Biennale Moments 2022 – Jonathan de Andrade’s Violently Witty Brazilian Pavilion

Every day for the past 4 months since I’ve returned from Venice I’ve thought about writing about Venice. But I paint everyday, and I learn Italian every day, and I have an intense full-time job amongst other familial obligations. While my art practice is about time, time is something I often lack. And when it comes to art and writing, there is a certain level of professional perfectionism I demand of myself, a forced eloquence that requires intense focus. In recent years, the only time I could get in this headspace was on a plane. But I’ve been grounded mostly by travel. So instead I sit here on a park bench in Silver Lake after work one day detached from my desk and office for a few moments, catching my breathe and I force myself to begin chronicling some of my favorite pavilions.

First up, Jonathan de Andrade’s Brazilian Pavilion in the Giardini.

My close friend Aline is my favorite person to discuss language with on a recurring basis. I feel so lucky to have someone to share my love of words with in a never ending inside joke. She is also Brazilian, which made this year’s Brazilian Pavilion even more resonant as the subject of it was about language, and the use of descriptive words, phrases and cliches around the body to portray a modern culture of sexuality and violence.

So much of the show is a collage of tongue in cheek phrases alongside tongue in cheek sculptures. Enter the pavilion through one enormous ear and walk out the pavilion through the other.

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