The non-Western art trend is clearly going further this year: Angola Pavillon gold lyon, massive China independent artists , Tuvalu presence! Actually, the “encyclopedic” aim of this Biennale built a comprehensive global “palace”. However, three days are never enough for Venice, I will try to sum up the most interesting thoughts.
Opening with Jung means to focus on the most primitive and irrational feels. As a matter of fact, primitivism, spiritualism, sex and totem are recurring in almost every installation\pavillon. A tumultuous generation of new personalities or humans? After one century of deconstruction may we expect an attempt of new elaboration, like the innovative makers do in the global society? This reconstruction will be more reassemblation (as I hope) or new creation (so which materials)?
About our beloved Tribal art, the topic makes its presence relevant. Tribalism (or primitive art) is interconnected with the most basic and recurrent humans feelings, a mist of irrational and ancestral, of interior and exterior reality. Therefore, it is possible find a new line of primitivism in many installation (Sawada, Gusmao, etc.) and even Western national pavillon (e.g. Czech with African Masks, England, etc.) The entrance totem at Arsenale is topical (by Hans Josephsohn).
http://instagram.com/p/gQUtCNp64D/
In the 14th central pavillon there is Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection 1932–37. A wonderful series of tribal sketches and pieces from Solomon Islands mainly. Tuvalu, primitivism and this collection states a growing interests and authority for these remote islands and their artistic forms. Nowadays, this is the unique art which is still valued not for the “artist name” but for its unique cultural relevance.
http://instagram.com/p/gNaCnOJ65C/
Finally, a mention goes to the Israeli Pavillon (by GIlad Ratman). The perfect mix of arts form or “an holistic workshop”. A first video channel shows the research of ancient art in the natural hidden galleries. A second channel shows the production of suffering visages sculptures, while recording sculptures groaning through their artist voice (installed at the second floor). The third channel and impact entrance is the result of previous research and creation: a tribal electronic music mix of ancestral screams (which seems to coming out from the centre of the earth through an hole in the floor). I consider the Israeli pavillon the answer to the questions posed in the second paragraph. A new comprehensive production of art mixing different artistic forms: ancient and contemporary, primitive and fine art, proposing a new path which dialogues with the past not for deconstruction but for a spiritual creation.