Venice Biennale hasnt disappointed at all. It really is the Olympics of contemporary art. Yes there's the occasional doubt/skepticism that you can "pay/network your way" into the collateral event part of the Biennale (maybe it's just that I didnt fully get the curatorial process and who approves what, hence the doubt?!), but the quality of the work speaks for itself most of the time. I especially checked with those who's been here last few times. As usual, you heard people saying this year wasnt as good as before (but dont people always think the past is better than the present?!). Some said works were smaller in scale, and less "avant garde" and experimental in nature. But for me, as a contemporary art lover, this really is the best of the best, and in one go, you see literally thousands of works from artists all around the world - how often do you get that?So skepticism aside, quite a few works/pavilions do stand out. At Giardini, where national pavilions are located, the main Pavilion was fantastic - you can see chief curator Daniel Birnaum's thought and selection. Outside the main hall, I liked the Nordic work curated by Elmgreen and Dragset - with real models sitting in the room as actors to complete the installation of the "show flat" - put on sale by art collectors who now need to cash out. Russia Pavilion has strong works overall too - I like Andrei Molodkin's "Nike" installation filled with oil on the one side, and with blood donated by a Russian soldier in Chechnya on the other, raising question about what is victory.
China Pavilion was disappointing - though I still like Zeng Fanzhi's reintrepretation of his brushstroke work. Japan Pavilion was small, but Miwa Yanagi's work was impactful - photo/installation of distorted/deformed women in huge photo frames. Singapore's Ming Wong did a great job with what I heard very limited budget (SG$20,000) - their venue on the canal was difficult to find, but has breathtaking Venice view! - and hilarious videos that disorient and "bent" cultures, languages, genders, etc (just heard that Ming won a Special Mention in the Biennale - really good news!) Had to say counter to most art connoseiurs' take, I didnt really like US Pavilion's Bruce Nauman Topological Gardens all that much - though he did won best national participation (seen other works of his in catalogs...had to say those are better!)
Among colleteral events, HK was solid (really proud of Pak Sheung Cheun!). "Unconditional Love" with Russia/European works was good too - esp. the AES+F 9-channel videos. "Gift to Macro Polo" (with big names like Zhang Xiaogang, Wang Guangyi, etc) was OK but not amazing (though I wont mind having Zhang's painting on metal sheets). Taiwan was terrible except for Chen Jieren's video - but didnt stay through the whole work.
On specific works, I like Chun Yun's "constellation light" from home appliances. Getting to know Paul Chan's work better after seeing it once in HK's LV show at HKMOA - and it's not bad (this one deriving inspiration from S&M - but actually looks like ancient Egpytians moving around). Natalie Djurberg's wild garden installation was gripping - and apparently won the Silver Lion Award (her work also shown in Art Basel Unlimited - quite impressive as a 30yo artist!). A few simple works in the main hall were delightful - the water bags, Tomas Saraceno's giant net-wire installation, and BED light tower in the Arsenale were all pleasing. The few "very interactive works" beyond the China Pavilion - the moving rings, the silly signs by Miranda July were all great fun and at their best in the outdoor green garden. Tobias Rehberger's remake of the cafe in Palazzo won the Gold Lion Award; and Brazilian Lygia Pape's light and wires work at the Arsenale entrance and Roberto Cuoghi's destored Chinese song insallation in the Palazzo pool won Special Mentions.
Overall, it's clear that for me personally, installations stand out better than paintings or videos (it's really difficult to stay concentrated in a stuffy room to watch a 30min long video!!). Which of course is also where contemporary works come to life in some ways.
In additional to seeing works, the added benefit is of course to meet artists! Ran into Gonkar Gyatso before the preview started (as we wandered our way into Arsenale when people were still setting up their works). Talked to Qiu Zhijie (who didnt seem to be very proud of his work at the China Pavilion; he rapidly refered me to the UCCA as sth that he saw as more representative of what he does). Saw Zhang Xiaogang but didnt summon enough courage (or interest?!) to go speak to him while we all wait for our transport at the Venice International University. Of course met Pak Sheung Cheun at the HK Pavilion and the subsequent dinner, and Xu Tan where we sat at his Keywords School (with a small drama caused by the impossible security due to the speech by the Italian prime minister at the Giardini opening).
An interesting stats - the non national pavilion section costs $13m to put together - a "bargain" I think for such a world-class show!
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