{"id":77001,"date":"2019-05-24T15:46:21","date_gmt":"2019-05-24T15:46:21","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=77001"},"modified":"2019-05-25T11:19:12","modified_gmt":"2019-05-25T11:19:12","slug":"venice-biennale-performance-spectacle","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/venice-biennale-performance-spectacle\/","title":{"rendered":"This year\u2019s Venice Biennale spotlights performance art, but has it turned into a sensationalist spectacle?"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":77029,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[12516,12942,7130,12806,263,1848,12802,12943,6898,3191,8704,12807,12940,11836,12941,12454,1673,11824,12801,1238,12939,12783,12645],"class_list":["post-77001","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-58th-venice-biennale","tag-aaron-cezar","tag-anne-imhof","tag-arsenale","tag-balenciaga","tag-boychild","tag-delfina-foundation","tag-eva-adele","tag-eva-and-adele","tag-francis-alys","tag-german-pavilion","tag-giardini","tag-hans-haacke","tag-lithuania","tag-lithuanian-pavilion","tag-paul-maheke","tag-performance-art","tag-spectacle","tag-the-venice-biennale","tag-venice-biennale","tag-venice-biennale-international-art-exhibition","tag-victoria-sin","tag-vincent-honore"],"acf":{"main_category":139,"legacy":false,"exclude_from_ads":[],"hero_title":"","subtitle":"The international exhibition launched a new live art programme and awarded the Golden Lion to a contemporary opera-performance. But has it addressed its blind spots?","hero":{"video":false,"image":false,"header_color":"black","overlay_color":"","overlay_text_color":"black"},"teasers":{"video":false,"image":{"ID":77029,"id":77029,"title":"eva-adele-artlyst","filename":"eva-adele-artlyst.jpg","filesize":39913,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/eva-adele-artlyst.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/venice-biennale-performance-spectacle\/eva-adele-artlyst\/","alt":"","author":"1","description":"","caption":"","name":"eva-adele-artlyst","status":"inherit","uploaded_to":77001,"date":"2019-05-24 15:41:03","modified":"2019-05-24 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Barzdziukaite, Vaiva Grainyte, Lina Lapelyte, Sun _ Sea (Marina), opera-performance, Biennale Arte 2019, Venice \u00a9 Andrej Vasilenko","filename":"8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","filesize":588945,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/venice-biennale-performance-spectacle\/8_rugile-barzdziukaite-vaiva-grainyte-lina-lapelyte-sun-_-sea-marina-opera-performance-biennale-arte-2019-venice-andrej-vasilenko\/","alt":"","author":"1","description":"","caption":"Sun, Sea (Marina), performance opera at the Lithuanian Pavilion, Venice Biennale 2019, photography by Andrej Vasilenko","name":"8_rugile-barzdziukaite-vaiva-grainyte-lina-lapelyte-sun-_-sea-marina-opera-performance-biennale-arte-2019-venice-andrej-vasilenko","status":"inherit","uploaded_to":77001,"date":"2019-05-24 14:57:15","modified":"2019-05-24 14:59:27","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1920,"height":1280,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","thumbnail-width":128,"thumbnail-height":85,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","medium-width":1920,"medium-height":1280,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","medium_large-width":1920,"medium_large-height":1280,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","large-width":1920,"large-height":1280,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","1536x1536-width":1536,"1536x1536-height":1024,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","2048x2048-width":1920,"2048x2048-height":1280,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/8_Rugile-Barzdziukaite-Vaiva-Grainyte-Lina-Lapelyte-Sun-_-Sea-Marina-opera-performance-Biennale-Arte-2019-Venice-\u00a9-Andrej-Vasilenko.jpg","wpvr_mobile-width":1920,"wpvr_mobile-height":1280}}],"settings":{"fit_width":"12","caption":""}},{"acf_fc_layout":"text_area","text_area":"

The performative has always had a place at the <\/span>Venice Biennale<\/span><\/a>, often in conspiracy with the spectacular. In 1993, Hans Haacke smashed the Hitler-commissioned marbled floor of the German Pavilion before a stunned preview audience; a few years later, Francis Al\u00ffs sent a peacock to represent him, while in 2013, Alexandra Pirici and Manuel Pelmu\u015f filled the Romanian pavilion with a herd of performers to embody the history of the Biennale. But the successive Golden Lion wins for performance works in the past two years \u2014 Anne Imhof\u2019s painfully cool <\/span>Faust<\/span><\/i> at the German pavilion and Lithuania\u2019s global warming-inspired pop opera, respectively \u2014 point to a revived appreciation of live art, amid an ever-so-commodified art world.<\/span><\/p>\n

\u201cIt [performance] doesn\u2019t fit within the very easy economic prison that the art world is still working with,\u201d says <\/span>Delfina Foundation<\/span><\/a> Director Aaron Cezar, also co-curator of the Venice Biennale\u2019s official performance art programme, allegedly the first of its kind. The excellent series, which takes place only during the <\/span>preview week<\/span><\/a> and the closing weekend in November (for lack of budget) features fresh works by equally fresh artists like <\/span>Paul Maheke<\/span><\/a>, Victoria Sin, Boychild and Florence Peake. All deal with identity politics and the \u2018spaces in between\u2019 \u2014conceptually and spatially, as the shows unfold across underexploited public areas between the Giardini and the Arsenale, inviting the preview crowd to sit down and rest their tired Balenciaga Triples for a rare moment of shared experience.<\/span><\/p>\n

\u201cPerformance fits outside of the fair circuit,\u201d Cezar continues, as we sit on the grass of the scenic Giardino delle Vergini, where the core performance series takes place. \u201cIn a way it offers something completely different for viewers, and it strengthens the capacity for people to see or to understand what bigger issues are at play, because the body is present.\u201d That performance exists outside of art fairs isn\u2019t entirely true (Frieze has run its official live art programme since 2014, and the upcoming edition of Art Basel is hosting a major work by Alexandra Pirici) but that it offers something different, absolutely. <\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77002,"id":77002,"title":"OT_VeniceBiennale_38","filename":"OT_VeniceBiennale_38.jpg","filesize":906161,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/venice-biennale-performance-spectacle\/ot_venicebiennale_38\/","alt":"","author":"1","description":"","caption":"Boychild performing in the Giardino Delle Vergini, Arsenale. Photography by Olivia Thompson","name":"ot_venicebiennale_38","status":"inherit","uploaded_to":77001,"date":"2019-05-24 14:48:23","modified":"2019-05-24 14:51:44","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1920,"height":1280,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","thumbnail-width":128,"thumbnail-height":85,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","medium-width":1920,"medium-height":1280,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","medium_large-width":1920,"medium_large-height":1280,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","large-width":1920,"large-height":1280,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","1536x1536-width":1536,"1536x1536-height":1024,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","2048x2048-width":1920,"2048x2048-height":1280,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/OT_VeniceBiennale_38.jpg","wpvr_mobile-width":1920,"wpvr_mobile-height":1280}}],"settings":{"fit_width":"6","caption":""}},{"acf_fc_layout":"text_area","text_area":"

And isn\u2019t that what we\u2019re looking for? The promise of an unmediated experience, transcending the physicality of space and body. If the \u201990s marked the apogee of the curatorial turn \u2014 a shift from object to context \u2014 we are now in the age of the experiential turn, as German theorist Dorothea von Hantelmann suggested. A terminology quickly appropriated by marketers and brands, who now swear only by \u2018experiences\u2019 (replacing the term \u2018curating\u2019 which too had topped the marketing jargon over the past decade). But the unavoidable fluidity between commercial and cultural contexts concerns me less than its excesses. I would be lying if I said I didn\u2019t enjoy watching Ricky Martin throwing Pi\u00f1a Colada down his throat at Carsten H\u00f6ller\u2019s Prada Double Club during Art Basel Miami. But are we now chasing an experience, or just sheer spectacle? <\/span><\/p>\n

This year\u2019s winner of the Golden Lion for the best national pavilion, Lithuania \u2014 a collaboration between director Rugil\u0117 Barzd\u017eiukait\u0117, writer Vaiva Grainyt\u0117 and composer Lina Lapelyt\u0117 \u2014 put a spin on what we\u2019ve come to expect from the ultimate performance art experience. Unlike its predecessor Anne Imhof, who represented Germany in 2017 with her fashion-infused, post-apocalyptic durational performance <\/span>Faust<\/span><\/i>, the Baltic state\u2019s was a comparatively traditional affair. Where Imhof\u2019s brilliance resides in her ability to manipulate her audiences, in Lithuania\u2019s EasyJet-inspired immersive opera, the divide is clear: some twenty performers \u2014 \u00a0including dogs and children \u2014 lounging atop an artificial beach, armed with crosswords and donning their best swimwear, serenade their obscured, elevated audience about a future threatened by global climate change. The classically-trained singers never cross or meet the attendees (though you may sign up to volunteer as an extra over the summer, and become part of the work). <\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77004,"id":77004,"title":"26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482","filename":"26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","filesize":272386,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/venice-biennale-performance-spectacle\/26-anne-imhof-nadine-fraczkowski_e9b1482\/","alt":"","author":"1","description":"","caption":"Anne Imhof, Faust, 2017, courtesy of the German Pavilion at the Venice Biennale, photography by Nadine Fraczkowski","name":"26-anne-imhof-nadine-fraczkowski_e9b1482","status":"inherit","uploaded_to":77001,"date":"2019-05-24 14:57:49","modified":"2019-05-24 14:58:41","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1440,"height":960,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","thumbnail-width":128,"thumbnail-height":85,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","medium-width":1440,"medium-height":960,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","medium_large-width":1440,"medium_large-height":960,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","large-width":1440,"large-height":960,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","1536x1536-width":1440,"1536x1536-height":960,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","2048x2048-width":1440,"2048x2048-height":960,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/05\/26-Anne-Imhof-\u00a9-Nadine-Fraczkowski_E9B1482.jpg","wpvr_mobile-width":1440,"wpvr_mobile-height":960}}],"settings":{"fit_width":"6","caption":""}},{"acf_fc_layout":"text_area","text_area":"

While both works have very little in common, \u2014 aside perhaps from involving consenting performers \u2014 they are equally powerful in their own way. One functions as a <\/span>mise-en-abyme<\/span><\/i>, staging our own technologically-fueled neurosis as in the case of Imhof\u2019s, while the other\u2014 Lithuania \u2014 subverts the conventions of performing arts, spatially as much as conceptually. But it strikes me that Lithuania retains a certain honesty about its offer: we know what we\u2019re here for, and we understand how to experience it. Imhof, on the other hand, discreetly trolls her performers and audience at equal measure, hiding under her Balenciaga cap, adopting such a nihilistic position that it becomes uncomfortable \u2014 albeit brilliantly so. Yet, I question whether we can afford such ambiguous position draped in high-fashion in the \u2018interesting times\u2019 we\u2019re wished to live in (see: the Biennale\u2019s ever-so-interchangeable themes).<\/span><\/p>\n

On the way from the Arsenale \u2014 Venice\u2019s old shipyards \u2014 to the main site of the Biennale\u2019s performance series, outside the outdoors caf\u00e9, stands a 90ft, wrecked fishing boat. In April 2015, it transported close to a thousand migrants from the Libyan coast towards Italy before it sank, killing nearly all of them. The project, masterminded by Swiss-Icelandic artist Christoph B\u00fcchel, was celebrated by some, as a much-needed reminder of the ongoing struggles of refugees. Others, called out blatant sensationalism. \u201cNauseous,\u201d wrote French curator Vincent Honor\u00e9 in an Instagram <\/span>post<\/span><\/a>, which shows art world celebrities Eva and Adele posing in front of the wrecked ship, smiling. \u201cIt shows the cynical and ruthless logic of sensational exhibitions where political correctness and marketing strategy govern upon ethics, research and sensitivity.\u201d Well, yes. Whether intended or not the whole <\/span>mise-en-sc\u00e8ne<\/span><\/i> calls for a profoundly inappropriate photo opp.<\/span><\/p>\n"},{"acf_fc_layout":"instagram","code":"https:\/\/www.instagram.com\/p\/BxZJU7-FVGD\/","settings":{"width":"10"}},{"acf_fc_layout":"text_area","text_area":"

That the Biennale puts the spotlight on performance art is to be celebrated. But let\u2019s not forget that all works are performative in nature, in that they produce reality: that is the radical potential of art. Engaging with that reality can lead to meaningful experiences at best, and dire spectacles at worst–the former, has to be earned.<\/span><\/p>\n

 <\/p>\n

The 58th Venice Biennale International Art Exhibition<\/a>, titled\u00a0May You Live In Interesting Times, is up until 24 November 2019 in Venice<\/em><\/p>\n"}]},"yoast_head":"\nThis year\u2019s Venice Biennale spotlights performance art, but has it turned into a sensationalist spectacle? This year\u2019s Venice Biennale spotlights performance art, but has it turned into a sensationalist spectacle?<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/venice-biennale-performance-spectacle\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"This year\u2019s Venice Biennale spotlights performance art, but has it turned into a sensationalist spectacle? 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