The Venice Biennale is once again upon us, inaugurating the summer art-travel season, with its seemingly endless parade of official exhibitions, unofficial exhibitions, brunches, lunches, champagne brunches, champagne lunches, dinners, after-parties and taxi rides.
This year the main event in the Central Pavilion in the Giardini and the Arsenale is "ILLUMInazioni." . The exhibition's title is an obvious play on the words "light" and "nations," and the show claims to explore the insight fostered by viewers' encounters with art—both old and new. Curated by Bice Curiger, the art historian, critic, curator, and founder of Parkett and Tate Etc., this 54th edition opens to the public June 4 and remains on view through November 27. Curiger is only the second woman to occupy this role.
As Claire Bishop indicated in her introduction to the "The Now Museum: Contemporary Art, Curating Histories, Alternative Models" conference from March 10–13, ours is a moment dominated by what curator Nina Möntmann has called the "corporate turn" in the arts-museum-grade exhibitions mounted at commercial galleries, commercial gallery directors hired as museum directors, and the continued proliferation of contemporary art spaces in "exotic," "peripheral" locales from Bilbao to the Bowery.
Dominique Gonzalez-Foerster's ten-month solo exhibition, "chronotopes & dioramas," commissioned by the Dia Art Foundation and on view at Manhattan's Hispanic Society, concluded Sunday. Located in a medium-sized gallery within the former Museum of the American Indian that was recently renovated by Dia, the work consisted of a 50-foot wide floor to ceiling structure, consisting of a wall decorated with literary quotations on one side, and containing three large meticulously constructed environmental dioramas rendered by a team of specialists from the American Museum of Natural History on the other.
Currently on view in the group show "Redux" at New York's Cristin Tierney Gallery (through Feb. 4) are two works by Joe Fig, both related to his 200