We’ve been with the curator for the Argentinian Pavilion, Rodrigo Alonso, commenting on this monumental site-specific work from artist Adrián Villar Rojas for “La Biennale” 2011.
Camera: Ulli Armbrüster
Interview: Karina Fernández
Edition: Karina Fernandez
Christian Boltanski has built a huge scaffold supporting a long conveyor-belt, printed with babies, displayed birth- and starving-rate, made a game out of it and called it “Chance”.”The unfolding of life and the incessant rhythm of birth raise the question of the universal and the unique in a way, to ponder what distinguishes one from the other…” (Jean-Hubert Martin)
Having a seat after this interview, relaxing from running around for hours, on one of three very old chairs placed beside this pavillon, a strange whispering voice stated to ask “is it the last time?” repeatedly, so that I needed some time until I recognized that it was comming from my chair.-spooky!
For those who don´t have the ability to visit venice until end of november and also for those who just like killing time, they´ve installed a homepage where you can play this game “Chance” too.
Christian Boltanski promises to send you a surprise in the case you win.
The new project devised by the Italian art group CONIGLIOVIOLA – is the first itinerant artists’ camping program created to give free hospitality to a selection of young international artists during the most important contemporary art events worldwide.
In true corsair style, the PIRATE CAMP will – for the very first time – break the well-entrenched rule that outlaws camping in the lagoon!
The Stateless Pavilion, as the first PIRATE CAMP has been dubbed, aims to focus attention on the topic “extra-territoriality” as a condition typical of artists that comes to expression in the project’s two key figures: the pirate and the camper.The status of not-belonging-to-places, inhabiting places while remaining outside the concept of territorial ownership, becomes a status of statelessness, of not-belonging-to-any-state, in the context of the Venice Biennale, whose mainstay is the fact that its every edition is built on an offering – and a reiteration – of the representation of national identities, by “national” pavilions.
Video by Philipp Köster and Wasserbloom, Interview and edit by Wasserbloom
Gelitin presented a wood fired glass melting furnance at the Venice Biennale 2011 in the Giardino della Vergini at the Arsenale. The text inserts are taken from an Interview with Tobias and Ali by Christian Egger. Video by Wasserbloom and Susanna Gartner, Cut by Wasserbloom. More information at www.gelitin.net/venezia2011