There is a political atmosphere at this year's Venice Biennale, referencing the Egyptian and Arab revolutions, writes Nevine El-Aref Under the title "Illumi-nation," this year's Venice Biennale has opened its 54th edition to the public at the Giardini and Arsenale historical pavilions in the city, where works of art from 89 national participants from across the globe are on show. Considered as one of the world's most important and prestigious contemporary art festivals since its launch in 1895, the Venice Biennale continues to be a platform for new art and a major international showcase. This year, the 54th edition of the Biennale has some very special and unusual pavilion displays, reflecting the political turmoil in the Middle East. Even the title "Illumi-nation" echoes the recent unrest in various Middle Eastern countries in their quest for a new national identity, as has been happening in Egypt, Libya, Syria, Yemen, Bahrain and Lebanon. It also reflects these countries' paths towards illuminating their future. "Questions of identity and heritage have long been crucial in contemporary art," curator Bice Curiger said at a news conference in Paris in March. "'Illuminations' emphasises the insight fostered by an encounter with art and its ability to sharpen the tools of perception." At the Giardini, in front of the US pavilion there stands a huge upturned tank with a treadmill on its top. A runner pounds away as the tank's wheels turn, in what the curator of the US pavilion says is a work commenting on American militarism. Meanwhile, a dark memorial to those who have died in Libya has been erected in front of the Romanian pavilion's façade, decrying western hegemony in global politics and culture. The design of the Danish pavilion evokes the struggle for freedom of speech, artist Taryan Simon and 18 others showing works referring to some of the complexities of the issue. In one work, Simon references the rape and murder of a 14-year-old Iraqi girl by US soldiers. Facing current unrest, Bahrain and Lebanon have canceled plans to participate in this year's Biennale, though the commissioner of the Bahraini pavilion said that the country would be back for the event's next edition. Saudi Arabia, which joins the Biennale for the first time, has a less political project on show. Under the title, "The Black Arch," the work of writer Raja Alem and her sister Shadia Alem, the work attempts to bring together the two artists' home-town of Mecca with Venice through an abstract sculpture onto which images of the two cities are projected. "This participation in the Biennale is revolutionary," Shadia Alem said. "I hope this peaceful revolution continues." Andorra, Bangladesh and Haiti are also participating in the Biennale for the first time, while India, Congo, Iraq, Zimbabwe, South Africa, Cuba and Costa Rica are participating following pauses ranging from five to ten years. The United Arab Emirates, whose participation started only in 2009, is the first-ever Gulf country to participate with a national pavilion, its curator believing that the present regional unrest will bring about new artistic freedom. Echoes of Egypt's January Revolution are also loud at this year's event, with Egypt being represented through a work dedicated to Ahmed Bassiouni, a young multimedia artist and musician killed by snipers during the third day of the 18 days of revolution in Tahrir Square. The display juxtaposes a projection of Bassiouni's work 30 Days of Running in the Place with random footage of the Revolution made before he died. Aida El-Torie, curator of the and a close friend of Bassiouni, told the Weekly in an interview that the decision to represent Bassioni's work in Venice had been due to efforts made by his friend, art professor at the American University in Cairo Shadi El-Noushoukati, who had put together a paean to his dead friend. "I am really very happy to be able to make Bassiony's dream come true," El-Noushoukati told the Weekly, saying that Bassiouni had always wanted to present his work at the Biennale, particularly 30 Days of Running in the Place, which he had also presented last year at the Why Not? festival organised by the Cairo Opera House. "I am sure that he would be very happy about both the freedom of his country and his work's participation at the Venice Biennale," El-Noushoukaty said. El-Torie described this year's selection of works from Egypt as being symbolic of the country's current political situation. Egypt's pavilion has long hosted work referencing traditional forms of art, she said, and presenting Bassiouni's work marked a departure from this trend. "I hope that things do not go on as they were previously, given that everything is still in flux in Egypt. I am very happy that we still have the possibility of change." Visitors to the are greeted by a large banner, on which are written the last words tweeted by Bassiouni. The banner says, "Please, Father, Mother, Youth, Student, Citizen, Senior, and More. You know that this is our last chance for dignity, our last chance to change a regime that has lasted for the past 30 years". "Go down into the streets and revolt. Bring food, clothes, water, masks and tissues and a bottle of vinegar. Believe me, there is but one very small step left. If they want war, we want peace, and I will practice proper restraint until the end to regain my nation's dignity." From here, visitors are guided to five large screens set up in a diagonal manner showing a 20- minute video of two events in Bassioni's life. The same footage is played on each screen simultaneously. Ashraf Reda, head of the Plastic Arts Section at the ministry of culture, told the Weekly that visitors to the Biennale had flocked to the to learn about changes in the Egyptian art scene and how these had reflected political and social conditions. "We won the public's gold award," Reda said, and in order to pay tribute to Bassioni he said that the ministry's Plastic Arts Section intended to use Bassiony's name for the annual Youth Salon award. This year's Salon will be very different from previous rounds, he said, calling on all young artists to participate in it. On the fringes of the Biennale, various international organisations and institutions have organised some 37 related events. Various seminars and meetings are promoting visits to the Biennale, highlighting its role as a research institution. In comments made on the Biennale's Website, president Paolo Baratta said that "in an age in which art has long since ceased the emphasis on the provocation of anti-art, we seek ways of dialogue between the artist's work and our vision and our spirit. We want to understand and feel the 'beyond' that art generously offers and whispers to us. We wish for 'Illumi-nation' as visitors, as art lovers, as individuals and as members of the human community."
