Venice Diaries, Episode IX: Lita Albuquerque’s exhibition 'Liquid Light' takes you on a journey. An emotional message transmitted through sound, visuals, colour, form, and light.
Tag: Biennale di Venezia 2022
Venice Diaries VIII: LLIM at Catalonia in Venice
Venice, Diaries, Episode VIII: 'LLIM. An organism' by Lara Fluxà presented at Catalonia in Venice tells the stories of the Venice waters, its glass, of alchemy, Modernity, capitalism, and an exhibition. The installation is a reflective environment, activating and meditative at the same time.
Venice Diaries VII: Ha Chong-Hyun
Venice Diaries, Episode VII: Ha Chong-Hyun’s paintings need not much description; they need to be seen. His works are an expression of doing it differently, of surpassing the basic strands of art history. A study of material as well as of technique.
Venice Diaries VI: Francesca Leone. Take Your Time
Venice Diaries, Episode VI: Francesca Leone’s installation 'Take Your Time' presents giant flowers, fragile stalagmites, solid paper. Take your time – to reflect and enjoy.
Venice Diaries V: Joseph Beuys. Fine-limbed
Venice Diaries, Episode V: Pure gesture in paper, clay, and bronze. The exhibition 'Joseph Beuys. Fine-limbed' presents early work on paper and sculptures by the artist. Fragile and essential, prehistoric and modern. Fine-limbed.
Venice Diaries IV: Chun Kwang Young: Times Reimagined
Venice Diaries, Episode IV: Painting as sculpture as work in paper. Chung Kwang Young's art works recall prehistoric rocks, extra-terrestrial objects, and dinosaurs, wrapped in a contemporary fashion. Hanji for healing!
Venice Diaries II: Claire Tabouret: I am spacious, singing flesh
Venice Diaries, Episode II: Devotional images meet contemporary painting, sculpture, film, collage, and Venetian chandeliers. Claire Tabouret's exhibition 'I am spacious, singing flesh' is a must-see for both its art and curation.
Venice Diaries I: Marlene Dumas. open-end
The Venice Diaries present projects around the 59th Venice Biennale 2022. Episode I: Figures like ghosts, painting like drugs: Marlene Dumas’ monographic exhibition 'open-end' at Palazzo Grassi in Venice. An incomplete Review