The 60th convening of the biennale in Venice suggests renewed determination in the face of world conflict and despair.
The United States pavilion at the Venice Biennale displays the work of Jeffrey Gibson in an installation called “the space in which to place me.”
Style is where The Washington Post covers happenings on the front lines of culture and what it all means, including the arts, media, social trends, politics and yes, fashion, all told with personality and deep reporting. For more Style stories,And for the first time in a long time, the biennale’s theme — “Foreigners Everywhere” — offers a real catalyst for processing the art.
An even older self-portrait, made in 1941 by the prominent Argentine artist Raquel Forner, is loaded with symbolism: a bloody newspaper clings to a globe in the foreground, a disembodied hand holds a dead dove behind. Standing amid signs of war, Forner holds her right forearm to her stomach, as if to settle her own fears and anguish. I made the same gesture last night, watching a CNN report on children killed while playing foosball at the Maghazi refugee camp in Gaza.
The main exhibition curated by Pedrosa is the center of a constellation of other shows, including the national pavilions clustered in the Giardini and filling yet more warehouselike galleries in the Arsenale. The United States is represented by Jeffrey Gibson, a queer artist of Cherokee descent.
And throughout Venice, in graffiti on walls and in spontaneous protests, was manifold evidence of world outrage at the brutal toll of Israel’s response to the Oct. 7 attack by Hamas.
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