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PRINT December 2005

Stuart Comer

AS I EMERGED FROM the British pavilion at the Venice Biennale this July, the airconditioned drafts that trailed me out the door were less chilling than the news I received upon reaching the building’s terrace overlooking the Giardini: A second wave of bombs had just gone off in London—and this while the rhythmic chanting of the phrase “This is so contemporary, contemporary, CONTEMPORARY . . .” drifted over absurdly from Tino Sehgal’s project in the German pavilion next door. The initial reports located the attack on Hackney Road, one of the main arteries in the network of East End streets frequented by many members of the city’s art world, including Gilbert & George, the artists who represented Britain at the Biennale this year. (As it later turned out, of course, the attack was botched and the bombs mostly harmless, but that did little to soothe the nerves of jittery

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