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Residents protest as Venice launches five-euro entry fee<br/><br/>Venice begins charging day-trippers for entry, a world first aimed at tackling mass tourism but opposed by protesters, objecting to treating the historic Italian city as a museum. Around 10,000 tickets had been sold by the time the scheme began at 8:30 a.m. (0630 GMT) on Thursday, April 25, 2024 (local time), according to local authorities. \
Residents protest as Venice launches five-euro entry fee
⏲ 2:16 👁 20M
VernissageTV
Venice Architecture Biennale 2023: The Laboratory of the Future Giardini
⏲ 10 minutes 54 seconds 👁 2.6K
The National Gallery
Introduction | Veronese: Magnificence in Renaissance Venice | National Gallery, London
⏲ 3 minutes 4 seconds 👁 14.2K
Official description: Every moment is a threshold between the vanishing past and an unclear future. This uncertain, intermediate position of the present applies equally to everyone. For those affected by migration, however, it is a fundamental three-dimensional and bodily experience, because the current state of migration is always one of living at the intersection of different belongings. This is where the historiographical and, thus, political difference from the dominant societies’ primarily territorial or national perspectives lies. Under the title Thresholds, the German contribution explores history and the future in three scenarios: In the first scenario, artist, photographer, and filmmaker Yael Bartana departs from a present perceived as catastrophic; a world on the brink of total destruction. In the second scenario, the theatre and opera director Ersan Mondtag develops a space that contrasts the monumental character of the pavilion with a fragmentary, seemingly minor narrative. In a third scenario, the contribution engages in building a bridge to another location outside the Giardini: the island of La Certosa. Here the artists Michael Akstaller, Nicole L’Huillier, Robert Lippok, and Jan St. Werner create a resonant space with works that focus on the significance of the moment of temporal and spatial transition.<br/><br/>Thresholds. Yael Bartana and Ersan Mondtag / German Pavilion at Venice Art Biennale 2024. April 19, 2024.
Thresholds. Yael Bartana and Ersan Mondtag \German Pavilion at Venice Art Biennale 2024
⏲ 8:28 👁 35K
ArtLike
Uffe Isolotto - We Walked The Earth (Denmark) - Venice Art Biennale 2022
⏲ 1 minute 59 seconds 👁 7K
Venice Channel
Come si costruì Venezia?
⏲ 9 minutes 👁 81.2K
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'Day-tripping a very stressful tourism': Battling mass tourism, Venice introduces day tickets
⏲ 4:33 👁 10K
Kapwani Kiwanga: Trinket / Canadian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Venice (Italy), April 19, 2024.<br/><br/>Official description: Kapwani Kiwanga is a multi-disciplinary artist concerned with forms of power: their suppressed histories and quotidian effects. The artist transforms the Canada Pavilion by way of a site- specific sculptural installation on the building’s interior and exterior, turning it into a large-scale tableau. Shapes shift, dissolving distinctions between inside and outside. As one moves through the coil-like architecture, it unfolds, multiplying perspectives. The installation principally consists of conterie (seed beads), historically employed as both currency and items of exchange. Conterie were dispersed globally from the Venetian island of Murano and incorporated into various material cultures. Kiwanga uses these tiny glass units to construct the monumental out of the minute, each bead acting as a witness to past transactions that changed the socioeconomic landscape of the sixteenth century and beyond. The work addresses the often-destructive history of commerce and how the trade of these beads shaped the world. Other materials related to the trade of conterie are also included. They rise from the pavilion’s floor onto the walls and spill out into the courtyard. As they meet the beads, they formalise a place of exchange, prompting reflection on issues of value, aesthetics, and global economic relations.
Kapwani Kiwanga: Trinket \Canadian Pavilion at Venice Art Biennale 2024
⏲ 8:8 👁 10K
Jeffrey Gibson: the space in which to place me / USA at the Venice Art Biennale 2024. April 19, 2024.<br/><br/>Official description: Jeffrey Gibson has forged an interdisciplinary practice and hybrid visual language that draws from American, Indigenous, and queer histories, with references to popular subcultures, literature, and global artistic traditions. A member of the Mississippi Band of Choctaw Indians and of Cherokee descent, Gibson grew up in major urban centers in the United States, Germany, and Korea— experiences that inform his practice. In his work, intertribal aesthetics, beadwork, textiles, and found objects from the past two centuries commingle with the visual languages of global modernism. His use of pattern and abstract geometries confronts the chromophobia of contemporary art. His practice reflects the vibrant realities of Indigenous communities in the United States, a form of cultural critique that engages with complex histories rather than erasing them. With newly produced multimedia sculptures, mixed-media paintings, site-specific murals, a multichannel video installation, and an extensive exterior installation, the space in which to place me transforms the U.S. Pavilion into an embodiment of Gibson’s radically inclusive vision for the future: a space in which Indigenous art and a broad spectrum of cultural expressions and identities are central to the American experience.
Jeffrey Gibson: the space in which to place me \USA at the Venice Art Biennale 2024
⏲ 11:13 👁 70K
In this video, Vlatka Horvat, the artist representing Croatia at the Venice Art Biennale 2024, guides us through her exhibition. The show is titled “By the Means at Hand” and is located at Fàbrica 33 (Calle Larga dei Boteri, Cannaregio 5063).<br/><br/>Official description: Vlatka Horvat’s project for the Croatian Pavilion – By the Means at Hand – exists as both a dynamic, accumulating exhibition of artworks by a large group of international artists living “as foreigners”, reflecting on questions and urgencies of diasporic experience, and as a compelling, intimate, social, and performative exchange between them. The pavilion also doubles as Horvat’s temporary artist’s studio over the course of the biennial. Horvat has invited a large number of artists living in diaspora in different countries to engage with her in a series of reciprocal exchanges of artworks and other materials, all of which will be sent between Venice and other places by improvised means – via various friends, travellers, and strangers who will be enlisted as informal couriers for the project.<br/>The project builds on the principles of solidarity, shared struggle, mutual support, and friendship – prerequisites for co-existing with others and key elements in the toolkit for those living “in foreign lands”. The project also points to a wide range of other, broader themes such as alternative logistics, spontaneous production of social relations, informal and gift economies, and the idea of trustfulness.<br/><br/>Commissioner: Ministero della Cultura e dei Media della Repubblica di Croazia<br/>Curator: Antonia Majača<br/>Exhibitor: Vlatka Horvat<br/><br/>Vlatka Horvat: By the Means at Hand / Pavilion of Croatia at Venice Art Biennale 2024. Venice (Italy), April 16, 2024.<br/>
Vlatka Horvat: By the Means at Hand \Pavilion of Croatia at Venice Art Biennale 2024
⏲ 8:55 👁 60K
Open Group (Yuriy Biley, Pavlo Kovach, Anton Varga): Repeat after Me II / Polish Pavilion at Venice Art Biennale 2024. Venice (Italy), April 19, 2024.<br/>Official description: Repeat after Me II is a collective portrait of witnesses of the war in Ukraine. The protagonists of two films from 2022 and 2024 are civilian war refugees who speak of the war as recalled through the sounds of firearms, and then invite the audience to repeat after them. The artists use a karaoke format. The accompaniment here is not hit tunes: it is shots, missiles, howling, and explosions—and the lyrics are descriptions of deadly weapons. This is the soundtrack of a war that the witnesses try to recreate. The ability to recognise these sounds can save their lives, and we are invited to learn the language of their experiences. The audience can repeat the sounds of the weapons or withdraw into the safe space designed to resemble a karaoke bar. Yet this is no ordinary bar, like the ones we know: it is an instructional karaoke venue forecasting an even more militarised future. This spectre will remain with us for so long as nationalist imperialist policies will be accepted as part of a diplomatic compromise.
Open Group: Repeat after Me II \Polish Pavilion at Venice Art Biennale 2024
⏲ 6:52 👁 35K
Venice has became the first city in the world to charge day-trippers an entry fee, with the government charging 5 Euros per ticket to enter the Unesco World Heritage site.
AWANI Tonight: Venice begins charging entry fee for day-trippers
⏲ 1:26 👁 15K
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