MONDO CANE presents itself as a local folkloric museum that displays the human figure. Silent, pale and frightened, the pavilion’s inhabitants appear as aestheticized shells, stuck in a loop of formal activity that the visitor perceives as odd and out of touch with contemporary reality. The exhibition contains some twenty dolls, most of them automated; a series of large illustrations depicting pastoral scenes; and steel bars that fence off the pavilion’s lateral recesses. At the centre of the building there are artisans - such as a cobbler, a stonemason and a spinner who, true to themselves, ply their respective trades. The side rooms of the pavilion are a parallel world peopled by louts, zombies, poets, psychotics, the insane, and the marginalized. These two worlds exist in the same space, but they seem to be entirely unaware of one another. The gestures of the dolls are mechanical and awkward. The sounds and movements alternate and are activated by the visitors’ presence via a motion detector at the entrance. The space is imbued with songs, plaintive cries and labour. The dolls’ heads are modelled both on fictive characters that have already appeared in the work of Jos de Gruyter and Harald Thys and on real people. We enter the pavilion as we were entering a wonderland. Full of beauty and ugliness. In accordance with an age-old tradition, spectators allow themselves to be drawn by the promise of seeing wonderful things at an exhibition: ‘A show well worth the while of parents and their children!’ The Belgian Pavilion offers a real promenade, akin to a touristic or anthropological experience, reminiscent of an old Europe.
MONDO CANE represented the Belgian Pavilion at the 58th Venice Biennale with Anne-Claire Schmitz as curator and was given an honourable mention by the jury.
Curated by Anne-Claire Schmitz