Venezia

National Museum of Contemporary Art, Korea Who is Alice?: Yeon-Doo Jung, Documentary Nostalia, 2007 - Eventi collaterali.

Mexico pavilion: Cordiox, by Ariel Guzik

Portugal pavilion: Trafaria Praia, by Joana Vasconcelos

'Trafaria Praia' by Joana Vasconcelos (b. 1971, Paris, France), curated by Miguel Amado, is, probably, the pavilion where one stays the longest time at this year Biennial edition. After all the fuzz, arousing every two years, about the Portuguese representation, and together with the pavilions from Republic of Korea (which invites the bodies of the audience to encounter the infinite reflections of light and sound) and the France (Anri Sala video/sound installation on Ravel sinfonie for left-handed), at the Giardini, and Mexico (a complex machine which describes the surrounding space and ambiance through sound) at the ex-Church of San Lorenzo, and Eric van Lieshout's work "Healing" (2013) at the Arsenale, 'Trafaria Praia' is definitely one of the few representations that has a whole encompassing sensorial experience. It speaks to sight, hearing, smelling and mnemonic environment. An encompassing sensorial experience inducing to the self-taught American artist, Edward Kienholz works'. Kienholz’s "surreal sculptural assemblages highlight the artist’s penchant for wrestling with difficult subject matter and creating sharp social criticism," like Five Car Stud (1972), in where the visitor was allow to navigate through the art-installation, get involved in the game played by light and shadows, feel the smell of earth and soil, participate in a performative act of social-castration. For all the tourists, out of the normal 400 thousand that visit the Biennale, every two years, this would be one of the few art things that they will remember from their visit to Venice.

New Zealand pavilion: Front door out back, by Bill Culbert

This is not a Taiwan Pavilion