Deciding not to let the incident ruin our day we headed to the Giardini, complete with a yummy packed lunch to make up for the failure of breakfast. If Venice is an exception to the rule of great food in Italy, then the Biennale is an exception to the rule of mediocre food in Venice. If I was to offer one tip it would be to NEVER eat from a Biennale cafe.
So with our spirits raised anticipating a fun day out we entered the Giardini. We were swiftly met with Thomas Hirschorn's shocking installation for the Swiss pavillion and realised the day in store was not going to be as rosy as expected. That's good though, art is supposed to provoke isn't it?
We progressed through Venezuela, Korea and Japan. Russia came as no great surprise but we thoroughly enjoyed the interactive performance work in the basement space. Infact as the day went on we noticed performance collectives were getting a good airing this year.
Germany had opted for a stuffed rabbit this time, instead of a stuffed cat. I'm still deciding what I think of this pavillion. Canada and Austria were a joy, both painting, as was the Nordic pavillion. I'm sure the spaces themselves contribute to the work produced. The Nordic pavillion is perpetually excellent, but seems to bring out a domestic theme.
Time for lunch. A much more satisfactory meal.
My prize for worst pavillion goes to Venice's Luis Vuitton exhibit, which was predictable and uninteresting. But enough of my grumbling, which I'm very good at, time to recommend some favourites...
As previously mentioned Austria (Markus Schinwald) was interesting and unexpected. I really enjoyed Christian Boltanski's effort for France and Australia (Hany Armanious) and Great Britain (Mike Nelson) are well worth a look. I probably spent the most time in the Israeli pavillion (Sigalit Landau) - some beautiful video work, playful, lighthearted and personally involving the audience, but with a serious message and hauntingly hummed soundtrack. Denmark was another triumph (or parts of it), especially Svankmajer's surrealist film.
Again, as with the Arsenale, I was disappointed to see the artwork not being looked after as much as I would have expected. I know I've visited late in the festival, but I did expect higher standards. Greece and the USA were particular culprits of letting their artwork slip over time. The walls were scuffed and grubby and the invigilators were tired and uniterested, like sulking teenagers on a school trip to a gallery.
As we walked around we wondered as much about the pavillions as the artwork, how they have been adapted over the 54 years of the biennale. There must be at least 54 layers of paint on the walls. It means that every year the space gets that little bit smaller. We also realised how lucky we are that international art's language is predominantly English. All the artworks, if they were not made in the language in the first place, were definately translated into it, or had English subtitles. It made me feel a bit rubbish and vow to learn more Italian.
After six hours we had art-fatigue. Chicetti were on the cards again. If you make you're way up Strada Nuova and manage to resist McDonalds there is a lovely little bar down the side alley called Alla Vedova, expensive but perfect. After a few nibbles and small ombra we made our way to Al Ponte again for a few Proseccos. Uncharacteristically a fight broke out between two locals over each other's willingness to share their cigarettes. One of the culprits got knocked down, a girlfriend got involved and had to drag him home. "You're dead to me" shouted one. "I'm going to pee in your arse" replied the other (aparently this is an Italian insult). We had a friend who could understand the whole thing who lives in Italy translating for us.
So the end of an eventful day, I now feel like a tour guide and art critic all rolled into one! I'm knackered!
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