This year's Biennale was dedicated to the exploration of space, and the most spectacular installations were dedicated to just this - spatial effects. Best of all, I remember the black hall of Olafur Eliasson, the famous Danish-Icelandic installation master. This is not a new idea (but the curator of the Biennale honestly warned that there would be no new one), but the hall was really fascinating.
The second major installation of the last Biennale is Tezio Condo's cloud, executed by Transsolar. It is also scary not a new thing for contemporary art, but such clouds are rarely found at architectural exhibitions. The hall was fenced off with white walls, from the holes in which, in fact, steam was pumped. Eyewitnesses say that the pair was either more or less.
Something similar happened in the Polish pavilion: only instead of a metal ladder - metal lattice boxes, and instead of a technologically advanced Transsolar steam - seemingly very harmful clouds of dust:
The curator's call to think about the space with heart was taken in the Hungarian pavilion. It was hung with white synthetic ropes, with pencils tied to the end of each rope. Rope spaces, especially if they were illuminated with a projector (they were drawing something on the screen all the time with a pencil), turned out to be quite interesting:
France, on the other hand, showed a very informative exhibition dedicated to its own urban planning problems and projects. But she did not neglect the spatial effects: the films were reflected - they doubled in large mirrors, literally including the audience in themselves …
Mirrors were generally extremely popular at this Biennale (there weren't so many of them before). In the pavilion of Germany, a whole hall of mirrors was fenced off, however, the surfaces of the mirrors there seemed to be worn out and inside the insane perspective of reflections embedded in each other was somehow not felt. But in the photographs, it turns out, as it turned out, decently (there is only one girl in the hall):
Eliasson's foremost followers of darkness and effects were found in the Canada Pavilion, where a bizarre, sizzling and wiggling plastic garden Hylosoic ground was set up by the sculptor-architect Philip Beasley, who was chosen for such an important endeavor by a special pan-Canadian jury. This project has its own website
The exposition of China, as usual, in addition to the gloomy hall of the cistern, mastered the adjacent spaces:
Inside the Chinese hall, the main attraction were transparent birds suspended from the ceiling. It's funny that a similar play of chiaroscuro, as in the Chinese, was observed among Toyo Ito's sculptural blanks:
The pavilion of Egypt was also built in chiaroscuro. And it would be good if its authors did not overdo it: it was necessary to leave only golden curls, but the curators did not think this was enough, and they installed inside the same golden mummy, books, paintings and other things that distract from space.
The public's favorite was the Australian pavilion, in which two 3D films were shown, shot specifically for the Biennale, one about reality, the other about the future. Glasses, however, were constantly lacking …
But the snakes sprouting among the skyscrapers were wonderful, although three-dimensional cinema is difficult to photograph:
The pavilion of Belgium was distinguished by its laconicism. Last time it consisted of confetti scattered across the floor of completely empty rooms, this time from fragments of decoration materials hung on the walls like paintings:
