A large metal encasement of green tinted water sits in a large room. A reflected image of the water shimmers on the ceiling. From this pool surfaces a detailed architectural model of the Central Pavilion. Viewers anticipate an impending presence.
To address this notion of housing a “worldly knowledge”, which is at the core of Gioni’s inquisition, Chilean artist, Alfredo Jaar’s Venezia, Venezia, seeks to answer the question, “what can a national pavilion be these days?” The answer seems to be the anticipation of emergence and simultaneously the consequence of submergence. In a final analysis, suppressed knowledge eventually surfaces.