The 2015 Venice Biennale’s Central Show, Focused on Strife, Is Uneasy, Uneven | ARTnews

First catching sight of the Italian pavilion in the Giardini in Venice, it appears that the biennale it houses is in mourning. Dark curtains hang at the front of the Mussolini-era structure, right below a tall neon sign that reads “blues blood bruise.” They are the works, respectively, of Oscar Murillo and Glenn Ligon, and they firmly establish the chastening concerns, and tone, of the 56th Venice Biennale’s central exhibition, “All the World’s Futures,” which was curated by Okwui Enwezor, the serious-minded director of the Haus der Kunst in Munich.