"Mondo Veneziano. High Noon in the Sinking City" addresses a wide variety of theoretical discourses currently on the contemporary art agenda, confronting them with a series of unexpected and spectacular events. Cast in an abandoned Venice, "Mondo Veneziano" narrates a meeting of four protagonists, representative of key players in the art world, who appear to conduct a complex theoretical debate.But their soliloquious confrontation ? an insidious patchwork of quotations from recent specialist literature, paraphrasing the widely used "post-modern" technique of sampling ? is interrupted by a string of bloody killings, largely inspired by common cinema genres such as gore or splatter movies.
The Venice that serves as a backdrop to the characters' intellectual and physical joust is in reality a large-scale film set located in a southern town in Luxembourg, which has served in numerous feature films. "Mondo Veneziano" does not attempt to conceal the backlot; rather, the city itself becomes something of a quotation, much like the protagonists, who are depicted as actors rehearsing their comic-style figures for a final showdown. Alternating sinuous discursive phases with resolute physical action, "Mondo Veneziano" is a part serious, part caustic comment on a professional milieu.
Biennale di Venezia, Luxemburgischer Pavillon, 2005; hrsg. von Boris Kremer; mit Textbeiträgen von Boris Kremer, Romain Hilgert und Gerrit Gohlke (englisch/deutsch) sowie den Dialogen aus dem Film von Antoine Prum (englisch)
Frankfurt/Main 2005, 24 x 17,5 cm, 80 S., 45 Farbabb., Broschur