Reimagining the biennial
On approaching Andrejsala, visitors come across poems on billboards by Hanne Lippard evoking the “contactless” relationships that build the world we live in, its speed, ephemerality, and distance towards one another. On entering the first hangar, Ugo Rondinone’s monumental rainbow sculpture life time opens up perspectives on our understanding of time and existence. Visitors then encounter a field of stones and rubbles from demolished buildings around Riga, transformed daily by Bridget Polk’s rock balancing practice. The sculptures are held in seemingly impossible balances and stage a poetic re-
The largest venue is a former port building with 36 works on view. For works that could not be shipped, finished, or started due to the pandemic, a display dialogue is planned instead. Marguerite Humeau’s work is represented by a guide describing the absent piece; a monumental sculpture inspired by Latvian folklore interrogating the hypothesis that climate change could be responsible for the rise of spirituality amongst animals.
During the three-
For RIBOCA2, the industrial port area of Andrejsala opens anew with access to previously restricted areas through exhibition design realised in collaboration with the architects LLRRLLRR (Laura Linsi and Roland Reemaa). Imagined as a 4–5-
RIBOCA2 participants list here.
Image: Didzis Grozds and The Laboratory of Manuel Büger / Collaboratoires MB. Courtesy of Riga International Biennial of Contemporary Art.
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