Luciana Rogozinsky


    ’Tis the white stag, Fame, we’re a-hunting,

    Bid the world’s hounds come to horn!

    —Ezra Pound

    THIS YEAR, THE BIENNALE has finally abandoned its curated theme shows, making the Giardini di Castello the “Giardini della fine delle ideologie” (The gardens of the end of ideologies). The sentence that this decision has passed on exhibition-goers is readable in the first flower bed inside the gate: whoever manages to escape the lonely crowd of George Segal’s Rush Hour, 1983, ends up sharing a bench with the angular tourists of Lynn Chadwick’s Back to Venice, 1988, a stiffly bronze couple whose heads

  • Meret Oppenheim

    All periods from Meret Oppenheim’s career were represented here—paintings, sculptures, and compositions of objects spanning the period from the ’30s to the present were arranged in a mix that didn’t so much follow a chronological order as emphasize the characteristics of the works. In fact, Oppenheim’s body of work does not appear divided into recognizable periods; rather, there is a single period, faceted like a gem. Youth and maturity do not seem to follow progressively, but coexist like the right and left hands of a single body. At any moment they can fold around each other, becoming

  • Richard Long

    In this show Richard Long once again brought nature indoors. This work, typical of the artist’s recent output, was arranged over the two floors of the gallery according to a careful rhythm; it was a rhythm without concession to current fashion, explicitly declaring a return to the concepts of autonomous form that were current in the ’60s. Each side of the room on the gallery’s lower floor contained a rectangular and a circular figure. Both rectangular figures were formed on the floor, out of small, round, lake stones; a circle, also made up of lake stones, lay next to but did not actually touch

  • Mario Merz

    The paintings that made up part of this exhibition document one particular branch of Mario Merz’s recent work—the large configurations, inspired by the prehistoric imagination, which he has used as archetypes of an original, exemplary, and normative state. These works unfolded along the walls of the large polygonal hall of the gallery, the succession of large, raw-canvas surfaces creating the first and outermost of the three centripetal structures that organized the space. This pictorial perimeter surrounded a large igloo at the room’s center, made up of irregular panes of glass on iron supports