Sarah Sze Forages And Deposits A New Installation At Venice Biennale

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Sarah Sze’s installations incorporate everyday items from toothpicks to light bulbs, and “Triple Point,” her most recent endeavor at the Venice Biennale, is no different. Ladders, paper scraps, aluminum rods, sleeping bags, and other finely scavenged items collect and assemble to create a whole new type of machinery: a thinking one that has to do with re-assessing value and investigating the romanticism of objects at play with one another in this never-ending Milky Way of constructs.

According to The New York Times, Sze “wanted the installation to bleed out into the environment.’’ This is relevant to not only the pavilion itself, where the bulk of her work sprawls from room to room and outward onto the exterior landscaping, but also the neighboring community.

Blazing a cryptic trail, before the opening, Sze deposited a series of fake rocks (aluminum structures wrapped in photographs of rocks) sporadically in unexpected places, sometimes, with local businesses, who now house them in unconventional spaces, often along with their own imaginative origin stories. The intention is to lead patrons into the exhibit slowly, almost subconsciously, as though foraging their own trail into the surprising wilderness of Sze’s art.

More images of the installation and a video after the jump.

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Ai Wei Wei’s Politically Powerful New Installations For The 2013 Venice Biennale

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Iconic Chinese artist Ai Wei Wei has never shied away from political ideas in his art.  His contributions to this year’s Venice Biennale are no exception.  Bang utilizes 886 stools to create this sprawling installation.  Such three legged stools were traditionally handcrafted and a common item in many Chinese households.   They had numerous uses and were often passed down through generations.  With the onset of the Cultural Revolution and modernization such stools soon disappeared.  The enormous structure seems to have grown uncontrollably but organically – much like the explosion of growth in population urban centers, and consumer products.

Straight addresses the tragic 2008 Sichuan Earthquake and specifically the thousands of children’s lives claimed by the disaster.  Ai Wei Wei straightened 150 tons of mangled steel rebar and neatly stacked in the project space.  While bringing to mind the suspicion of shoddy school construction the installation also serves as a vehicle to mourn, remember, and address.  Straight reflects Ai Wei Wei’s desire to straighten out the complexities and problems surrounding the massive casualties.  [via]

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