How better to illustrate the inadequacy of current restitution efforts than to offer up as tribute an object by one of Germany’s most famous artists, who thought art could bring about transformative social change?
The Christoph Schlingensief retrospective at MoMA PS1, titled simply Christoph Schlingensief, seeks to capture the career of an artist whose practice is particularly ill-suited to an exhibition.
Editor’s Note: Peter Dobey published a series of photo essays (1, 2, 3) about this year’s Venice Biennale at the beginning of June. This is a long-form essay (to be published in three parts) that explores the work at the Biennale.
* * *
PARIS — It is difficult to write about Venice, just like it is difficult to really SEE Venice. Individual experiences of art fade away into the oversaturation that is the Venice Biennale in the same way the city of Venice is sinking into the Adriatic. There is the ontological experience of Venice and the problem of one’s ability to encounter it. Then there is the physical impossibility to see everything the Biennale offers you and all the things it doesn’t, especially when in Italy.
The 54th Venice Biennale has awarded its top prize, the Golden Lion for best national pavilion, to Germany for the art of Christoph Schlingensief. The best art work was given to Christian Marclay’s “The Clock” (2011). [In the Air/Artinfo]