MOONBEAM (2020)Painting by Adele Mosonyi
Exploration of the Contemporary Core of the Venice Biennale 2024: An In-Depth Look at the Central Themes
The 60th edition of the Venice Biennale of Art, titled "Strangers Everywhere," draws inspiration from a series of works created by the collective Claire Fontaine since 2004. These works, neon sculptures in various colors that display the phrase "Strangers Everywhere" in multiple languages, encapsulate the central themes of the exhibition. This phrase, originally adopted by a Turin collective to combat racism and xenophobia in the early 2000s in Italy, lays the groundwork for an exploration of global crises arising from wars and the movement of people across nations, territories, and borders. Such events highlight the dangers and challenges related to language, translation, nationality, and disparities governed by identity, race, gender, sexuality, freedom, and wealth.
Thus, "Strangers Everywhere" resonates with multiple meanings, suggesting that wherever one goes, they will inevitably meet strangers, which in turn highlights the omnipresence of the concept of strangeness. It also implies that, regardless of one’s position, an intrinsic foreignness persists in every individual.
The Venetian exhibition features 331 artists and collectives who have lived or live in and between 80 countries, including Hong Kong, Palestine, and Puerto Rico. Their diverse participation underlines the migratory nature of artists for various reasons. The main focus of the Venice Biennale 2024 is indeed on artists who are foreigners, immigrants, expatriates, members of the diaspora, exiles, or refugees, particularly those moving between the Global South and North.
In addition, the terms for "foreigner" in different languages—Italian "straniero," Portuguese "estrangeiro," French "étranger," and Spanish "extranjero"—are etymologically linked to the concept of "strange." Consequently, the exhibition also delves into the production of related subjects, namely: the queer artist, who navigates various sexualities and genders, often persecuted or marginalized; the outsider artist, on the fringes of the art world, like the self-taught, the folk or popular artist; and the indigenous artist, often treated as a foreigner on their own land. These four groups form the core of the Contemporary Core of the exhibition.
Finally, it is important to clarify that the 2024 Venice Art Biennale also includes a Historical Core, aimed at collecting 20th-century works from Latin America, Africa, the Middle East, and Asia. It presents a speculative curatorial exercise that challenges the boundaries and definitions of modernism with sections such as Abstractions and Portraits in the Central Pavilion at the Giardini and Italians Everywhere in the Corderie of the Arsenale. The aforementioned arrangement underlines the lesser-known stories of the modernisms of the Global South, emphasizing the need to learn more about and from these narratives.
Now it is finally the turn of the artists from Artmajeur, who, in line with the themes of the Contemporary Core of the Venice Biennale, will be recognized as representatives of Outsider Art, Queer Art, Folk Art, and artistic narratives against racism.
NATIVE (2022)Painting by Nickkuru
Non-mainstream voices: Artmajeur's outsider artists
What is Outsider Art?
Outsider Art, originally termed "Art Brut" by the artist Jean Dubuffet, refers to a form of creativity that arises outside the boundaries of official culture. Indeed, the French master focused specifically on the work of those who are either not formally trained or excluded from the mainstream art world. In this sense, the term encompasses the works of artists who often operate in isolation and without any connection to the traditional art scene. It follows that Dubuffet admired this type of artistic creation for its raw and unmediated quality, which he believed was untouched by cultural and artistic conventions.
Outsider Art often emerges from creators who experience a profound and almost revelatory impulse to create, regarded by them as a personal necessity rather than a professional or commercial endeavor. These artists are typically self-taught, and their works often explore complex personal visions that reflect deep internal emotions or thoughts, sometimes perceived as a coping mechanism for individual or mental conflicts. Thus, the art produced can be intensely personal and characterized by repetitive patterns or unconventional materials, marking a deep engagement with their medium of choice.
Spirituality and religion also significantly influence many Outsider artists, incorporating elements that suggest connections with a world beyond the visible and expressing insights that resonate on a universal level despite their highly personal origins.
Finally, from an art-historical perspective, this form of art can be seen alongside movements like Surrealism in its exploration of the subconscious and the use of abstract or fantastical imagery, though it remains distinct due to its creators’ disinterest in the art market or public recognition.
"J'AI REGARDÉ LE SOLEIL" (2024)Painting by Marc E. Des Rosiers
SCONVOLGI LA TUA REALTÀ (2024)Painting by Brazo
Some Outsider Artists from Artmajeur
Describing the two outsider paintings just above, starting with the first, "J'ai regardé le soleil" is a canvas dominated by a mysterious character, whose features are rendered through a combination of abstract and synthetic-figurative styles. Indeed, the face of the subject has been sketched with rough, almost childlike lines, which have been filled with layers of dark and unsettling colors, completed by red accents intended to draw the viewer's attention. In the lower part of the work, the brushstrokes, placed on the character's torso, become quite frenetic, creating the appearance of a cacophony of hues, likely alluding to the more hidden currents that stir the human chest.
The rich language just illustrated serves to synthesize the technical skill and philosophy of the creator, who stands out for his talent in capturing fleeting moments of emotion and thought, in order to freeze them on the canvas and engage the viewer in a meditative manner. Indeed, the raw style of the artist directly leads us to reflect on our personal journey of self-discovery, as well as on the paths in search of personal freedom.
Lastly, Marc E. Des Rosiers is a self-taught multidisciplinary artist from Isle-aux-Coudres (Canada), whose art primarily moves between the deliberate and the accidental, as well as between control and chaos, immersing us in a stream of consciousness that pours into the internal dynamics of the mind, made explicit by the figurative narrative.
The second work is "Sconvolgi la tua realtà" by Brazo, a canvas where the main figure, larger in size and placed at the center of the support, appears as a surreal entity, captured while apparently engaged in some frantic dance. This figure, rendered in pink, orange, and red, stands out against a bright yellow background, which turns into a serene blue at the lower part. The scene is enriched by the presence of some fish, one perhaps even a bit biting, as well as some symbols intended to fight in unison, to capture the viewer's attention. However, the purpose of the composition is revealed by the text, which appears on the left side of the canvas, repeating the same title and literally urging to disrupt one's reality.
Each of the stylistic elements we have just mentioned is to be understood as a testimony to the absence of academic constraints, designed to give priority only to instinct and creative freedom. Indeed, Brazo, an Italian painter born in 1964, learned by drawing inspiration from the great Expressionist masters, whom he then interpreted instinctively, combining various styles, primarily those of street art and Art Brut, which he mixed with extreme expertise.
OLEKSANDR BALBYSHEV "SUNSET DEMON" EDITIONED PRINT 01\50 (2022)Printmaking by Oleksandr Balbyshev
Artmajeur and Queer art
What is queer art?
Queer art, also known as LGBT+ art, encompasses modern and contemporary visual art that draws on themes and issues relevant to lesbian, gay, bisexual, transgender, and broader non-heterosexual and non-cisgender communities. This artistic genre often challenges ordinary perspectives, offering utopian and dystopian alternatives, sometimes exploring themes related to sexuality and unorthodox desires.
Works by queer artists do not adhere to a single style or medium but embrace a wide range of expressions, ranging from performance art to painting and beyond. Variations also arise depending on cultural, national, and religious contexts, influencing the reception of the diverse artistic inquiries, which can be both celebrated and censored.
The history of queer art includes coded representations in epochs where open expression was dangerous. For example, during the interwar period, queer artists in urban centers like Paris and Berlin began to more openly express their identities. Art historian Jonathan David Katz interprets certain works by artists such as Robert Rauschenberg and Jasper Johns as containing queer subtexts that allude to the artists' homosexual identities.
Furthermore, the queer art movement has been significantly influenced by activism, particularly during the AIDS crisis, when art became a form of protest and a means to advocate for change. Masters like Keith Haring used their works to raise awareness and combat the stigma associated with AIDS.
In conclusion, queer art is a dynamic and evolving field that not only reflects the experiences and struggles of LGBT+ individuals but also challenges and expands the boundaries of artistic expression.
TIGRE DE TASMANIE (LES ÉVACUATIONS) (2019)Painting by Nicolas Gey
WONDER WOMAN (2021)Photography by Starmonkeyz
Some queer artists from Artmajeur
Comparing the two queer artworks just mentioned above, namely "Tasmanian Tiger" by Nicolas Gey and "Wonder woman" by StarMonkeyz, they similarly depict subjects engaged in themes of identity and expression, which intersect with more conventional social norms, approached through different mediums and stylistic choices.
"Tasmanian Tiger" is a painting that blends urban asphalt with natural and mythical elements, depicting a transgender dwarf alongside an extinct thylacine, set against the austere backdrop of an industrial steel door and light gray cobblestones outlined in black. The aforementioned urban elements can symbolize the rigid structures of society, while the figures of the dwarf and thylacine speak to an unusual friendship, suggesting a shared experience of existence that points beyond mainstream recognition.
On the other hand, "Wonder woman" by StarMonkeyz is a photograph that subverts the traditional imagery associated with glamour and pin-up figures of Pop culture, intentionally featuring a male character dressed as a superheroine. In doing so, strength and vulnerability are juxtaposed, challenging the viewer's canonical expectations regarding gender and heroism. Thus, the artwork can be interpreted as a reflection on the performative aspects of gender and the power of reclaiming iconic symbols to make personal or political statements.
Both works operate within the realm of subversion but take unique paths. Gey employs a more subdued palette and a blend of realism with fantasy to comment on the experience of being queer and the challenge of diversity. Conversely, StarMonkeyz uses vibrant colors, direct engagement, and playful elements to challenge preconceived notions of femininity and identity, celebrating the beauty of divergence with a lively spirit.
FOLK DANCE 11 (2022)Painting by Uttam Manna
Artmajeur artists redefine folk art
What is Folk art?
Folk art encompasses a wide range of visual arts created within the context of popular culture. Unlike fine art, which is often pursued in formal educational institutions, folk art is typically produced by individuals trained within the traditions of their community. This method of knowledge transmission helps maintain the continuity of cultural expressions from generation to generation. In fact, creators of folk art are usually deeply rooted in their cultural traditions, producing works that reflect the values, social norms, and collective experiences of their communities.
Folk art can be both tangible and intangible, ranging from physical objects such as textiles, ceramics, and wood carvings to practices such as dance, music, and storytelling. The tangible aspects of folk art are often utilitarian, created to meet everyday needs, and are appreciated as much for their aesthetic qualities as for their functionality. Once the original purpose of these objects fades, their continued production may depend on their significance within the community, often acquiring new meanings over time.
Finally, folk art, a vital expression of community and cultural identity, certainly provides insights into the social and historical contexts from which it emerges, as it is indelibly linked to both the past and present, highlighting the diversity and ingenuity of folk traditions around the world.
«ESSAY REFLECTION» LARGE CONTEMPORARY ACRYLIC PAINTING (2023)Painting by Yuliia Chaika
LINES OF THE FOREST (2023)Painting by Lorena Iavorschi
Some Folk artists from Artmajeur
The two folk artworks above, "Essay Reflection" by Yuliia Chaika and "Lines of the forest" by Lorena Iavorschi, are rich in cultural references and imbued with the essence of their respective origins, Ukraine and Romania.
"Essay Reflection" speaks of Ukrainian culture through the presence of its female protagonist, adorned with elements reminiscent of the country's folk costume, known for its rich embroidery and the use of bold motifs, which are also repeated in the background. In fact, the pattern of the dress could be a reference to the embroidered 'vyshyvanka,' a garment distinguished by its intricate patterns.
The prominent blue color on the canvas perhaps alludes to the blue skies that rise just above the country's vast wheat fields - a symbol of fertility and prosperity. Additionally, the layering of hands and the detailed attention to ornamentation on the figure seem to echo the importance of craftsmanship and communal efforts in Ukrainian folk traditions.
"Lines of the forest," on the other hand, speaks of Romanian culture, reflecting its folk costumes and rich traditions through the depiction of a pensive girl wearing a scarf, reminiscent of the country's typical 'basma,' often decorated with floral motifs. Furthermore, the way this accessory is tied may indicate a particular region of Romania, particularly the northeastern part of the country, including the historical region of Moldavia.
The earthy tones and the background of the forest landscape may symbolize the connection with nature, prevalent in Romanian folklore and rural way of life, which has shaped the country's cultural heritage. These same tones may also reflect the solemnity and depth of Romanian folk music and dance, which often express the joys and sorrows of life.
ASIAN STEREOTYPE (2018)Photography by Starmonkeyz
Breaking Barriers: The Role of Art in Challenging Racism
About Art and Racism
Art has long been a mirror reflecting social issues and conflicts of its time, with racism being one of the most enduring and pervasive themes explored through creative expression. Throughout history, art has not only depicted racial conflicts and disparities but has also been a tool to challenge and criticize underlying prejudices and systemic injustices that perpetuate discrimination.
In the broader sense, art against racism interrogates and exposes existing prejudices within societies, illustrating how ingrained stereotypes can influence perceptions and treatment of different racial and ethnic groups. Artists of various backgrounds have employed their work to expose these injustices, initiate conversations, and foster understanding among diverse communities. Their works serve as catalysts for social change, prompting viewers to reflect on their own opinions and consider the broader community implications of racism.
Taking the specific example of the American civil rights movement, we see instances where art played a fundamental role in highlighting the struggles of African Americans during the 1950s and 1960s, a period marked by severe racial segregation and discrimination. One can cite David C. Driskell's painting, "Behold Thy Son" (1956), created in response to the brutal lynching of Emmett Till, a young African American boy. The masterpiece indeed portrays Till as a martyr, drawing inspiration from the most famous religious iconography of Christ. This powerful association draws attention to the extreme violence suffered by African Americans and serves as a visual plea for change and recognition of their humanity.
Similarly, Norman Lewis's abstract painting, "Evening Rendezvous" (1962), subtly addresses the terror of Ku Klux Klan encounters, taking on the appearance of menacing shapes and colors capable of suggesting the presence of this white supremacist group, invoking a somber reflection on the hatred and fear propagated under the guise of nationalism.
In the contemporary context, the role of art in discussing racism remains critical. Following the murder of George Floyd in 2020—an event that sparked global protests against police brutality and racial injustice—artists like Banksy responded with masterpieces that spoke to the moment. The artist's work depicts the US flag ignited by a vigil candle, alluding to the persistent racial tensions in America.
It is clear, therefore, how art continues to challenge, interrogate, and inspire dialogue on racism, illustrating its impacts and pushing for a fairer society. In addition, art media not only offer a reflection on current times but also envision and propose the realization of a future where racial equality and justice are achieved. In fact, it is certainly through the creative universe that we can gain a deeper understanding of the realities of racism and the ongoing struggle against it, making painting, sculpture, etc. indispensable allies in the pursuit of equality.
MK RACISM AGAIN (2023)Painting by Hector O'Kanin
AÇO NO PEITO / BULLET IN THE CHEST (2017)Collages by Tchago Martins
Some Artmajeur Artists Against Racism
Regarding "Mk racism again" by Hector O'Kanin and "Aço no peito / bullet in the chest" by Tchago Martins, both seem to denounce racism, albeit through different artistic expressions and media, reflecting unique influences and contexts.
The first artwork, loaded with vibrant colors and scribbled words, synthesizes the raw and spontaneous style of Basquiat's work, characterized by free figurativism capable of integrating forms, colors, and text to build a powerful and expressive composition. Following in this master's footsteps, Hector O'Kanin provides a contemporary response to the persistent issues of racism, much like the aforementioned American painter did in his time. In the case of "Mk racism again," however, this intent is made explicit by the inclusion of the word "JUDGE," repeated on the canvas, likely referencing both the judicial system and societal judgment. The other scribbles, symbols, and subjects between figurative and abstract may represent the chaos and complexity of racial issues, intended to continue suggesting a contemplative approach to the turmoil of social injustice.
The second artwork, Tchago Martins's black and white collage, presents a different treatment of the same theme, depicting two figures with obscured eyes to suggest metaphorical blindness or a forced lack of recognition. The monochromatic tone, use of historical photographs, and clean aesthetics create a strong visual analogy symbolizing all those silenced and oppressed. The piece is described as a response to the various forms of discrimination, including racial discrimination, and is an embodiment of the struggles faced by those living in social turmoil. This also speaks to the resistance and resilience of communities forming new "quilombos," places of refuge and solidarity in the face of adversity. All of this can be summarized by the poetic words quoted by the artist: "Our people who know oppression, under the weight of racism, unemployment, 'batons, dogs, bombs,' prisons, testify to the ineffectiveness of debates that promised horizons in the past. Our behavior, our poetry, our prose, our present, are necessarily combative. Steel in the chest is a synthesis and a report of those living in the eye of the storm. The new quilombos emerge, created with art that rises to the ninth power."
Olimpia Gaia Martinelli