Both of the Caribbean-based artists, Frantz Zéphirin and Myrlande Constant, live in Port-au-Prince, Haiti, with no artists based in Puerto Rico, the Dominican Republic, Jamaica, the Bahamas, or any other islands in the region. The next-most-represented city is Los Angeles, with five.Ģ, 5, 10: The numbers of living artists currently based in the Caribbean, Africa, and Asia, respectively. In a similar vein, the Hong-Kong based gallery Antenna Space is sending nearly one-quarter of its roster: Dora Budor, Allison Katz, Mire Lee, and Wu Tsang.ģ2 : The portion of the 43 artists based in the U.S. Those three account for nearly one-fifth of the gallery’s influential roster. A more astounding feat comes courtesy of the small but mighty JTT gallery, which has three artists at the Biennale this year: Sable Elyse Smith, Jamian Juliano-Villani, and Elaine Cameron-Weir. (Hauser & Wirth would have had four artists at the Biennale if Simone Leigh hadn’t defected for Matthew Marks Gallery last year.) Such numbers aren’t necessarily so high considering the galleries’ size. The fellow mega-gallery Hauser & Wirth isn’t far behind, with three artists: Christina Quarles, Tetsumi Kudo, and Sophie Taeuber-Arp. The next largest (still living) generation is Gen X (1965–1979) with 30 artists.ĥ: The number of artists represented by David Zwirner gallery, whose roster includes participants such as Ruth Asawa, Noah Davis, Barbara Kruger, Andra Ursuta, and Portia Zvavahera. The Biennale’s youngest artist is Simnikiwe Buhlungu, who was born in 1995 in Johannesburg, meaning that this won’t be the first Biennale to include work by someone born in the Gen Z generation in the main exhibition. That’s exactly double the number included in the 2019 edition. (The Biennale’s oldest living participant is Paris-based artist Vera Molnár, who was born in 1924 in Budapest and turned 98 in January.)Ħ0: The number of artists who could technically be considered part of the Millennial generation (roughly 1980–1995), including the likes of Wu Tsang, Christina Quarles, Elle Pérez, Jadé Fadojutimi, and the late Noah Davis. The naturalist and scientific illustrator passed away at 69 in Amsterdam in 1717. That honor goes to Maria Sibylla Merian, who was born in Frankfurt in 1647, when the city was still part of the Holy Roman Empire. Among those with the largest proportion of representation are London (11), Berlin (10), Amsterdam (7), and Paris (5), and 10 artists work in various cities throughout Italy.ģ75: The age the earliest-born artist included would be if she were alive today. Alemani has stated that her reason for curating the Biennale in this way is to allow for “time capsules,” or groupings of works by historical artists that can be seen as inspirations for painters, sculptors, and others working today.ġ80: The number of artists who are showing in the Biennale’s main exhibition for the first time.Ħ1: Many of the living artists included in this iteration of the Biennale are based in Europe, with different cities as hubs. It’s not entirely unusual for main exhibitions in Venice to include dead artists, but this is a remarkably high amount. during the first half of the 20th century. A majority of those who have passed were born before the Great Depression, and many of their contributions to art history remain underknown and underrecognized, including artists like Toyen, Tecla Tofano, Ovartaci, Baya Mahieddine, and Safia Farhat.Ģ3: The percentage of artists in this year’s Biennale who can be connected to an avant-garde movement active in Europe or the U.S. Most of the dead artists this year are women, too-of close to 100 dead artists in all, just seven of them were men.ĩ5: The total number of dead artists included in this year’s Biennale, making up a staggering 44 percent of the participants. But that will certainly not be the case this year, when almost every artist is a woman or gender-nonconforming. In her book Curatorial Activism, curator Maura Reilly called such imbalances “appalling,”noting that the 2017 Venice Biennale included women as only 35 percent of the total list. Historically, it’s been the case that gender parity is a real issue at the Venice Biennale. (A small caveat here: in 2019, artists were given the opportunity to present twice the amount of work as usual, since that Biennale’s main exhibition was split in two.) This Biennale will have the most artists of any edition held since 2005.Ģ1: The number of men in this year’s main exhibition. Zheng Bo Gets Intimate-and Political-with PlantsĢ13: The official number of artists in the Venice Biennale’s main exhibition this year-a staggering amount, given that in 2019, there were only 83.
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