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© Andrej Vasilenko

7 Must-See Pavilions at the 2019 Venice Biennale


威尼斯艺术双年展是个让人们能够跳出传统思维逻辑的契机。这里既有对老建筑的翻新展示,也有Giardini或 Arsenale的乡村展馆,建筑师可以在双年展上学到很多新东西。因此下文列出了2019年威尼斯双年展的7座必看的展馆,本次双年展将于11月24日结束。

The Venice Biennale of Arts is a great opportunity to think outside the box. From the collateral events that bring new uses for centenary buildings to the country pavilions in Giardini or Arsenale, an architect can learn a lot by visiting the world's oldest biennial. Here are 7 must-see pavilions if you are visiting Venice before the Biennale ends on the 24th of November.


© David Levene

Ghana Freedom

在1957年加纳共和国独立之前,E.T. Mensah创作了一首歌曲“Ghana Freedom ”,加纳共和国的首次双年展展馆就以此命名。该展馆表达了6位艺术家对于自由的理解与表达。项目以加纳文化和人民为基础,由Sir David Adjaye设计。每位艺术家的作品都展示在椭圆形的联合空间之中,这些空间由当地生土建造而成,有着加纳当地民居的经典形态。该展馆与其他展馆并不相同,它有着特别的空间与艺术感,同时充分地表达了加纳传统文化。

Ghana Freedom

Entitled after the song composed by E.T. Mensah on the eve of the independence of the new nation in 1957, this is the first Ghana Pavilion at the Biennale. It examines the legacies and trajectories of that freedom by six artists. Rooted both in Ghanaian culture and its diasporas, the pavilion is designed by Sir David Adjaye. Each artist's work is exhibited in elliptically-shaped interconnected spaces that are plastered with locally-sourced earth from classical structures in Ghana. It's an exhibition that differs from all other pavilions through its space and art, a place to immerse yourself in the incredible and exponent Ghanaian culture.


© Andrej Vasilenko


立陶宛展馆将历史码头建筑的室内空间转化为充满人工照明的沙滩场景,这里有着沙子与浓郁的海滩假期气息,项目位于Marina军事综合体之中,是双年展上的一座“金狮”。艺术家Rugilė Barzdžiukaitė、Vaiva Grainytė、Lina Lapelytė通过这个反乌托邦装置表达出持续性表演空间,这样的空间能够让建筑师们有着更加深刻的想象与创意。

Sun & Sea (Marina)

Golden Lion of this Biennial, the Lithuanian Pavilion transforms the interior of a historic quayside building within the Marina Militare complex into an artificially lit beach scene replete with sand and all the paraphernalia associated with seaside holidays. The artists Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytė present a durational opera performance on this dystopian installation that makes the imagination of any architect go deeper and deeper on thinking the way we design and use spaces.  


Photography Delfino Sisto Legnani and Marco Cappelletti. Courtesy DGAAP-MiBAC


该项目名为“是与非:迷宫的挑战”,深深吸引着 Jorge Luis Borges与 Italo Calvino。这座意大利展馆设计灵感来源于其背景文脉,其设计师为三位重量级意大利艺术家Enrico David,、Chiara Fumai、Liliana Moro,装置的空间布局并非线性,也并没有规律的逻辑形态,但是它能够让人们在这里充分感受到时间的变化与空间的迷失感,该装置呼应了主办城市威尼斯的迷人特征,无论是艺术场景还是展览自身,都能让人们能够在不同的维度中有不同的发现。

Neither nor: The challenge to the Labyrinth

Neither nor: is inspired by the Labyrinth that is Venice, which fascinated and inspired Jorge Luis Borges and Italo Calvino. Emerging from this context, the Italian pavilion presents works by three important Italian artists - Enrico David, Chiara Fumai, and Liliana Moro - whose layout is neither linear nor can be reduced to a set of tidy and predictable trajectories. It is a show where you can enjoy a sense of dilated time and get lost in the space, a fascinating parallel to the host city of the biennial that allows for different discoveries on another scale, be it in art or the encounters that this exhibition generates.


Photo: Gerrit Schreurs


这是一次探索过去与传统的历史性表达,并将这些历史元素与现代融合在一起。Remy Jungerman与 Iris Kensmil将不同的背景文脉相结合,在其作品中,他们的设计灵感来源于20世纪现代主义特征,尤其是蒙德里安、风格派、俄罗斯先锋主义,以及艺术家Stanley Brouwn,这些都是作品中传统与特征的灵感元素。

The measurement of presence

This is a transnational presentation that explores traditions and the past, bringing them into contact with the present. Remy Jungerman and Iris Kensmil bring together influences from different backgrounds. In their work, they draw inspiration from twentieth-century modernism - particularly Mondrian, De Stijl, the Russian avant-garde, and artist Stanley Brouwn - with elements of other traditions and positions.


Courtesy of the artist and Taiwan in Venice 2019


3x3x6装置由Shu Lea Cheang设计,艺术家构思了诸如3D人脸识别、AI、互联网等现代化监控技术,该装置重新展示了应用于16世纪的威尼斯监狱Palazzo delle Prigioni的空间场景,这座监狱在1922年停止使用。1755年,自由作家Giacomo Casanova被囚禁于监狱之中,而艺术家Cheang则以这个事件为设计起点,深入地研究了10个历史与现代案例,这些案例都引发于性别与取向。艺术家虚构的肖像形态成为了展览体系的重要组成部分,即当今标准化工业监禁建筑的瓷砖,其中包括3x3米的子空间,这个子空间装有6个监控摄像头。


Reflecting upon the transformation of surveillance techniques since the panopticon to include the contemporary 3D facial recognition, AI, and the Internet, Shu Lea Cheang's 3x3x6 restages the rooms of the Palazzo delle Prigioni - a Venetian prison from the sixteenth century in operation until 1922 - as a high-tech surveillance space. Taking as its starting point the story of libertine writer Giacomo Casanova, imprisoned in the Prigioni in 1755, Cheang has conducted in-depth studies on ten historical and contemporary cases of subjects incarcerated because of gender or sexual dissent. Their fictionalized portraits become part of the exhibition's system: the tile of which refer to today's standardized architecture of industrial imprisonment: a 3x3 square-meter cell constantly monitored by 6 cameras.


© Riccardo Tosetto Photography


巴基斯坦的首个双年展展馆展示了艺术家Naiza Khan的新作品,这位艺术家的作品以批判性研究和映射探索为基础,聚焦于公共空间和历史关系。展馆的策展人Zahra Khan认为,该作品“说明了,艺术家将整个空间当做一个镜头,人们可以就此而感受到艺术家对于地域的不同观点,同时也感受到整个世界的类似变化”。

Manora Field Notes

Pakistan's first pavilion at the Biennale presents an exhibition of new work by the artist Naiza Khan, whose visual practice is built on a process of critical research, documentation, and mapping-based exploration, focusing on public space and its entanglement with history. According to Zahra Khan, the curator of the pavilion, the presentation "encourages the vision of the artist as a lens through which the public can encounter a more nuanced view of the region, and consider places across the world undergoing similar transformations."


Photo: Elisabet Davidsdottir © Hrafnhildur Arnardóttir/Shoplifter

Chromo Sapiens

在Hrafnhildur Arnardóttir的大规模多传感装置中,这位艺术家应用了独家的纺织开发技术,即其标志性媒介操作策略“合成毛发”。这个装置打造出迷幻的旅程,人们会在洞穴般的空间中穿行,其中有着令人着迷的自然元素,空间表面有着色彩斑斓的合成毛发。人们会通过这个装置而感受到,不同的材质与色彩对于空间感知的不同影响。

Chromo Sapiens

In Hrafnhildur Arnardóttir’s multisensory large-scale installation, she uses her personally developed textile techniques: a manipulation of her signature medium, synthetic hair. The installation is a labyrinthine journey through cavernous chambers, a fuzzy abstraction of nature whose surface entirely covers the inside of the space in a colorful tangle of synthetic hair. A glimpse that makes architects wonder about how the use of different materials and colors change our perception of space.




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