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If you’re the least bit aware of the state of the world, and its past and potential futures, then the ‘landscape’ would have to be one of the most problematic of all curatorial adventures.
“The work […] expresses something deep and fundamental about the essential isolation of human existence.”
“For now, the gallery rules have changed: ‘please don’t touch’ does not apply. Reach out and gently, carefully, delicately make contact.”
Nadia Odlum, reporting from the darkness…
“Similarly, small faults or errors, be it a wobble in the line, a momentary mistake in the order of colours, or a crease in the paper, can make the artist feel like there is a blight on an otherwise pristine arrangement…”
“I tried using the room map to work out what I was looking at but in the end just gave in to the thrill of it all.”
As the producer of the most expensive work available by a living artist in Europe, Gerhard Richter is also among the most searched artists online.
“I had expected all the art at the Biennale to be totally astounding. If this was the Olympics, we were seeing the best of the best, right?”
The tension between traditional portraits and works that sit at the limits of what most people consider a portrait is the friction that fires up the whole engine of the prize.
“On the top floor is the astonishing ‘At Fifty, I Don’t Know the Mandate of Heaven’. Fifty identical dolls with porcelain heads intended to represent Song himself, and referencing a favourite childhood toy, are engaged in every activity imaginable: reading, cooking, eating, driving, peeing and sleeping, even lying face down in a playful reference to Song Dong’s 1996 performance, ‘Breathing, Tiananmen Square’…”