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The art of Randy Thom

 Sound designer (FW35)

Stories from ‘Bad’ Territories – notes on selected moving image work at the 52nd Venice Biennale

Aneta Krzemien  

Stories from ‘Bad’ Territories – notes on selected moving image work at the 52nd Venice Biennale  

Perhaps the reason for the Biennale’s saturation with drama lies not only in the upheaval of today’s world but also in the nature of this particular art event itself. The Venice Biennale is an inherently paradoxical hybrid. It is unique as the only art event of this kind to hold national representations alongside a main exhibition, curated by a world-renowned curator. In the Giardini and other locations in the city, pavilions of participating countries focus on nationality while the ambition of the main exhibition in the Arsenale is to disperse social-political and geographical borders, and present a common ground of artistic realities from all over the world, putting all efforts into equality of representation and scrupulously avoiding any notion of polarization between ‘centre’ and ‘periphery’

. The Biennale plainly demarcates but at the same time fiercely erases borders in contemporary art. In this amalgam of national and trans-national, particular and universal, it seems like conflict and trauma become a way of locating a subject; constructing identity by carefully retracing the marks imprinted by history.