At the Arsenale, built on the site of a 13th-century national shipyard, visitors are greeted by a 1/200-scale model of the Encyclopedic Palace of the World, mentioned above. The 300-meter-long, warehouse-like venue is divided into four sections, each with white panels and a white fabric to accommodate even the smallest artworks. The exhibition is divided into four themes: "Nature," "Religion," "Body," and "Technology." The Wunderkammer, the world's oldest art museum and a favorite of European aristocrats during the Renaissance, presented a microcosm of the world, displaying rare natural and man-made objects in a single room like an encyclopedia. The Arsenale's microcosm-like exhibits span a range of fundamental human themes, from "nature" to "technology."
Notable works in each section include the "Nature" section, where French artist Camille Henrot, winner of the Silver Lion Award for the most promising young artist, created "Grosse Fatigue (2013)," a video installation that combines various images and rap to discuss the formation of the universe. This fast-paced narrative attempts to unravel the truth of the universe from an anthropological perspective, echoing the theme of the Biennale, such as Aurity's attempt to gather and exhibit "all knowledge."
The "Religion" section features the original illustrations for "The Book of Genesis," a cartoon by American artist Robert Crumb, which is available to the general public. Crumb reinterpreted the Bible by depicting the "ugly parts" of the story that are not explicitly stated in the New Testament but are considered to be implicitly "told." One striking piece depicts Adam and Eve having sex in Eden. By giving form to a buried image, it reminds us that formal "images" shape our knowledge, yet at the same time limit it.
Another important theme expressed throughout the Biennale is that artists can only achieve "knowledge" by creating various "images."
In the "Body" section, American artist Cindy Sherman was given some of the curatorial responsibilities. The white ceiling was removed to differentiate the section from the others. Sherman has created many works that deal with the body, but she is not exhibiting her own work, instead focusing on curation. The selection also includes body-themed works by American artists Paul McCarthy and Duane Hanson, as well as works that are not typically discussed within the framework of art, such as cloth used in Voodoo rituals. Other notable works in this section include those by Polish artist Pawet Althamer, who carved the faces of Venetian people and combined them with abstract bodies. Dozens of figures were arranged in the exhibition space, and the work, titled "Venetians 2013," expressed the contradiction between the human mind and the human body.
The "Technology" section featured a work by American artist Ryan Trecartin. Trecartin's video parodies the reality shows that have become commonplace on television in recent years, pointing out their deception. Like Robert Crumb's work, Trecartin points out how "images" limit our perception. The video, featuring ugly characters, exudes the unique energy of this young artist.
The video work "Raw Material with Continuous Shift - MMM 1991" by Bruce Nauman was effectively placed at the end of this section. This video work, in which the viewer hangs upside down and spins around, seems to satirically point out the confusion of the viewer as they attempt to process the information they have just seen. It is impossible to process information about "all knowledge."
The final piece in the exhibition is "Apollo's Ecstasy" by Walter De Maria, who passed away last month. This is the first time that this minimalist work, typically seen at biennales, will be exhibited. The ascetic "Apollo" and its opposing "Ecstasy" are represented by uniformly spaced brass poles on the floor. This work pursues perfection, but it is fragile; it could break if someone trips over it. This precariousness suggests that a perfect museum that seeks to collect all knowledge is nothing more than a utopia, in the realm of "God." This is the only work in the venue that can be viewed in natural light.
Continued on 3/3.
