Jessica Morgan

Atlas of Harun Farocki’s Filmography (detail), 2015, notebooks, approx. one hundred copies of Filmkritik magazine, vitrine, eighty-six digital videos (color, sound, infinite duration). From “All the World’s Futures.”

SOMETIMES MORE IS LESS. Despite its extensive documentation of alienating labor conditions past and present, despite multiple reflections on an atrophied human society, and despite a decidedly bleak view of the possibilities for political change, the Fifty-Sixth Venice Biennale is surprisingly easy on the eye and mind. Works are viewed, acknowledged, and effortlessly passed by. Although many performances and live works interrupt the exhibition’s flow and call out for attention, very few offer a memorable or visceral experience.

This Biennale is an unexpected turn for curator Okwui Enwezor, who has produced so many powerful and original exhibitions—including the traveling “The Short Century: Independence and Liberation Movements in Africa, 1945–1994” in 2001–2002, Documenta 11 in Kassel in 2002, and “Archive Fever: Uses of the Document in Contemporary Art” at New York’s

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