AICA goes to the 60th Venice Biennale and more! Rui Cepeda’s La Biennale Arte di Venezia is a walk through, Stranierei Ovunque/Foreigners Everywhere, of this grand exhibition, concluding the art is about “the Queer artist, the outside artist, the self-taught artist, the folk artist, the ‘artista popular’ and the indigenous and native artists, who are frequently treated as foreigner in their own land.” Sacha Craddock’s Venice Biennale Review muses “with each artist given ample autonomous space and opportunity, the ultimate impression is that they speak at some level, somehow, in the same way.” Luciane Garcez’s Intellectual Aftermath reminds “Looking at the paths taken by art and how it flows and permeates other fields or other temporalities” and is often overlooked in today’s aesthetic dialogues.  Curator Emmanuel Lambion’s Ghosts and Nails (thru 5/18/24) which features unusual conceptual works: missing objects, numbered keys, an embroidered handkerchief, all uniquely situated on the 20th floor of  a 1972 Brussels post-war apartment block.  Miriam La Rosa’s A Guest on the Edge asks “does Manifesta imagine values of unity and solidarity in European context, or does it instead present in the contemporary art field an idea of Europe as a fragmented hegemony?” This essay took first place at AICA-International’s Incentive Prize for Young Art Critics, 2021.  Marc Michael Moser’s Immersive Installations in Old Master exhibitions surmises “But do we need ‘a new way to look at old art’ as room-filler in a classical exhibition? The potential of digital exhibitions is immense, and it will be the future of exhibitions.”