· In Venice, Bice Curriger renews the tradition of the “Wunderkammern” ·
What else can we call them if not wonderland rooms, the “para-pavilions” commissioned by Bice Curriger at the Venice Biennale from Oscar Tuazon, Song Dong, Monica Sosnowska and Franz West? Four “meta-objects” of a “sculptural-architectural” nature in the Giardini and the Arsenale, created by artists from different cultures and sensibilities. From the vertiginous reconstruction of the family home of Chinese artist, Dong, to the sleek and oblique cement structure of Tuazon in the Giardini, the para-pavilions also host the work of other artists and have the effect of explosive expositions which are truly a total work of art. One of the most innovative and interesting contributions to this Biennale, in which the work of artist and curator blend together – an ever-increasing phenomenon – is seen in the “artists museum”, created by Demand, which interprets collections of the civic museums of Venice, at the Prada Foundation space or in Koons, who re-visited the porcelain of the Hermitage, and especially in Tra , a sumptuous and exuberant project inaugurated in the Palazzo Fortuny space. The exposition is not just an itinerary but a emotionally moving adventure of discovery between paintings, tapestries and furniture of the Fortuny residence, accompanied by the musical architecture of Mireille Cappele. The works, over one-hundred of them, are from artists belonging to the history of art of the 20 th century (Fontana, Tapies, Giacometti among others) and those of our century. The Edge of Becoming is the subtitle of the exhibition, which attempts to restore an image of the cosmos as a territory of passage in a powerful mise-en-scene reminiscent of the ancient Wunderkammern. Through boundaries and metamorphosis, an in-between (Tra) in which art, ancient and new, is not called upon to offer certainties but to elicit stupor and new, undisciplined thoughts.
St. Peter’s Square
Sept. 20, 2019
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