But why is much of the art it inspires so dull?
long been inspired by the great issues of their day. Eugène Delacroix’s topless amazon, Liberty, celebrated the revolution that toppled the French king in 1830. Picasso’s “Guernica” mourned the horror of the Spanish civil war. Earlier this month a panel backed by thewarned that 1m species were under threat because of human interference. So it is fitting that the Venice Biennale, which opened as those findings were released, should at last have discovered the theme of climate change.
For instance, Christine and Margaret Wertheim’s hand-crocheted coral reefs look good on Instagram, but in “May You Live In Interesting Times”, an international exhibition curated by Ralph Rugoff of the Hayward Gallery in London, they fall flat. In the Biennale’s national pavilions, the Canadians are showing well-meaning videos about the impact of the changing climate on the Inuit people.
Both have brought powerful works to Venice . In the New Zealand pavilion, Mr Mitchell has gathered a list of 3m things that no longer exist—extinct species but also ghost towns, discontinued perfumes, vanished borders. The list is being declaimed in what amounts to an epic poem of loss; the history of progress, it implies, is also a history of obsolescence.
Ms Jonas combines film and performance in a piece created for Ocean Space, a new platform that brings together scientists and artists. On a stage in a Venetian church, she dances and mimes like a water wraith. Behind her is a video she shot of the ocean around Jamaica. At nearly 83, Ms Jonas slips into the blue. In a chiffon dress that discreetly masks her aged limbs, she glides through the water—a reminder that humans emerged from the sea and many still live by its bounty.
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