Pamela Rosenkranz filled the Swiss Pavilion, at the last Venice Art Biennale, with an immersive installation that activates “the knowledge mobilised in the technological, scientific and conceptual development of products, subverting the culturally consolidated meanings of art.”
Her chosen materials: PVC with parts of bionin, evian, necrion, neotene and silicone, are familiar to us more for the esoteric promises that some of them are embedded with, than with the physical substances which they are actually composed of.
Rosenkranz’s exhibition transmutes the Pavilion of Switzerland into a body of a local skin color, which is fluid, smells, shines, sounds and moves. A pigment that originally emerged as the specific product of migration, sun-exposure, nutrition, and any number of other contingent factors is resynthesised as a stock formula, composed of different ingredients.
Rosenkranz’s work is all-encompassing, penetrating all parts of the Swiss pavilion’s architecture with sounds and smells. the synthetic sound of water, generated by a real time algorithm, reverberates throughout, while the scent of fresh baby skin emanates, invading all of our senses. the installation appropriates immemorial aesthetic reflexes that both art and commercial culture rely on, but renders them as cognitively disturbing.
Artist | Pamela Rosenkranz, Altdorf, Swizerland
Place | La Biennale d’Arte Contemporanea, Venezia, Italy
Technical info | PVC flooring
Picture credits | Marc Asekhame