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    A Gallery of Venice Biennale Artists

    Converging on Venice from Iraq, Iceland, Azerbaijan, and beyond, they came, they showed—and they posed for photos

    Under the Gaze of Emperors

    Maria Magdalena Campos, artist of the Pavilion of Cuba at the 2013 Venice Biennale. ©ROBIN CEMBALEST 2013.

    Maria Magdalena Campos-Pons in her collaboration with Neil Leonard, 53+1=54+1=55.Letter of the Year. “La Perversión de lo Clásico: Anarquía de los Relatos”, Republic of Cuba pavilion, National Archeological Museum.

    ©ROBIN CEMBALEST 2013.

    It’s a birdcage. It’s a bird’s nest. It’s a bird.

    It’s the headdress Maria Magdalena Campos-Pons wore during her guerrilla action last week in Piazza San Marco, where, accompanied by musicians from Cuba, she performed an Afro-Cuban folkloric song, the Abakua.

    Then she made her way to the National Archeological Museum, where she changed—mostly—into attire more appropriate for the opening of her native country’s pavilion at the Venice Biennale.

    Featuring works by artists from Cuba (Sandra Ramos, Tonel) and elsewhere (Hermann Nitsch, Gilberto Zorio), among others, the pavilion has “occupied” the museum’s collections of classical statues and precious stones.

    In one gallery, ancient emperors gaze upon a flock of birdcages, by Campos-Pons and collaborator Neil Leonard. Each contains a tiny video telling stories of survival, dreams, and sometimes wishes fulfilled. The headdress fits in perfectly.

    Take His Prints, Please

    Edson Chagas in his installation “Found, Not Taken,” part of “Luanda, Encyclopedic City.” Angola pavilion, Palazzo Cini. ©ROBIN CEMBALEST 2013.

    Edson Chagas in his installation “Found, Not Taken,” part of “Luanda, Encyclopedic City.” Angola pavilion, Palazzo Cini.

    ©ROBIN CEMBALEST 2013.

    Lots of artists have work in palazzos, but few with the artistic firepower of the building that was provided to Edson Chagas, a photojournalist who is representing Angola. For its first Biennale appearance, the country was offered the Palazzo Cini, former residence of Vittorio Cini, an Italian industrialist who amassed a stunning assortment of paintings attributed to Pontormo, Taddeo Gaddi, and Bernardo Daddi, to name a few. The palazzo, on the Dorsoduro near the Guggenheim, had been closed to the public for the last two decades; Fondazione Giorgio Cini, its owner, agreed to reopen the home to the public this summer as the Angola pavilion.

    For Chagas, the catch was that he wasn’t allowed to move—or install—anything. The structure (which he didn’t see until he arrived for the opening) is too fragile. So he used paper. Printing large, limited editions of his staged photos of humble objects on the streets of Luanda, he placed piles of them on crates, providing red folders so the public could collect all 23 pictures.

    The concept was that the show would be over when the editions of 4,000 ran out.

    Now that the pavilion has won the Golden Lion prize for Best National Participation, that will happen sooner than he expected.

    Thinking Outside the Box

    Hashim Taeeh, artist of the Pavilion Iraq at the 2013 Venice Biennale. ©ROBIN CEMBALEST 2013.

    Hashim Taeeh, in “Welcome to Iraq.” Iraq pavilion, Ca’ Dandolo.

    ©ROBIN CEMBALEST 2013.

    Iraq’s pavilion is a 16th-century structure new to the Biennale, but the mood is intentionally contemporary. The title is “Welcome to Iraq,” and the décor, including couches, comics, and tea service, celebrates a “make-do” creativity imposed from necessity. Eleven artists are represented, including Hashim Taeeh, who collaborates with the artist Yaseen Wami in a team called WAMI, producing cardboard furnishings intended to clash with the gilded esthetic popular at home. Here he poses with some of his masks that playfully riff on the tribal, global, folk, and modern.

    Not Just a Masquerade

    Phyllis Galembo at the 2013 Venice Biennale. COURTESY MARK MCCARTY PHOTOGRAPHY.

    Phyllis Galembo in the Arsenale with her Three in Fancy Dress with Wire Masks, Anchors Masquerade Group, Ghana (2010), on the left, and Two in Fancy Dress, Red Cross, Masquerade Group, Ghana (2010). “Encyclopedic Palace.”

    COURTESY MARK MCCARTY PHOTOGRAPHY.

    There are lots more masks in the Arsenale, where in the midst of Massimiliano Gioni’s “Encyclopedic Palace,” guest curator Cindy Sherman has created an “imaginary museum” of the human body in art and imagination. New York artist Phyllis Galembo, a Biennale first-timer, brought her photos of the Winneba Fancy Dress Festival in Ghana. The African tradition, which parodies one that Europeans created, shows that indigenous culture is an open-ended concept.

    Pregnant Moment

    Marc Quinn at the 2013 Venice Biennale. ©ROBIN CEMBALEST 2013.

    Marc Quinn walks by his Jacquard tapestry The Creation of History (2012). Fondazione Cini, San Giorgio Maggiore.

    ©ROBIN CEMBALEST 2013.

    Marc Quinn does the walk-through in the large survey of his work, curated by Germano Celant, in another branch of the Fondazione Giorgio Cini, this one on the island of San Giorgio Maggiore. Outside, on the promenade, are some of his latest obsessions, giant seashells cast in bronze. On the plaza next to the famous church he’s poised Breath, an inflatable version of Alison Lapper Pregnant, his famous sculpture of an artist born without arms. The piece, 36 feet high, can be seen from far across the lagoon. It’s the one work from the Biennale no one can miss.

    The Boating Party

    Ragnar Kjartansson at the 2013 Venice Biennale. ©ROBIN CEMBALEST 2013.

    Ragnar Kjartansson at the Arsenale.

    ©ROBIN CEMBALEST 2013.

    Ragnar Kjartansson took a break while his “performative kinetic sound-sculpture,” a repurposed 1934 fishing boat from Reykjavík, plied the waters of the Gaggiandre, the docking area of the 16th-century shipyards at the end of the Arsenale. The Icelandic artist got the idea for the vessel, the S.S. Hangover, from a bar in a 1935 Hollywood film, Remember Last Night? Aboard, a brass sextet plays a haunting melody composed by Kjartan Sveinsson.

    Friends and Neighbors

    Aida Mahmudova, artist of the Pavilion of Friends of Azerbaijan, standing in front of her Recycled (2012/2013) at the 2013 Venice Biennale. ©ROBIN CEMBALEST 2013. COURTESY THE ARTIST AND YAY GALLERY, BAKU.

    Aida Mahmudova with her sculpture Recycled (2012-13), a part of YARAT’S “Love Me, Love Me Not: Contemporary Art from Azerbaijan and its Neighbors.” Arsenale Nord.

    ©ROBIN CEMBALEST 2013. COURTESY THE ARTIST AND YAY GALLERY, BAKU.

    Ornament is big at this year’s Biennale, and there is lots of it in “Love Me, Love Me Not,” a show of works by artists from Azerbaijan and its neighbors just beyond the shipyards. The exhibition, featuring Shoja Azari from Iran and Kutluğ Ataman from Turkey, among many others, was produced and supported by Yarat, a Baku nonprofit devoted to contemporary-art initiatives. Its founder, Aida Mahmudova, is represented by her sculpture Recycled, made of metal window grates and stainless steel.

    Power of Resistance

    Ali Kazma, artist of the Pavilion of Turkey, with his Resistance. Venice Arsenale. ©ROBIN CEMBALEST 2013.

    Ali Kazma in the Turkish pavilion with his installation Resistance. Arsenale.

    ©ROBIN CEMBALEST 2013.

    In the Turkish pavilion, in the Arsenale, Ali Kazma is showing his film Resistance, a multi-screen installation exploring ways people overcome the limitations of the human body, through practices like cryonics, weightlifting or tattooing. Resistance also includes scenes from MAMMAS, a film for the Sundance Channel written and directed by Isabella Rossellini, who portrays animal mothers including a spider, a cuckoo, and a wasp to demonstrate the power of the maternal instinct.

    Cell Culture

    Ai Weiwei's SACRED at the 2013 Venice Biennale. ©ROBIN CEMBALEST 2013.

    Ai Weiwei’s S.A.C.R.E.D. in the Church of Sant’Antonin.

    ©ROBIN CEMBALEST 2013.

    Ai Weiwei has work in three different venues in Venice. But China’s government didn’t let him travel to the opening, so he sent a team of mini-versions of himself. For the Church of Sant’Antonin, in the Castello district, he created six metal containers, each about 5 feet high. Each contains a diorama depicting key moments in life under the “high-proximity surveillance” the artist endured during the 81 days he spent in prison in 2011.

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