Mosaics

Yesterday

Pierre d’Alancaisez

The latest Venice Biennale is ideologically and aesthetically bankrupt 

Last week’s opening of the 60th edition of the Venice Biennale marks a watershed for the art world. In much of the festival’s gigantic central exhibition, curated by the Brazilian museum director Adriano Pedrosa, as well as in many of the dozens of independently organised national pavilions and countless collateral events, it more obviously than ever before didn’t so much matter what was on show, but why. The politics of visibility and representation has been eating away at the arts for at least a decade, most recently under the banner of ‘decolonisation’. The now nearly complete abdication of aesthetic criteria in favour of a decolonial organising principle is here finally

Thursday

Ian Thomson

City of dazzling mosaics: the golden age of Ravenna

When we refer to someone as ‘Byzantine’ we usually mean guileful or too complicated and labyrinthine in manner or speech. Perhaps the term is ill-applied: Byzantium, the medieval Greek city on the Bosporus which the Roman Emperor Constantine I renamed Constantinople, was not in essence an unfathomable, over-hierarchical or manipulative sort of place. It flourished for more than 1,000 years, until the Ottoman Turkish onslaught in the 15th century, by dint of its ‘extraordinary resilience and self-confidence’, says Judith Herrin, a leading Byzantinist. The northern Italian city of Ravenna, with its wondrous mosaicked churches and gilded mausolea that miraculously survived the aerial bombardments of the second world war, was manifestly