At the 60th Venice Biennale, the German Pavilion emerges as a captivating enigma, drawing visitors into a world of unsettling experiences and expansive artistry. Curated by Çağla Ilk, director of Kunsthalle Baden-Baden, the pavilion’s exhibition titled “Thresholds” takes attendees on a journey that transcends conventional boundaries, both physically and conceptually.
Located not only within the confines of the Giardini but also extending onto La Certosa, an island with sparse infrastructure, the German Pavilion challenges viewers to embark on a unique odyssey. Venturing beyond the familiar pavilion setting, visitors encounter a haunting landscape where art blurs the lines between reality and imagination.
The curator’s vision is evident from the moment one steps onto the metal dock connecting the Vaporetto to La Certosa. Here, Nigerian-born writer Louis Chude-Sokei’s sombre voice resonates, urging visitors to pause and contemplate the significance of thresholds often overlooked in transit. It’s a deliberate attempt to draw attention to liminal spaces, reflecting the pavilion’s overarching theme of transcending borders and fixed identities.
In a bold departure from traditional national pavilion models, Ilk and the participating artists challenge preconceived notions of nationality and belonging. By featuring artists born outside of Germany, the pavilion highlights the fluidity of cultural identity and the interconnectedness of global experiences.
Ersan Mondtag’s monumental work, “Monument eines unbekannten Menschen” (Monument to an unknown person), epitomizes the pavilion’s eerie allure. Covered in a mound of dirt, the German Pavilion’s building becomes a symbol of obscured history and lingering ghosts. Inside, Mondtag’s immersive installation evokes a sense of desolation and existential dread, prompting introspection on themes of mortality and legacy.
Yael Bartana’s video piece, “Farewell,” adds another layer of intrigue, blending mysticism with contemporary commentary on humanity’s relationship with the cosmos. Against the backdrop of La Certosa’s otherworldly landscape, Bartana’s imagery invokes a sense of wonder and awe, inviting viewers to contemplate our place in the universe.
While the Giardini portion of the German Pavilion garnered attention during the Biennale’s opening days, it’s the exhibition on La Certosa that truly captivates. Amidst the island’s eerie tranquillity, artists like Jan St. Werner and Michael Akstaller create immersive soundscapes that blur the boundaries between reality and fiction. These works, often overlooked in the pavilion’s promotional materials, encourage deeper engagement and contemplation.
Nicole L’Huillier’s “Encuentros” (Encounters) epitomizes the pavilion’s emphasis on sensory exploration and communion with nature. Microphones embedded within plastic sheets capture the whispers of the forest, creating an ethereal symphony that transcends language and borders.
In a Biennale characterized by its lack of spectacle, the German Pavilion stands out as a beacon of innovation and introspection. Through its immersive installations and boundary-defying concepts, the pavilion invites viewers to embark on a journey of self-discovery and collective reflection. In an age defined by division and uncertainty, the German Pavilion offers a poignant reminder of the power of art to unite and transcend.