The artist’s presence in her current one-woman survey at Gavin Brown’s Enterprise is like a ghost in the machine.
The Museum of Modern Art’s current retrospective of Sturtevant’s work, Double Trouble, is a study in movement.
The Arsenale and its Corderie (Rope Walk) compose the remainder of the curatorial effort of the Biennale’s director. It is the sprawling nasty sibling of the Padiglione Centrale, and is somewhat of a chore to tackle. The entire layout of the Arsenale this year feels disjointed. On a whole, I felt like there was a dearth of strong work. I believe Curiger had aspirations to move beyond the trends of participatory art and ostentatious work seen everywhere else in Venice and other art fairs.