Koyo Kouoh, along with her team, managed to decentralize or dismantle the canon that usually emerges from the Biennale, giving space to virtually unknown, almost marginalized artists. Therefore, the open wound, or the debt that Art History owes to the margins, has been closed or healed with this Biennale.
While African artists predominate, the collection also highlights those who work in relation to the land or those who incorporate music into their works, achieving a surprising sense of curatorial harmony, especially in the Arsenale, where monumentality expands into every space.
This exhibition is the ideal seed for curators to find inspiration and open doors to little-known artists, so that the West can recalibrate and focus on other cultures.
The End of the World, by Alfredo Jaar (2023-2024)
We highlight Alfredo Jaar's The End of the World, a red room with blurred contours, like a strange underworld where all the minerals used in technology are visualized and compressed at the far end of the room, inside a glass dome. It is one of the few works that references politics, emphasizing the global tragedies in which these minerals are absolutely essential.
Disease Throwers, by Guadalupe Maravilla
Installation
Cosmological Offerings for a Drowning World, by Thania Petersen
- 9:59 a.m.
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