Opinion / Alexis Self
Sound and vision
At the Venice Biennale one usually gets a sense pretty early on of who is the favourite to win the Golden Lion, the top prize at the world’s most prestigious art fair. Even this year, despite the hype being more diffuse, crowds had begun to coalesce around a few favourites by the second day of the preview. Of these, the work of Zineb Sedira, representing France, had the longest queue, which seemed at the time to signify her impending triumph.
Inside the French pavilion, Sedira uses video, music and dance to express her Franco-Algerian identity, whose eclecticism is captured by a full-scale reproduction of her living room. But it was Sonia Boyce (pictured), curator of the neighbouring British pavilion, whose queues petered out pretty early on, who scooped the prize. Her work, entitled “Feeling Her Way”, features videos of a recording session by five black female musicians at Abbey Road. Boyce is a collaborative artist and, she told me, she “just wanted to see what would happen” when these five women were put in a room together.
The effect, of an inchoate sound demonstrating the spontaneity of musical expression, is a stirring one. Yet the work is let down by the visual element – flat-screen TVs, gold furniture and digital wallpaper – which seems kitsch and manufactured next to all of this raw sound. As with so many things, our appreciation of art is subjective and it’s important to interrogate why a prize has been awarded to one work over another. But those deliberations are not shared with the masses or collectors, whose obsession with “the market” is turning all art into commodities. On Saturday, Boyce lifted the Golden Lion and the queue for the British pavilion snaked all the way through the Giardini. That also meant that punters could finally get into the French one.