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"Я не сомневалась, что моего малыша, родившегося с весом всего килограмм 480 граммов, спасут"
This article is available only in Russian
Предчувствие войны. Что рисовали художники 30 лет назад
This article is available only in Russian
Наши все. В PinchukArtCentre открылась выставка "На грани. Украинское искусство 1985–2004"
This article is available only in Russian
Непростые отношения искусства и общества в PinchukArtCentre
This article is available only in Russian
КАПИТАЛ ИСКУССТВА. Почему 56-я Венецианская биеннале не верит в будущее
This article is available only in Russian
Украина на Венецианской биеннале: ретроспектива
This article is available only in Russian
Украина в Венеции. Парадоксы присутствия
This article is available only in Russian
Дневник Венецианской биеннале: украинский павильон и #onvacation
This article is available only in Russian
At the Biennale, Balancing Hope with National Interests
In the art world at present, with a calendar dominated by what seems like a near-weekly schedule of art fairs and where conversations focus with increasing fervency on the market, one would be forgiven for questioning why exactly a good portion of that world has congregated in Venice this week. The fact that an equal portion of that world opted not to come to the 56th Venice Biennale’s preview—whether due to the impending auction season and next week’s opening of Frieze New York or generally overbooked travel schedules both for work and play—and will instead stop by pre- or post-Art Basel, suggests that it’s not exactly the first priority on everyone’s list. But is the Biennale on its last legs? Hardly.
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