Venice Biennale 2024
- Ben Jenner
- Jan 17
- 5 min read
The 60th Venice Biennale exhibition adopted its title from a series of artworks created by the collective Claire Fontaine: neon sculptures in various colors displaying the phrase 'Foreigners Everywhere' in multiple languages. This phrase was originally used by a group from Turin, 'Stranieri Ovunque', that fought against racism and xenophobia in Italy during the early 2000s.
The exhibition's theme was set against a backdrop of global turmoil, with conflicts and crises affecting the movement of people across borders. It delved into reflections on the challenges of language, translation, and nationality, while also exploring the disparities influenced by factors such as identity, race, gender, sexuality, freedom, and wealth.
The term 'straniero' in Italian is linked etymologically to 'strano,' meaning 'strange.' Similarly, the primary definition of 'queer' is 'strange,' thus the exhibition paid tribute to queer artists, outsider artists, self-taught artists, and indigenous artists, often viewed as foreigners in their own homelands.
This is the second time that I have visited Venice for the Biennale exhibition, one that never fails to captivate with its diverse array of artworks and thought-provoking themes. Each artist appeared to be speaking a universal language, standing in solidarity in response to the overarching theme of 'foreigners everywhere'. It was as though a collective consciousness had manifested, transcending geographical and cultural boundaries to celebrate a shared lived experience.
While exploring the works in the vibrant city of Venice, I came across a multitude of works that delved deeply into the intracacies of the human condition that left a lasting impression on me. Among those that captivated my attention, there were a few specific examples that resonated with me that I would like to highlight and expand upon.
Romany Eveleigh
Romany Eveleigh was a British artist known for her minimalist works that discuss the intersection of language and visual art. Her pieces 'Pages' and 'Tri-Part' were showcased at the Biennale, featuring repeated 'o' figures in column-like formations that transform the writing into an asemic, meditative act.
The works, evocative of book pages, placed importance on the act of writing without conveying an explicit message, focusing instead on the physical gesture and rhythm of language. Through repetitive marks, Eveleigh creates a dialogue between language and meaning, where meaning is fluid and sensory rather than fixed. I enjoyed how Eveleigh invites the viewer to engage with writing beyond its linguistic function, instead emphasising on the process of writing itself - the labour, repetition and embodied practice that transforms language into a tactile, visual experience.
Danielle Freakley
Danielle Freakley's work showcased at The Seychelles pavillion stood out to me as one of my favourites. She presented an innovative concept that bridges art and communication, evolving through the faciliation of conversations between strangers. The distrubtion of instructional ribbons added an interactive element, offering the audience a tangible tool to partake in this unique form of dialogue. By prompting the audience to communicate in this way, Freakley created an immersive experience that challenged conventional notions of expression and connectivity.
The strength of Freakley's work lies in its ability to extend beyond the gallery setting. While the structure of the pavilion offered a curated space for engagement, her concept is more potent in everyday interactions, facilitating conversations to unfold naturally. In public spaces the ribbons would provoke unexpected encounters, encouraging genuine dialogue between strangers. This context allowed the work to evolve organically, making it accessible and impactful as a living artwork shaped by real connections.
André Taniki Yanomami
André Taniki, a shaman and artist, presented a compelling installation at the Venice Biennale that merged indigenous spirituality with contemporary art. His work drew from his deep Amazonian roots and his collaborations with artist and photographer Claudia Andujar and anthropologist Bruce Albert.
Taniki's installation featured intricate glyphs and symbols derived from nature, spiritual practices, and the Yanomami sense-universe. These abstract figures evoked the structure of text, suggesting an ancient, sacred script. This visual language mirrored how indigenous knowledge, often passed down orally and spiritually, can be reimagined as a visual narrative bridging worlds.
Beyond its aesthetic impact, Taniki's work invited viewers to reflect on the value of non-Western systems of knowledge and communication. It stood as an example of the possibilites of translating and preserving diverse ways of understanding. By creating this bridge, his work emphasised the importance of respecting and engaging with cultural perspectives that are often overlooked in global discourse.
Elias Sime
Elias Sime’s 'Dichotomy ፊት አና ጀርባ' was a visually arresting series of works about humanity's evolving relationship with technology. Sime's intricate compositions, crafted from discarded electronic components, reveal a tension beteween the digital world's promise of connectivity and its unintended consequences of isolation and fragmentation. Rather than providing answers, Sime poses open-ended questions to the viewer, inviting us to reflect on how technology mediates our own lived experiences. It asks us to confront the increasingly blurred lines between human agency and technological dependency. The materials themselves, repurposed from digital waste, underscore ideas of consumption and obsolescence, subtly asking the viewer to consider what is gained and lost in the digital age.
Experiencing Sime's work encouraged me to interrogate my own relationship with technology, particuarly the role of social media and digital communication in my daily life. The absence of definitive answers in this series left me with an acute awareness of how technology subtly shapes my behaviours and perceptions. I found myself wondering whether my engagement with digital spaces is driven by meaningful connection or habitual scrolling, and whether or not these platforms are tools of empowerment or distraction. Sime’s work continues to resonate with me, prompting an ongoing reflection on how I navigate the balance between human connection and the influence of technology in my life.
Reflecting on my time at the Biennale, I feel grateful for the opportunity to witness such a convergence of creativity and vision. The experience left me inspired, reaffirming the power of art to transcend boundaries and unite us in a shared exploration of the human experience. Venice, with its timeless beauty and rich artistic heritage, served as the ideal backdrop for this transformative journey of discovery.
More than just a celebration of art, the Biennale encouraged me to confront and reconsider my owm perspectives on issues like queerness, global interconnectedness, and the evolving nature of relationships in contemporary society. It challenged me to reflect on the nuances of identity and belonging in a world increasingly shaped by technology and cultural exchange. This deepened awareness has not only enriched my appreciation of the works I encountered, but has also prompted me to explore these themes more openly and critically in my life as well as my art practice.
Comentarios