第59届威尼斯双年展“梦想之乳”预展及展览现场

View of Pre-opening and Exhibition of The 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams

📹 影片：Lucio Fiorentino 来源：威尼斯双年展官方Instagram

📷 封面：Jacopo Salvi 来源：威尼斯双年展官方Instagram

2022年4月23日，在长达两年多的准备与为期数月的布展后，因疫情推迟一年的第59届威尼斯双年展“梦想之乳”正式对公众开放。此次双年展由塞西莉亚·阿莱曼尼任策展人，罗伯托·西库托任主席，共囊括来自58个国家的213位艺术家。在4月20至22日为期三天的预展后，此次双年展颁奖仪式暨开幕式于23日随即召开，数个与本届威尼斯双年展相关的奖项在威尼斯朱斯蒂安宫正式公布。

After more than two years of preparation, a year’s pandemic postponing, and several months of on-site installation, on Saturday, April 23, 2022, the 59th International Art Exhibition of La Biennale di Venezia, titled The Milk of Dreams, officially kicked off at the Giardini and the Arsenale. The exhibition includes the work of 213 artists from 58 countries and is curated by Cecilia Alemani and chaired by Roberto Cicutto. Three-day pre-opening was organized on April 20, 21, and 22, the Awards Ceremony and Inauguration was subsequently held on April 23, and several featured prizes have been revealed during the Awards Ceremony and Opening at Ca’ Giustinian, Venice. 

第59届威尼斯国际双年展金狮终身成就奖得奖者塞西莉亚·维纳

The Golden Lion for Lifetime Achievement of the 59th International Art Exhibition of La Biennale di is awarded to Cecilia Vicuña

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

早在3月8日威尼斯双年展官网已宣布，德国艺术家卡特琳娜·弗里奇及智利艺术家塞西莉亚·维纳共同荣获第59届威尼斯双年展金狮终身成就奖。如总策展人阿莱曼尼所言：“弗里奇对当代艺术，尤其是雕塑领域作出了无与伦比的贡献。她的创作既富有超越现实的意味，又充满幻想：那些物品、人物和动物的复制件忠实于每一处细节，但又被艺术家转换为怪诞神秘的幻影。同时，阿莱曼尼也对塞西莉亚·维纳的艺术成就作出评价：“维纳的作品涉及视觉艺术中绘画、表演，以及（各种形式的）复杂组合。她的艺术语言的建立围绕着对原住民传统及非西方认识论的深深迷恋。”

It was previously announced on March 8 that the German artist Katharina Fritsch and the Chilean artist Cecilia Vicuña won the Golden Lions for Lifetime Achievement of the 59th International Art Exhibition of La Biennale di Venezia. As Cecilia Alemani stated that Fritsch’s contribution to the field of contemporary art, especially sculpture, has been incomparable. She creates figurative works that are both hyperrealistic and fanciful: copies of objects, animals, and people, faithfully rendered in every detail, but transformed into uncanny apparitions. While she also addressed that in the visual arts, Vicuña’s work has ranged from painting, to performance, all the way to complex assemblages. Her artistic language is built around a deep fascination with Indigenous traditions and non-Western epistemologies.

第59届威尼斯国际双年展金狮终身成就奖得奖者卡特琳娜·弗里奇

The Golden Lion for Lifetime Achievement of the 59th International Art Exhibition of La Biennale di is awarded to Katharina Fritsch

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

除金狮终身成就奖外，第59届威尼斯双年展主题展国际最佳参展艺术家金狮奖授予来自美国纽约的西蒙娜·利，第59届威尼斯双年展主题展最具潜力青年艺术家银狮奖则归属来自法国巴黎的黎巴嫩艺术家阿里·谢里。与此同时，评委会还授予来自美国旧金山的林恩·赫什曼·利森与来自努勒维特的舒维奈·阿舒娜以主展览特别提名奖。

Besides the Golden Lions for Lifetime Achievement, the Golden Lion for the Best Participant in the International Exhibition The Milk of Dreams was given to Simone Leigh from New York City, USA, while Silver Lion for a Promising Young Participant in the International Exhibition The Milk of Dreams was awarded to Ali Cherri from Paris, France. In addition, two special mentions participants were also decided by the jury—Lynn Hershman Leeson from San Francisco, USA and Shuvinai Ashoona from Kinngait, Nunavut. 

最佳参展艺术家金狮奖获得者西蒙娜·利

Golden Lion for Best Participant to Simone Leigh

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

最具潜力青年艺术家银狮奖获得者阿里·谢里

Silver Lion for a Promising Young Participant to Ali Cherri

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

林恩·赫什曼·利森获主展览特别提名，展览现场

Special Mention to Lynn Hershman Leeson, Exhibition View

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

舒维奈·阿舒娜获主展览特别提名，展览现场

Special Mention to Shuvinai Ashoona, Exhibition View

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

在国家馆的获奖情况中，由艾玛·里奇韦策展的英国馆“索尼娅·博伊斯：感受她的方式”荣获金狮奖最佳国家馆。展览空间在镶嵌墙纸、金色几何结构体及彩色动态影像的布置中，与英国黑人女歌手的声音交织营造出权利、自由与脆弱的氛围感受。中心的作品展示了歌手们在第一次见面时进行的即兴表演与无伴奏合唱，而这种以合作表演来探索创新途径可能性的方式正是索尼娅·博伊斯艺术实践的核心。

Regarding the situation of national participation, Sonia Boyce: Feeling Her Way featured by the Great Britain Pavilion with Emma Ridgway as the curator, won the Golden Lion for Best National Participation. The exhibition is comprised of tessellating wallpapers, golden geometric structures, and colour-tinted moving-image works that immerse the space in the sound of Black British female vocalists, embodying feelings of freedom, power, and vulnerability. The central work shows the singers as they meet, improvise, and perform acapella together for the first time, demonstrating the potential of collaborative play as a route to innovation, a central tenet of Boyce’s practice.

金狮奖最佳国家馆由英国馆获得

Golden Lion for Best National Participation to the Great Britain Pavilion

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

英国馆展览现场

Exhibition View of The Great Britain Pavilion

来源：威尼斯双年展官网

此外，法国馆与乌干达馆也分获国家馆特别提名。其中，法国馆因其长期致力于思想交流与团结，以此来聚合与构建流散中的群体而受到表彰与感谢；而对于首次参加威尼斯双年展的乌干达馆来说，此次特别提名也是对该国在艺术和艺术实践中展现出的远见、抱负和热情予以认可。法国馆此次带来的展览题为“无名之梦”，乌干达馆则呈现展览“光辉：他们在时间中做梦”。

Moreover, two special mentions have been awarded to the French Pavilion and the Uganda Pavilion. The French Pavilion is in recognition of and gratitude for the long-standing exchange of ideas and solidarity as the idea of building communities in the diaspora. The Uganda Pavilion, which participates for the first time at the Biennale Arte, was also awarded in acknowledgment of their vision, ambition and commitment to art and working in their country. This year, the French Pavilion is featured by Les rêves n’ont pas de titre / Dreams have no titles, while the Uganda Pavilion presents RADIANCE: They dream In Time.

法国馆荣获国家馆特别提名现场

View of Special Mention as National Participation to the French Pavilion

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

法国馆展览现场

Exhibition View of The French Pavilion

来源：威尼斯双年展官网

乌干达馆荣获国家馆特别提名现场

Special Mention as National Participation to the Uganda Pavilion

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

乌干达馆展览现场

Exhibition View of The Uganda Pavilion

来源：威尼斯双年展官网

显然，威尼斯双年展这个传统而盛大的艺术节日，在本届受到了来自新时代的深刻影响，这个崭新的时代由疫情和随之而来的种种挑战所塑造。当罗伯托·西库托主席在回顾本届威尼斯双年展的工作方式以及其与阿莱曼尼的合作时，“虚拟”和“线上”成为了两个关键词：“在将近两年的时间中，我（和阿莱曼尼）通过电脑屏幕框定的虚拟世界中相见。也是通过那样一个屏幕，阿莱曼尼拜访了来自世界各地数百位艺术家的工作室，仔细研究了他们的绘画、雕塑、影像、装置和行为艺术片段，这势必给她带来与亲身经历截然不同的视角与看法。我不敢肯定这是否极大地影响了她展览的内核精神，但从她的“飞船”/电脑的窗口观察到了无数个想象的世界，以及她切实地想要将它们带到威尼斯展现给整个世界的意图来看，这无疑是一场非凡而独特的体验。”

Obviously, the 59th edition of this traditional great show has been deeply influenced by a new era shaped by the pandemic and subsequent challenges. When President Roberto Cicutto recalled the working style of this edition and his collaboration with Cecilia Alemani, “virtual” and “online” have been addressed as the keywords. “For almost two years we met virtually, framed by a computer screen, and it is through that same screen that Cecilia has visited hundreds of artists’ workshops and studios around the world, poring over paintings, sculptures, videos, installations and examples of performance art that must have given her a very different view from the one she would have experienced in the flesh. Whether all this has greatly influenced the spirit of her exhibition, I cannot say. But observing so many imaginary worlds from the porthole of her spaceship/computer, with the aim of physically bringing them to Venice to display them to the world, was most certainly an exceptional and unique experience.”

塞西莉亚·阿莱曼尼与罗伯托·西库托

Cecilia Alemani and Roberto Cicutto

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

中心馆现场

Exhibition View of The Central Pavilion

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

中国馆现场

Exhibition View of The China Pavilion

来源：威尼斯双年展官网

意大利馆现场

Exhibition View of The Italia Pavilion

摄影：Jacopo Salvi 来源：威尼斯双年展官方Instagram

“在主策展人塞西莉亚·阿莱曼尼的规划下，威尼斯双年展，这个有着127年历史的，世界上最早、最重要的当代艺术展第一次由女性和非常规性别艺术家主导。”

——美联社

“For the first time in the 127-year history of the Venice Biennale, the world’s oldest and most important contemporary art fair features a majority of female and gender non-conforming artists, under the curatorial direction of Cecilia Alemani.”

—Associated Press

“今年的活动是不平衡的：主题展览强而有力，但国家馆的表现却令人失望。加拿大的斯坦·道格拉斯给出了有力的作品，美国的西蒙娜·利也展示了她的雄心。”

——杰森·法拉戈，《纽约时报》

“This year’s event is a lopsided affair, with a forceful central exhibition but disappointing national pavilions. Stan Douglas (Canada) packs a punch and Simone Leigh (U.S.) stands out for her aspiration.”

—Jason Farago, NYTimes

俄罗斯馆将在此次双年展中保持关闭。

PHOTO: GIULIA MARCHI/BLOOMBERG NEWS

“到目前为止，俄罗斯寡头们的豪华游艇还没有出现在城内——它们曾经是双年展期间必然出现的景观。现在还不清楚这是因为光照，或是因为这类船只正被多国政府没收。”

——凯莉·克劳，《华尔街日报》

“So far, Russian oligarchs—whose sleek megayachts were once Biennale fixtures—haven’t been spotted in town. It is unclear whether that is because of optics or because plenty of such vessels were recently confiscated by global authorities.”

—Kelly Crow, WSJ

“这是一次划时代的态度转变。史上第一次，从绿园城堡到军械库，尤其是在其中主题展的作品中，女人的数量超过了男人。在侧翼等待得太久的全体演员现在有机会站到舞台前了。第59届双年展将作为女性的双年展被载入史册。”

——劳拉·卡明，《卫报》

“It is an epochal shift in attitudes. For the very first time, there are many more women than men, everywhere from the Giardini to the Arsenale and specifically in the main group exhibition that takes place in both. A whole cast who have been waiting in the wings for far too long are now playing front of stage. The 59th edition will go down in history as the women’s biennale.”

—Laura Cumming, The Guardian

“经过了疫情造成的漫长中断后，第59届威尼斯双年展没有令人失望，通过进步的方法，自由、触摸与相聚的力量作为主题，为我们带来了历史性的时刻和标志性的装置作品。”

——《Vogue》

“The 59th Venice Biennale – back after an extended, pandemic-imposed hiatus – does not disappoint, with history-making moments and iconic installations with a progressive approach and themes of freedom, touch, and the power of coming together.”

—Vogue

一名观众在宝拉·雷戈（Paula Rego）的《圣乐》（Oratorio, 2009）前。Photograph: Vincenzo Pinto/AFP/Getty Images

“此次包括两个展馆的主题展是我参加的四次双年展中最有力的。展览的中心主题是改变、变形和超现实——正是当下的我们需要的。这是一场有凝聚力的展览，相比此前双年展将艺术家们聚集起来的松散主题，此次策展更严密也更流畅。展览中一些出色的作品突出展示了女性艺术家们，包括杰出的宝拉·雷戈的绘画和雕塑。我也喜爱在两个展馆入口迎接观众的巨象与头颅雕塑形成的对照，它们分别出自卡塔琳娜·弗里奇和西蒙娜·利之手。”

——塔比什·汗，《FAD杂志》

“The main exhibition across both sites is the strongest I’ve seen over the last four art biennales I’ve attended, with a central theme of change, transformation and the surreal — a fitting one for the times we live in. It’s a cohesive show, while previous years have felt like a loose theme that brings works together this is a much tighter curation that flows well. There are some outstanding works on display with a strong showing of female artists including a standout Paula Rego display featuring her paintings and sculpture. I also loved the mirroring of giant sculptures of an elephant by Katharina Fritsch and head by Simone Leigh that greet visitors at the two respective sites.”

—Tabish Khan, FAD Magazine

芭芭拉·克鲁格，《无题》（开始/中间/结束），2022年，特定场域装置。

Barbara Kruger, Untitled (Beginning/Middle/End). 2022

Site-Specific installation. Photo by Haupt & Binder, Universes in Universe

索朗日·佩索阿，《绘画》（2020-2021），背景是陶·刘易斯的作品。

Solange Pessoa, Paintings, 2020-2021, In the background is a work by Tau Lewis. Photo by Haupt & Binder, Universes in Universe

桑德拉·瓦斯奎兹·德拉·霍拉,《 发现拉斯·科迪勒拉斯》（2017-2021），装置。

Sandra Vásquez de la Horra, Las Cordilleras Encontradas. 2017-2021. Installation. Photo by Haupt & Binder, Universes in Universe

德雷·莫雷洛斯，《装置》，土壤，综合媒介。

Delay Morelos, Installation, Soil, mixed media. Photo by Haupt & Binder, Universes in Universe

加布里埃尔·柴尔，《几件作品》，2022年，金属结构，土坯，砖。

Gabriel Chaile, Several works, 2022, Metal Structure, adobe, bricks. Photo by Haupt & Binder, Universes in Universe

西蒙娜·利和贝尔基斯·艾昂作品展览现场

Exhibition View of Works by Simone Leigh and Belkis Ayón. Photo by Haupt & Binder, Universes in Universe

普拉巴卡尔·帕克布奇和阿里·谢里作品展览现场

Exhibition View of Works by Prabhakar Pachpute and Ali Cherri. Photo by Haupt & Binder, Universes in Universe

 《时间胶囊之五：机器人的诱惑》，拉维尼娅·舒尔茨和沃尔特·霍尔特作品

Time capsule V: Seduction of the Cyborg, works by Lavinia Schulz & Walter Holdt. Photo by Haupt & Binder, Universes in Universe

路易丝 · 伯内特， 《皮瑟三联画》（2012-2022），亚麻布面油彩。

Louise Bonnet, Pisser Triptych. 2012-2022. Oil on linen. Photo by Haupt & Binder, Universes in Universe

普蕾莎丝·奥约门，特定场域装置

Precious Okoyomon, Site-specific installation. Photo by Haupt & Binder, Universes in Universe

弗吉尼亚·奥弗顿，《装置》

Virginia Overton, Installation. Photo by Haupt & Binder, Universes in Universe

玛丽安娜·维塔莱，《瓶子和桥梁：集体消除的进展》， 2021，装置。

Marianne Vitale, Bottles and Bridges: Advances in Collective Obliteration. 2021. Installation. Photo by Haupt & Binder, Universes in Universe

布朗温·卡茨和艾米·希尔曼作品展览现场

Works by Bronwyn Katz and Amy Sillman. Photo by Haupt & Binder, Universes in Universe

潘涛阮，《第一场雨，布里斯太阳》（2021-）

Thao Nguyen Phan, First Rain, Brise Soleil, 2021-. Photo by Alex Greenberger/ARTnews

萨菲亚·法哈特，《加夫萨和副手》（1983）

Safia Farhat, Gafsa & ailleurs, 1983. Photo by Alex Greenberger/ARTnews

米利亚姆·卡恩，《苏登萨默》（2021）

Miriam Cahn, unser suden sommer, 2021, 5.8.2021 (detail), 2021. Photo by Alex Greenberger/ARTnews

01 美国馆｜The American Pavilion

西蒙娜·利，《立面》（2022）｜茅草、钢和木头 ｜尺寸可变。《卫星》（2022）｜青铜 ｜7.3x3x2.3m（整体）

Simone Leigh: Façade, 2022. Thatch, steel, and wood, dimensions variable. Satellite, 2022. Bronze, 24 feet × 10 feet × 7 feet 7 inches (7.3 × 3 × 2.3 m) (overall). Courtesy of the artist and Matthew Marks Gallery. Photo by Timothy Schenck. © Simone Leigh

美国馆建筑空间受杰斐逊样式启发，西蒙娜·利在整体展览空间中陈列了坚忍而独特的具象雕塑。这些为美国馆创作的大型作品综合了对非洲侨民和早期美国黑人历史的借鉴。

Simone Leigh has populated the whole of Jeffersonian-inspired building with her stoic, idiosyncratic figurative sculptures. Newly commissioned for the American Pavilion, these monumental works synthesize references to the African diaspora and early Black American history.

02 法国馆｜The French Pavilion

丝娜·席迪拉，《无名之梦》（2022），展览现场

Zineb Sedira, ‘Les rêves n’ont pas de titre’ (Dreams Have No Titles), 2022, exhibition view, French Pavilion at the 59th Venice Biennale. Courtesy: © Zineb Sedira/DACS, London and kamel mennour, Paris; photograph: Thierry Bal

本展馆的布景灵感来自卢基诺·维斯康蒂的电影《异乡人》（1967）、奥森·威尔斯的电影《赝品》（1973）以及艺术家丝娜·席迪拉自己制作的电影和相关研究艺术实践的经验。展览以时而充满希望并感人的方式深入挖掘了反殖民激进主义的继承。

This pavilion features sets inspired by films such Luchino Visconti’s The Stranger (1967) and Orson Welles’s F For Fake (1973), along with a film of Zineb Sedira’s own making and art related to the research she complied. The exhibition mined a legacy of anti-colonial activism in a way that was by turns hopeful and moving.

03 英国馆｜The Great Britain Pavilion

索尼娅·博伊斯，《感受她的方式》（2022），展览现场

Sonia Boyce, ‘Feeling Her Way’, 2022, exhibition view, British Pavilion at the 59th Venice Biennale. Courtesy: © Sonia Boyce/DACS, London and the British Council; photograph: Cristiano Corte

索尼娅·博伊斯是第一位在威尼斯双年展上代表英国的黑人女性，她关注的是英国黑人音乐家对于英国国家文化尚未被充分认可的贡献。展馆暗示了社区中的一种凝聚形式，这种形式长期以来在英国主流中被忽视了。

Sonia Boyce, who is the first Black woman to represent Great Britain at the Venice Biennale, focuses on the under-acknowledge contributions of Black British musicians to culture of their country. The pavilion suggests a form of togetherness in a community that has long been made invisible in the British mainstream.

04 拉脱维亚馆｜The Latvia Pavilion

艺术家团体斯库亚·布雷登，《河边贩水》（2022），展览现场

Skuja Braden(Ingūna Skuja and Melissa D. Braden), Selling Water by the River, 2022(Installation View). Photo: Kristine Madjare. © and Courtesy the Artists

超现实的彩绘瓷器雕塑遍布拉脱维亚馆，但它们都没有双年展展馆中常见的大型体量。尽管这件作品的组成部分都因其怪异的特点而令人印象深刻，但它们提供了难得的纯粹和无拘无束的视觉享受时刻。

Surreal painted porcelain sculptures sprawl across the Latvian Pavilion but none of them are of the dramatic scale typically seen in the Biennale pavilions. Although al of them impress by virtue of their weirdness, they offer a rare moment of pure and unfettered visual pleasure.

05 葡萄牙馆｜The Portugal Pavilion

佩德罗·内维斯·马奎斯，《太空中的吸血鬼》电影截图

Pedro Neves Marques, Vampires in Space, Screenshot of the Film, Courtesy the Artist and Umbigo Magazine

佩德罗·内维斯·马奎斯的展览以居住在缓慢漂移宇宙飞船上的吸血鬼为主题，呈现了三部带有恐怖和科幻元素的电影并以对身体转变的温柔冥想为特色。尽管电影中的生物看起来像我们人类，但它们已经被边缘化到与我们不再生活在同一个星球上。

Themed on vampires that inhabit a slowly drifting spacecraft, Pedro Neves Marques’s show features three films with horror and sci-fi trappings and a tender meditation on bodily transformation. The creatures in the films look like us but they have been marginalize to a point where they no longer live on the same planet.

Simone Leigh has populated the whole of Jeffersonian-inspired building with her stoic, idiosyncratic figurative sculptures. Newly commissioned for the American Pavilion, these monumental works synthesize references to the African diaspora and early Black American history.

06 巴西馆｜The Brazil Pavilion

威尼斯双年展巴西馆现场， 图片来源：labiennale.org

Brazil Pavilion at the Venice Biennale, The Work by Jonathas de Andrade (Photo: labiennale.org)

对于乔纳萨斯·德·安德拉德来说，他的祖国巴西是一个需要治愈的病痛之躯。因此，该馆的入口结构被设置为一个巨大的耳朵形雕塑。一旦游客通过后，他们就会直面一段视频，其中有节奏地切入人们手和脚的镜头，并穿插着巴西动荡的画面。

For Jonathas de Andrade, his home country of Brazil is an ailing body in need of a cure. Thus the structure of this pavilion entrance was set as one gigantic sculpture of an ear. Once visitors get through, they are confronted with a video in which rhythmically cut zooms into people’s hands and feet are interspersed with shots of upheaval in Brazil.

07 罗马尼亚馆｜The Romania Pavilion

阿迪娜·平蒂列，《你是另外一个我——身体的大教堂》展览现场

Adina Pintilie, ”Tu esti un alt Eu - O catedrala a corpului" (You Are Another Me - A Cathedral of the Body), Exhibition View, Courtesy the Romania Pavilion

阿迪娜·平蒂列将她在2018 年荣获柏林电影节最高奖项的电影《不要碰我》中的一些镜头重新配置制作为在罗马尼亚馆的两个新视频装置。在关注残疾人和大部分非异性恋个体的同时，阿迪娜·平蒂列试图在她的采访和观众之间建立一个更广泛的亲密定义和同理心。

Adina Pintilie reconfigures some footage from Touch Me Not which won the Berlin Film Festival’s top award in 2018 into two new video installations for the Romanian Pavilion. While paying much attention to disabled and largely non-heterosexual individuals, Pintilie tries to foster a more expansive definition of intimacy and great empathy between her interviews and the viewer.

08 澳大利亚馆｜The Australia Pavilion

马科·富西纳托，DESASTRES 配乐，手稿纸上的传真，45.5 x 30.3厘米

Marco Fusinato, Score for DESASTRES, 2022. Facsimile on Edition Peters manuscript paper, 45.5 x 30.3 cm. Courtesy the artist and Anna Schwartz Gallery.

马科·富西纳托在他的声音装置中呈现了现场演奏电吉他，在演奏的同时，同时通过复杂的技术循环输出，以保密的术语输入而由搜索引擎生成的图像。

Marco Fusinato performs live playing an electric guitar in his sound installation DESASTRES. While he plays, a complex technological loop spits out images that were generated by plugging in undisclosed terms into search engines.

09 韩国馆｜The Korean Pavilion

韩国馆金允哲的《Chroma V》(图片拍摄：朴允娜/《韩国先驱报》)

Yunchul Kim, “Chroma V”, Korean Pavilion, Courtesy of the artist. Photographed by Yuna Park/Heraldcorp.com

坐落在俯瞰大海的小山上，以“涡旋”为主题，韩国馆展示了艺术家金允哲的六件作品，其中包括流动的、彩色的动态装置。正如主题所暗示的，空间似乎无限膨胀，产生了一个漩涡。

Situated on a hill overlooking the sea and with a theme on "Gyre," the Korean Pavilion showcases six works by artist Yunchul Kim, including a fluid, colorful and dynamic installation. As the theme suggests, space seems to expand infinitely, creating a vortex.

10 斯堪的纳维亚北欧馆｜The Nordic Pavilion

安德斯·桑纳,《萨米的非法精神》（2022），展览现场

Anders Sunna, ‘Illegal Spirits of Sápmi’, 2022, exhibition view, Sámi Pavilion at the 59th Venice Biennale. Courtesy: the artist and the Office for Contemporary Art Norway; photograph: Michael Miller

该馆展览是为了纪念欧洲唯一的原住民萨米人而重新制作的。三位艺术家保丽娜·费奥多罗夫、玛丽娜·萨拉和安德斯·桑纳的作品暗指了北欧殖民主义对萨米人所进行的屠杀。

It was remade in honor of Sámi, the only Indigenous people native to Europe. There are works by Pauliina Feodoroff, Máret nne Sara and Anders Sunna that allude to the carnage wrought on the Sami by Nordic colonialism.

References and Extended Reading:

资料来源及延伸阅读： 

1.   ARTnews: The 10 Best National Pavilions at the 2022 Venice Biennale, Ranked

https://www.artnews.com/list/art-news/artists/venice-biennale-2022-best-national-pavilions-1234626216/

2.   FRIEZE: The 59th Venice Biennale Review: National Pavilions Part 1-2

https://www.frieze.com/article/59th-venice-biennale-national-pavilions-reviews-round-up-2022-part-two

3.   Artsy: 10 Highly Anticipated Pavilions at the Venice Biennale 2022

https://www.artsy.net/article/artsy-editorial-10-highly-anticipated-pavilions-venice-biennale-2022

4.   ArtReview: Venice Biennale 2022: Three Pavilions To See in the Arsenale

https://artreview.com/venice-biennale-2022-three-pavilions-to-see-in-the-arsenale/

5.   Observer’s Venice Biennale 2022 Picks

https://observer.com/list/observers-venice-biennale-2022-picks/

6. The Guardian: Venice Biennale: women outnumber male artists in main halls for first time

https://www.theguardian.com/artanddesign/2022/apr/22/venice-biennale-female-artists-outnumber-males-for-first-time?fr=operanews

7. The Art Newspaper: All the top exhibitions to see during the Venice Biennale in 2022

https://www.theartnewspaper.com/2022/02/03/the-best-exhibitions-to-see-during-venice-biennale-2022

8. W Magazine: What to See at the Venice Biennale  https://www.wmagazine.com/culture/what-to-see-2022-venice-biennale-main-exhibition-museums-galleries

9. ARTnews: The Best Art in the 2022 Venice Biennale’s Main Show, From Fragrant Sculptures to Kinky Body Horror https://www.artnews.com/list/art-news/artists/2022-venice-biennale-main-show-best-works-1234626068/

艺讯网综合报道，致谢威尼斯双年展官方及相关媒体报道，编译：Sue，周纬萌，罗逸飞

News Roundup on the 59th International Art Exhibition of La Biennale di Venezia by CAFA ART INFO. 

Courtesy of LA BIENNALE DI VENEZIA and related news. Check the References for more info. Edited and Translated by Sue, Emily, Luo Yifei/CAFA ART INFO

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