By Elaine Liner
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
But there are those who believe it doesn't really exist. Skeptics see globalization as just another marketing gimmick, a word meant to peddle more cell phones and laptops. By contrast, activists greet it with ferocious defiance. In this camp there are heroes and rabble-rousers alike: the Frenchman Jose Bové, who ran a bulldozer into the front of a Mickey D's in Southern France back in the late '90s; the violent and masked anti-globalization marauders who rally at global summit meetings and do little besides make mayhem by setting ablaze NikeTowns; and those tricky someones who recently pitched a heap of horse dung in front of the Benetton in Venice in protest of its exploitation of South American textile workers. The peculiar thing is that the value of such fervent political activism decreases in direct proportion to the increase in the stakes of globalization. The greater the disembodied interconnection, the less important is our physical agency, and the more devalued become our acts of intransigence on the ground.
This year's Venice Biennale, one of the world's most important international art exhibitions taking place on the Italian island-city through November 6, probes the tension between physical acts and cerebral acts incited by globalization. While events and showings are spread across Venice, the main part of the Biennale is concentrated in the Arsenale, the long, massive hall once devoted to the manufacturing of ships and arms, and the Gardens of the Biennale located at the eastern end of the city. Though globalization has bluntly registered in the art world in many different ways, one of the most potent of which has been the advent of biennales across the globe (from New York to Tunis and Beijing to Buenos Aires), this year's Biennale in Venice addresses the socio-political question of individual participation--who and what countries are allowed and by what means they will express themselves.
In keeping with tradition, the Biennale offers a vast array of contemporary work from artists working in cities throughout the world. In the 110 years of its existence, however, this is the first year that the Biennale has been curated by two people. Breaking the greater exhibition into distinct sub-exhibitions, the directors, Rosa Martínez and María de Corral, both hailing from Spain, have organized the Biennale into two broad conceptual categories. Curated by Martínez, Always a Little Further presents the work of 49 mostly young international artists united by a sense of productive and careful anything-goes. For what this work lacks in cohesion and interrelatedness it gains in shared experimentation. In short, you'll find almost no painting here. Made up of a bevy of videos and a smattering of installation art and photography (both documentary and conceptual), the work showing in Martínez's Always a Little Further does just that. It consistently goes a little further, pushing beyond the envelope of art into the realm of sociology. If you're looking for painting, and the work of blue-chip artists, for that matter, you'll find plenty in De Corral's The Experience of Art in the Italian Pavilion, which hosts the work of 42 international "famous or promising" artists in 34 rooms.
There is by no means a simple way of encapsulating the experience of the Venice Biennale. One or two phrases just won't cut it. Happy to say, there is so much diverse work being shown--much of which is good. Distinctly striking, however, is the shift in perspective that occurs between the two sub-exhibitions. If the work in curator Rosa Martínez's Always a Little Further is all over the place, both good and the bad, often exciting and unexpected, then that of De Corral's The Experience of Art is, well, not quite predictable, but always good, upper-echelon contemporary art, and made by already established and often canonized contemporary artists.
The motley collection that makes up Always a Little Further serves to underscore the condition of globalization. You'll not only find the work of artists from the far reaches of the globe, but also what seems to be a perverse result of artists relating the experience of life in such reaches--form, mostly video, that morphs from art into sociology. So much of this art seems to be intent on expressing what it means to be a cosmopolite--a citizen of the world in the 21st century--that it loses sight of that old notion that art might be abstract and indirect, that it could be non-representational and, dare I say, subtly and suggestively metaphorical. Socio-political messages abound in this space.