You’ll find all the practical information about getting to the Biennale and its layout on that post.
Just a note to remember. Forty eight hours in Venice will give you ample time to visit the bulk of the ticketed sites, and probably enough time to visit nearby exhibits like Macau and Hong Kong. Seventy two hours will give you the ideal amount of time to soak in Venice and navigate around its maze of canals so that you get a taste of the best of the collateral events too. But be warned. Venues are closed on Mondays, so if you’re thinking of making a long weekend out of your trip, be ready to hit the pavements on Friday morning.
To get the most out of Arsenale you’ll need a full day. On Fridays and Saturdays the site is currently open until 8pm…worth noting and taking a packed lunch if you’re prepared to be a real trooper!
This year there’s a lot to see at Arsenale, particularly in the Corderie and Artiglierie areas which function as collective exhibitions and that host over 100 different artists this year. This in addition to a couple of dozen international pavilions that are scattered around the old ship yards.
There’s so much different work on show, particularly in the Corderie and Artiglierie that it would be impossible to cover in a single blog post. So what I’m going to do is focus on the six things I think you should not miss here and let you explore this maze at your own pace. In addition, I’ll give you the tips for what I think are the six best national pavilions scattered around Arsenale and then a couple of little diversions to keep it challenging.
Nearby Terry Adkins’ work is a piece by Italian artist Monica Bonvicini (Room #2). A former winner of the Golden Lion (1999), Bonvicini, in addition to being a presence on the international biennale scene, has also exhibited in major spaces since taking home the prize. Latent Combustion (2015) is a jarring, conceptual installation piece. Like roses being hung and dried, Bonvicini suspends her bouquets of black, rubber lacquered chainsaws from the ceiling. They dare you to walk in and amongst them, repelling you with their muted violence and the pungent smell that the industrial materials off set.
Nidhal Chamekh studied at the Fine Arts school of Tunis and lives and works in Paris. In light of recent events that have taken place in his native Tunisia, Chamekh’s series De quoi rêvent les martyrs 2 (EN: what do martyrs dream of 2) is sadly poignant. Artists rarely commit to large scale works without doing preparatory drawings (or digital designs beforehand these days). Martyrs on the other hand focus on the end and their end goals.