The first Biennale was held in the Giardini della Biennale, a public garden that is still one of its two main locations. In 1907, the Biennale introduced national pavilions, giving each country a dedicated space to display their art. By 1980, the Biennale had expanded to the Arsenale, a historic shipyard and armory on the outskirts of the city.
Each Biennale will appoint an internationally renowned curator and focus on a theme. The main event will be held in the Giardini and the Arsenale and will be complemented by accompanying events approved by the Biennale’s curators.
Hong Kong first exhibited the pavilion in 2001 as part of a program of accompanying events. Since then, numerous local artists and curators have represented Hong Kong in Venice, and many have since gone on to forge international careers.
The council installed the Hong Kong Pavilion in perhaps one of the most high-profile locations at the Biennale. Many national pavilions have maintained their locations in the Giardini or Arsenale for decades, with demand for space outstripping supply. That’s why our location, directly opposite the entrance to the Arsenale, is very special.
This highly visible location invites all who enter the Arsenale to pause and reconsider Hong Kong’s role and expanding sphere of influence in the international contemporary art world.
This includes important museums and institutions, collectors and investors, gallerists, cultural leaders and policy makers, and the millions of tourists who visit Venice from April to November. The Hong Kong pavilion attracted around 20,000 visitors in his first two weeks.
Migration and decolonization are the main themes of the Biennale’s 60th International Art Exhibition, entitled “Stranieri Ovunque – Foreigners Everywhere”, and the Brazilian Adriano Pedrosa, artistic director of the São Paulo Museum of Fine Arts, Supervised. This is the first time a Latin American has been appointed as chief curator.
For me, the highlight of the exhibition was Pedrosa’s selection of Hong Kong artist Isaac Chong Wai to exhibit at Arcenel. Currently based in Berlin, Chong’s art includes performance, video, installation, photography, and drawing.
In his video installation “Falling Reversely,” dancers of Asian descent move through a meticulously choreographed sequence, supporting each other in acts of mutual protection that are both visually and emotionally compelling. . This reflects Chung’s exploration of violent crimes committed against Chinese immigrants within the broader context of Asian immigrant communities.
The Chinese national pavilion was just as impressive as the Macau pavilion, but I was also impressed by the accompanying events provided by the Bangkok Art Biennale Foundation. ‘The Spirits of Maritime Crossing’ presents works by some of Southeast Asia’s leading artists, reflecting the indigenous identities that forged an influential cultural pathway between East and West.
Tapana Sirivadanabhakdi, Chairman and Founder of the Bangkok Art Biennale Foundation,’s mission is to highlight the creative strengths and culturally diverse voices of contemporary art in Southeast Asia.
During my visit and during the opening event, I was reminded of the powerhouse the M+ brand and its key players have become and how well known they are. Their international peers rate them most highly. M+ ranked him 15th in last year’s world museum attendance figures compiled by Art Newspaper. This is a remarkable achievement for a new museum.
Our continued participation in the Venice Biennale reflects Hong Kong, West Kowloon Cultural District and M+’s ambition to participate at the highest level of the contemporary art world, and the fact that we have gotten there. doing.
Bernard Chan is a Hong Kong businessman and Former Chairman of the Executive Council
