kundst · 25 days ago
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Salman Toor (Pak/US)
Boy with Shoe (2023)
Oil on panel (123 x 91,5 cm)
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twixnmix · 1 year ago
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Keith Haring working on a painting for "Aperto 84" at the Venice Biennale at the Magazzini del Sale, 1984.
Photos by Graziano Arici
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zegalba · 1 year ago
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Yayoi Kusama: Narcissus Garden (1966) Location: Venice Biennale, Italy
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archiveofaffinities · 3 months ago
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FREE, The aesthetic function of public art is to codify social distinctions as natural ones, Venice Biennale, 2005
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contemporary-disquiet · 1 year ago
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Thomas Hirschhorn: Crystal of Resistance at Venice Art Biennale 2011
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topcat77 · 7 months ago
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Masami Teraoka
 Breast on Hollywood Hills Installation Project, 1970
Coloured pencil on paper
from "Breasrs" at Venice Art Biennale 2024
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victusinveritas · 6 months ago
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"This is a really big deal everyone............
Archie Moore was born in Toowoomba.
He is a First Nation's Kamilaroi/Bigambul man.
He has also just been announced as the first Australian to ever win a first prize (The Golden Lion) at the biggest and longest running art and culture exhibition in the world - the Venice Biennale, in Italy (it first started 129 years ago!) Archie's work- is his family tree - that Archie wrote in chalk on the walls and ceiling at the exhibition space - it took him 2 months to complete. This massive family tree goes back 2,400 generations.
This is a huge deal......
The Australian art world is reeling with delight.
From K'town to Venice we say 'Congratulations Archie Moore.'" -Katherine Regional Arts KRA Facebook group.
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conformi · 6 months ago
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Louis Fratino, I keep my treasure in my ass, 2019 VS Two-tailed mermaid, Church of Santa Maria Assunta and San Sigismondo, Rivolta d’Adda, Italy
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misterlemonztenth · 4 months ago
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06-21-24 | Biennalle. via dinovelvet. misterlemonztenth.tumblr.com/archive
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givreencres · 2 months ago
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From the hidden place
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altrbody · 5 months ago
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"Composed of 111 concrete balls, hand molded by the artist, this work depicts Boetti sunbathing in Turin in midwinter—an absurd prospect given the city’s alpine climate. A reaction against the increasingly activist and radical political atmosphere in Italy, this self-portrait embodies the concepts of nonaction and inefficiency, which became very important to Boetti’s artistic practice at this time. The figure exhibits a repose so serene that a butterfly perches on its shoulder."
Alighiero Boetti (1940-1994), Io che prendo il sole a Torino il 19 gennaio 1969, 1969. 111 pieces of hand-molded concrete, cabbage butterfly.
From La Biennale di Venezia, 46. Esposizione Internazionale d'arte: identitià e alterità, figure del corpo 1895/1995.
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freyafrauke · 7 days ago
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NAM JUNE PAIK + MAURIZIO CATTELAN, Venice, 2024
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juliaknz · 2 years ago
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ISAMU NOGUCHI TRANSPORTING SLIDE MANTRA TO THE 1986 VENICE BIENNALE Venice, Italy Image ©INFGM / ARS
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contemporary-disquiet · 1 year ago
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GIAN MARIA TOSATTI, PADIGLIONE ITALIA | 59. ESPOSIZIONE INTERNAZIONALE D'ARTE | LA BIENNALE DI VENEZIA, 2022
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topcat77 · 7 months ago
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Louise Bourgeois
 The Reticent Child, 2005, Lithograph in colours with embossing, on wove
From "Breasts" at Venice Art Biennale 2024
#Louise Bourgeois
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medicatedmaniac · 6 months ago
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The Mataaho collective is a group of four Māori women artists from Aotearoa New Zealand: Erena Baker-Arapere (Te Ātiawa ki Whakarongotai, Ngāti Toa Rangatira, and Ngāti Raukawa), Sarah Hudson (Ngāti Awa, Ngāti Pūkeko, and Tūhoe), Bridget Reweti (Ngāti Ranginui and Ngāi Te Rangi), and Dr Terri Te Tau (Rangitāne and Ngāti Kahungunu ki Wairarapa).
They have won the Golden Lion from a jury at the 60th Venice Biennale for their large-scale work Takapau in the main exhibition.
The 200sqm suspended weaving is made from six kilometres of fluorescent trucking straps, 480 stainless steel buckles and ratchets, and 960 J-hooks – safety materials used in labouring jobs.
We come from working class families, our materials are an ode to that. This is reflective tape that you will see on safety gear in the labour workforce. Intended for high-visibility and often paired with fluorescent colours, these uniforms are meant to be seen- although the individuals wearing it become an insidious level of invisible. This is for those whose labour is relegated the background, to our parents and siblings, we celebrate you. - Mataaho Instagram
“We all come from working class whānau [families] and the materials we choose to use are a mihi [tribute] to them, who may not feel at home in the art gallery – we like to use materials they know and experience every day, so they have something to recognise in the art world.” - Sarah Hudson
More on Takapau and its creation here
Photographs by Ben Stewart
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