Fittingly titled The Laboratory of the Future, the 18th edition of the show instructed participants to reuse materials and minimize their carbon footprint.
Monstrous Faces and Caricatures invites viewers to confront ugliness and the questions it raises about how we relate to it.
The “Loophole of Retreat” symposium at the Venice Biennale demonstrated that the personal is not only political; it’s also where most of humanity lives.
The history of the Roma and Sinti in Poland and Europe is that of marginalization, exclusion, misrepresentation, and persecution.
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.
There are 30 nations represented in the international exhibition. Some aren’t in their best moment today. A comics diary.
The artist’s portrait of her mother, painted in 1977 and reproduced on the vaporetti of Venice, may be one of the most evocative artworks in the Biennale.
In a historic first, artists Pauliina Feodoroff, Máret Ánne Sara, and Anders Sunna transformed the Nordic Pavilion into a celebration of the art and sovereignty of the Indigenous Sámi people.
Leigh’s transformation of the US National Pavilion is no immersive installation, but rather a proposal in sculpture, and by sculpture.
Writer and curator Laura Raicovich shares her favorite works from the exhibition and moments of elevation during her Campari-fueled trip to Venice.
They are the first Black women to represent their countries in the international exhibition.