(Editors note: Not everyone can afford to send a correspondent to the Venice Biennale Opening Week, the biggest and trendiest art event in the world – sort of the Olympics of the art world. But because we truly care about keeping you informed – we sent not just one, but an entire troupe of reporters – all wildly talented writers and artists who rented an enormous villa smack dab in the middle of Venice the better to report on all the action. Over the coming weeks, we will share with you their tales of champagne-soaked art and mayhem. Let the games begin:

An Art Show with Balls – 55th Venice Biennale

by Kelly Stevens, Chief Biennial Project Art Correspondent

Historically, the art installations at the Biennale are oversized, but this year’s theme, the “Encyclopedic Palace” lends itself to smaller, more detailed works. The theme is about our desire to see and know everything. It’s a real thinking man’s show. Philosophers and inventors from DaVinci to Jung inspired many of the works. I put my reading glasses to good use and settled in to what was certain to be an art experience of a lifetime. I could feel myself getting smarter by the minute. I like to think of myself as an academic, but the truth remains this southern girl is no librarian. I might be found heading to the local biker bar if given the chance. So while the media poured and gushed over the illustrations, scientific drawings, and alphabetic works, I found myself searching for something bigger to rest my weary eyes upon. And then I saw them…..

A real feast for the eyes lay before me. A large set of concrete, ahem… meatballs dangled in front of me as I rounded the corner. UK artist and former teacher, Phyllinda Barlow constructed a rather large scale grouping of balls entitled “Untitled: Hanginglumpcoalblack” which resembles a set of male testicles (at least from pictures I’ve seen in medical books). They literally hung by thick strands of black chains from a 25 foot ceiling, nearly blocking the doorway. Carefully crafted of construction debris, including sand, wire netting, expanding foam, fabric and plaster, Barlow has made a name for herself giving cast off construction material a new life.

As I stared, I realized that in that brief moment, I was nothing more than a naughty school girl posing as an art professional. Big or small, art has a way of transforming us and making us feel emotions we may not have been aware of, and suddenly I had a craving for Spaghetti.

by Kelly Stevens, Chief Biennial Project Art Correspondent

(Editors note: Not everyone can afford to send a correspondent to the Venice Biennale Opening Week, the biggest and trendiest art event in the world – sort of the Olympics of the art world. But because we truly care about keeping you informed – we sent not just one, but an entire troupe of reporters – all wildly talented writers and artists who rented an enormous villa smack dab in the middle of Venice the better to report on all the action. Over the coming weeks, we will share with you their tales of champagne-soaked art and mayhem. Let the games begin:

Nice Spice Rack - 55^th Venice Biennale

by Kelly Stevens, Chief Biennial Project Art Correspondent

Be memorable or be anonymous. That’s the goal of every artist. Biennale artists are no different, but the stakes are higher in Venice. Over 300,000 art lovers will converge on Venice, Italy this summer to visit the 55^th Venice Biennale. Over 150 artists representing 88 countries were selected to show by outfitting massive pavilions with elaborate concepts. It’s a challenge to stand out with each pavilion trumping the next. Artists create that lasting impression with extra sensory experiences to make sure they connect with you. First, an eye popping visual show piece; then a film project for emotion, and finally a hands on element to get you involved. This menu has become de rigueur at national art shows, but most artists’ work stimulates only 3 of the 5 senses; sight, sound, and touch. Taste and smell get left to The Food Network. But at this year’s Biennale, my two neglected senses got a rare whiff of attention.

Inside the bunker like pavilion of Latin America, Bolivian artist Sonia Falcone’s exhibit “Fields of Color” is a large spice rack containing dozens of delicately sculpted foot high cones of exotic spices seated atop flat clay terrines. One gust of wind and the entire installation blows away. I held my breath, but not my nose. The beauty of it alone was a lush artistic visual, but oh, the scent... The aroma of smoky cumin, pleasant nutmeg and sweet cinnamon gave me a warm feeling of that early morning market magic before the selling begins.

If a smell can change your mood, it can certainly transport you to another era. By using spices as art, Falcone gave a nod to a time when Venice was the hub of the spice trade, when the spices which lay before me would be more valuable than diamonds. Imagine paying your rent in black pepper. But the addition of smell gave it a deeper dimension. I could smell the history as the fragrance hasn’t changed in eight hundred years. The richness of curry powder and paprika, the crushed cardamom, cilantro and black pepper represented the colors and tastes of the people of the world. It seemed fitting that I was at this international show looking at this artistic spice rack with people from Asia to the Middle East, South America to Africa, all sniffing a shared aroma in our own language. It was as if were at a dinner table, seated together, having been served a fine meal. Now that is memorable.

by Kelly Stevens, Chief Biennial Project Art Correspondent

As our Multitude of Adoring Fans already know, the 2013 ArtVenice Biennale attracted more than 800 entries from all around the world.

The quality of the work was stunning.

Viewing all the amazing work being done out there made our hearts happy to be members of this global Tribe Called Artists.

Choosing from so much great work was a challenge – but it had to be done.

Even harder was choosing a winner amongst so many talented souls – so we kind of wimped out.

We chose two!

Both of the Grand Prize Winners are extremely talented, dedicated to their calling, and doing work that only they could do.

We are excited to share their work with you.

Today we would like to introduce you to  the first of our two Grand Prize Winners - Clint Imboden, a California-based multimedia artist with a diverse catalogue of compelling work.

As good red-blooded Americans, we were first seduced by his gorgeous series of resin-based pieces titled Colors of War. Luscious, candy-colored, lethal. Perfection.

Can we get fries with that?

This series proved to be just the beginning of Clint’s strong and provocative body of work. Feast your eyes on these images from a sampling of his extensive installation history:

And his individual sculptural pieces are just delightfully demented:

Pretty cool, huh? Here’s Clint’s artist statement:

I come to making art with the perspective of a therapist. Just as a good therapist can act as a catalyst for change in a client, good art should elicit a strong reaction in the audience, provoking them to explore the reasons why they've been affected.

I usually find my materials at local flea markets. I start with the artifacts of daily living, things that most people discard or overlook: battered globes, worn shoes, dilapidated tools.  I’m drawn to old materials because they foster purposeful imperfection in my art, an attribute that’s connected to their previous lives. I use them for their connotative, associative or narrative possibilities. My installation work is tactile and handmade; as an artist, I focus on process and on topical, issue-based content.

Viewing my artwork is not meant to be a passive experience; it involves reading, deciphering, taking the initiative to engage physically and psychically with text and objects.  I use materials that challenge my audience to consider multiple references in order to understand the full meaning of a piece. I want people to be caught up in the experience of my work, just as I am, in making it. My goal is to have them come away from an encounter with the work knowing something new about themselves.

 See more of his work in our web gallery devoted to him and him alone:

http://the-biennial-project.com/2013artVeniceWinner.aspx

For even more, check out Clint’s website:

clintimboden.com

Announcing A World Wide Search for
THE NEW FACE
of Star of Venice
- the first fragrance developed
specifically for the visual artist.

The acclaimed design team responsible for Star of Venice is proud to announce an exciting new campaign that could make you a star!

We are launching a search for the new face of Star of Venice - the fragrance as unique as you are.

Our team of judges will pore over photos from artists all over the world to select a winner or winners who best embody the Star of Venice essence.

Star of Venice is not about looking like a model (although that's never a bad thing) - it's about being fabulous and knowing it, about owning your own fabulosity.

So throw your name in the hat, because the winner(s) will enjoy these spectacular prizes:

-A fashion shoot with internationally famous fashion photographer Eric Hess.

-A makeover by Star of Venice lead designer and makeup-artist-to-the-stars Samantha Marder.

-A fashion spread in Biennial Project Style magazine and blog.

-The opportunity to have your photo splashed across the globe as part of the Star of Venice 2014 Advertising Extravaganza.

Just send us pics of yourself of your most enchanting self!

And if you want us to snap your entry pic, come on down to the campaign's formal kick off - a glittering gala in Boston's hippest gallery, and one of our talented team of photographers
will be happy to oblige!

Star of Venice Glittering Gala at Space 213
450 Harrison Ave.
(in Boston's trendy SOWA art district)
Friday Sept. 6th 7-9PM


We will also be available at Space 213 to take entry pics for two hours during South End Open Studios - on Saturday September 21st from 2-4pm.

You know you're fabulous, now show the world!

Contest deadline November 2nd (Day of the Dead), 2013. All decisions of the Judges are final. Probably.

The Biennial Project