The 57th Venice Biennale is continuing to take form. Gal Weinstein will be representing Israel, Zad Moultaka will be representing Lebanon, while Tamara Chalabi and Paolo Colombo will be curators of the Iraqi pavilion.
Born in Ramat Gan in 1970, Gal Weinstein lives and works in Tel Aviv. He took part in the Sao Paulo Biennale in 2002, and has held solo exhibitions in Israel’s largest museums as well as the San Francisco Art Institute. The curator of the Israeli pavilion, Tami Katz-Freiman, and Gal Weinstein, were selected by a committee comprising Mira Lapidot and Meir Aharonson. Through painting, photography, installation, sculpture and video, the artist turns his attention to research and scientific procedures relating to natural phenomena as well as chaos in the physical world. Meanwhile, Tamara Chalabi and Paolo Colombo will be curators of the Iraqi pavilion. Tamara Chalabi is president and cofounder of the Ruya Foundation, and Paolo Colombo, art advisor at the Istanbul Museum of Modern Art. The exhibition, called “Archaic”, will question the duality of the notions of history and antiquity, matching artefacts from the region with modern art works and productions by contemporary Iraqi artists.
Turning to Lebanon, this country will be represented by Zad Moultaka. This artist and composer will be presenting a multimedia work in Santa Maria della Misericordia Church in the Cannaregio district. Emmanuel Daydé will be the exhibition’s curator. Zad Moultaka blends “musical invention with visual research in an approach where technology takes inspiration from the archaic,” says Emmanuel Daydé. His work explores the themes of separation, time immemorial and memory of the moment. The artist has given a few specifications on his project and ambition: “In these times when the Middle East is crumbling before our eyes, foundering in fratricidal wars, every act, every thought must be moved by this foretold catastrophe. Our earth is burning, our roots are being torn up, our future is drowning in indifference. It is urgent to question the soil, urgent to put the spiritual back into art, urgent to put naturalness back into the heart of Man. To descend into the depths of time is to climb back up to eternal lights: that which is born in the East. Today’s man has been ripped from the soil and fallen from heaven. Deaf and blind to the essence of things, he is programming his own obliteration, hastening with it, by anxiety, the crumbling of the world. Within this universe that is losing its way on the shores of materialism and drowning on the surface of the visible, questioning the sacred in the very heart of Man: such is the dream and ambition of this Lebanese Pavilion for the Venice Biennale.”