Padiglione australiano - La Biennale di Venezia

Architecture Biennale 2023, view my photos for morr.DECOLONISING TACTICS FOR RECOVERING COUNTRYAustralia's identity is built on a double rupture: the expropriation of First Peoples' lands; and the displacement of settler populations from their ancestral motherlands. The country's wealth is based on an extractive relation to nature, regarding it as a standing reserve for exploitation. A dominion within the Commonwealth, Australia's statehood is bound to the British Crown. This structure of relations to land, people, and nature are inscribed in the patterns of its settlements, its architecture the spatial language of this inscription.'Queenstown' is the name we give to this pattern of relations. At the end of the second Elizabethan Age, as the voice of First Peoples calls for reckoning, and with planetary urgencies pressing, the settled configuration of this inheritance is under question. Queenstown is being unsettled. This exhibition explores and participates in this unsettling, weaving elements from real places and gleanings from current architectural intelligence in search of ingredients to contribute to Venice's Laboratory of the Future.Queenstown is a construction both real and imagined, and there are many Queenstowns. This exhibition draws from two real Queenstowns to construct its fictional version. The first is a colonial copper-mining town on the island of Lutruwita/Tasmania. Here the despoliations of colonialism and extractivism are revealed with particular clarity, while the outlines of an alternative future are being formed within its spaces. A suspended fragment of the arched belvedere of the town's Empire Hotel centres the exhibition. Outlined in copper tubing, this colonial ghost encloses community voices and frames atmospheric landscapes, immersing the viewer in its dark magnetism.The names and narratives of Queenstown obscures those of prior inhabitations; Country is overwritten by colonial maps. A process of 'demapping' accompanies the reimagining of Queenstown. Fragments of a critical cartography of Country demapped, combining Aboriginal place names and elements drawn from the second Queenstown on Kaurna Yarta / Adelaide, South Australia, shadows the colonial spectre. An 'open archive' of tactics and methods from contemporary practice, engaging themes of relationality, narrative and temporality completes the exhibition, offering openings towards a reimagined future, transcending the encirclements of our many inherited Queenstowns.ALI GUMILLYA BAKER, ANTHONY COUPE, EMILY PAECH, SARAH RHODES, JULIAN WORRALL

Biennale 2019. Questo padiglione, secondo me, è il luogo più magico della biennale, costruito nei primi anni 60, rispecchia in pieno i criteri scandinavi ed è di una semplicità e bellezza disarmanti. Le opere esposte quest'anno sono veramente belle, ispirate al mare, agli alberi, ai sassi, alla magnificenza della natura.

Good performance in this pavillion, the artist is actively performing.Kind of loud though.

Non male, ma neanche esaltante. Li dentro ci si può riposare.

Padiglione semplice ma allo stesso tempo assolutamente immersivo e che fa riflettere sfruttando udito e vista. Merita una visita! Uno dei più belli!

Le pavillion autralien est impressionnant avec 3 grands écrans et il incite le spectateur a interagir et a se concentrer sur loeuvre avec un language des signes projeté quil faut décrypter a l'aide d'un papier quon prend a l'entrée du pavillion

L’installazione è semplice, immersiva. Imperdibile (portate con voi tappi acustici)

Gewaltig, einfach nur gewaltig!

Solo perché ci ho lavorato

Senza tappi nelle orecchie esperienza sensoriale forte. Emozionante.