In Venice, dreams and memories of Macau are on display at the 59th International Art Biennale. Representing Macau, the YiiMa Collective is presenting what has disappeared from the territory and what is in the process of being lost. Curated by João Miguel Barros, and created by Guilherme Ung Vai Meng and Chan Hin Io, the artists offer a reinterpretation of Macau’s disparities.
Entitled Allegory of Dreams, the work features 11 pieces or sets which, according to the description from the Cultural Affairs Bureau, “present a unique perspective that merges heaven and earth, proposing a reinterpretation of the richness and density of some hidden corners of Macau and the memories of the city that are fading like dreams”.
The YiiMa Collective’s exhibition is part of one of the side events of the 59th Venice Biennale. This is Macau’s eighth participation in the Italian event, which has more than a century of history. This edition of the Venice Biennale opened on April 23 and ends on November 27. The Macau works can be seen at the Macau-China Pavilion in front of the Arsenale, one of the main venues of the event.
This edition of the biennale proposes the theme “The Milk of Dreams” and from there, the two artists have built “a bridge between Macau and Venice”, curator João Miguel Barros describes.
“They both have a very strong photography base; photography based on performance, with a very ritualised work and always based on memory, identity and traditions. The two artists are witnesses of the reality that is registered in each photograph they take.”
The initial concept for the piece was not so focused on photography, but was intended to be more multidisciplinary. According to the curator, originally the idea was to create three different modules: one based on photography, another with an installation, and the third with audiovisual. “However, we had to build a project tailored to the space”, he explains.
Speaking from Venice, Guilherme Ung Vai Meng notes that for this project, the artist duo visited many traditional family houses in Macau and realised that “the city has developed very quickly and many traditions and heritage remain in a fragile state”.
“We wanted to take advantage of the image to preserve this important memory of Macau. So in this case, we show the works that are mostly about the cultural environment and daily life of our city,” the artist points out.
“History is not only the study of kings, governors or emperors. Normal people are also entitled to have a history. It may be small, but it is part of their memory,” Ung Vai Meng adds, stressing that “this is very important, so we used our creativity to mix history with the real environment to show Macau beyond the modern aspects and beyond entertainment.”
For the former president of the Cultural Affairs Bureau, being at the Venice Biennale is special: “The Biennale is a very important platform for Macau to connect with the international art world. It is very important for artists to showcase Macau’s works, especially contemporary art works, in Venice. We are very pleased to have this opportunity to build a bridge of connection.”