilion at Venice Biennale 2024. Curated by Ana Simona Zelenović and organized by the Museum of Contemporary Art of Montenegro at the initiative of commissioner Vladislav Šćepanović, the exhibition will present a critical consideration of the culture of collective memory and the relationship to shared historical heritage.

The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

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.

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 first half of the year concluded on a low note, and as the art market gets ready to gear up for the last semester, a clearer picture of the challenges faced is emerging.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

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 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.

It takes an Island to Feel this Good is Darja Bajagić’s exhibition for the Montenegro pavilion at Venice Biennale 2024. Curated by Ana Simona Zelenović and organized by the Museum of Contemporary Art of Montenegro at the initiative of commissioner Vladislav Šćepanović, the exhibition will present a critical consideration of the culture of collective memory and the relationship to shared historical heritage.

The monumental commission by British artist John Akomfrah RA for the 2024 Venice Biennale is a multi-layered exhibition which encourages visitors to experience the British Pavilion’s 19th century neoclassical building in a new way.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

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.

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.