“All the World’s Futures” is not so much a theme as it is a statement of intent in the sense that the exhibition comes at a particular moment of global history and I am pretty sure that every decade has had its trouble and difficulties.”
“There are three filters in the program of the exhibition. There is the “Garden of Disorder.” There is “Capital: A Live Reading” by Karl Marx. And there is “Liveness: On Epic Duration,” which is an attempt at working with the idea of how the space and time of the exhibition can go inside.”
“I am not interested in the Hegelian dialectic. I’m not interested in a kind of synthesis which summarizes everything. I don’t even think it’s possible to work with encapsulation to understand the current contemporary art today.”
“I would say the age of the Biennale was in the 90s. But the age of the Biennales is over. We are now in the age of the art fairs and auction houses. We are now in a time where we are intimate with the name of the auctioneer. That is kind of amazing that you know the name of the auctioneer!” (1)
Okwui Enwezor
(1) all quotations taken from the interview Okwui Enwezor: Art World Should Shrink Its Footprint in DW online in conversation with Rainer Traube on 11.03.2015
Andrew Smaldone
56. Esposizione Internazionale d’Arte – la Biennale di Venezia, All the World’s Futures
56th International Art Exhibition – la Biennale di Venezia, All the World’s Futures
Photos of works by Terry Atkins, Lorna Simpson, Chris Ofili, Marlene Dumas (installation view), Victor man, Isa Genzken, Adrian Piper, Hans Hacke (installation view), and Adreas Gursky by Alessandra Chemollo
Courtesy by la Biennale di Venezia
All other photos by Andrew Smaldone
Editing: Eloise Ghioni
