The 59th International Art Exhibition "The Milk of Dreams" of the Venice Biennale has opened on April 23. 213 artists from 58 countries around the world gathered in the water city of Venice, bringing more than 1,000 works of art. The Biennale refocuses public attention on contemporary art and the common challenges facing humanity in the post-epidemic era, with installations and landscapes that are reshaping the whims of future human society.

The Hanji House Pavilion, designed by Stefano Boeri Architetti, is located in the gardens of the Palazzo Contarini Polignac, blending into the surrounding Renaissance antiquities and near the Venice Canal. The pure white wooden pavilion with four non-equal pyramids pointed upwards looks like an irregular crown from a distance, and is reminiscent of the simple origami of childhood. The artist who created the installation, Jeon Kwang-young, specializes in creating sculptures using traditional Korean handmade paper. This pavilion is also the prototype for his "Paper Tree Architecture", in which four pyramids are placed on top of a parallel hexahedron and a regular diamond-shaped plane is placed in the middle. The installation is in dialogue with the 40 large mulberry paper reliefs, sculptures and installations in the exhibition "All Glorious: An Age of Reimagination.

The German pavilion is stylized with a huge hole smashed in the center, exposing the building's plinth inside and the peeling walls revealing scarred bricks. Built in 1909, the German pavilion was destructively dismantled by artist Maria Eichhorn to look like wreckage, and is ingeniously titled Relocating a Structure, with text on the wall documenting this history.

The overall white Spanish pavilion, which at first could be mistaken for nothing, is a process of questioning established facts by the artist Ignasi Aballi, assuming that the present is an anomaly, what happens when the angle is changed by 10 degrees and the building is reconstructed and altered in a 1:1 scale? This intervention destroys the spatial memory and takes us on a journey into the imagination through the metamorphosis of space.

Art is a prism to the world of imagination. If reality is depressing, it is worth taking an immersive daydreaming trip through a garden littered with sculptures and elaborate landscapes. For the first time at the Venice Biennale, Uzbekistan presents "Dixit Algorizmi - Garden of Knowledge," which uses the language of contemporary art to explore the roots of modern technology and to awaken its long-ignored resonance with the times and culture.

The pavilion reimagines the traditional Islamic-style garden as a place of gathering and exchange. Curated by Space Caviar and Sheida Ghomashchi, the project presents a reflection on the groundbreaking work of Muhammad ibn Mūsā al-Khwārizmī, the 9th century Persian mathematician, astronomer, and "grandfather of computer science. Muhammad ibn Mūsā al-Khwārizmī is known as the creator of algebra because his Algebra was the first systematic work on the solution of primary and quadratic equations. The erudite scholar was born and raised in Khiva, Uzbekistan, and his most important research took place at the House of Wisdom in Baghdad. The design of the Uzbek pavilion takes this as a reference in its spatial arrangement, creating a place of gathering and communion centered on a formal garden planned in the Islamic tradition: the polished aluminum floor recalls the cross-shaped aqueduct at the center of a traditional Islamic quartered garden, and the lavender floating in the air like clouds is native to Uzbekistan. The traditional Islamic garden's theme of water and shade, like the terraced industrial feel of the garden, was designed as a tribute to the traditional culture of contemplation in the garden.

Parallel to the public program in the pavilion, Velocity0, a sound installation designed by Uzbek musician Abror Zufarov and artist and composer Charli Tapp, will serve as a hub for international composers, inviting musicians from around the world to use the specially created The Program platform using the Velocity0 algorithm. Each participant in the program can input their own data set into the algorithm, from which the program creates unique generative scores, and at the end of the endless nested algorithms performed by the installation, several concert programs will be held to explore the forgotten roots of the algorithm and its resonance with today's times through contemporary art.

In an increasingly hot global environment, all wetlands are being threatened with drying out. Walking into the Chilean Pavilion "Heart of the Peatland" (Turba Tol Hol-Hol Tol) is like stepping into a wetland that has been savagely overrun by plants in the BBC documentary "Green Planet". Hol-Hol Tol" means "heart of the peatland" in the Selknang language. The Selknans are the indigenous people of the extinct Patagonian island of Tierra del Fuego. Peatlands are considered to be the most efficient natural ecosystem for accumulating carbon in the atmosphere and are a rich reservoir of fresh water. In Argentina and Chile, peatlands provide water services that are critical to the local area and contribute significantly to climate change mitigation. Peatlands also have semi-aquatic and semi-terrestrial transition characteristics and high habitat heterogeneity, and are important habitats for a wide range of rare and endangered wildlife and plants.

The project was conceived by the Ministry of Culture, Arts and Heritage and the Ministry of Foreign Affairs of the Chilean government as a collective project that included a multidisciplinary team. The Chilean Wildlife Conservation Society, Karukinka Park in Tierra del Fuego and the Selk'nam Hach Saye Cultural Fund are also involved in the project. The venue allows only eight people in at a time, and the audience enters the venue by walking up a ramp into the panoramic screen theater. Unlike traditional screens, the screen here is as thin as skin and forbidden to touch because it is made of an undisclosed biological material. Most of the images in the video are close to abstract images, as the camera begins to hover over the peatland and then slowly sinks into the peat, gradually going deeper and deeper into the ground. Sound artist Ariel Bustamante creates a highly complex aural space for this scene, creating a strong connection between the visitor and the camera moving through the images as the soundstage becomes stronger and stronger. After a period of silence, the camera rears up and spectral forms emerge from that void. This environmentally themed venue echoes one of the themes of the "Milk of Dreams" motto, which emphasizes the "connection between the body and the earth.

In the midst of epidemics, wars and social problems, the artist tries to project his own vision of nature, humanity and the future. A world in which the end of anthropocentrism may come, as the curator says: "You can absorb the trauma of the times and open your heart to the future."

Article Source:艺术与设计

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