Israel: With its mouldy floors and walls, peeling flock wallpaper and puzzle shaped floor panels filled with coffee dregs, the Israeli pavilion has been turned from a building of beauty into one of decay

在今年的威尼斯双年展上，生活中不可避免的主题-移民危机、身份政治、民粹主义、不确定的未来。这是第57版，由蓬皮杜中心的克里斯汀·麦克尔(Christine Macel)策划，名为“万岁艺术”(万岁艺术)，大多数国家都用展馆提醒我们，世界需要我们的迫切关注。安提瓜和巴布达、基里巴斯和尼日利亚首次将86个国家带到贾尔迪尼、阿尔塞纳尔和许多威尼斯最好的宫殿、教堂和画廊。

在美国展馆，美国艺术家马克·布拉德福德(Mark Bradford)审视了“中心的崩溃”，而澳大利亚艺术家特蕾西·莫法特(Tracey Moffatt)则代表她的国家拍摄了移民和虚假历史的照片和电影在基德卡岛上，俄罗斯资助的叙利亚狭小空间向被摧毁的巴尔米拉市致敬。在法国馆，泽维尔·韦尔汉的现场声音实验敲响了所有的高音。

阅读更多关于泽维尔·韦尔汉在法国馆的现场声音实验

然而，其他国家则倾向于轻松一点。在芬兰馆，两个救世主人物，以谈论动画木偶，访问芬兰，他们创造了数百万年前，并试图了解那里的当代文化。他们和他们的“发现”是艺术家纳撒尼尔·梅勒斯和埃尔卡·尼辛的作品。在吉代卡，冰岛馆是Ūgh和B g r的最终目的地。这是一对36米高的巨魔，他们从柏林艺术家埃格尔·比约恩松(Egill S Bj Rnsson)的工作室前往威尼斯，沿途创作音乐、艺术、香水和时尚。同样古怪的是，许多双年展游客的服装也同样古怪，在你最不愿看到的时候，这座城市出现了一些与众不同的表演。那个沉默而悲惨的人走了进来，他站了几个小时，站在被绑起来的巨型游艇旁，手里拿着一盘冰，脚边放着一条死鱼。他所象征的是难以理解的，但试图破译这些看似随机的行为是威尼斯双年展的乐趣之一。

Israel: Tel Aviv artist Gal Weinstein uses metallic wool, unravelled felt, pillow stuffing and mould to create sculptures and installations underpinned by historical and geographical references that lead to a post-apocalyptic scene

Israel: Weinstein also sees his project as a melancholic and poetic allegory of the Israeli story – one composed of miraculous acts and moments of enlightenment as well as neglect and destruction

Egypt: Cairo-based artist Moataz Nasr has transformed the entrance to the Egyptian pavilion into a mud hut. Inside a film recounts a story of a small fictional village and the myths and fears that preoccupy the villagers

Egypt: It’s one of many works by Nasr to explore the tensions between tradition and globalism and their impact on social development

Portugal: Six giant glass panels are dotted around the gardens of Villa Hériot which doubles as the Portuguese pavilion. They are the work of Portuguese artist José Pedro Croft and bring a touch of modernity to this secluded corner of Guidecca

Portugal: Built in 1929 for a French merchant, it is a paradise of architectural detailing and serenity, and viewed through Croft’s colourful panels the site takes on a different hue. It’s worth taking a peek next door, at last year’s biennale exhibition, the Campo di Marte housing scheme by Alvaro Siza

Great Britain: Daunted by the prospect of representing the UK, it was not until artist Phyllida Barlow saw the biennale as ‘a huge group show that reflects the state of the world’ that she was able to do the job. And she has done it with gusto. Photography: Ruth Clark

Great Britain: Every part of the British pavilion has been colonised by her colossal sculptures in timber, fabric, concrete and found materials, and so closely packed are they that you can get right up close in a way that a gallery rarely permits. Photography: Ruth Clark

Korea: Tacky neon advertising motifs reminiscent of Las Vegas and Macau’s ‘casino capitalism’ decorate the exterior of the Korean pavilion. They are the work of Seoul-based artist Cody Choi (pictured, Venetian Rhapsody – The Power of Bluff, 2016-17) who shares the pavilion with fellow Korean Lee Wan. Photography: Riccardo Tosetto. Courtesy of the artist

Korea: Both artists evaluate life in Asia under capitalism, and Wan’s vast display of clocks records the number of hours people in various parts of the world have to labour to afford a meal. Pictured, Proper Time: Though the Dreams Revolve with the Moon, and For a Better Tomorrow, 2017, both by Lee Wan. Courtesy of the artist

Germany: Penned up Dobermans, haunting melodies, and gaunt, tattooed dancers were par for the course during Faust, a five-hour performance at the German pavilion. Photography: Nadine Fraczkowski. Courtesy of the German Pavilion and the artist. Emma Daniel and Lea Welsch in Faust, 2017

Germany: Adidas-clad figures crouched, dead-eyed on wall-mounted plinths and crawled under a glass floor in a subterranean world that felt part prison, part asylum. Photography: Nadine Fraczkowski. Courtesy of the German Pavilion and the artist. Franziska Aigner and Eliza Douglas in Faust, 2017

Germany: German artist Anne Imhof won the Golden Lion for Best National Participation for her dystopian vision in what was the most talked-about pavilion of the biennale. Photography: Nadine Fraczkowski. Courtesy of the German Pavilion and the artist. Franziska Aigner and Eliza Douglas in Faust, 2017

Japan: The heads of visitors poking unwittingly through a hole in the floor of the Japanese pavilion makes for entertainment enough. That they are part of an installation featuring discarded clothing whose threads have been woven into roller coasters, railway tracks and towers, is even more intriguing. Pictured, installation view of Turned Upside Down, It’s a Forest. Photography: Keizo Kioku. Courtesy of the Japan Foundation and URANO. © Takahiro Iwasaki

Japan: Architectural and industrial structures inspire artist Takahiro Iwasaki and alongside his drawings and models, the pavilion is filled with intricately carved wooden sculptures that are reflections and motifs of famous temples and shrines. Pictured, Out of Disorder (Turned Upside Down, It’s a Forest), 2017. Photography: Keizo Kioku. Courtesy of the Japan Foundation and URANO. © Takahiro Iwasaki

Tunisia: For its first appearance at the biennale since 1958, the Tunisians have set up two ‘checkpoints’ across the city along with a central issuing centre in the Sale d’Armi building in the Arsenale

Tunisia: Manned by genuine migrants (who have been granted 60-day visas, board, lodging and a wage by curator Lina Lazaar) each checkpoint grants a ‘travel document’ to anyone wanting one. Designed by the company that makes Schengen visas, they resemble real passports and require only a thumbprint for validation

Singapore: It took Singaporean artist Zai Kuning three weeks on site in the Arsenale to construct his 17m long sailing ship. Made from rattan, string and beeswax, it’s the fifth such vessel created by Zai, who has spent years focusing on the seafaring peoples who occupied the South Seas before the lands were separated by politics. Pictured, Dapunta Hyang Transmission of Knowledge, 2017

Singapore: His artworks refer to ancient Malay kings, lost trading cities, customs, rituals and threatened communities, among them the orang laut, believed to be the first people of Singapore

Georgia: Tbilisi-born artist Vajiko Chachkhiani has reassembled an abandoned wooden house, which he found in the Georgian countryside, in the Arsenale. He has filled it with typically rustic furniture and a few simple objects. Photography: Maria Nitulescu

Georgia: It’s the real thing in every way, apart from the permanent rainstorm beating down inside. Water crashes upon its walls floor and furniture for the duration of the biennale, and visitors can witness its transformation from quaint rural dwelling to moss covered shell. Photography: Maria Nitulescu

keywords:Venice Biennale, Installations, Art fairs, Global Fair Guide 2017

关键词：威尼斯双年展，装置，艺术展，2017年全球博览会