For British duo Julia Crabtree and William Evans, sculpture and the sculptural experience are less about fixed forms than an irrepressible interest in materials and matter that might appear uneasy or ugly, that might crack under the weight of expectation.
Angela Two Stars is taking a stand about her Indigenous culture and using the Dakota language to do it. An enrolled member of the Sisseton Wahpeton Oyate (SWO)—a Dakota Plains tribe and part of the Oceti Sakowin Nation—she was born and raised on the Lake Traverse Reservation, located in South Dakota’s northeast corner.
Silence—Alone in a World of Wounds (2021), created by Studio Morison (Heather Peak and Ivan Morison), resembles a medieval building, or perhaps a shelter from some apocalyptic future in which humans have returned to the land.
Niamh O’Malley, from County Mayo, in the Republic of Ireland, is part of a generation of artists who benefited not only from the pioneering work of artist-led organizations like the Association of Artists in Ireland (AAI) and the Society of Sculptors in Ireland (SSI), but also from the economic boost of the so-called Celtic Tiger, which pumped money into the arts.
British sculptor Laura Ellen Bacon makes large-scale work by weaving willow. Her dynamic forms, which emphasize the process of making, emerge from a detailed and, to some extent, meditative, almost spiritual approach.
Nacida en Córdoba, Argentina, la artista visual Nuna Mangiante, despliega su obra apoyada en diversos soportes e instalaciones cuya base son la fotografía y el dibujo con grafito, pasando del plano a la tridimensionalidad cuando logra tomar el espacio proyectando y transformando los escenarios fotografiados e intervenidos, en instalaciones.
Liz Larner embodies Isaiah Berlin’s classic hedgehog vs. fox dichotomy. As the fox, her view of the world can’t be reduced to a single reading; but like the hedgehog, she has the patience and temperament to follow a singular vision.
Change is constant—everything in the material world is always in flux. Living in different cultures, I’ve observed how materials and objects cycle through everyday space in different ways and at different speeds. What can they communicate about the conditions we’ve created?
A chance encounter with two of Marianne Berenhaut’s evocative sculptures—Pour la troisième fois on l’a sorti du tiroir (For the third time it was taken out of the drawer, 2010) and Fleur électrique (Electric flower, 2020)—proved a watershed moment for me.
The joy of the Venice Biennale goes beyond the Giardini and Arsenale (explored in Part I), with collateral projects and exhibitions that entice you to get lost in the magnificent city and discover art shows within the extraordinary Venetian palazzos, churches, and museums.