The well-established field of postcolonial critique and its art-world iterations have prepared and conditioned us to be conscientiously pleased with the 60th International Exhibition of La Biennale di Venezia titled Foreigners Everywhere, curated by Adriano Pedrosa. The recent #MeToo and #BLM movements, Indigenous and descendant movements, the expanding LGBTQIA+ or LGBTQI2S movement, and consequent installations … Continue reading
I’m just back from the 60th Venice Biennale pre-opening. Expect my not-quite-a-review review on the main exhibition, Foreigners Everywhere, curated by Adriano Pedrosa, soon. But first, here is my second bi-annual Venice Biennale Fashion Report! Half the thrill of attending the three-day pre-opening of the Venice Biennale is communing with perhaps the most internationally diverse … Continue reading
Millennial band Vampire Weekend’s song “Mary Boone,” the eighth track off their recently released album Only God Was Above Us, has me reveling in nostalgia for and reliving the trauma of the ‘80s in New York. It’s surprising, considering that band members Ezra Koenig, Chris Baio, and Chris Tomson were only born in the mid-‘80s. … Continue reading
After four days of crisscrossing Venice, mostly on foot, for the pre-opening of the 59th Venice Biennale, I sat next to a curator from Sweden on my Scandinavian Airlines flight leaving Venice for Copenhagen. As we waited impatiently inside a warming plane still on the tarmac—our delay due to the imminent boarding of the Queen … Continue reading
On location of the 59th Venice Biennale Arte Preview for Filthy Dreams! In the next weeks, I’ll post an in-depth review of the main exhibition, The Milk of Dreams, curated by Cecilia Alemani with anecdotes about accompanying national pavilions. First impression: EXTRAORDINARY! GROUNDBREAKING! But first, a FASHION REPORT: It’s impossible to see/experience this year’s Biennale … Continue reading
I did not hate Sasha Waltz’s U.S premiere of Kreatur at the Brooklyn Academy of Music because it enlisted every cliché in ‘avant-garde’ dance-theatre—dancers speaking gibberish aloud, awkward jerky movement, bodies colliding, self-conscious actorly dancers, same-sex kissing, topless women, dancers pulling down the briefs of other dancers, expensive couture costumes, hi-tech lighting, an electronic score, gratuitous use of special-effects props. Continue reading