Roberta Smith writes:
When it comes to dense, out-of-control concentrations of contemporary art, there is nothing like the Venice Biennale. With its big central exhibition, its ever-rising number of national pavilions and the scores of collateral shows organized in museums, galleries and palazzos all over the city, the Biennale never stops.
The multiheaded beast of the Biennale reflects the hopes, dreams and decisions of thousands of individuals and organizations: artists, curators, museum directors and trustees, art dealers, corporate sponsors and a United Nations’ worth of governmental bodies and functionaries, not to mention well-heeled collectors from around the globe determined to raise their profiles with lavish parties, displays of their art holdings or both.
The rest of us just live in their world, trying to make sense of the spectacle of art, money and ambition they generate, taking pleasure and insight where we find it, which is as often in the city itself as in the array of artworks dished up for our momentary delectation.
Top: Adrian Villar Rojas, The Murder of Your Heritage, which I think looks really cool.
Center: A painted head by Barry X Ball.
Below: Carol Bove, The Foamy Saliva of a Horse (2011)