A view of the Venice Biennial 2015

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This was the third Venice Biennale I visit in the past six years. I made many Brazilian Biennials in Sao Paulo, throughout my life. Always moved by the curiosity to know through the artists a little of what the future of thw world holds, which language to be deciphered in tomorrow’s life. This is because, for me, the artist is a sorcerer, a true prophet, with magical views and at the same time time real about the time that expect us.

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But above all, what instigates me is the impulse to unravel the human soul. Like Oedipus, deciphering the Sphinx, I go to the works of artists from all countries and continents, curious to decipher them.

But in the last Biennials, I realize an artistic yearning for a different language, original and creative. The need to forget the old to find the revolutionary, without much success mostly. Naturally occurring in the contemporary world, the escape of traditional aesthetics in the search for a new aesthetic.
But ready to be surprised, I begin my journey.


Chaos predominates when I start walking through the artworks of each pavilion. The old trying to find a more contemporary language, giving space to coherence, a difficult task for the artist who lives in a world dominated by chaos. To the spectator is left the search for conceptual aesthetic. Nothing is easy in this cluster of artistic works.

I note that in some, aesthetics is set aside, with the dominance of conceptual, effort that is often not achieved.
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At the Venice Biennale in 2013, the attempt was the search for a human reflection, the reconnection with the divine, with Junggiving the “start” with his book “The Secret of the Golden Flower”, reflected in many works as the Brazilian video on a seance, the Vatican with the meeting of souls, in film session where images of people met with visitors touching their hands. In addition to other exciting works as a short film over time, provoking a reflection of the audience on the use of time in everyday life.

In the 2015 exhibition, at the Giardino, where are located the pavilions of countries (read, works selected by the cultural institutions of government) the “start” was the book “The Capital” of Marx and his dialectic. What, for me, did not cause the expected impact, however, the following works were able to translate the appeal of a wicked world, miserable, chaotic in pursuit of peace. Peace translated into artistic works, with a language chaotic as well. This is because were repeated old techniques of collage , woodcut, texts, etc., with no success in innovation or in the beautiful which ecstasy.


Japan managed to combine the beautiful and the message, presenting an installation with a boat, simulating an immense network in wonderfully red tones, like an immense tree, from where fell keys as fruit. There I could see the beautiful in total harmony with the message. The keys of global communication, those which open the universal language through networks, one that allows people from the farthest corners of the planet to exchange impressions and emotions. Original and simple, as it should be a beautiful work of art. In front of it people were enraptured with a sense of unparalleled peace, surreptitiously reaching one of the themes of the Biennale in 2015.
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Talking about Arsenal (another part of the Biennale, where there is a curator to select the exhibitors), the works appear a little more mature and with a more defined language, but also repetitive, with no major news or impact. There was much use of photography and words in overlapping collages, as well as facilities that spanned great outdoors.

One or other work arouses more attention, but nothing impressive.

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Impressive was the work exposed in the Church of San Giorgio Maggiore, as a parallel event of the Biennale, from the Spanish Plensa. Magnificent and really creative with that conceptual aesthetic that takes the viewer to reflection. A gigantic head of chromed grille, subtly with the contours of the human face, like a puzzle in the main nave of the church, on its side, suspended from the ceiling, one hand also gigantic, almost golden metal with many hanging letters, suggesting dialogue between brain and human hands. Dialogue we do throughout our whole life. The power of reason over the movement that drives us.


Aside from the work of Plensa, actually, I did not found a new aesthetic yet, or the revolution of contemporary art, everything too fleeting and disposable, nothing new announced, where can be noticed the beautiful of eternity, the chronicle of an era going through the times. All artworks exhibited come into entropy, while the Renaissance remain intact in its beauty, in the Uffizi Gallery in Florence, with much beauty to all of us, their customs, religion, politics, class differences in living, true chroniclers of its time, without the wear of the works.

The statements above do not invalidate the fact of loving contemporary art, including “graffiti”, as Banksy and others. But within its quirks, I believe, there are real artists whose works will persist over time, as the “old” (the traditional appearance) had left.
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Placements of this tour refers specifically to the Venice Biennale, where crowding the art of the planet, what is being done today, which are the announced prophecies, which the revolutionary language of real transformation that will prevail in our world in decay.

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