The biennial’s 56th International Art Exhibition ‘all the world’s futures’(1)

Curator Okwui Enwezor  –> star

Filters (#Garden of disorder, #Liveness: On epic Duration, #Reading Capital) –> unbreakable


Mega exhibition where the super imposed filters act as guardians but in the end they let everybody in with the condition that they all sing in the capital choir directed by Marx, here in the form of daily readings in the build in structure of the arena[1]. A mega exhibition, too exhaustive so as to not find anything of interest.

Social projects like Oscar Murillo’s Frequencies (an archive, yet possibilities-2013-ongoing) a close study of the student’s critical and creative learning process by temporarily putting canvases to the classroom desks of young students from different parts of the world (Columbia, Israel, Ethiopia) in order to register their everyday activities and evoke the learning environment of the classroom, melt together with Clothes for the demonstration against false election of Vladimir Putin (2011-2015) by the Russian collective GLUKLYA. The garments that once stood for private hopes and fears now become public banners which demand recognition and change.

Kutlug Ataman’s installation THE PORTRAIT OF SAKIP SABANCI (2014) is a moving morphologic structure made out of LCD panels (about 10.000), with each displaying a passport photo of anybody who has knew Sabanci and had his life influenced by him. Portraiture is also the work of Kay Hassan. In his series Everyday People, Hassan works with shredded commercial posters he finds around the city of Johannesburg where he lives and works. The portraits of the people he encounters become very powerful images of their beholder and attract the viewer like a magnet.

Karo Akpokiere’s work Zwischen Lagos und Berlin in the form of a collection of drawings, short comic stories, photographs, stickers and hand written text deals with the different contexts the cities Lagos and Berlin find themselves in, within their own environment as well as the globally. Their ‘approximate heterogeneous socioeconomic fabrics’ makes them only more interesting objects of study for the artist who has the tool of his own experience to sculpt a new understanding of how migration and travelling are shaping a view of the world and create new cultural spaces.

[1] Das Kapital Oratorio, a project by Isaac Julien within the framework oft he ARENA, space designed by David Adjaye

(1)All the world’s futures’ s misleading title because the exhibition’s face is not turned towards these futures, but is heading towards them backwards and the eyes see only the ‘catastrophe of the past, like Klee’s Angelus Novus,  the description that Okwui used in regards to the exhibition himself.

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