By the Means at Hand

My work, _________, is included in By the Means at Hand, Vlatka Horvat's project for the Croatian Pavilion at the 60th Venice Biennale. Engaging with the theme of Adriano Pedrosa’s main exhibition for La Biennale di Venezia, “Stranieri Ovunque – Foreigners Everywhere,” Vlatka Horvat’s project for the Croatian Pavilion, curated by Antonia Majaca, exists as an accumulative exhibition of artworks by a wide-ranging group of international artists living “as foreigners,” reflecting on questions and urgencies of the diasporic experience. The exhibition is generated through a social and performative exchange taking place over the course of the Biennale Arte 2024. Vlatka is inviting artists living in diaspora all over the world to engage in a series of reciprocal exchanges of artworks and other materials, all of which are sent between Venice and other places by improvised means – via various friends, travelers, and strangers who are enlisted as informal couriers for the project. The title of the project – By the Means at Hand – refers to the improvised transport systems whereby individuals activate informal networks of friends, acquaintances, and even strangers to deliver letters, parcels, documents, money, and other material goods to family members and others who live in cities or countries far away. While such practices are born out of social dispersal, migration, and displacement, the networks they give rise to build effectively on wider principles of solidarity, shared struggle, mutual support, and friendship – factors that the project emphasizes as prerequisites for co-existing with others, and as key elements in the toolkit for those living “in foreign lands.” By the Means at Hand also points to a wide range of broader themes such as alternative logistics, the spontaneous production of social relations, informal and gift economies, and the idea of trustfulness. On a subtler, yet crucial, infrastructural level, the project takes off from a recognition of the state of emergency when it comes to the climate crisis, and the substantial environmental footprint of institutionalized modes of production, transportation, and presentation of contemporary art. The project’s improvisatory system of delivering artworks to and from Venice forgoes the formal transport system, using instead journeys that are happening anyway. Situated within the intimate space of Fàbrica 33 in the Cannaregio – Fondamente Nove neighborhood of Venice, the Croatian Pavilion stages a dynamic interplay of three-dimensional structures, images, and drawings. The venue also serves as Vlatka’s temporary studio for the duration of the biennale. The Croatian Pavilion at the 60th International Art Exhibition – La Biennale di Venezia is commissioned by the Ministry of Culture and Media of the Republic of Croatia, and organized by Apoteka – Space for Contemporary Art (Vodnjan, Croatia). Title: Untitled (but then the text is also the title) Text: I remember that time in layers, one moment connected to the other, the little seagrass look weak and cold, pity them My work is a double-sided drawing that is presented in two versions that develops from the biennale's themes, to comment on the dual-nature of my own identity and experience as an immigrant. Migration across geographical and cultural boundaries, often adds greater complexity to our identity. Immigrants carry with them not only the identity of the home they were born in, but also the identity of the home they choose to adopt. In this instance, the context of Venice and the group exhibition of works by migrant artists from across the world adds specific layers of nuance to each piece.