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Albanian Pavilion 58th Biennale of Art

The Albanian Pavilion of the Venice Biennale: the artists of the pavilion, the works, the times, the periods, the cost of the tickets and the exhibition venue.

Andorran Pavilion Venice Biennale of Art
Albanian Pavilion at Venice Biennale of Art - Arsenale - City of Venice

Exhibition in progress from 11 May to 24 November 2019

The 58th Biennale of Art will open to the public on 11 May 2019. But starting from a few days before the opening there will be the various openings and side events that always suddenly animate the Venetian artistic life. The title of the 58 edition of the Biennale d'Arte is May You Live In Interesting Times.

79 artists are invited to exhibit at the 58th Venice Biennale of Art, with a prevalence of women. Among them the 2 Italians Ludovica Carbotta and Lara Favaretto. The first will make a site-specific work in Forte Marghera, inside the building known as the Austrian Powder Mill.

Go to the page of the 58th Venice Art Biennale

Andorran Pavilion at 58th Biennale Arte of Venice

Title of the exhibition at Andorran Pavilion is The Future is Now.

Artist:
Philippe Shangti.
Curator: Ivan Sansa, Paolo De Grandis. 
Commissioner:
 Eva Martínez, “Zoe”.

For the visitor, the Andorran pavilion at the Biennial of Venice 2019 is presented as a surprise provocative and glamorous at the same time.

On a stage curull of speculative fiction, Philippe Shangti longs for it, With his plastic narrative, shake awareness collective And he does it using an altered vision of the Time, intertwining the dimensions of the past, present and future.

With a set pause of immediate impact, The future is now approaching us towards its universe, verse His vision of the world through art: a cosmology transmitter of everything that disturbs him of the scourge consumer and its effects.

His proposal to the Biennial is considered as one fragmented installation in cuts to be examined Isolated to understand how complete it is multidisciplinary project The independent scenes surpass the moment, Instantaneousness, to tell us events collaterals of the bad use of the present to the detriment of one future that is now. The artist splashed the space with variety of multidimensional surfaces, attractive, Of saturated and bright colors in order to be made friendly to the visitor and to relieve, in a skunk way, Consumption and its effects on the environment and in the moral of the people. Shangti plays Clear, universal themes, with direct impact, in addition pure style Camp.

An immediacy in the message that It contrasts clearly with its production process, extremely meticulous and calm. The impurities, the vices, the despoli of wickedness are not for Shangti aesthetic or pleasing to contemplate; or this reason, and to be able to share the daily and private sphere of the public entering their work at home It looks for representations, models and metaphors Nice, with perfect finishes, as in your day did Helmut Newton, with whom he shares his idealized view of women and the taste for things Fetishists, luxury and exuberance.

His art becomes captivating and clean, though sitting in protest i the provocation Art as a provocation is not uncommon and, for years, It has been used to transgress the tranquility of the collectivity. We can find hundreds of works of denunciation arisen at a certain moment historical that first demonized for later, When society evolves, be accepted. Artists provocative with disparity of intentions: denunciation militant, political propaganda, expression of states of mood, pure decoration or search of notoriety.

Shangti's motivation is innate and visceral. If not Be an artist would be in a collective saving the species human and denouncing the system.
His passion for photography came to him as well Small, when they gave her the first camera, she goes Exploding to the satiety and of which he understood very soon the operation of the mechanisms technicians A bold character and the same life goes to move to Saint-Tropez, where was a world that was narcotised and hid in the superficiality.

And he drank portraying him from the sweet and sweet critique disagreement She exhibited the female figure as already The disciple of Man Ray, Guy Bourdin, did It represented confused women between the vulnerability and strength, mystery and exhibitionism. With touches of Buñuel's surrealism and humor. Dicotomies of which echoes the monumental photography that is displayed in the center of the Andorran pavilion, Goddess of Oxygen, a woman tangled between what is divine and what is more purely mercantilist, doing business in the style of a business woman, merchant with faith and the air we breathe.

Shangti constructs a narrative aesthetic in which A tale story is revealed to the millimeter, one disturbing fiction, a unique scenery. Is not It is surprising, then, that his inspiration comes from of images taken by James Bidgood or by David LaChapelle, who in her works too Baroque criticism of the society in which we live, full of excesses and vanity.

And although I often use some nudity and the canon of Classic beauty or used, it does because it comes from fairly good; and because it venerates the forms of women like a splendid canvas to paint.

At this point, talk about nudity in The aesthetics would give for a lot of literature. Just for To mention something of the history of art, you can remember the bundle of innocent madones created From the gothic to the baroque period that their son with The naked chest in a mixture of what is maternal, that that is sacred and that is disturbing.

Nua presents the gigantic Gate resin of Lost Paradise Park, which crosses the threshold of Time, from an infernal present to a lost paradise of payment Something reminds me of The Garden of Delights, even though the apocalyptic vision of ours Artist differs from the Hieronymus worlds traffic Bosch.

Lost also shines the soul buried in chrome Silver of the Legion of Authentic Bonsai, Soul Tree Museum, to criticize deforestation, to the purest Equilibrium series style by Jeff Koons.

Hours: Gardens from 10.00 to 18.00. Arsenale from 10.00 to 18.00 (from 10.00 to 20.00 on Friday and Saturday until September 30th). Closed on Mondays (except May 13, September 2, November 18).
Tickets: please visit the official website. On the web € 21.50 until 31 March 2019.
Phone: +39.041.5218711; fax +39.041.5218704
E-mail: aav@labiennale.org
Web: Biennale of Venice


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