Venice Biennial III: Pavilions...

11:48 a.m.

Hungarian Pavilion
Tubes from wall to wall, balls moving around and inflatables that seem to breathe: that is basically the “system” proposed  by Szilárd Cseke (1967) for the Hungarian Pavilion at the 2015 Venice Biennial. An installation that, in spite of the materials used, it's futuristic appeal and aesthetic engineering, looks quite organic.
Sustainable Identities, by Szilárd Cseke (detail)
Installation: cables, polystyrene balls, electric fans, fluorescent tubes.
Hungarian Pavilion - 2015 Venice Biennial  
The balls are pushed by fans along interwined tubes near the ceiling, forming a communicating net. What's the aim? To demonstrate the relationship between the global and the individual.
Sustainable Identities, by Szilárd Cseke (detail)
Installation: cables, polystyrene balls, electric fans, fluorescent tubes.
Hungarian Pavilion - 2015 Venice Biennial  
The most interesting piece on display is a huge inflatable cushion, which continuously inflates and deflates, as if breathing. This object is the “center” of the system and what keeps it alive.
Sustainable Identities, by Szilárd Cseke
Installation: cables, polystyrene balls, electric fans, fluorescent tubes.
Hungarian Pavilion - 2015 Venice Biennial  
Japanese Pavilion
For Japan's presentation, artist Chiharu Shiota (born in Japan in 1972, but lives in Berlín) gathered different keys from around the world and suspended them on red nets that reach towards wooden boats. According to her, the keys connect us with others and the boats carry people. By combining them, Shiota expects her artwork to provide visitors with inspiration for new ideas and dialogues.
The key in the hand, by Chiharu Shiota
Installation
Japanese Pavilion - 2015 Venice Biennial
The key in the hand, by Chiharu Shiota (detail)
Installation
Japanese Pavilion - 2015 Venice Biennial
Both pavilions offer poetic fresh air to the visitors that, when they reach this point, are quite overwhelmed by the global miseries on display at the main exhibition.

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Contents

Liliana Wrobel


Production & Translation

Carla Mitrani

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