Friday, May 26, 2017

Venice Biennale: Whose reflection do you see?

By Holland Cotter
Roberto Cuoghi’s “Imitazione di Cristo” (“Imitation of Christ”) at the Italian Pavilion of the 57th Venice Biennale.
VENICE, Italy---Timing isn’t everything, but it’s a lot. If the bland, soft-power 2017 Venice Biennale, called “Viva Arte Viva,” had arrived two, or four, or six years ago, it might have passed muster, even made sense. But coming post-Brexit and post-Trump, it feels almost perversely out of sync with the political moment, and nowhere near strong enough to define a moment of its own. At the Arsenale, Zad Moultaka’s sound-and-light apocalypse in the Lebanon Pavilion, with a bomber fuselage at its center, is something to see, as is Roberto Cuoghi’s sexy sculptural mortuary at the Italian Pavilion, organized by Cecilia Alemani. [More]
Roberto Cuoghi, The Imitation of Christ, the plastic tunnel and some of the figures inside it during the deterioration process; photos © Inexhibit, 2017
Roberto Cuoghi, The Imitation of Christ, the figures of Christ are finally dried and their fragments recomposed on a dark wall; photos © Inexhibit, 2017