The 60th Venice Biennale, showcased a diverse array of contemporary art under the theme “Foreigners Everywhere.”
Curated by Adriano Pedrosa, the exhibition explored concepts of identity, migration, and belonging, featuring 331 artists and collectives from approximately 80 countries. While the intention was to celebrate diverse perspectives, the execution received mixed reviews.
Critics pointed out that the exhibition included numerous deceased artists, which seemed at odds with the Biennale’s focus on contemporary art. Alastair Sooke of The Telegraph noted that the show featured “far too many dead artists,” leading to a lack of fresh ideas and innovation. Additionally, some artworks were perceived as derivative, echoing past movements without offering new insights. The Guardian observed that certain sections displayed “kitschy scenes and unadventurous but sometimes flashy self-portraiture,” adding little to the overall narrative.
However, the Biennale also showcased visionary pieces that resonated deeply with audiences. Colombian artist Aycoobo (Wilson Rodríguez) and his father Abel Rodríguez presented works depicting the interconnectedness of the natural and spiritual worlds, capturing a sense of wonder and highlighting environmental concerns. Their art underscored the urgency of preserving diminishing ecosystems. Similarly, the Venice Pavilion featured Safet Zec’s touching painting “Man and Child,” exploring themes of human fragility and resilience, reflecting the broader exhibition’s focus on navigation and migration.
Pedrosa’s curation highlighted marginalized perspectives, offering a platform to voices often underrepresented in the art world. This approach provided the Biennale with a fresh perspective, as many participating artists were first-time exhibitors.
Award-Winning Pavilions and Artists
The Australian pavilion, featuring the work of Archie Moore, received the prestigious Golden Lion for best national participation. Moore’s installations probed into themes of cultural identity and historical narratives, that resonated with audiences. The Mataaho Collective was honoured with the Golden Lion for best artist in the central exhibition, while Karimah Ashadu received the Silver Lion as the most promising young artist.
Notable National Pavilions
Several national pavilions offered standout exhibitions:
- Japan: Presented thought-provoking works that challenged traditional artistic boundaries.
- Egypt: Explored the interplay between ancient heritage and contemporary life.
- United Kingdom: Addressed pressing social and political issues through a diverse range of media.
- Nigeria: Debuted with “Nigeria Imaginary” at Palazzo Canal, examining the nation’s colonial past and future aspirations.
- Germany: Offered a critical examination of contemporary societal structures.
- Australia: In addition to Moore’s acclaimed work, the pavilion showcased pieces reflecting on indigenous histories and identities.
- United States: Featured installations that questioned national identity and cultural narratives.
- Bulgaria: “The Neighbours” exhibition delved into the nation’s historical and political landscapes.
- France: Highlighted contemporary artistic expressions reflecting societal changes.
- Poland: Showcased works that intertwined personal and collective memories.
Collateral Exhibitions
Beyond the primary venues, several satellite exhibitions complemented the Biennale experience:
- The Holy See Pavilion: Titled “With My Eyes,” this exhibition at the women’s prison on Giudecca addressed human rights and marginalization, featuring works by Sonia Gomes and Marco Perego.
- Museo Fortuny: Eva Jospin’s “Selva” presented meticulously crafted landscapes using everyday materials, drawing inspiration from fairy tales and ecological concerns.
- Croatia Pavilion: “By the Means at Hand,” curated by Vlatka Horvat in Cannaregio, featured global artists reflecting on migration and displacement.
The 2024 Biennale significantly elevated the visibility of indigenous art, showcasing works from artists worldwide, including the Tupinambá community and Aycoobo from the Amazon. This influence extended beyond Venice, inspiring initiatives like the Tate’s fund to increase indigenous representation and a retrospective of Emily Kam Kngwarray in London.
The show offered a rich tapestry of artistic expression, reflecting global perspectives and fostering a deeper understanding of the complexities surrounding identity and belonging in today’s world.