[Many thanks to Veerle Poupeye for bringing this item to our attention.] Alex Greenberger experiences that “Belkis Ayón Work Touring from Russia Gained’t Make It to Venice Biennale Primary Present Because of Warfare in Ukraine.”
A lot has been made on the Venice Biennale of artist Pavlo Makov’s Ukrainian Pavilion and of the last-minute addition of a Palazzo Ucraina for protest-minded artwork. However indicators that the warfare had deep results on the Biennale this 12 months are additionally evident in different methods within the competition’s important exhibition.
Within the Arsenale part, a piece by Belkis Ayón that belongs to a Russian museum isn’t on view as a result of it couldn’t journey to Italy. And within the Giardini part, there’s a newly added work by the Ukrainian artist Maria Prymachenko.
The Ayón work, her three-part 1991 portray La consagración, belongs to the Russian Museum in St. Petersburg, and was included within the 2018 Berlin Biennale. It was to be one of many first works viewers noticed upon coming into the Arsenale, as a part of a grouping of work by Ayón which might be paired with a big sculpture by Simone Leigh. “Due to Russia’s invasion of Ukraine in February 2022, it was not possible to point out the unique work right here,” wall textual content for the Ayón portray reads. The portray now seems as a large-scale print that’s pasted to the wall.
The Prymachenko work, a 1967 gouache known as Scarecrow, seems to have joined Cecilia Alemani’s important present comparatively late within the recreation, since Prymachenko didn’t seem on the artist record when it was introduced earlier this 12 months. The portray portrays a fancifully coloured being whose tongue sprouts a flower. [. . .]
For full article, see https://www.artnews.com/art-news/information/belkis-ayon-venice-biennale-russia-museum-ukraine-1234625972/