56th Venice Biennale

Herman de Vries’s Dutch pavilion in Venice

By Jörg Heiser
‘Portable Classic’, 2015, exhibition view at Fondazione Prada Venice

56th Venice Biennale, various venues, Italy

By Barbara Casavecchia
Chiharu Shiota, The Key in the Hand (detail), 2015, installation view in the Japanese pavilion

56th Venice Biennale, various venues, Italy

By Matthew McLean
Melik Ohanian, (Streetlights of Memory – A  Stand by Memorial), 2010–15, installation view outside the Armenian pavilion

56th Venice Biennale, various venues, Italy

By Sam Thorne
Lotty Rosenfeld, No, I Wasn’t Happy, 2015, video installation in the Chilean pavilion

56th Venice Biennale, various venues, Italy

By Max Andrews
Joan Jonas, They Come to Us without a Word, 2015, production still, installed in the US pavilion

56th Venice Biennale, various venues, Italy

By Jennifer Higgie
Jason Moran & Alicia Hall Moran, Work Songs, 2015, performance in the ARENA, Central Pavilion, Giardini

56th Venice Biennale, various venues, Italy

By Sean O'Toole
Tit Teddy Rohan, 2013, pantyhose, fluff, steel wire, 95 × 57 × 25 cm

Novelist Sarah Hall talks to Sarah Lucas about sculpture, sexual politics and representing Britain at the Venice Biennale

Nida Sinnokrot, Jonah’s Whale, 2014, hand-cut Israeli  settler caravan installed on a former Israeli military base in the West Bank. Courtesy: the artist

On the ruptures and restlessness of much contemporary art, and how this is reflected in the 56th Venice Biennale

By Kaelen Wilson-Goldie
Marciana Library / Venice Marco Polo airport overlay proposal diagram 4,  2014, two digital prints on Perspex,  digital prints on brushed  aluminium, anodized aluminium brackets,  94 × 160 × 13 cm. All images courtesy Galerie Buchholz, Berlin and Cologne,  Petzel, New York City,  and T293, Rome and Naples

Travis Jeppesen considers disruption and ambivalence in the work of Simon Denny, in the run-up to the artist’s major project for the Venice Biennale

By Travis Jeppesen
Your mother sucks cocks in hell, 2015, fragment of a marble sculpture  of a child from a Roman workshop,  1st–2nd century CE; oak and  polychrome Madonna and child, French  early gothic; plywood, 53 × 40 × 35 cm. Courtesy: the artist and Marian Goodman, London and New York; photographs: Stephen White

Connections across time and place in the work of Danh Vo

Chung Sang-Hwa, Work 73-1-9, 1973, acrylic on canvas, 1.6 × 1.3 m. Courtesy: Kukje Gallery, Seoul

What is Dansaekhwa and what is its legacy today?

By Yoon Jin Sup, Joan Kee, Sam Bardaouil and Till Fellrath