Editor's Picks: The Best Two Masterpieces from 56th Venice Biennale
This art exhibition was the main reason that we travelled to Venice. We spent two days browsing around but we believed that we couldn't see all of the work. The exhibition was successful and amazing. It seems like Venice Biennale is much better than Frieze London as it showcased lots of artworks from all over the world in a very clear and easy-to-find structure, while Frieze London to us was more like a commercial market that we always found it so confusing to be in there.
我們這次來到威尼斯的主要目的就是來看這個每兩年一次的大型國際藝術展覽。這個展覽分為兩區，而我們用了差不多兩整天的時間，還是覺得沒有把全部展品看完。這個展覽可以說是挺成功的，而且相比倫敦的 Frieze，這個展覽更大，展出了更多得作品，但同時場地計劃很有條理，不會覺得很亂。可是 Frieze 卻給我們有種賣畫市集的感覺，每次去看都會覺得很亂，而且每次都會迷路！
The Key in the Hand
Shiota is a Japanese installation artist who has been based in Berlin since 1996. She loves to use objects that can be found in the daily life, like thread, keys and things like that, and at the same time, she also loves to explore the connection between living and dying, past and present, and the relationship between the objects and its memories. Her work was located in the Japanese pavilion and she was presenting Japan at the Biennale, Venice.
We were really impressed when we entered into the pavilion and saw loads of used keys hanging on the ceiling and walls, and in the middle of the pavilion, there was a large abandoned old boat. There were more than 50,000 used keys intertwining together! All the keys there were collected from different people across the world, and Shiota mentioned that keys are something that we are familiar with, and in the meantime, keys are something that can be used to protect what we think is important, like our own VIPs (Very Important People) and spaces in our lives.
‘Keys also inspire us to open the door to unknown worlds.‘ Chiharu Shiota, 2015
This piece is like a combination of people’s memories (whoever keys has been collected by Shiota) and Shiota’s memoies. As all the keys were provided by the public, and now she made them link together by interweaving the keys with loads of red threads. We wonder how much time she used to create this piece of work…
Shiota 是一個自1996年便在德國柏林居住的日本裝置藝術家。她喜歡用一些平日隨手可得的物品來做藝術品，例如是鑰匙和毛線。她喜歡探討生與死、現在和過去、物品與當中記憶之間的關係。在這個展覽裡，她的作品放在日本展區裡，也是代表著日本的。當我們走進去展館裡，我們的第一感覺是覺得很厲害，真的讓我們覺得很嘆為觀止。裡面有幾只像是被遺棄的破船，全部都被紅線繫上了超過5萬條已經生銹的鑰匙，而這些鑰匙都是她從世界各地收集回來的。她說鑰匙就是我們覺得熟悉的物品，而且同時鑰匙都會用來鎖上我們覺得重要的東西。她也說鑰匙就像是一道會啟發我們來通往未知世界的門。所以這個作品就等於是大家和 Shiota 的回憶。不過我們很有興趣想知道她到底用了多少時間來製作這件作品呢⋯⋯
We first saw his work at Biennale in Venice, and we found it quite interesting so we started doing some research on the work exhibiting there, which is named ‘Blind Spot’. Ridnyi stated that we could never fully see what is happening around us because of a blank area in between our right and left eye, where it is called a blind spot. And at the same time, we tend to fill in the ‘blank’ with what we have already known and our memories to try to build up the missing part of what we cannot see.
我們從這個展覽第一次認識了這個藝術攝影師 Ridnyi，他的作品很有趣，所以回家後我們便開始搜集有關他這個作品的完整資料。這個作品叫做 Blind Spot 盲點。他說我們往往不能把周邊發生的事情看得十分清楚，因為在我們的右眼和左眼中間有一個空白的位置，而這個位置則叫作盲點。一般來說，我們都會以我們被告知的事情或記憶去填補一些我們看不到的事實。就是說，有些事情，我們看到的也不一定是事情的全部，而我們看不到的，也很可能會以一些未經證實的消息自動填充了。
Aren't they interesting? And we should start planning our next Biennale trip now.