58th Venice Biennale

Your guide to the best on view in Venice – from national pavilions to collateral events and museum shows, from the Giardini to Giudecca

By frieze

In Ralph Rugoff’s exhibition ‘May You Live in Interesting Times’, disorientation is the order of the day

By Jennifer Higgie

Structures by Modernist masters including Carlo Scarpa offer an alternative to the city’s medieval streets and Gothic churches

By Frieze News Desk

From demanding choreographies to ‘the sea of our subconscious’, further highlights from the National Pavilions in the Giardini

By Amy Sherlock
Jos de Gruyter and Harald Thys, ‘Mondo Cane’, 2019, Belgian Pavilion, La Biennale di Venezia 2019. Courtesy: the artists and the Belgian Pavilion; photograph: Nick Ash

The first in our series of reports from the 2019 Venice Biennale: the National Pavilions in the Giardini

By Harry Thorne

Four years after converting a church into a mosque, the Swiss-Icelandic artist is once again courting controversy in Venice

By Frieze News Desk

Marysia Lewandowska unearthed a collection of photographs while searching the Venice Archives, ahead of her display at this year’s Biennale

By Frieze News Desk

The queer cyberfeminist pioneer’s Taiwan Pavilion in Venice explores surveillance, pleasure and control

By Zach Blas
Natascha Süder Happelmann (right) and her spokeswoman Helene Duldung (left), in front of the Federal Foreign Office, Berlin, 2018. Photograph: Jasper Kettner

Can Natascha Süder Happelmann succeed in doing away with national ‘representation’ altogether?

By Ben Mauk
Zacharias Kunuk, Atanarjuat: The Fast Runner, 2001. Courtesy: Viviane Delisle and Isuma Distribution International, Montreal

Ahead of representing Canada at the 58th Venice Biennale, the director discusses his 30-year career making films about Inuit life

By Zacharias Kunuk
St. Mark's Square During the Historic Flood, 1966. Courtesy: Wikimedia Commons

To address the ‘interesting times’ alluded to in the title of the 58th Venice Biennale, we must challenge the language we use to describe them

By Andrew Durbin
Martin Puryear, Big Bling, 2016. Courtesy: © Martin Puryear, Matthew Marks Gallery, New York; photograph: Yasunori Matsui

The artist represents the US at this year’s Venice Biennale

By Ian Bourland