Home > Art, Culure, Europe > Synaesthesia and Reductionism at the Venice Biennale

Synaesthesia and Reductionism at the Venice Biennale

Nick Brooks writes in Mute:

This year Europe has experienced what has been touted as ‘the summer of art’. With the rare cyclical alignment of the Venice Biennale, Art Basel, Documenta 12 and Munster Skulptur Projekte, organisers of the four events have collaborated on a website [www.grandtour2007.com] to help coordinate the itineraries of those jet-set art lovers that would follow in the edifying footsteps of their 18th Century precursors. In 2007 Art has never been so big and apparently neither have the wallets of those stalking it.

While international relations are increasingly frayed by the war on terror, new green order and struggles for energy sovereignty, the Venice Biennale provides a cultural space in which all these geo-politics are played out. Here, emerging world hegemons put on a show and vie for attention, while lesser nations just grin and bear it as each takes its place in a World’s Fair style exhibition of creativity and show-off-manship. As in other contemporary demonstrations of imperial power at Venice the outside was included inside. Art group Gelatin, by now a staple of international art events, mounted an assault on the exclusivity of the Biennale opening by arranging makeshift rafts for outsiders to sail across the waterfront and past the security cordon.

Whilst Documenta 13 has been panned by critics for being either too radical or not radical enough and is vehemently anti-market, at least in its rhetoric, Venice tends to tread a middle line.

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Categories: Art, Culure, Europe
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