Venice, a historic city with many famous monuments, is a mix of ancient and contemporary aesthetics. On 20 April, the 60th edition of the Venice Biennale will be held (20 April – 24 November 2024; preview 17 – 19 April). At the same time as this world-renowned art event, Venice's art institutions are linked across the city. It's a great time to get a taste of the global art scene. So, what other exhibitions are worth seeing besides "Weishuang"? For this reason, we have compiled a list of some high-quality exhibitions.
Venice Biennale
Poster of the 60th Venice Biennale
60th Venice Biennale International Art Exhibition
Venue: Giardini and Arsenale
Adriano Pedrosa, the curator of this edition of the Biennale, is the first Latin American in history to organize a biennial.
The theme of this year's Biennale – "Foreigners Everywhere" – is derived from Claire Fontaine? Fontaine's 2004 neon series spells out "ubiquitous outsiders" in 53 different languages, including some once-existed but near-lost indigenous languages.
According to Adriano Pedrosa, the curator of the Biennale, "Outsiders Everywhere" has a double meaning: "First of all, wherever you go, wherever you are, you will always meet foreigners – they/we are everywhere, and secondly, wherever you are, you will always feel like an outsider in your heart." In fact, the challenge of the "outsider" is not limited to those who have left their place of origin or residence, but a broader sense of "otherness", a sense of strangeness or alienation that transcends physical boundaries.
This edition of the Venice Biennale focuses on artists who are foreigners, migrants, exiles and refugees, especially those who move between the northern and southern hemispheres, where migration and decolonization become key words. The Biennale will consist of two sections: "Nucleo Contemporaneo" (Contemporary Core) and "Nucleo Storico" (Historical Core).
Related Reading:
Queer, amateur, folk, indigenous, the story behind the four key words of this year's Weishuang contemporary core
Chinese Pavilion at the 60th Venice Biennale International Art Exhibition
Location: Arsenale and Virgin Garden, Venice, Italy
The theme of the Chinese Pavilion at the 60th Venice Biennale International Art Exhibition is "Beauty and Beauty".
Co-curated by Professor Wang Xiaosong of Zhejiang University and independent curator Jiang Jun, the exhibition is divided into two parts: the "Collection" composed of image documents of the "Great Collection of Chinese Paintings of the Past Dynasties", and the "Biography" composed of the works of seven Chinese contemporary artists: Che Jianquan, Jiao Xingtao, Qiu Zhenzhong, Shi Hui, Wang Shaoqiang, Wang Zhenghong, and Zhu Jinshi.
Left: Wang Xiaosong, Right: Jiang Jun
The theme of the China Pavilion is "Beauty and Beauty-Collection", highlighting the meaning of "convergence, exchange and integration", hoping to convey the values of "inclusiveness", "harmony and symbiosis" and "beauty and beauty" in traditional Chinese culture. Among them, "Ji" represents the convergence of different identities, different races, different beliefs, different ideas, different purposes, different media, different backgrounds, different cultures and other diversity around the world, creating an opportunity for exchange and dialogue and mutual understanding.
Focusing on the theme, the exhibition is divided into two sections: "Collection" and "Biography". In the "Collection" section, a digital archive of 100 Chinese paintings scattered overseas will be displayed in filing cabinets and LED screens. These works have been included in the compilation of the "Great Collection of Chinese Paintings of the Past Dynasties", which has lasted for nearly 19 years, and has collected a total of 12,405 pieces (sets) of ancient Chinese painting treasures, of which 1/4 and about 3,000 pieces/sets of works are currently in the collection of countries and regions outside China.
In the "Biography" section, seven contemporary Chinese artists start new creations based on the "Great Collection of Chinese Paintings of the Past Dynasties", starting from different painting elements such as architecture, landscapes, figures, flowers and birds, and meeting friends with art and making new ones with the ancient, which not only reflects the elegant collection culture of traditional Chinese literati, but also emphasizes the "inheritance" between tradition and contemporary.
The participating artists are listed in alphabetical order by surname
The top row from left to right is: Che Jianquan, Jiao Xingtao, Qiu Zhenzhong
The lower row from left to right is: Shi Hui, Wang Shaoqiang, Wang Zhenghong, Zhu Jinshi
Between "Collection" and "Biography", the exhibition draws on the 20th-century German art historian Abi Warburg's Mnemosyne Atlas, and uses image philology to prepare a theme-related plate for each artwork, trying to connect Chinese paintings and contemporary art works through the juxtaposition of multiple images, and at the same time echo the global image history, forming a two-way linkage between China, foreign and ancient and modern.
Weishuang concurrent exhibition recommendation
Zeng Fanzhi
Dragon Heads Up II
2019–2023, Image: Artist, Hauser & Wirth ? Zeng Fanzhi
Zeng Fanzhi Near and Far / Present and Past
地点:威尼斯仁慈大会堂(Scuola Grande della Misericordia)
Zeng Fanzhi's new exhibition, Near and Far/Now and Then, will open at the 2024 Venice Biennale. The exhibition is hosted by the Los Angeles County Museum of Art (LACMA), and architect Tadao Ando designed the exhibition space. The exhibition will be on display from April 17 to September 30 at the historic Scuola Grande della Misericordia in Venice.
Presenting Zeng's breakthrough in practice over the past few years, Near and Far/Past presents for the first time two of the artist's most recent series: new abstract paintings, and drawings on paper that have been explored and honed over the course of 12 years, using ink, graphite, toner, gold dust, and other mineral pigments on handmade paper.
The exhibition will be co-curated by Michael Govan (Director and President of the Los Angeles County Museum of Art and Director of Wallis Annenberg) and Stephen Little (Curator of Chinese Art and Head of China, Korean, South Asia, and Southeast Asia) at the Los Angeles County Museum of Art.
This exhibition will explore Zeng Fanzhi's multi-directional painting practice, how to redefine abstraction with figurative techniques, and re-understand figurative painting with abstract techniques, and expand the boundaries of painting through the transformation between the two.
The new paintings on display are born out of his decades of research on color theory, borrowing techniques from Impressionism and Pointillism, but different from the Impressionists' layered texture of dotted and dotted paintings. Zeng Fanzhi's works use layers of paint and intertwined brushstrokes to create figurative images that are easily recognizable from a distance, but when the viewer approaches the paintings, the images seem to dissolve into a full canvas of oil painting, with distinct physical properties in the chaos. Unlike previous abstract paintings, which focused on the subtle changes of light and shade of a single color, these new works use a combination of colors to construct the picture. A single work often contains more than 30 brightly toned pigments, overlapping to create a rapidly changing visual experience.
Also on display are Zeng Fanzhi's drawings on paper, which reflect another parallel creative thread, depicting iconographic elements of Christian, Buddhist and Chinese literati paintings.
Zeng Fanzhi
Impermanence
2019–2023, Photo: Artist, Hauser & Wirth Zeng Fanzhi
攝影:Jon After
威尼斯仁慈大会堂(Great School of Mercy)
摄影:Alessandra Chemollo
Chu Teh-Chun
《The Break of Day》(黎明)
油画,200 × 200 cm,1988-1989
ADAGP 2023
Fondation Chu Teh-Chun
Chu Teh-Chun Hazy Milky Way
地点:乔治西尼基金会, 圣乔治-马焦雷岛, 30124 威尼斯, 意大利(Fondazione Giorgio Cini, San Giorgio Maggiore Island 30124, Venice, Italy)
Curated by art historian Matthieu Poirier, this is the most important exhibition dedicated to the Chinese and French painter Chu Teh-Chun in recent years.
The exhibition will guide visitors through some 50 iconic paintings by Chu Teh-Chun from 1955 onwards, including a large one on loan from the Musée d'Art Moderne de la Ville de Paris. It was in this year that Chu Teh-Chun settled permanently in Paris, where he was close to the Western avant-garde. Curator and art historian Matthieu Poirier's new monograph by Chu Teh-Chun will be published by Editions Gallimard, a renowned French publishing house, at the same time as the exhibition.
The exhibition will present Chu Teh-Chun's oil paintings in reverse chronological order, from late large-scale paintings to early small-scale paintings. The scene design is 360°, and the works will be displayed on three architectural levels in the same space, and the unique multi-level structure design of the exhibition hall can perfectly present and resonate with the artist's agile nebula image.
For this reason, another motivation for the unique layout of the exhibition hall is to change the perspective of our appreciation of Chu Teh-Chun's work in the past. While the perspective of art critics or institutions has long focused on the recognition of the painter's East-West duality, and while this is still relevant today, it should not prevent us from learning about and resonating with his extraordinary cosmic aesthetic perspective afterwards, and finding its artistic origins in even the most contemporary creations.
Chu Teh-Chun
PERSONNAGES》
41 × 27 cm，1955
Photo credit: Chu Teh-Chun Foundation
Yu Hong
"Rise and Fall of the Sea of Desire"
2023,布面丙烯,340 × 140 cm
Yu Hong. Image courtesy of Lisson Gallery
喻红Another One Bites the Dust
地点:威尼斯卡纳雷吉欧区仁慈修道院教堂 (Church of Mercy)
The exhibition is curated by Dr. Alexandra Munroe, Senior Curator of Global Art at the Guggenheim Museum. "Yu Hong: Another One Bites the Dust" will present a series of new paintings with symbolic and narrative meanings that echo the architectural and cultural context of the Church of the Monastery of Mercy. These site-specific paintings form an arc along the walls of the building, depicting the cycles and trajectories of human life—birth, life, and death—and combining the crudeness of social reality with traditional images from Byzantine and Italian Baroque painting to form a style of "supernatural realism." Yu Hong borrowed many characters from the internet and social media, mostly women and children, and used distorted poses to express mental pain or impending danger. The figures in "Another One Bites the Dust" are placed in large circular or arched canvases, against a golden backdrop, confronting and subverting the epic themes of sacred artistic portrayals, without avoiding the function of painting to depict human suffering.
The exhibition's title is taken from the 1980 song of the same name by the pop-rock band Queen, whose lyrics highlight the daily struggles faced by humanity, such as death, failure and despair. This sentence can be traced back to the King James Bible, and Lu Xun also used "tossing and turning in the dust" to describe "the repetition of the tragedy of past experience". The exhibition "Another One Bites the Dust" recounts the details of everyday life, but each scene has an existential reflection, and the image of a foot representing death recurs in the painting. Through colourful yet emotionally dark compositions, the exhibition reflects on the enormous social changes brought about by globalization and rapid development, as well as the fragility of meaning in the face of catastrophic destruction.
Yu Hong
"Unknown Life and Death" (expand)
2023, Acrylic on canvas, (unfolded) 30 × 43 cm, 11 3/4 x 16 7/8 in
喻红。 Pio Monte della Misericordia, Naples
贝林德·德·布鲁伊克(Berlinde de Bruyckere)
《大天使II(圣乔治),2023–2024》(Arcangelo II [San Giorgio], 2023–2024)(创作中)
2024, Wax Animal Hair Silicone Iron Epoxy, 251 × 82 × 105 cm
Belinde de Bruic, Photo: Artist, Hauser & Wirth, Photo: Mirjam Devriendt
Belinde de Bruic, City of Refuge III
Location: Monastery of San Giorgio Maggiore
Abbey of San Giorgio Maggiore
The exhibition, entitled City of Refuge III, was developed with the assistance of Benedicti Claustra Onlus, the non-profit arm of the Benedictine Church, and its director, Carmelo A. Grasso. Together with Ory Dessau and Peter Buggenhout, Grasso formed the curatorial team for the exhibition.
Based on three new sets of works by the artist, Refuge City III oscillates between transcendence and material interiority, responding in a unique way to the grand architecture, function, symbolism and history of the church. Among the works on display are the Arcangelo sculpture in the main hall and side gallery, the large installation in the sacristy of the church, and the sculpture of the wall display cabinet in the corridor of the convent gallery. The title of the exhibition is taken from the song of the same name by Nick Cave. This is the third stop in a series of exhibitions in which the artist is the artist, and the theme of "art as a refuge" is also reinforced by the religious atmosphere of the venue.
In his practice, de Bruick represents a mixture of human, animal and organic forms. Drawing inspiration from the Old Masters of Europe, the Flemish Renaissance, Christian iconostasis, myths and legends, she intersects existing histories with new narratives spawned by current events, creating a psychological landscape that is sentimental, soft and unsettling. Her work explores the dualities of love and pain, danger and protection, life and death, and shifts the meaning of theology into the realm of the universal and the mundane.
Berlinde de Bruyckere in his studio in Ghent, Belgium, January 2024 ? Belinde de Bruic, Photo: Artist, Hauser & Wirth, Photo: Mirjam Devriendt
The Abbey of San Giorgio Maggiore is a 16th-century Benedictine monastery on the island of San Giorgio Maggiore in Venice and one of the most important examples of Palladian architecture in the city.
圣乔治·马焦雷修道院(Abbey of San Giorgio Maggiore)
摄影:Lorenzo Palmieri
William Kentridge Self-Portrait as a Coffee Pot
Location: Faculty of Expression Politics at the Arsenale of Venice
(Arsenale Institute for Politics of Representation)
South African artist William Kentridge is known for his projection animations, sculptures, and theatrical and opera stages created over the past four decades.
Recently, he collaborated with his curatorial friend Carolyn Christov-Bakargiev, who also published an important monograph on his work in 1998, to present the nine-part video series Self-Portrait as a Coffee Pot ( Self-Portrait as a Coffee-Pot)。
Each episode of the video on display is 30 minutes long and was originally created by Kentridge for online viewing. The series is both an experiment in embodied and phenomenal experiences in the digital age, as well as a reflection on what might happen in the artist's mind and in the studio at the moment.
威廉·肯特里奇（William Kentridge），《作为咖啡壶的自画像》（Self-Portrait as a Coffee-Pot），第1集《工作室的自然史》（Natural History of the Studio）静帧，2022，高清视频，31分钟2秒 威廉·肯特里奇，DACS 2024 版权所有，图片：艺术家、古德曼画廊、豪瑟沃斯
皮埃尔·于热(Pierre Huyghe)
《 》(Liminal)( )
2024, Real-time simulation sound sensor Pierre Huge, SIAE/ADAGP, 2024, Photo: Artist, Galerie Chantal Crousel, Marian Goodman Galler, Hauser & Wirth, Esther Schipper, TARO NASU
Pierre Huge Liminality
Venue: Punta Della Dogana
Liminal is a major solo exhibition of artists co-curated by Pierre Huyghe and Anne Stenne, showcasing Yu Ge's latest work and a selection of works from the past decade, including from the Pinault Collection.
The exhibition, the artist's largest to date, is held in collaboration with the Leeum Museum of Art in Seoul and will travel to the Samsung Museum of Art in February 2025.
Pierre Huge's artistic practice has always questioned the relationship between the human and the inhuman. He conceives his works in the form of speculative novels, from which other mimesis of the world emerge. For him, fiction is "the vehicle through which we come into contact with impossible possibilities—those things that exist or do not exist." ”
Yu Re transforms the Punta della Dogana into a dynamic and sensitive environment. The exhibition is a transitional state, inhabited by human and non-human creatures, and the subjects in the place will take shape in a continuous process of learning, evolving, and mixing. The memories of these creatures are constantly expanding, changing with the perceptible and imperceptible events that perceive or are perceptible throughout the exhibition.
皮埃尔·于热(Pierre Huyghe)
Camata (still), 2024–present, robotic self-directed film powered by machine learning, edited by AI in real-time sound sensor Pierre Huge, SIAE/ADAGP, 2024, Photo: Artist, Galerie Chantal Crousel, Marian Goodman Galler, Hauser & Wirth, Esther Schipper, TARO NASU
Peter Hugar
Self-Portrait Lying Down, 1975
The Peter Hujar Archive/Artists Rights Society (ARS), NY
Peter Hujar Portrait of Life and Death
地点:Santa Maria della Pietà
Riva degli Schiavoni, 30122 Venezia VE
For the first time in Europe, the Peter Hujar Foundation in New York will present Peter Hujar's legendary Portraits in Life and Death in conjunction with the 60th Venice International Art Fair in 2024. The exhibition will present the complete 41 photographs in the 1976 book Portraits of Life and Death, the only publication published by Hugar during his lifetime, with a foreword by his friend and critic Susan Sontag.
The exhibition will be curated by Grace Deveney, associate director of photography and media at the Art Institute of Chicago. Peter Hugar is known for photographing subjects with keen insight and psychological depth. In the '70s and early '80s, immersed in the avant-garde environment of artists, musicians, writers, and performers in the heart of New York, his portraits capture the intimate and fragility of his subjects.
Peter Hugar
《Orgasmic Man》
1969，pigmented ink print，image, 11 1/4 × 7 1/2"，paper, 14 × 11"
The Peter Hujar Archive
刘永国(Yue Younguk)
Work, 1974
布面油画,106 × 106 cm
Yoo Youngkuk Art Foundation
Liu Yongguo: An endless journey
Time: Concurrent with the 60th Venice Biennale
地点:奎里尼宫(Palazzo Querini Stampalia)
As a parallel project to the 60th Venice Biennale, the Yoo Youngkuk Art Foundation has announced that it will hold a special exhibition "A Journey to the Infinite" for Yoo Yongkook, a pioneer of Korean abstract art and a representative of the Korean avant-garde.
Curated by Inhye Kim, the exhibition will focus on the '60s and '70s, a pivotal period in Liu Yongguo's artistic journey, highlighting the transition and experimentation of his artistic practice from organic forms to geometric shapes. Bold primary colors and subtle variations of warm and cold tones show the artist's endless exploration of pure abstract art. The exhibition, which will take place on three floors of the Palazzo Querini Stampalia, features more than 30 paintings, 14 prints, eight paintings, and about 40 archival documents, and is a condensed and basic introduction to Liu Yongguo's artistic career. This exhibition is not only Liu Yongguo's second solo exhibition in the Western art world since his solo exhibition at Pace Gallery's flagship New York space last year, but also his first solo exhibition in Europe.
Liu Wei
《东方 2021 No.5》（The East 2021 No.5）
2021,布面油画,260 × 180 cm
Janus
地点:威尼斯迪多宫(Palazzo Diedo)
Berggruen Arts & Culture has opened a permanent contemporary art space at the Palazzo Diedo in Venice and opens its unveiling exhibition Janus on April 20, featuring paintings, sculptures and new site-commissioned installations by Liu Wei and 10 other internationally renowned contemporary artists.
Palazzo Dido was once the residence of one of the most powerful families in Venice, as well as a primary school and court. Commissions are often inspired by traditional crafts associated with Venice, such as frescoes, Murano glass, precious fabrics and Venetian floor design. The title of the exhibition is taken from Janus, the Roman god of beginning and end, who usually has two faces, one looking forward and the other backward, symbolizing the exhibition's commitment to blending the historical and the contemporary.
Liu Wei
《猜测 No.2》（Speculation No.2）
2024, aluminum alloy, automotive paint, acrylic, glass fiber, polyethylene, iron
220 × 140 × 210 cm
235 × 140 × 40 cm（基座）
220 × 156 × 220cm（整体）
Martha Joanworth
Untitled, "Gilded Door" series
2023,油彩、纸本、画布,242 × 276.5 cm
Martha Jungwirth 摄影:Ulrich Ghezzi
Martha Joanworth Heart of Darkness
Venue: Palazzo Čini Gallery, Venice, Italy
The Fondazione Giorgio Cini is pleased to present Herz der Finsternis, a new solo exhibition of works by Austrian artist Martha Jungwirth, in conjunction with the 60th Venice Biennale.
Over the course of her six-decade career, Joanworth has developed a unique approach to abstraction that is grounded in the body and an intimate observation of the world around her. The artist draws on "pretexts" as an opportunity to trigger ephemeral, visceral impulses that inspire her vivid and expressive paintings. In Heart of Darkness, Joanworth uses the 1899 novel of the same name by the British novelist Joseph Conrad as the starting point for her recent series of works.
The German title of the exhibition is named after Conrad's book, which Joanworth read when he was younger. The book tells the fictional story of a Belgian steamship expedition along the Congo River and explores the darkness and brutality of European colonialism in Africa at the time. After visiting the Musée de l'histoire de l'immigration, built for the 1931 International Colonial Exposition in Paris, at the Palais de la Porte Dorée, the story returned to Joanworth's mind. She was so moved by what she saw that inspired her to create this latest series of paintings, called Porte Dorée. "For me, the themes of migration and persecution have a completely different relevance," she explains. The history of long-term displacement and how it continues to this day is unsettling to me. ”
Rebecca Aykroyd
Then
2024 Sculpture (epoxy casting, mirrored iron tubes, stainless steel, color film, negative film, threaded rebar) 143 × 38 × 105 cm, image courtesy of Peres Projects.
Rebecca Aykroyd Mirror Stage
地点:马塞洛方达科(Fondaco Marcello)
30124, C. del Tragheto, 3415, 30123 Venezia VE, Italy
Mirror Stage presents a series of new works by artist Rebecca Ackroyd (b. 1987, Cheltenham, UK) assembled into a dreamlike installation in which the artist's unique process of reproduction and fragmentation reinterprets our perceptions of reality, desire, and disgust, and blends the known past with the present of opportunity into an intriguing illusion.
The exhibition includes large-scale paintings, on paper, cast sculptures and found objects.
Alex Katz
Claire McArdle 9
2022,油彩、亚麻画布,213.4 × 182.9 cm
Alex Katz 摄影: Charles Duprat
Alex Katz Claire, Meadow and Water
地点:威尼斯乔治·奇尼基金会(Fondazione GiorgioCini)
Claire, Grass and Water is a site-limited exhibition featuring three major groups of works created by Katz between 2021 and 2022, representing three key aspects of Katz's practice, highlighting his practice of pushing the boundaries of art over the course of more than 70 years. The Sala Carnelutti will feature large-scale, close-up paintings of inky seas and greenish-yellow meadows, while the Piccolo Teatro will feature a group of paintings inspired by the costumes of mid-20th-century American fashion designer Claire McCardell.
It can be said that during the Venice Biennale, from museums, art galleries, foundations to galleries, art institutions in Venice are almost all connected. Therefore, there are many exhibitions that open at the same time. In addition to the above exhibitions, we have also sorted out some of the exhibitions worth visiting during the same period:
伊娃·尤斯凯维奇(Ewa Juszkiewicz)个展
地点: 斯 (Palazzo Cavanis)
Eva Yuskeiewicz, studio in Warsaw, Poland, 2023
Image courtesy of Gagosian Gallery
罗伯特·印第安纳(Robert Indiana)个展
地点:旧行政官邸大楼(Procuratie Vecchie)
Elizabeth Wake/Alamy Stock Photo
杨沛铿：《附件庭院Courtyard of Attachments》
地点:Burrow Field
30100 Venice, Metropolitan City of Venice, Italy
Yang Pei Keng
The Hole of Avoidance (Not Yours)
2024, fish tanks, aquarium equipment, ceramics, plastic containers, light fixtures, metal racks, fish excrement and water, dimensions variable.
Commissioned by M+, 2024, Photo: Yeung Pui Hang, Photo: Ho Siu Nam
李圣子(Seund and Rhee)个展
Location: ArteNova
Li Shengzi, The Testimony of the Wind, 1965
沙兹亚·西莰达(Shahzia Sikander)个展
地点:Palazzo Soranzo Van Axel
Shazia Siyanda
《连根拔起的秩序，系列 3，No. 1》（Uprooted Order, Series 3, No. 1）
1997, Handmade acid-free paper with vegetable pigments, dry pigments, watercolor, tea, 16.8 × 9.2 cm
威廉·德·库宁(Willem de Kooning):
《威廉· 德库宁与意大利 Willem De Kooning e L'Italia》
地点:威尼斯学院美术馆(Gallerie dell'Accademia di Venezia)
Calle della Carità, 1050, 30123 Venezia VE, Italy
Willem de Kooning, Untitled XII, 1975
朱莉·梅赫雷图(Julie Mehretu):《合奏Together》
Venue: Palazzo Grassi
Campo San Samuele, 3231, 30124 Venezia VE, Italy
Julie Mehretu
《Entropy》
color lithograph and screenprint on Arches 88 paper，85.4 × 112.2 cm，White Cube
Rokkaku Ayako solo exhibition
地点:Palazzo Corner Mocenigo
Ayako Rokkaku
Untitled
2022,布面丙烯,194 × 259 cm
Courtesy of the artist and Gallery Target
何塞法·恩贾姆(Josèfa Ntjam):
《sp?c(i)es 的膨胀swell of sp?c(i)es》
Venue: Accademia di Belle Art, Venice
(Academy of Fine Arts of Venice)
何塞法·恩贾姆(Josèfa Ntjam)
The Swelling of Sp?c(I)es
2024, Cinematic Rendering.
Commissioned by the LAS Art Foundation.
致谢：艺术家；LAS Art Foundation; Galerie Poggi, Paris; and N? COLETT?, London ? ADAGP, Paris, 2024.
吉姆·戴恩(Jim Dine):
《锻造厂里的狗 Dog on the Forge》
地点：Palazzo Rocca
Piazza Giacomo Matteotti, 2, 16043 Chiavari GE, Italy
Jim Dane
《熔炉上的狗 DOG ON THE FORGE》
2023,青铜,1.8 × 4.1 × 1. 50 cm
CREDITS: ARTIST AND TEMPLON, PARIS/BRUSSELS/NEW YORK
Photo: Artist's Studio
弗拉特卡·霍瓦特(Vlatka Horvat):
《通过手头的手段By the Means at Hand》
地点：Croatian Pavilion, Fàbrica 33
Calle Larga dei Boteri, 5062, 30121 Venezia VE, Italy
Vlatka Horvat
Venice (at hand) # 1, 2024
Credits: Artist
(Article from 99 Art)
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