Sign in to digital edition
Monday 22 Dec 2014
I was so intrigued back at Jeremy Deller's Pavilion. He was definitely trying to make a point—first the Luna now the crushing of the Range Rover.
Jeremy Deller's Ooh-oo-hoo ah-ha yeah, 2013, at the British pavilion
Then being stolen away by the magnificent bird of prey.
A Good Day for Cyclists, 2013, in Jeremy Deller's British pavilion
The Russian pavilion also tried to teach us about the economy with work by Vadim Zakharov—all the money is raining down on us.
Vadim Zakharov,Danaё, 2013, at the Russian Pavilion
Meanwhile, at the very masculine show at the Punta della Dogana, the work by James Lee Byars, Byars is Elephant, 1997, tells us the message is still relevant.
James Lee Byars, Byars is Elephant, 1997
In contrast, Lara Almarcegui's clever work in the Spanish Pavilion was a "load of old rubbish".
Lara Almarcegui, Saragozza, 1972
Another intriguing work I spotted in the American Pavilion, unlike the masculinity of Francois Pinault, was the organic and delicate installation by Sarah Sze. I have followed Sarah's work from the beginning and have relished her non-commercial approach.
Sarah Sze, Triple Point, 2013, at the US pavilion
The icing on the cake for me was the visit to the Prada Foundation where they had re-enacted the Bern 1969 show—"When attitudes become form". It was a huge accomplishment and the show taught us about an art world that was more free. An example of this is Michael Buthe's Weisses Bild, 1969.
Michael Buthe, Weisses Bild, 1969
Thu, 30 May 2013 19:33:00 GMT
All comments are moderated. If you would like your comment to be approved, please use your real name, not a pseudonym. We ask for your email address in case we wish to contact you - it will not be
made public and we do not use it for any other purpose.
Subscribe to The Art Newspaper...
Advertise in The Art Newspaper Network...
Sign up to receive the weekly email newsletter...
Search through The Art Newspaper Archive...
Contact the team at The Art Newspaper...
© The Art Newspaper