Koki Tanaka, installation view of exhibition in Japan Pavilion, Venice Biennale, 2013
One of the frustrations of art fairs, biennales and the like is the intense time pressure of trying to see everything you want to see in a day (or contemplate buying another ticket to go back, an unappealing option even if one has an extra day free to make it possible), making video and performance works really tricky. On the plus side, the excuse to have a bit of a sit down is often welcome so it’s not all bad. Certainly at last year’s Venice Biennale some of the works I enjoyed the most were time based including a number I really wanted to go back and spend more time with given the chance (didn’t really happen in the case of the things I most wanted to revisit, unfortunately, but that’s the way it goes really). I’ll write more about some of the works that have stayed with me most clearly in the coming days, I hope, but I’ll start with a show that mixed video and objects in a space that still bore the traces of the previous year’s architecture biennale. None of which is what interests me most about the work.
Given that this is the season on sparkly lights, it seems timely to remind myself about Joana Vasconcelos’s Trafaria Praia, the Pavilion of Portugal at the 2013 Venice Biennale. Part art installation, part ferry, this was an unusual space even for Venice. Vasconcelos transformed a Lisbon ferry into an installation that made regular tours of the lagoon. The boat was moored close to the exit of the Giardini – one of the two main Biennale sites and home to many national pavilions – but those who timed their visits right could take a short trip around the lagoon on the Trafaria Praia.
Given more time, I suspect I’d have enjoyed the trip well enough but the pressure of trying to see everything I want to at biennale is such that time based works are inevitably tricky and this is a city where being on land is the novelty so my visit to Trafaria Praia was restricted to visiting the boat at its mooring point. Until I boarded the boat I’d kind of forgotten about the excess of Vasconcelos’s work but, even if it’d been really fresh in my mind, nothing of hers I’ve seen before would have quite prepared me for this.
John Pawson, Perspectives, 2011 (installed in San Giorgio Maggiore, Venice, 2013)
So, having lost my blogging mojo in 2013, it’s clearly time for a bit of a fresh start and a resolution to get back to writing random stuff about art on a vaguely regular basis in 2014.* It seems appropriate to start with a bit of a catch-up on things I’ve seen or been preoccupied by recently but not rambled on about. In some ways I quite like getting a bit of distance on stuff before posting so expect a preponderance of posts about the things that have stuck in my mind most clearly from 2013.