The Kazakstan pavilion’s first individual participation in the Venice Biennale has also been impacted by the war, with most of its original installation stuck on the Georgian border after it was forced to reroute. “I think everything that could go wrong, did go wrong,” said one of the members of the five-strong collective, Orta, the first artists to represent the nation at the Biennale in its three decades of independence.
Undeterred, the artists have put up a temporary iteration of their work, with participatory performances of their “spectacular experiment”, a playful combination of ambient lighting, ceremonial music – and “hippopotamus berries” inspired by the radical ideas of the little-known artist Sergey Kalmykov. Their ambition is to open a portal to the fourth dimension by the end of therun in November.
Music is also the hallmark of the British pavilion, where Sonia Boyce – a leading figure in the Black British Arts movement in the 1980s – has filled the space with women’s voices in a multimedia installation “Feeling Her Way”, a celebration of feminine soul, creativity and the elevating potential of song, that is uplifting and empowering.
Also at the Giardini, award-winning filmmaker Adina Pintile’s nine-channel video installation “A Cathedral Of The Body” at the Romanian pavilion prompted tears and cries of “Bravissima!” among visitors.
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