The Ney Yorker. com
The Art World - "Big Ideas" The Venice Biennale by Peter Schjeldahl June 25, 2007
...) "Visitors whose attention skates over the depths of perception and feeling in Storr’s Biennale are not wrong, if the purpose of new art now is, as the dictatorship of commerce affirms, to enable a general glorying in products of creative crackle and fizz, never mind graver yearnings of the soul and dire news of the day. I can’t condemn the skaters, given that sheer energy, no matter how apparently feckless, is always the truest sign of what will distinguish the art, and the styles of enthusiasm, in any era. Art doesn’t change the world, and the world changes art only in ways that, whatever else they may be, are consistent with unforced pleasure. By insisting on contemplative absorption and civic conscience, Storr is a bit of a schoolmarm, demanding dignity of irresponsible pupils. But he marshals a lot of artistic talent to his side—and, for clarity and rhythm of presentation, his shows constitute by a long shot the most elegant of the several Biennales I’ve seen. I think the event will be remembered as a cautionary service, conservative in spirit and progressive in principle, to a frenetic time.
As fotos e o mapa das periferias multiculturais e pós-coloniais, o que se chamou 3º Mundo ("Mondos del Arte")
"antes de publicar nuestros extensos reportes visuales sobre la Bienal de Venecia y la Documenta de Kassel, les ofrecemos ya un recorrido rápido por Venecia incluyendo 40 imágenes: *Bienal de Venecia: Primer Foto Tour* / A fines de junio seguirá un recorrido por la Bienal, con fotos e informaciones sobre obras de aprox. 120 participantes. Detalles sobre las 24 muestras y pabellones que cubriremos" (ver mapa)
"The worst art show ever"
Richard Dorment searches desperately for signs of artistic talent at the 12th 'Documenta' show in Kassel, Germany
(...) "The only thing a critic can do is to try to distinguishistinguish between what was done deliberately, and what is simply bad taste. To create their exhibition, Buergel and Noack began by choosing themes so vague as to be meaningless, ranging from "Is the modern our antiquity?" to "What is our mere life?" This enabled them to include any work of art by any artist, living or dead, from any era in history right back to the 16th century." (...)
(...) This is a show organised by two pseuds and intended for graduate students and people who don't really like visual art at all."
+ In pictures: Documenta 12
"100 days of ineptitude", by Adrian Searle
"It cost £14m and claims to set the world's artistic agenda, but Documenta 12 leaves Adrian Searle lost and confused"
Tuesday June 19, 2007 - The Guardian
(...) "What really matters is our encounters with art, the sparks that fly between things. We have to hold on to the stories we tell ourselves as we look. The trouble is that so intrusive is the installation design, and so confusing the layout, that everything rapidly turns into a kind of visual sludge."
From The Sunday Times, June 17, 2007
"This year’s Venice biennale is bigger, but not better" by Waldemar Januszczak
Searching for the wow factor in the flickering light of hundreds of videos
times onl ine
(...) "As always, the biennale includes an ambitious mixed exhibition whose task is to bring us up to date with a particular aspect of contemporary art. The theme this year is Think with the Senses, Feel with the Mind: a seemingly meaningless phrase that, if you switch off 99% of your brain and leave the remaining 1% on instinct, sort of says something and sort of describes what Penone is doing. Unfortunately, the show saddled with this elusive title is, in the main, an underwhelming affair that fails to make good use of its fantastic location – a set of cavernous and becolumned warehouses that used to house the arsenal of the Venetian republic." (...)
& Watch Waldemar Januszczak's exclusive video tour of the Venice Biennale