A novel by Argentinian Jorge Consiglio, a personal dictionary by Uruguayan Ida Vitale, and poetry by Mexican Homero Aridjis
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Chinese contemporary art
SIMON DUFF walks us through a fascinating display that is bold, optimistic and spiritual
View of the China pavilion
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
Atlas: Harmony in Diversity
Chinese pavilion, Venice Bienale
VENICE, in all its majesty and cultural splendor, is a city that needs a Biennale more than ever. As the population continues to decline and many buildings lie empty a new focus and cultural re-awakening is vital.
The 60th Biennale, entitled Foreigners Everywhere, is designed to showcase art from around the world and runs from April to November in venues across the city. There are many highlights: painting in the Venice pavilion, the extraordinary film and sonic work about the Ukraine war in the Polish exhibition, the ambition of hyper-historical migrant themes in the Spanish Pavilion.
But the work that perhaps best demonstrates the tightrope balancing act of looking both to the past and future is highlighted at the China Pavilion.
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