Although somewhat evocative of the mural of Dresden’s Kulturpalast and Soviet-era Realism, we agree that Germany’s pavilion at the sixty-first Venice international cultural exhibition does ring a bit hollow and is unreflective regarding the country’s present political realities,
a safe-space nearly as insular as the installation from the US in its splendid isolation and wanton ignorance of the negative impacts it has visited on the world entire and the arts themselves, with the same mindset that would demolish their own national stage in the Kennedy Centre out of spite. In a follow-up piece, Hyperalleric’s Editor-at-Large Hrag Vartanian and critic Aruna D’Souza tour the grounds and offer their opinions, critiques and condemnations of such pavilions that miss the mark and fall flat.
synchronoptica
one year ago: haiku headlines (with synchronoptica) plus Skaterdater (1965)
two years ago: new Nazca lines revealed, the study of street art plus assorted links to revisit
three years ago: harmless AI hallucinations, tarot-inspired motifs from Leonora Carrington, gravity as a governing factor plus the restoration of a Streamline Moderne observatory associated with Albert Einstein
four year ago: Knight Rider (1982) plus an asteroid deflection test
five years ago: the Free City of Christiana (1971), Biosphere 2 (1991), more McMansion Hell, an AI names supermarkets plus Germany votes
six years ago: more links to enjoy plus the photography of Robert Bechtle
seven years ago: Trump’s “perfect call,” communal housing in the capital of Greenland plus the science vessel formerly known as Boaty McBoatface
eight years ago: World War III narrowly averted (1983), Trump at the UN General Assembly, the Afrofuturist art of Bodys Isek Kingelez, more on the Hyperloop project plus Gilligan’s Island (1964)






















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