The commissioning body’s decision to bypass an open call for next year’s edition of the Biennale has been met with mixed feelings by the local art community.
Gibson, the first Native artist to have a solo exhibition at the US pavilion, draws from traditional Indigenous craft and contemporary aesthetics in a multilayered exploration of history and identity.
Fittingly titled The Laboratory of the Future, the 18th edition of the show instructed participants to reuse materials and minimize their carbon footprint.
Yiddishland Pavilion artists Yevgeniy Fiks, Avia Moore, and others effectively question the borders that continue to define the art world.
Yiddishland is a porous and generative project that threads itself through various pavilions, subtly undermining the national logic of the biennale.
The Soul Expanding Ocean at TBA21–Academy Ocean Space in Venice’s Chiesa di San Lorenzo brings together two artists with different but complementary ways of engaging with oceanic histories and ecologies.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
Sculptures by Hungarian artist Zsófia Keresztes, Malgorzata Mirga-Tas’s Polish Pavilion transformation, and more highlights from this year’s show.
The open-air exhibition of works by Ukrainian artists at the 59th Biennale includes art created in bomb shelters, in exile, and from a place of strength and hope.
Leigh’s transformation of the US National Pavilion is no immersive installation, but rather a proposal in sculpture, and by sculpture.
Aleksey Yudnikov placed a photo of President Putin’s face over his crotch and performed in front of the empty Russian pavilion.
They are the first Black women to represent their countries in the international exhibition.