The 2022 Venice Biennale has been warmly accepted by the art world after being forcibly absent from the international calendar. Curated by Cecilia Alemani, the Biennale entitled “The Milk of Dreams” is a multifaceted form by Formafantasma with a graphic identity from London-based studio A Practice for Daily Life (APFEL). It will be announced at the exhibition.
Founded by Kirsty Carter and Emma Thomas in 2003, APFEL is a powerful portfolio of artistic collaboration in close collaboration with galleries, especially Hepworth Wakefield and Voltaire’s House, Tate, Kettle’s Yard, and Whitney Museum of American Art. I have. American art, design museum, V & A, etc. The team has also worked openly with contemporary artists and designers to address their desire to focus on an underrated community in the art world. Different social and ethnic backgrounds, different genders, sexual orientations, emerging and undervalued individuals.
Guiding visitors through “The Milk of Dreams” was a very diverse committee that took advantage of all these strengths.Named after an illustrated book by artist Leonora Carrington, originally published in Spanish. Lechedel SueñoThe Alemanni show at Arsenale begins and runs along with the central theme of Carrington’s transformation. The mission is to rethink and reconstruct the majority of female exhibitors (90% are participants of the first Venice Biennale) and the traditional patriarchal view. Of art and culture.
Carrington, who died in 2011, was a pioneering surrealist and feminist, and the book was a collection of intense, bizarre, and nervous children’s stories.
Carter and Thomas joined the process after Formafantasma signed up, but the Alemanni confirmed that they were an integral part of the planning process. “Cecilia came across our work in the world of art,” Carter says. “She had the title of the show at that time and she shared some presentations with us, but she was still attended by many artists.”
The scope of this committee is extensive. That’s because it’s also titled, not to mention the substantive publications that accompany every Biennale, including signs, posters, pathfinding, information panels, as well as overall identities. Dream milk..
“We are very accustomed to working in both printed and exhibition contexts,” says Carter. This book is mostly a miniature exhibition and is a much more literal way than a monograph is associated with a regular exhibition.
APFEL has skillfully managed the spatial challenges of the Biennale, along with a dense accompanying story. Liquidity is one of the decisive themes, and the center of the studio’s graphic processing is the artist’s work, which is one of the rare opportunities for exhibitors to appear in the Biennale’s identity.
As powerful visual markers, Carter and Thomas chose four distinctive eyes using the works of Cecilia Vicuna, Felipe Baesa, Tatsuo Ikeda, and Berkis Ayon. These motifs are playful, ominous, yes, surreal. “It’s fun to point these giant eyes at the sides of the building, or the vaporettos and bridges,” says Thomas. “We screened the work of this vast number of artists in an attempt to find an interesting and appropriate eye.”
The illustrations have been transformed into a flowing organic medium, but paired with powerful classic lettering. “We loved the idea of using Roman lines,” says Thomas. “Of course, it fits the Italian context of the Biennale, but historically the Biennale had many hard and cold identities, and we used more classic typefaces in all capital letters. It’s fluid, metamorphic, and vibrant that I wanted to overturn it by making it more. “
The same treatment is applied to the heavy Biennale catalog. This is a slip-cased volume that, when presented together, gives off the same uneasy presence as part of Carrington’s original drawing.
The end result gives the Biennale a sense of playful conspiracy to play the image of Venice as a magical and mysterious city and the power of art as a catalyst to change identity and focus.
“In our work, we are developing new ways to balance, extrude, amplify, open and convey this to different people in the artist’s practice and context.” The duo writes and the graphics of the Biennale set the line between shaping the powerful visual symbols of the entire event and the idea of individual artistic identities. “The challenge is to keep us excited and intrigued every day,” Carter concludes. §