Universes in Universe

Für eine optimale Ansicht unserer Website drehen Sie Ihr Tablet bitte horizontal.

60. Internationale Kunstausstellung, La Biennale di Venezia

20. April - 24. November 2024
(Vorbesichtigung: 17., 18. und 19. April)

Stranieri Ovunque - Foreigners Everywhere

Kurator: Adriano Pedrosa

Liste der 332 Beteiligten

87 nationale Pavillons

30 kollaterale Events

Praktische Informationen
Öffnungszeiten, Tickets online, Kontakte

Ausstellungen in Venedig
Nationale Beiträge, kollaterale Events und andere Ausstellungen außerhalb des Arsenale und der Giardini

Zentrale Ausstellung Stranieri Ovunque - Foreigners Everywhere

Bald folgen große Fototouren. Darüber und über andere neue Inhalte informiert unser
gratis Newsletter

Foreigners Everywhere

Stranieri Ovunque - Foreigners Everywhere [Fremde überall] ist der Titel und das Thema der 60. Internationalen Kunstausstellung der Biennale Venedig 2024, kuratiert von Adriano Pedrosa.

Die Internationale Ausstellung im Zentralen Pavillon (Giardini) und im Arsenale ist in zwei Sektionen gegliedert: den Nucleo Contemporaneo [zeitgenössischer Kern] und den Nucleo Storico [historischer Kern]. Es werden Arbeiten von insgesamt 332 Beteiligten gezeigt.

Teil der Biennale sind auch 87 nationale Beteiligungen in den historischen Pavillons in den Giardini, im Arsenale und im Stadtgebiet von Venedig.

Werke von Claire Fontaine und Yinka Shonibare am Eingang des Arsenale.
© Foto: Haupt & Binder, Universes in Universe

Über den Titel und dessen Kontext

Der Titel geht auf eine 2004 begonnene Serie von Werken des aus Paris stammenden und in Palermo ansässigen Kollektivs Claire Fontaine zurück. Dabei handelt es sich um verschiedenfarbige Neonskulpturen, die in vielen Sprachen die Worte "Foreigners Everywhere" wiedergeben. Der Begriff leitet sich wiederum vom Namen eines Turiner Kollektivs ab, das in den frühen 2000er Jahren gegen Rassismus und Fremdenfeindlichkeit in Italien kämpfte: Stranieri Ovunque.

Claire Fontaine: Foreigners Everywhere – Spanisch. 2007
Hängende, an Wand und Fenster montierte Neonröhre, Rahmen, elektronischer Transformator, Kabel - Installationsansicht, 98 × 2.16 × 45 cm.
The Traveling Show, kuratiert von Adriano Pedrosa, La Colección Jumex, Mexiko.
© Foto: Studio Claire Fontaine, Courtesy Claire Fontaine und Mennour, Paris

Adriano Pedrosa erläutert: "Der Hintergrund dieser Werke ist eine Welt, die von vielfachen Krisen hinsichtlich der Bewegung und der Existenz von Menschen über Länder, Nationen, Territorien und Grenzen hinweg geprägt ist, welche die Gefahren und Tücken von Sprache, Übersetzung und ethnischer Zugehörigkeit widerspiegeln. Darin kommen Unterschiede und Ungleichheiten zum Ausdruck, die durch Identität, Nationalität, Rasse, Geschlecht, Sexualität, Vermögen und Freiheit bedingt sind. In diesem Kontext hat der Titel Foreigners Everywhere [Fremde überall] eine (mindestens) doppelte Bedeutung. Erstens, dass man, egal wo man hingeht und wo man ist, immer auf Fremde trifft - sie/wir sind überall. Zweitens, dass man, egal wo man sich befindet, immer, tatsächlich und tief im Inneren, ein Fremder ist."

"Der Schwerpunkt der Biennale Arte 2024 liegt also auf Kunstschaffenden, die selbst Fremde, Immigranten, Expats, diasporisch, émigrés, Exilierte, oder Flüchtlinge sind — insbesondere solche, die sich zwischen dem globalen Süden und dem globalen Norden bewegt haben. Migration und Entkolonialisierung sind hier zentrale Themen."

Adriano Pedrosa zur Ausstellung:

Zeitgenössischer Kern

"The Italian straniero, the Portuguese estrangeiro, the French étranger, and the Spanish extranjero, are all etymologically connected to the strano, the estranho, the étrange, the extraño, respectively, which is precisely the stranger. Sigmund Freud's Das Unheimliche comes to mind — The Uncanny in English, which in Portuguese has indeed been translated as 'o estranho' — the strange that is also familiar, within, deep down side. According to the American Heritage and the Oxford Dictionaries, the first meaning of the word 'queer' is precisely 'strange', and thus the exhibition unfolds and focuses on the production of other related subjects: the queer artist, who has moved within different sexualities and genders, often being persecuted or outlawed; the outsider artist, who is located at the margins of the art world, much like the self-taught artist, the folk artist and the artista popular; the indigenous artist, frequently treated as a foreigner in his or her own land. The productions of these four subjects are the interest of this Biennale, constituting the Nucleo Contemporaneo."

"Indigenous artists have an emblematic presence and their work greets the public in the Central Pavilion, where the Mahku collective from Brazil will paint a monumental mural on the building's fagade, and in the Corderie, where the Maataho collective from Aotearoa/New Zealand will present a large-scale installation in the first room. Queer artists appear throughout the exhibition, and are also the subject of a large section in the Corderie, and one devoted to queer abstraction in the Central Pavilion."

"The Nucleo Contemporaneo will feature a special section in the Corderie devoted to the Disobedience Archive, a project by Marco Scotini, which since 2005 has been developing a video archive focusing on the relationships between artistic practices and activism. In the Exhibition, the presentation of the Disobedience Archive is designed by Juliana Ziebell, who also worked in the exhibition architecture of the entire International Exhibition. This section is divided into two main parts especially conceived for our framework: Diaspora activism and Gender Disobedience. The Disobedience Archive will include works by 39 artists and collectives made between 1975 and 2023."

mehr - kuratorialer Text

 

Historischer Kern

"The International Exhibition will also feature a Nucleo Storico gathering works from 20th century Latin America, Africa, the Arab world, and Asia. Much has been written about global modernisms and modernisms in the Global South, and a number of rooms will feature works from these territories, much like an essay, a draft, a speculative curatorial exercise that seeks to question the boundaries and definitions of modernism. [...] We are all too familiar with the histories of modernism in Euroamerica, yet the modernisms in the Global South remain largely unknown. [...]. European modernism itself travelled far beyond Europe throughout the 20th century, often intertwined with colonialism, and many artists in the Global South traveled to Europe to be exposed to it [...]."

In the Central Pavilion three rooms are planned for the Nucleo Storico: one room is titled Portraits, one Abstractions and the third one is devoted to the the worldwide Italian artistic diaspora in the 20th century.

"The double-room named Portraits, includes works from 112 artists, mostly paintings but also works on paper and sculpture, spanning the years of 1905 and 1990. [...] The theme of the human figure has been explored in countless different ways by artists in the Global South, reflecting on the crisis of representation around the that very figure that marked much of the art in 20th century art. In the Global South, many artists were in touch with European modernism, through travels, studies or books, yet they bring in their own highly personal and powerful reflections and contributions to their works [...].

The room devoted to Abstractions includes 37 artists: most of them are being exhibited together for the first time, and we will learn from these unforeseen juxtapositions in the flesh, which will then hopefully point towards new connections, associations, and parallels much beyond the rather straightforward categories that I have proposed. [...]"

Artists from Singapore and Korea have been brought into this section, given that at the time they were part of the so-called Third World. In a similar manner, Selwyn Wilson and Sandy Adsett, from Aotearoa/New Zealand, have been brought into this Nucleo Storico as they are historical Maori artists.

"[...] A third room in the Nucleo Storico is dedicated to the worldwide Italian artistic diaspora in the 20th century: Italian artists who travelled and moved abroad developing their careers in Africa, Asia, Latin America, as well as in the rest of Europe and the United States, becoming embedded in local cultures — and who often played significant roles in the development of the narratives of modernism beyond Italy. This room will feature works by 40 artists who are first or second generations Italians, exhibited in Lina Bo Bardi's glass easel display system (Bo Bardi herself an Italian who moved to Brazil, and who won the 2021 Biennale Architettura's Special Golden Lion for Lifetime Achievement in Memoriam)."

mehr - kuratorialer Text

 

Weiteres zur Ausstellung

"Two quite different but related elements have emerged, rather organically in the research and have been developed, appearing as leitmotivs throughout the International Exhibition. The first one is textiles, which have been explored by many artists in the show in multiple, from key historical figures in the Nucleo Storico, to many artists in the Nucleo Contemporaneo. [...] These works reveal an interest in craft, tradition, and the handmade, and in techniques that were at times considered other or foreign, outsider or strange in the larger field of fine arts. [...] A second motif is artists — artists related by blood, many of them Indigenous. [...] Again tradition plays an important role here: the transmission of knowledge and practices from father or mother to son or daughter or among siblings and relatives."

As a guiding principle, the Biennale Arte 2024 has favored artists who have never participated in the International Exhibition — though a number of them may have been featured in a National Pavilion, a Collateral Event. Special attention is being given to outdoor projects, both in the Arsenale and in the Giardini, where a performance program is being planned with events during the pre-opening and closing weekend of the 60th Exhibition.

mehr - kuratorialer Text

(Aus Presseinformationen, La Biennale di Venezia. © Übersetzungen ins Deutsche: Universes in Universe)


Spezielle Features von UiU:


Weitere Aktivitäten, Publikationen

Austrian armoury (Polveriera austriaca) 
Forte Marghera, Mestre
Ten works by Nedda Guidi (* 1927 Gubbio, + 2015 Rome), a sculptor fundamental to the evolution of contemporary ceramics

Applied Arts Pavilion
Arsenale, Sale d'Armi
Brazilian artist Beatriz Milhazes (* 1960), known for her work that overlays the Brazilian cultural imagination with references to western modernist painting, will present seven paintings and seven collages, all large-scale works. The project for the Pavilion, curated this year by Adriano Pedrosa, is a collaboration between La Biennale di Venezia and the Victoria and Albert Museum (V&A) in London.

The selected projects for the 2nd edition of Biennale College Arte 2023/24 are by Agnes Questionmark, Joyce Joumaa, Sandra Poulson, Nazira Karimi. The 4 artists will receive a grant of 25,000 euros for the realization of the final work. The artworks will be presented, out of competition, as part of the 60th International Art Exhibition. Over 150 young emerging artists under 30 from 37 countries around the world have joined the call for participation.

La Biennale dedicates the Biennale Sessions project to institutions that develop research and training programmes in architecture, the arts and related fields, and to Universities and Fine Arts Academies. The aim is to facilitate self-organised three-day visits for groups of at least 50 students and teachers, with the possibility of holding seminars in the exhibition venues offered free of charge and assistance in coordinating travel and accommodation.

A broad Educational Programme has been again scheduled for 2024, addressed to individuals and groups of students, children, adults, families, professionals, companies, and universities. All the initiatives aim at actively involving the participants, and are led by professional operators, carefully trained by La Biennale di Venezia. They are divided into two categories: Guided Tours and Workshop Activities.

The official catalogue, titled Stranieri Ovunque - Foreigners Everywhere, consists of two volumes:

Volume I is dedicated to the International Exhibition, curated by Adriano Pedrosa. The first pages of the book open with two short introductions by President Pietrangelo Buttafuoco and President Roberto Cicutto, followed by an interview with the Artistic Director of the Visual Arts Department Adriano Pedrosa by Julieta Gonzales. Part One of the book is dedicated to the critical essays and a number of "Conversations", including interviews with Anna Maria Maiolino and Nil Yalter. Part Two is dedicated to the presentation of the artists on exhibit and is divided into two main sections: Nucleo Storico and Nucleo Contemporaneo. Each artist is introduced by a critical essay that explores their work, and is illustrated with a rich iconographic apparatus.

Volume II is focused on the National Participations and the Collateral Events.

The Exhibition Guide is conceived to accompany the visitor through the Exhibition.

The Graphic Identity of Biennale Arte 2024 and the publication's design are by Estudio Campo (Paula Tinoco, Roderico Souza, Carolina Aboarrage) from São Paulo, Brazil.

Preise der 60. Internationalen Kunstausstellung

Goldener Löwe für den besten Nationalen Beitrag:
Australien
Kommissar: Creative Australia
Kuratorin: Ellie Buttrose
Künstler: Archie Moore
Ort: Giardini

Spezielle Erwähnung für einen Nationalen Beitrag:
Kosovo
The Echoing Silences of Metal and Skin
Kommissarin: Hana Halilaj, Nationalgalerie des Kosovo 
Kuratorin: Erëmirë Krasniqi
Künstlerin: Doruntina Kastrati
Ort: Museo Storico Navale della Marina Militare, Riva S. Biasio 2148

Goldener Löwe für die beste Teilnahme an der Internationalen Ausstellung Stranieri Ovunque – Foreigners Everywhere
Mataaho Collective
(2012 gegründet in Aotearoa, Neuseeland; dort ansässig.)

Silberner Löwe für eine vielversprechende junge Künstlerin der Internationalen Ausstellung Stranieri Ovunque – Foreigners Everywhere
Karimah Ashadu
(* 1985 London, Vereinigtes Königreich. Lebt in Hamburg, Deutschland, und Lagos, Nigeria.)

Spezielle Erwähnungen:
Samia Halaby
(* 1936 Jerusalem, Palästina. Lebt in New York City, USA.)
La Chola Poblete
(* 1989 Mendoza, Argentinien. Lebt in Buenos Aires, Argentinien.)

Preise - Begründungen

The awards of the International Jury have been presented with the following motivations:

Goldene Löwen für das Lebenswerk

Die in Italien geborene brasilianische Künstlerin Anna Maria Maiolino (Biografie) und die in Paris lebende türkische Künstlerin Nil Yalter (Biografie) erhalten den Goldenen Löwe für das Lebenswerk der 60. Internationalen Kunstausstellung der Biennale Venedig - Stranieri Ovunque - Foreigners Everywhere

Kurator Adriano Pedrosa erläuterte:
“Diese Entscheidung ist besonders bedeutsam, denn der Titel und der konzeptionelle Rahmen meiner Ausstellung sind auf Kunstschaffende fokussiert, die zwischen Nord und Süd, Europa und anderswo gereist und migriert sind, und umgekehrt. In diesem Sinne fiel meine Wahl auf zwei außergewöhnliche, bahnbrechende Künstlerinnen, die ebenfalls Migrantinnen sind und in vielerlei Hinsicht für das Anliegen von Stranieri Ovunque -Fremde überall stehen: Anna Maria Maiolino (* 1942 Scalea, Italien, lebt in São Paulo), die von Italien nach Südamerika migrierte, zunächst nach Venezuela und später nach Brasilien; Nil Yalter (* 1938 Kairo, Ägypten, lebt in Paris, Frankreich), eine Türkin, die von Kairo nach Istanbul und schließlich nach Paris migrierte.”

Beide Künstlerinnen nehmen 2024 zum ersten Mal an der Kunstbiennale Venedig teil: Maiolino präsentiert ein neues großformatiges Werk, mit dem sie ihre Serie von Skulpturen und Installationen aus Ton fortsetzt und weiterentwickelt; Yalter zeigt eine Neukonfiguration ihrer innovativen Installation Exile is a hard job in Verbindung mit ihrem ikonischen Werk Topak Ev, die im ersten Raum des zentralen Pavillons in den Giardini stehen wird.

(Aus Presseinformationen. © Übersetzung aus dem Englischen: Universes in Universe)

Jury, 60. Internat. Kunstausstellung

Julia Bryan-Wilson, Präsidentin der Jury (USA)
Professor of Contemporary Art and LGBTQ+ Studies at Columbia University. Her curatorial credits include Cecilia Vicuña: About to Happen (with Andrea Andersson) and Louise Nevelson: Persistence. She is the author of Art Workers: Radical Practice in the Vietnam War Era; Fray: Art and Textile Politics (winner of the ASAP Book Prize, the Frank Jewett Mather Award, and the Robert Motherwell Book Award); and Louise Nevelson’s Sculpture: Drag, Color, Join, Face. Bryan-Wilson was a 2019 Guggenheim Fellow.

Alia Swastika (Indonesien)
Curator and researcher/writer that expands her practices in the last 10 years on the issue and perspectives of decoloniality and feminism, where she involved with different projects of decentralization of art, rewriting art history and encouraging local activism. She works as the Director of Biennale Jogja Foundation in Yogyakarta, Indonesia. She continues her researches on Indonesian female artists during Indonesia’s New Order and how the politics of gender from the regime influenced the practices of artists from that period. She is now part of curatorial team of Sharjah Biennale 16 in 2025.

Chika Okeke-Agulu (Nigeria)
Director of the Program in African Studies, Director of Africa World Initiative, and Robert Schirmer Professor of Art & Archaeology and African American Studies, Princeton University. Okeke-Agulu is Slade Professor of Fine Art, University of Oxford (2023), and a Fellow of The British Academy. He is editor of Nka: Journal of Contemporary African Art and author of El Anatsui. The Reinvention of Sculpture (2022). He is on the advisory board of the Hyundai Tate Research Centre, Tate Modern.

Elena Crippa (Italien)
Italian curator based in London. Since 2023, she has been Head of Exhibitions at London’s Whitechapel Gallery. She was previously Senior Curator of Modern and Contemporary Art at Tate Britain, where her exhibitions explored transnational and transcultural intersections and engaged with art from a global perspective. Her shows at Tate included All Too Human (2018), Frank Bowling (2019) Paula Rego (2021) and the 2022 commission Hew Locke: The Procession.

María Inés Rodríguez (Kolumbien)
Colombian-French curator, currently Director of the Walter Leblanc Foundation in Brussels and Artistic Director of Tropical Papers. With a profound commitment to fostering a dialogue between artistic production and historical, political, and social contexts on both local and global levels, she has consistently championed the interconnectedness of art and its broader cultural implications. She was the Director of the CAPC Musée d'art Contemporain, Bordeaux, Curator at Large at MASP, São Paulo; Chief Curator at the MUAC in Mexico City, as well as at the MUSAC in Spain and guest curator at the Jeu de Paume in Paris.

mehr dazu



Wie zu allen Biennalen Venedig seit 2001 veröffentlicht Universes in Universe auch zur 60. Internationalen Kunstausstellung 2024 wieder ein umfangreiches Special. Das zur letzten Edition:
Biennale Venedig Special 2022

Über Neues in diesem und anderen Bereichen von UiU informiert werden:
gratis Newsletter | Facebook


Praktische Informationen:

Öffnungszeiten:
Giardini und Arsenale
20. April – 30. September: 11 - 19 Uhr
Bis 30 Sept., nur Arsenale: Fr & Sa bis 20 Uhr
1. Oktober - 24. November: 10 - 18 Uhr
Montags geschlossen (außer 22.4., 17.6., 22.7., 2.9., 30.9., 18.11.)

Tickets online kaufen


Veranstalter, Kontakte:

La Biennale di Venezia
Art and Architecture
Ca' Giustinian
San Marco 1364/A
30124 Venezia, Italien
Website | Email

Pressebüro Visuelle Kunst: 
artpress(at)labiennale.org
Tel.: +39 41 - 5218-849 / -846

Facebook | Twitter | Instagram | YouTube

Offizielle Hashtags:
#BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere


© Foto oben: © Haupt & Binder, universes.art


Siehe auch in UiU:

Zurück nach oben