ArtReview sent a questionnaire to artists and curators exhibiting in and curating the various national pavilions of the 2022 Venice Biennale, the responses to which will be published daily in the leadup to and during the Venice Biennale, which runs from 23 April to 27 November.
Ignasi Aballí is representing Spain; the pavilion is in the Giardini.
ArtReview What can you tell us about your exhibition plans for Venice?
Ignasi Aballí The project I will present at the Spanish Pavilion is specific to the pavilion building, the context of the Biennale and the city of Venice. I will present two pieces of work: one inside the Pavilion, of an architectural nature, entitled Correction; and another that takes place in the city, entitled Venice, consisting of the publication of six artist’s books that the public will have to pick up in six places in Venice. The proposal for the pavilion consists of ‘correcting’ its architecture to align it with the neighbouring pavilions of Belgium and the Netherlands, since the Spanish Pavilion is rotated with respect to those two pavilions. The six books each contain a previously produced work that has been adapted to book format. The two projects question the idea of the pavilion and the Biennale, as well as the situation of a city like Venice, so besieged by mass tourism.
AR Why is the Venice Biennale important to you?
IA The Venice Biennale is a meeting place for the contemporary art sector from all over the world. In this sense, it is a place of maximum visibility for the works on display. Exhibiting in it means participating in the debate on the most relevant work currently being produced, and contributing new ideas on artistic practice at this time. It is a privilege to be able to present my work in this special yet complex context.
AR Do you think there is such a thing as national art? Or is all art universal? What is misunderstood or forgotten about your country’s art history or artistic traditions?
IA I believe there is no such thing as national art. In fact, I think that the current division of the Biennale into pavilions is an anachronistic aspect that should probably be rethought. However, the truth is that there are increasingly more national representations and more and more countries that want to participate. In today’s hyperconnected world, it is difficult to differentiate between local and national artistic practices. Everything is globalised, and we know what is being done practically everywhere. This partly cancels out the surprise effect and it may seem that when we visit the Biennale, we are already familiar with it. But visiting it in person always offers unexpected moments and unforgettable experiences.
AR Which other artists from your country have influenced or inspired you?
IA I am interested and inspired by numerous artists from all over the world. The specific names change depending on the time and the interests linked to my work. In the case of Spanish artists, I could mention Antoni Tàpies or Joan Brossa, who have been points of reference for me at different times.
AR How does having a pavilion in Venice make a difference to the art scene in your country?
IA Exhibiting at the Spanish Pavilion is considered an important moment in an artist’s career. In a way, it is a recognition of the trajectory and the work done, which is valued as adequate and sufficiently interesting to be presented in an international context such as the Biennale.
AR If you’ve been to the biennale before, what’s your earliest or best memory from Venice?
IA I have visited the Biennale several times and even participated in it before. It was in the 52nd edition, in 2007, in the exhibition curated by Robert Storr, Think with the Senses, Feel with the Mind. I have very good memories of my previous participation and all the times I have visited. I will never forget some of the pieces, and it has always been an intense and enriching experience.
AR What else are you looking forward to seeing?
IA I am very curious to see what will be on display in the other pavilions and also in the general exhibition, curated by Cecilia Alemani. It will be interesting to be able to analyse the other proposals in relation to mine, and to be able to establish dialogues with the other participating artists.
