Angolan pavilion

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Le pavillon national de lAngola (Biennale darchitecture, Venise) (8170647337)

The Angolan pavilion, representing the nation of

Giardini. The first Angolan pavilion, which featured the photography of Edson Chagas, became the first African national pavilion to receive the biennial's top prize, the Golden Lion for best national pavilion. Chagas displayed poster-sized photographs of resituated, abandoned objects and weathered architecture in the Angolan capital of Luanda. Reviewers praised the interplay between the photographed subject matter and the Italian Renaissance
artwork that adorned the hosting palazzo's walls. The 2015 Biennale hosted a group show of five Angolan artists on themes of intergenerational dialogue.

Background

The Venice Biennale is an international

national pavilions hosted by individual nations, and independent exhibitions throughout Venice. The Biennale parent organization also hosts regular festivals in other arts: architecture, dance, film, music, and theater.[1]

Outside of the central, international exhibition, individual nations produce their own shows, known as pavilions, as their national representation. Nations that own their pavilion buildings, such as the 30 housed on the Giardini, are responsible for their own upkeep and construction costs as well. Nations without dedicated buildings, such as Angola, create pavilions in venues throughout the city.[1]

Prior to the pavilion's establishment, Angolan artists participated in the

2007 Venice Biennale's "African Pavilion", curated by Fernando Alvim and Simon Njami.[2]

2013

For the

National Insurance Company of Angola.[2]

The photographs on display came from Chagas's larger series, "Found Not Taken".[8] This series included conceptually similar photographs from cities besides Luanda.[9] By request of the pavilion's curators, Chagas solely used the Luanda photographs. The artist found the request agreeable because the smaller set of photographs did not take the series out of context.[8] The cities he photographed—London, Luanda, and Newport—each were preparing to host major events and, to Chagas, demonstrated a "sense of renewal" and rehabilitation in its culture. Coming from Luanda, where most resources and objects were reused, Chagas noted how consumer habits have evolved over time. He photographed each object in spaces where it interacted with its environment. Some objects were shot in nearly the same space as they were found, while others had to be moved. Through this method, Chagas felt that he learned the city's rhythm. He planned to continue the series.[8]

The pavilion was the biennial's "breakout star".

1:54 contemporary African art fair.[13]

Later years

At the

industrial revolution that would combine art, craft, and design. Other works included Binelde Hyrcan's humorous short video of four boys on an imaginary road trip, Délio Jasse's layered images floating in a basin of colored water, Nelo Teixiera's mask sculptures, and António Ole's assemblage of plastic tubs.[15] Ole also served as the exhibition's curator.[15][16] The show mounted in Venice's Palazzo Pisani a San Stefano.[15] The pavilion's commissioner, RitaGT, said that the Angolan Ministry of Culture had been a strong supporter of participation in the Biennale for its impact both on the country and in bringing its contemporary art to an international stage.[14]

Ole returned to represent Angola in the

Gulbenkian Museum 50-year career retrospective.[19] The documentaries and narrative films traced Angola's history and Ole's career.[20][21] The scenes focus on Angola's post-colonial independence, e.g., women singing at a carnival, the first Angolan president, and the forced migration of the Nambuangongo people. The films were projected onto the white walls of a two-story room.[18]

The country did not participate in the 2019 Biennale.[22]

Representation by year

# Year Title Artist(s) Curator(s) Location Ref
58th 2019 Did not participate – – – [22]
57th 2017 Magnetic Memory/Historical Resonance António Ole Maria da Silva de Oliveira e Silva, Paulo Kussy Correia Fernandes, Antonio Ole Venice Art Space, Fondamenta degli Incurabili [17]
56th 2015 On Ways of Traveling Francisco Vidal, António Ole, Binelde Hyrcan, Délio Jasse, Nelo Teixiera António Ole Palazzo Pisani a San Stefano [15]
55th 2013 Luanda, Encyclopedic City Edson Chagas Paula Nascimento, Stefano Rabolli Pansera
Palazzo Cini
 [4]

References

  1. ^ a b Russeth, Andrew (April 17, 2019). "The Venice Biennale: Everything You Could Ever Want to Know". ARTnews. Archived from the original on April 20, 2019. Retrieved April 22, 2019.
  2. ^
    JSTOR 43306199
    .
  3. ^
    New York Times Magazine. Archived
    from the original on November 9, 2017. Retrieved February 8, 2017.
  4. ^ a b c d O'Toole, Sean (September 14, 2013). "Africa in Venice: The 55th Venice Biennale". Frieze. Archived from the original on June 14, 2016. Retrieved February 9, 2017.
  5. ^ Cotter, Holland (October 19, 2018). "Venice Biennale in Its 55th Edition". The New York Times. Archived from the original on March 20, 2019. Retrieved May 12, 2019.
  6. ^ Cascone, Sarah (June 6, 2013). "Tino Sehgal, Sharon Hayes, Angolan Pavilion Among Venice Biennale Prizewinners". Art in America. Archived from the original on September 19, 2015. Retrieved May 12, 2019.
  7. ^ a b c Sousa, Suzana (May 28, 2013). "C& in conversation with Edson Chagas: 'Most of my work is series. It's a method that reflects how I feel things.'". Contemporary And. Archived from the original on February 11, 2017. Retrieved February 9, 2017.
  8. ^ Sebambo, Khumo (September 16, 2015). "Edson Chagas' photographs are simple and striking". Design Indaba. Archived from the original on February 11, 2017. Retrieved February 9, 2017.
  9. ^ a b c Sherlock, Amy (June 5, 2013). "55th Venice Biennale: The Golden Lions". Frieze. Archived from the original on October 29, 2017. Retrieved February 10, 2017.
  10. ^ Dickersbach, Safia (June 10, 2013). "Angola Wins, But Germany's 'ART Das Kunstmagazin' Wonders: Where Is Angola?". OkayAfrica. Archived from the original on August 12, 2016. Retrieved February 10, 2017.
  11. ^ Mark, Monica (July 10, 2013). "Africa's art flourishes as the newly wealthy wake up to its value". The Guardian. Archived from the original on March 10, 2017. Retrieved March 3, 2017.
  12. Artsy. Archived
    from the original on March 12, 2018. Retrieved July 23, 2015.
  13. ^ a b Diallo, Aïcha (May 5, 2015). "Venice Biennale 2015: 'Our strategy is pretty much about a dialogue between generations'". Contemporary And. Archived from the original on November 14, 2021. Retrieved February 10, 2017.
  14. ^ a b c d Cembalest, Robin (May 11, 2015). "Venice Highlights 2015: Pavilions and Collateral Events". Art in America. Archived from the original on May 18, 2017. Retrieved May 12, 2019.
  15. ^ "The Venice Questionnaire 2015 #6 : António Ole". ArtReview. April 14, 2015. Archived from the original on November 14, 2021. Retrieved August 12, 2017.
  16. ^ a b "African Perspectives at Venice 2017". Contemporary And. May 9, 2017. Archived from the original on June 13, 2017. Retrieved June 1, 2017.
  17. ^
    Sothebys.com. Archived
    from the original on January 26, 2020. Retrieved January 26, 2020.
  18. Sothebys.com. Archived
    from the original on October 24, 2020. Retrieved January 5, 2020.
  19. ^ Kabov, Valerie (May 22, 2017). "Viva Africa Viva! – Africa at the 57th Venice Biennale". Art Africa Magazine. Archived from the original on November 6, 2019. Retrieved January 5, 2020.
  20. Agência Angola Press. May 9, 2017. Archived
    from the original on May 9, 2017. Retrieved January 5, 2020.
  21. ^
    Artsy. March 20, 2019. Archived
    from the original on March 30, 2019. Retrieved May 4, 2019.
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