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VENICE — The two best arresting exhibitions I saw amid the Venice Biennale’s accessory displays were Sean Scully’s Human and Artists Need to Create on the Aforementioned Scale that Society Has the Capacity to Destroy: Mare Nostrum, curated by Phong Bui and Francesca Pietropaolo for The Brooklyn Rail.

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Scully’s appearance is a absolute affectation of a hasty contempo development in the adumbration of this longtime abstruse painter. And the Brooklyn Rail exhibition is an admirable presentation of political art. Scully’s 22 paintings, sculptures and abundant works on cardboard absorb one of Venice’s grandest churches, San Giorgio Maggiore, advised by Andrea Palladio, on its eponymous island south of the city, while Brooklyn Rail is in Chiesa di Santa Maria delle Penitenti, an out of the way, deconsecrated abbey abreast the far bend of Cannaregio, arctic of the Grand Canal and aloof east of the alternation station, a baby 17th-century architecture busy with several accessory 18th-century paintings.

Palladio’s San Giorgio Maggiore, a Benedictine abbey congenital between1565-1611 — “floating like a address in a huge amplitude of sky and water,” in the words of architectural historian Deborah Howard — faces San Marco beyond the lagoon. As you cantankerous on the cardinal 2 vaporetto, you see that the armpit “emphasizes the chill whiteness of the facade” (Howard).

Entering the whitewashed adhesive interior, Scully’s “Opulent Ascension” (2019), a ten-meter-tall carve complete of narrow, vividly black accumbent bands, rises beneath the abundant arch over the crossing, amid amid the access and the aerial altar, lit from above. Then, departure on the left, you airing bottomward a attenuated corridor, with the painting “Landline Gold” (2019), additionally consisting of accumbent bands, on the right, and access the sacristy. This space, area angelic casework are prepared, is adherent to assets that acknowledge “just how abundant mediation, ingenuity, and affection goes into creating the larger-scale paintings and sculptures” (according to the exhibition notice).

Back central the abbey proper, Scully’s artist’s book, “Illuminated Manuscript” (2018-19) sits accessible on the aerial altar, while in the courtyard is “Brown Tower” (2015), about nine anxiety tall, fabricated of accumbent plates of corten steel. The aisle abaft the abbey is acclimated to affectation eight of his Landline alternation (begun in 2013), anniversary composed of six or seven brushy, angular aggressive stripes of oil on aluminum, which the artisan has described, in a adduce begin in the archive of a 2018 exhibition at the Hirshhorn Building adherent to the series, as the “coming calm of acreage and sea, sky and acreage . . . ample in border curve endlessly alpha and ending…”

There is additionally a ancillary allowance adherent to his pastels, and addition with two alternation of oil paintings, one accumulation adherent to Vincent van Gogh in Arles, the added a five-part accolade to Miles Davis’s 1959 recording “Kind of Blue,” which Scully transposes to “Kind of Red” (2013). And on the far side, is decrepit bottle window. And, finally, at the end of this aisle is a baby allowance with the three allegorical paintings, Madonna Triptych (2018), assuming Scully’s wife Liliane Tomasco and their adolescent son Oisín.

Intrigued and puzzled by these three contempo allegorical works, afterwards demography in The Brooklyn Rail exhibition and a few added sites (described below), I catholic to Vienna to see Eleuthera, Scully’s exhibition in the Albertina Museum, which is announcement 23 of these ample contempo oil on aluminum paintings, forth with a few abate works and additionally some photographs (Eleuthera is the name of the bank resort in the Bahamas area Scully took the photographs).

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Using collapsed fields of acute colors, Scully paints close-up angle of Oisín arena at the beach, area acute swaths of blue, pink, orange, and red protectively band the boy, the advantageous accountable of his father’s admiring attention. In the 1980s, Scully fabricated absent images of conflicts — fields of accumbent and vertical stripes banging together; in the 1990s he started authoritative walls of light, pictures of battle transcended; and afresh he has corrective landlines, alongside bands of blush acquired from examination the affair point of land, sea, and sky. And now he additionally does these ample pictures of Oisín.

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When the first-generation American Abstruse Expressionists Philip Guston and Willem de Kooning fabricated allegorical assignment afterwards their advance into abstraction, critics moralized. Nowadays, the abandon of the artisan to accept capacity is assumed. Early on in his career, back he himself did allegorical works, Scully was absolute afflicted with German Expressionism, with André Derain, and additionally with Joan Brown, the Bay Area painter. But now the accurate use of apathy in his new allegorical painting bears apparent beheld traces of casual through abstraction.

To acknowledgment to Scully in Venice: A abundant abounding abstruse artists accept capital to accomplish airy paintings. But it was never bright how that was possible. A allegorical annual functions as an altarpiece back it depicts angelic figures. But back Scully is painting neither abstruse altarpieces nor images of saints, what is at pale back he sites Human in a activity church?

The adventure of Modernism is the history of the backup of the church, the acceptable ambience for aggressive artworks, with the accessible museum, the new home of aggressive works. And what defines anniversary of these institutions is the means that their settings are advised to affect characteristic means of cerebration about the art they display. A abbey is area we adjure and a building is area we analyze the abode of works in the history of art.

And so back an old adept altarpiece moves from abbey to museum, it ceases to be a angelic antiquity and becomes an artwork. By presenting his abstruse and allegorical works in this church, Scully aspires to accessory his art with thoughts about the spiritual, but after authoritative concessions to religious tradition, and appropriately creating a abstract conundrum. Is he acceptance his assignment to be absorbed into the accomplished — accurate as around-the-clock art by its around-the-clock ambience — or is he application attitude adjoin itself, axis its accouterment into a ambience for Modernism’s secularist achievement over the sacred? Or, perhaps, both at the aforementioned time! o be sure, a Palladian church, with the absolute large, mostly bare white walls, is a audible array of religious environment, that can board both interpretations. You couldn’t arise Human auspiciously in best Venetian churches.

Artists Need to Create on the Aforementioned Scale that Society Has the Capacity to Destroy: Mare Nostrum, curated by Phong Bui and Francesca Pietropaolo, appearance installations by Wolfgang Laib and Lauren Bon central the Chiesa di Santa Maria delle Penitenti, which advertence ecological dangers. Immediately abutting door, a bashful video by Shoja Azare and Shahram Karimi invites contemplation; Julian Charrière’s accession explores ephemerality; and Shirin Neshat’s video, Sarah (2016), deals with the accord amid baptize and women.

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Finally, in the courtyard, which you access from the artery to the appropriate of the church, are Maya Lin’s site-specific installation, “Water Baptize Everywhere, Not a Drop to Drink” (2019) and a date for affable performances by Rirkrit Tiravanija, Tomas Vu and Sarah Sze. There is additionally a ample neon assurance by Lauren Bon and The Metabolic Studio, which provides the exhibition’s title, “Artists Need to Create on the Aforementioned Scale that Society Has the Capacity to Destroy.”

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Finally, recreating the Rail’s Brooklyn ambiance in a ample allowance amid the abbey and the courtyard, is a carefully afraid bank with baby works by dozens of artists, and Kiki Smith’s cast-aluminum Singer (2008) continuing in front. An absolute workplace, it will accompany Brooklyn as the abode area the Rail agents will be bearing their accepted annual issues, both in book and online. And the accessible programming will arise in the forthcoming River Rail: Meditations on the Mediterranean, which will be a chargeless book advertisement and additionally accessible online. Inspired by Joseph Beuys’s amusing carve and Nicolas Bourriaud’s relational aesthetics, these aggregate accomplishments in Venice accomplish up a Amusing Environment. The artworks accumulated are as assorted as those in the official exhibition, but what gives accord to Artists Need to Create on the Aforementioned Scale is its political focus.

Not far from Santa Maria delle Penitenti is the Ghetto, one of the rare, almost ample accessible spaces aural Venice. It is the armpit of Edmund de Waal’s installation, psalm, in the Scuola Canton (1531), a synagogue, which now houses the Jewish Museum. At the entrance, 11 vitrines, abounding with white porcelain, marble, and gold, band its walls. And again a twelfth holds three ceramics pots, admirable and frail, as stand-ins for the Jews who lived here. On some of the ceramics shards are phrases from Osip Mandelstam or Rainer Maria Rilke. As we airing higher, we appear to the Sukkah. In a beaming article on the accession appear by The New York Review of Books, Lisa Appignanesi writes:

De Waal has complete his own adaptation of this sanctuary: a aerial apery table on which tall, narrow, and ellipsoidal free-standing vitrines of capricious heights array together. Anniversary shelters a angled or asperous ceramics vessel. [. . .] In the comedy of refracted light, the anatomy suggests both the arcadian burghal of anamnesis and a admirable new city, a apartment for the approaching hopes of the dispossessed.

Like Human and the Brooklyn Rail installation, this exhibition makes admirably able use of its Venetian site.

After attractive at this amazing easygoing installation, I fabricated one aftermost stop in Venice. Nearby, in the Cannaregio, a adjacency not abundant visited by tourists, is Madonna dell’Orto, a massive afresh adequate Gothic abbey where, on the choir wall, you see Jacopo Tintoretto’s “The Aftermost Judgment” (1560-62). At the acme of the painting, which is 15 fifteen meters tall, Christ board the gesticulating masses, who, if they are saved, accomplish their way advancement on aphotic tiers of clouds. Meanwhile, the damned, as if anticipating the Venetian acqua alta and conceivably alike all-around warming, are downing in a flood, which absolutely engulfs the skeletons at the absolute basal of this amazing picture.

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This is the third of three letters from Venice and Vienna. (See Navigating the Overload at the Venice Biennale and Luc Tuymans’s Moral Distance.)

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Notes: My annual of San Giorgio Maggiore comes from Deborah Howard, The Architectural History of Venice (2002); my altercation of Chiesa di Santa Maria delle Penitenti from Giulio Lorenzetti, Venice and Its Lagoon: Historical-Artistic Guide (originally 1926/1975); and additionally Alta Macadam, Venice: Dejected Guide (2014). Scully’s catalogues are Human (2019), with essays by Kelly Grovier and Javier Molins, who is the curator; and Sean Scully Eleuthera (2019), with an article by Werner Spies and Scully in chat with Elisabeth Dutz, who is the curator.

Sean Scully: Human continues at the Abbey of the Basilica of San Giorgio Maggiore (Isola di San Giorgio Maggiore, Venice, Italy) through October 13. The exhibition is curated by Javier Molins

Sean Scully. Eleuthera continues at the Albertina (Albertinaplatz 1, Vienna, Austria) through September 8. The exhibition is curated by Elisabeth Dutz.

Artists Need to Create on the Aforementioned Scale that Society Has the Capacity to Destroy: Mare Nostrum continues at the Chiesa di Santa Maria delle Penitenti (Fondamenta di Cannaregio, 910, Venice, Italy) through November 24. The exhibition is curated by Phong Bui and Francesca Pietropaolo for The Brooklyn Rail.

Edmund de Waal: canticle continues at the Canton Scuola Abbey (Ateneo Veneto, Venice, Italy) through September 29.

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