by the-biennial-project 31. October 2011 17:38











To read the press materials about the Venezuela Pavilion in the 54th Venice Biennale is to be underwhelmed to say the very least.  To sum it up, the Pavilion is described as having three “contemporary art projects in a single show, two of which are individual projects and the third a collective one.”  The writing that appears in both the press release and in the official catalogue goes on to say that the show entitled, “Espacios, emerges from the idea of studying and analyzing the interaction and encounter between the artist (artwork), spectator (who activates the artwork), and the vessel (the space that is susceptible to or facilitates this encounter), which in other words are three readings of the sine qua non-relation-condition of visual arts” …

have you started pounding the tequila shots yet to alleviate the numbing of your brain from such boring drivel?

If I had read either the press release or the catalogue before visiting the Venezuela Pavilion I would have missed one the highlights of the 54th Biennale—the energetic, riveting and hilarious work of Francisco Bassim’s Gran Interior installation of paintings.  Set in a great open room of the Carlo Scarpa-designed buiding that was constructed in 1954, Bassim has created a number of acrylic-on-canvas-instantly-recognizeable-figures from the 20th and 21stcenturies.  The cartoonish characters, looking equally like paper dolls and refrigerator magnets with a mix and match approach to the heads and bodies, fly, float and zoom along the walls of the great room.

Many of the great heroes and anti-heroes of the last 100 years make an appearance.

A fanciful Hannibal Lecter is on roller blades and a Jack Nicholson (Batman) Joker with a cherubic body sits on the lap of His Holiness, the Pope.

Mona Lisa kicks across the wall as akarate kid. Frieda Kahlo swoops down in a little girl’s sailor outfit wearing a pair of those kid shoes that have little miniature wheels on them.  Michael Jackson appears in an enigmatic outfit—it could belong to a cheerleader or a basketball player—offering a bouquet of roses to the viewer.  Albert Einstien is a kind-of-buff-yet-starting-to-go-slack-old-man that pants creepily at the audience from his place on the great wall.

Of course the usual modern political suspects are there too.  Barrack Obama has the body of a vulnerable naked child protecting his private parts.  Adolf Hitler looks like a cliff diver swooping down on Obama  while Joseph Stalin innocently swings through space dressed as a child but sporting a pair of Mary Jane shoes.   George W (the younger) seems lost in reverie (uh-hmmmm!!!!) dressed in a polyester-esque circa 1974 roller derby outfit.  He hovers above one of the Queen’s corgis.  Mao sits nearby in  similar costume—also seemingly lost in his own thoughts.

Both Bush and Mao have sweet un-bequiled expressions on their faces …

who would believe that either one could be an evil-doer …

Glaring over the shoulders of both W and Mao is Lady Liberty.  Her face is unmistakably masculine and worried/hurt/angry though her clothes are of a young girl who might be attending a Sunday school party.  Her body language clearly suggests that she is offended.

The Gran Interior—which mixes recognizable characters with numerous anonymous cherubs that are also flying and floating on the walls is clearly a nod in general to the great historical paintings of the Italian Renaissance masters—many who worked in Venice..  The press release also suggests that the installation “refers us directly to rich and controversial conceptual boundaries between painting and decoration, which are of course present in Tintoretto’s work for the Scuola Grande di San Rocco in Venice.”

For me,  Francisco Bassim’s random, playful, but yet often ironic creation of such historically loaded characters was fascinating.  Ultimately the fanciful mix and match treatment resulted in a great equalizing factor—whether the “celebrity” had been considered a hero or a villain prior to my encounter with the installation, I was left with the notion that they all, ultimately, had been children once …

As a post script, The Biennial Project had the pleasure of meeting Francisco during the opening week of the Biennale.  We shockingly learned that he has not exhibited in the US.


His work truly is  not to be missed.


Venice Biennale Campaigns

There BUTT for the grace of god - a tale of Biennial Project Daring Do

by the-biennial-project 29. October 2011 15:45

As International Art Rock Stars, Biennial Project Members live large.  We dream large, we think large, we create large, and, of course, we vacation large.  Never content to rest on our considerable laurels, Biennial Project Members are always out there living on the edge - trying new and exciting activities. seeking thrills, testing the limits of our body’s endurance - driven by an unquenchable thirst for new experience. Thus, one recent idyllic summer afternoon, when reason might have told us to remain in the hammock reading The Enquirer, we instead took up the considerable challenge of Rope Swinging.  At first all went well.  There was, after all, no need to be afraid -


The first plunge – an entrancing mix of grace and athleticism -


The second plunge – from even more fearsome heights -


Then, as it often does with those cursed with the need to ignore those voices that tell you when enough is enough, tragedy struck!




The results, documented fearlessly below, would have been enough to send any mere mortal running screaming to the refuge of the nearest ER!



But not someone born to that Band of Fratricidal Siblings known to the world as The Biennial Project! Oh We Few, We Happy Few! We know an opportunity for self promoting heroism when we see it!  As Shakespeare put it (paraphrased and shortened a little of course – we don’t have all day, and that Old English thing gets irritating) -

    If we are marked to die, we are now
    To do our country loss; and if to live,
    The fewer men, the greater share of honour.
    By Jove, I am not covetous for gold,
    But if it be a sin to covet honour,
    I am the most offending soul alive.
    He that outlives this day, and comes safe home,
    Will stand a tip-toe when this day is named,
    He that shall live this day, and see old age,
    Will yearly on the vigil feast his neighbours,
    Then will he strip his sleeve and show his scars.
    Old men forget; yet all shall be forgot,
    But he'll remember, with advantages,
    What feats he did that day. Then shall our names,
    Familiar in his mouth as household words-
   Anna, Eric, Laura-
    Be in their flowing cups freshly remembered.
    This story shall the good man teach his son;
    From this day to the ending of the world,
    But we in it shall be remembered-
    We few, we happy few, we band of brothers;
    And gentlemen in England now-a-bed
    Shall think themselves accursed they were not here,
    And hold their manhoods cheap,

etc, etc, more stuff about problems in England or France or something, you get the idea.

The point is that we are brave, really brave, and so instead of going to the hospital,


We took pictures! Lots of pictures!  Brave, heroic pictures!  Talk about your Triumph over Adversity!


We see a lifetime movie coming out of this!

Yours in Heroism,



Adult Content | Other Campaigns and High-jinks

The 2011 Gwangju Biennial: Challenging Notions of Design

by the-biennial-project 29. October 2011 08:43

by Dee Mason for The Biennial Project


The definition of design, according to Merriam-Webster is “to create, fashion, execute, or construct according to a plan”. Design biennials, massive arts events that showcase the design prowess of particular cities or regions, have appeared at a rapid rate since the 80s. There are more than one hundred events occurring each year around the globe, primarily during the September design “season”, with the Biennial Foundation in Athens, serving as the non-profit overseer for many of them. In the sea of biennials, the Gwangju Biennial in Gwangju, South Korea, has emerged as a biennial to watch. With a reputation for showcasing innovation, and a markedly less commercial feel, the Gwangju Biennial is attracting worldwide attention.

Purposes and Goals

If you are in Southeast Asia this fall, or have the funds available to take some Tripbase flights to the region, make the time to visit the Gwangju Biennial to view the thought provoking, intelligent works on display.

Launched in 1995, the purpose of the Biennial was two-fold. The goal of the event was to both showcase Asian design, with a focus on South Korean designers, and to attempt to somewhat mitigate Gwangju’s reputation as an intolerant, militaristic stronghold. The site of the 1980’s massacre of hundreds of pro-democracy students, Korea’s sixth largest city has been struggling to redefine its image ever since. The 2011 Gwangju Biennial, which began September 2nd and runs until October 23rd is co-curated by Ai Weiwei, a dissident Chinese artist who was freed from prison in August after worldwide outcry, and award-winning Korean architect Seung H-Sang. Unlike some of the more commercially focused Biennials, like those in Venice or London, the Gwangju Biennial is more directly invested in art that pushes boundaries, either politically or aesthetically. This year’s theme is “design is design is not design”. A rather existential theme compared to festivals in Europe or the US, the Gwanju Biennial’s focus has resulted in a number of challenging works that clearly reflect both Ai Weiwei’s interest in politically motivated art and Seung H-Sang’s eye for form.


The Biennial is divided into four separate exhibitions. The “Named” exhibition showcases works that are a reflection of a move towards multi-disciplinary “total environments”, and an active movement away from static ideas of the individual designer versus the collective designer. The “Unnamed” exhibition showcases works that challenge the ways we define design and the idea of the designer, in an effort to explore what design can accomplish and how boundaries can be redrawn. The purpose of the “Communities” exhibition is fairly straightforward. The exhibition seeks to answer the question, “What is design?”. Finally, the “Urban Follies” exhibition explores the ways in which design evolves, influenced by the environment, and urban environments, in particular. Some of the works on display in the “Unnamed” section include the pamphlets handed out during the Egyptian uprising with instructions on how to effectively carry out acts of civil disobedience and plans for IED designs used in Afghanistan and other countries. South Korea is a plastic surgery capital, and there is video of the plastic surgery procedure used by mixed martial artists to reduce the amount of bleeding caused by blows to the head and face. The “Urban Follies” exhibit houses such interesting pieces as Atelier Bow-Wow’s pergola with a six-storey periscope.


Unlike many other Bienniales, the government funds the Gwangju Bienniale. Consequently, there are no commercial ventures displaying their latest innovation in exchange for their sponsorship dollars, or technology companies vying for attention with flashy displays. Instead, the Bienniale is focused on presenting work that makes us all question where design comes from, what it means, and how it fluid it truly is.


Critical Run Sydney

by the-biennial-project 27. October 2011 16:04


CRITICAL RUN  SYDNEY                       Marlene Sarroff

Artists with a social conscience have always looked to a group or a movement that provides a space for expressing ideas and debate on issues of the day. Critical Run Sydney was first activated in April 2010 by two Sydneysiders, Saha Jones and Nicole Dennis. The Critical Run provides Sydney artists with a platform that generates debate on social and political issues, actually an art format - that becomes a frame of interaction, form and expression, both visually and socially.


Nicole Dennis (left) and  Saha Jones (right), the facilitators of the Sydney Critical Run.

Critical Running is a debate format conceived by Danish-French artist Thierry Geoffroy. He has been creating stimulating situations that help participants develop their awareness of emergencies in today’s contemporary society. Each project intends to enable participants to face together, before it is too late, the important issues of today through debate. The Critical Run is a format for debating while running. In a collapsing world (he suggests) we cannot continue to sit and sleep through conferences or make small talk at openings. New forms of critical debate have to be activated. Running through the city, participants can train their awareness muscles on a journey that will leave them breathless and invigorated. This art format is an artwork in itself and has increased its focus on becoming widespread by expanding into a global artistic movement. It has spread to major cities worldwide including Moscow, Naples, Cairo, Brussels, Rotterdam, Barcelona, Venice, New York, London, Istanbul and now Sydney.


The Sydney Critical Run has staged several runs through different parts of the city, debating subjects that arise at the time and are topical and urgent.  During the 2010 Sydney Biennale, it created several  subjects for debate, mostly concerning the motivations and aims of the Biennale.  It included debates such as – ‘Corporate sponsorship for the arts - Do artists know the aims of their sponsors?’.
Members of the public were asked, ‘What is the theme of the Biennale?’ Another run took place in response to a sudden change of the Australian Prime Minister - Critical Run ran down King Street Newtown (an inner Sydney suburb) and debated issues of ‘political diversion, gender roles and democracy’ and ‘is social media ruining our lives?’, as well as ‘is coolness apathy?’


Artists are not known for their sporting prowess, so getting them to run could prove troublesome. The Sydney Critical Run invests an incredible effort into promoting the run, in having young energetic leaders, in talking up aspects of originality, art history, or the artist’s duty for advocating change  - all of course valid and important issues.  Immediately you find yourself saying yes, please count me in!


The Critical Run Sydney’s formal banner was SHOULD ARTISTS BE INSTITUTIONALIZED? In response to Goran Tomic’s exhibition ‘See Saw’, held at The Vanishing Point Gallery, we were invited to explore the topic based on Tomic’s own experience as a self taught artist. The run started from the gallery.

At first, the run can seem like an endurance test, depending on your level of fitness (or lack of). However, as the run progresses it becomes extremely invigorating. Although as you can imagine, it can be disconcerting when you are starting to sweat a little (or pant heavily) and a microphone is thrust into your face by a very fit knowledgeable inquisitor, and the questions roll out to you and there is no choice but to rapidly reply. Speech becomes an integral part of the run. As the critical run is a format for criticism, it’s not running to escape somewhere but running for solutions. It requires critical solutions.  The questions are fired and answers fired back, the thinking evolves, the group moves along. Words, thoughts, ideas have to be to the point, you can’t talk too much in between the slight gasping for breath. The video camera comes around to you - stamina and will power must avail as you can’t afford to appear too embarrassed about your public persona - although I think it is unavoidable. 


Upon completing the run you feel inspired and invigorated - a very positive experience all round. As Saha Jones says, ‘Critical run draws attention to the fact that we separate our minds and our bodies – it is trying to bring them back together. People think it is unnatural, they think, ‘Why do you need to run and debate? But it’s a metaphor, its really intelligent. If you are activating your body then in turn you are activating your mind, it leads you to new places, it gives you energy’.


The energy will be pumping at this years Venice Biennale as The Biennial Project and the Critical Run Group will meet - and it is anticipated that The Biennial Project will be putting their running shoes on. The theme of the Venice Biennale Critical Run will be ‘Can Freedom of Speech be Curated?’ – a subject that we are sure to have opinions on – that is if we can manage to make ourselves understood through our panting! See you there! See Venice Critical Run for more.


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But Seriously Folks……..

by pweiner 15. October 2011 08:45

Ok, we know that you, our fans, are used to a fun, art-oriented Blog post from us - and as you know, we generally aim to please.

But this week we feel that it is important to chime in and voice our support for Occupy Wall Street/Occupy Boston. 

Anna, Laura and Eric are all Americans living in the northeast of our fair country. We all feel the pain of barely keeping our heads above water.


Living here in The USA we notice how year after year life seems to get harder. We mourn the loss of ‘The American Dream’ which we took for granted and thought would always give us the chance to live decent lives.

Jobs have been lost, debt continues to pile up, and insurance rates keep rising while the services they provide seem almost non-existent.

Is anybody else shocked when they receive un-managable bills for things like the dentist or the veterinarian? Good health for our mouths and pets used to be a given - now they seem like unattainable luxuries. The list of economic grievances goes on and on.


Personally all three members of the Biennial Project have very real American stories of our own economical difficulties over the past few years.

We are not just the Jet Set International Art Rock Stars you know us as.

In reality we also work at other jobs simply to provide life’s basic necessities. None of us are starving or dying of poverty like a lot on our poor little planet, and with that in mind we are grateful to the lives we currently lead, but…..

Anna is a nurse who for the last 19 years has worked with the impoverished Spanish speaking population of Boston. Last spring she lost her job and now she is having the fight of her economic life trying to keep her house.

Eric works as a photographer. Work is scarce and the photography industry pay rate has not seen any increases in the past ten years. He also lost his home and is back to being a renter.

Laura is a real estate broker. There is not much to sell at the moment and her husband lost his employment and had to take a job three hours away from Boston for a lot less money and a whole lot more hours.

We all have parents who spent their life savings on complicated and inattentive medical care.  All of us have post graduate degrees and vocational training but we are always stressed out and feel like we are barely getting by.

The lists can go on and on.


Instead of complaining, we, The Biennial Project see that it is time to take action.


We, the Biennial Project stand with the brave and honest Occupy Wall Street/Occupy Boston organizers who are protesting against social and economic inequality, corporate greed, and the influence of corporate money and lobbyists on government.


You will see us at the gatherings; we will donate our time and resources to keep the organizations going and hopefully educate people on what is going on economically and what we can all do to make it better.


Let’s get this party started……

Occupy Wall Street


Occupy Boston


Photos by Leigh Hall and Eric Hess




by the-biennial-project 7. October 2011 08:47

It’s true – some ASSHOLE stole our painting.

But we’re not taking this lying down.

Click here for The Whole Sordid Tale!

The Story of the Lost Biennial Project Painting


You can see Our Beloved Painting clearly in the photo below,

on display at a cool, hip art gallery,

with attractive arty people in attendance.

Oh Dear Painting, how we miss thee!


otherpaitningbig copy


Other Campaigns and High-jinks

The Biennial Project Running of the Butts at the 2011 Venice Biennale

by the-biennial-project 29. September 2011 08:50

Think that nothing that The Biennial Project will do to get attention will shock you? 

The Biennial Project Running of the Butts at the 2011 Venice Biennale

The Biennial Project Running of the Butts at the 2011 Venice Biennale

    Think again.


Adult Content | Venice Biennale Campaigns


by the-biennial-project 7. September 2011 08:52
We Came…We Saw…WE PARTIED OUR ASSES OFF!!!!]]> The Biennial Project V.I.P. Opening Reception for the 54th Venice Biennale and Awards Presentation for the 2011 Boston Online Biennial is a smashing success!!

It all began, innocently and calmly enough, on a peaceful Sunday evening in the lovely hidden garden of a beautiful pallazo….

first garden

But the quiet would not last for long…….

eric steamersgarden w steamers

And before you knew it, the fabulous V.I.P. glitterati-filled gala was in full swing!!!!

anna streamers #5 people annalaura       

Old Friends were re-aquainted….


                                                                                                                                                                               New Alliances were formed….

                                                                                                                                           charlene and friend

And, yes, even recipes were exchanged!!


Perhaps the highlight of the evening was when The Biennial Project announced


with much fanfare--to the anticipatory masses that were gathered…

                                                                                                             bob audience

The Winners of the 2011 Inaugural Boson Online Biennial

—including the First Place Winner, Hans van Meeuwen!!!


In fact…..we would say that all in all it was a Good Timin’, Wine Guzzling (44 liters to be exact!), Hob-Nobbing, Uber-Networking, Seen-And-Be-Seen-Old-Fashioned-Throw-Down-Of-Party-Until-The-Clothes-Came-Off (more on that in our NEXT blog post!!!) Extravagana---the likes of which has not been seen since the days of yore when the founding mothers and fathers of Venice first dug out the canals and threw up the grandest palazzos!   There were Tate-showin’ artists and critics, collectors, and curators galore all engrossed in scintillating debates over the hottest theoretical art issues of the day!                                 

tom tate   claudio scintillating conver

Hell…we didn’t know the half of what was going on by the end of the evening….



we do know of one very special little hi-jinx….

and you’ll have to tune in next time to find out!!!


Art and Capitalism in Venice

by the-biennial-project 10. August 2011 16:59



Here is a great shot of Laura Rollins from The Biennial Project participating in a sublime guerilla performance art piece on the famed Academia Bridge in Venice during the recent opening week of the Venice Biennale 2011.

The other artist in the piece made replicas of Louis Vuitton purses as a statement on the vapid materialism and low self esteem of The International Tourist – those who spend way too much money on a simple bag decorated with this universally recognized status symbol of great disposable wealth.

You see if you look rich by flaunting your materialism, then you look better then the poor and therefore are treated with better respect. The symbol is meant to say to everyone who is not carrying a Louis Vuitton handbag that it’s owner is better then you, the non-owner, because the owner has more accumulated wealth then the non-owner, you.

The irony of this slyly subversive performance piece is that this bag IS a replica – a ‘knock-off’ - with the joke being that Laura (playing the role of The International Tourist to perfection) bought it for 15 Euros.


Laura is able to continue this artistic collaboration by gauging the reaction of the unknowing public. The pedestrians of the globe will look at this ‘art piece’ and make judgments on Laura, which are incorrect since they do not know that this is not an actual expensive Luis Vuitton bag.

The artistic statement is carried even further by the fact that the Western population knows that it is easy to get a knockoff Louis Vuitton Bag, sullying the shine of the actual real purse owning rich people – those who want to set themselves apart from the have-nots by this materialistic status symbol.

People will assume these people with ‘real’ extravagant means are simply putting on a show and will be questioned as being middle or lower class. The real middle and lower class people carrying the knock offs will go about their day thinking that others think they are more special, hence wealthy. In fact they are revealing their true position in the class structure, because we all know that people can and do buy fake Louis Vuitton pocketbooks.

You see the point that Laura and this ingenious Authentic Venetian Artist are trying to get across is that a knockoff Louis Vuitton purse is really the great equalizer in our modern capitalist society. The middle and lower class, by striving to appear ‘better then’, have brought the people who ‘are better then’ because of greater wealth, down to an equal surface level.


In doing this we can no longer judge people hiding behind their self created exterior status oriented presentation - and we are now able to look deep into their  souls full of insecurities and self doubt (which we all share, no matter what side of the tracks we were brought up on or ascended to).

This is not unlike Mao’s China where the citizens all wore identical uniforms. It made them all appear equal and they were better able to concentrate on more important aspects of life instead of the superficial.  The other parallel between the capitalist symbol of a Louis Vuitton handbag and the Communist China Uniform is that both are compromised designs.

In reality there is no individuality or creativity in either the uniform or the handbag. They are both simple and boring designs that are made to be demographically pleasing to a wide audience. All discerning aspects of design have been marginalized as to not offend or set anything or anyone apart. They both are made so the owner can fit into society by not standing out by their creative souls - but stand only thru the society in which they belong.


Another irony that Laura and this great, yet-to-be famous Authentic Venetian Artist are demonstrating by presenting this particular collaboration is that they are doing at The Venice Biennale during it’s opening week. This is a week where the most creative members of societies around the world are chosen to represent and converge together to for a week of individual expression.

The idea of a Louis Vuitton bag is the most uncreative artistic expression of self one can make. Here Laura and the splendid Authentic Venetian Artist have taken this  uncreative symbol of mass dulling of artistic or individual expression and made it a symbol that can take on new life as a tool to fool the population who don’t “get the joke”- i.e. The International Tourist and other boring people.

All of which proves once again that art provides a rich arena in which to examine the underlying dynamics of our society by re-contextualizing everyday events so as to reveal the truth lurking below, and that the members of The Biennial Project are the right people for the job.

Ciao baby!



by the-biennial-project 11. July 2011 17:53



I’m in Venice – at last – and, with its subtle mists and roaring crowds, it does not disappoint. I have seen my first ineffable sunset and have had the various parts of my anatomy shoved by an indifferent attendant into an impossibly packed vaporetto. So I’m in Venice and pretty indiscriminately happy, wandering around the ‘back-behind’ of mobbed St. Mark’s Square, escaping from the sun and heat and screaming masses of people, who, as Henry James observed a century ago, should immediately leave and let me properly enjoy all this alone, when I happen on the big red “Biennale” pennant outside an old building, church, whatever, and enter, mostly just to get a rest.

The place is dim, quiet, cool, and a bit of a ruin, stripped to its architectural bones, former function unrecognizable.  I climb the stairs to the loft and settle into a room-sized beanbag, and all I want or expect is about 15 minutes of peace.  Luckily not to be had.

As I become accustomed to the light, I see around me people transfixed by a large screen cycling into a new showing of Singapore’s ‘The Cloud of Unknowing,’ which turns out to be the trippiest experience one could possibly have without aid of hallucinogen or other radical brain alteration.  And no one already present is leaving.

The video cycles through six apartments in a low-rent neglected urban high-rise, showing its largish occupants, 4 men, one woman, and some vegetation, at various mostly ordinary occupations leading up to – what is this? — their envelopment by cloud emanating from various parts of their apartments, from the bookcases, appliances, furnishings.

It’s a wonderful set of contrasts between the ‘nothingness’ of the cloud and the persistent bulkiness of the humans (and possibly the plants as well), the mundanity of their quotidian existences and the magical things that happen to them as they’re being engulfed, the silence of the solitary, monastic modern high rise cells otherwise known as apartments, and the joyous uproar of a drummer exuberantly banging things from a zone somewhere between monastic gongs and pure rock and roll.

As the cloud descends, dreaming man is sucked into white-sheeted bed, drummer is subsumed by torrential rains, and moss-filled apartment just plain luxuriates … I think.

What’s it all about?  I’m not sure it’s really necessary to know this but the title of the video refers to a 14th century mystical Christian tract of the same name, and references a whole lot of Renaissance and later cloud imagery, and, now, the amorphousness of the digital universe, adroitly intertwining the twin threads of baroque and minimal that have so dominated contemporary art for the past several years.

Giving away the end – since it’s not likely to be in the local multiplex any time soon – as the screen fills with luminous cloud turning to pure light, the dark-ribbed old wooden loft begins also to fill with all-obscuring cloud.

Spectacle, you say?  You bet.  And I’d see it again.  And, what’s more, it’s stayed with me and resonated this past month as no blockbuster movie has ever been able to do.

One other point, about going to Venice.  Getting there cost an obscene amount of money and was a hard thing to decide to do in these times.  For anyone who still contemplates the purchase of, say, that big screen TV or latest i-thing, using the logic that these things are tangible and lasting whereas some vacation will be over in a matter of weeks,

my advice is to go for the real lasting thing, the trip.

True, I saw some really bad art, ate some mediocre food, was roasted, stomped on, and drenched by torrential rains, but this show alone (and it wasn’t alone in its wondrousness, ref. Swiss, German, Polish, and British Pavilions) was worth the price of admission. When the electronic objects are nothing but additions to the recycle bin, I’ll still have the Biennale and the aging Disney marvel that is Venice.


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