Melvin Edwards

 

Venice Biennale

 May 9 - November 22, 2015
Weapon of Freedom (1986)
Welded steel
11 x 9 x 6 in (27.94h x 22.86w x 15.24d cm)
Weapon of Freedom (1986)
Welded steel
11 x 9 x 6 in (27.94h x 22.86w x 15.24d cm)
Botanical  (1990—93)
Welded steel
18h x 12.3w x 9d in (45.7h x 31.2w x 22.9d cm)
Botanical (1990—93)
Welded steel
18h x 12.3w x 9d in (45.7h x 31.2w x 22.9d cm)
Igun Hammer (1981)
Welded steel
9h x 9.25w x 9.25d in (22.9h x 23.5w x 23.5d cm)
Igun Hammer (1981)
Welded steel
9h x 9.25w x 9.25d in (22.9h x 23.5w x 23.5d cm)
Maintain Control (1992)
Welded steel
14.75h x 11.75w x 8.13d in (37.5h x 29.8w x 20.7d cm)
Maintain Control (1992)
Welded steel
14.75h x 11.75w x 8.13d in (37.5h x 29.8w x 20.7d cm)
Nite Work (2012)
Welded steel
10.5h x 10w x 6.5d in (26.7h x 25.4w x 16.5d cm)
Nite Work (2012)
Welded steel
10.5h x 10w x 6.5d in (26.7h x 25.4w x 16.5d cm)
Amandla (1981)
Welded steel
22.75h x 7.63w x 10.5d in (57.8h x 19.4w x 26.7d cm)
Amandla (1981)
Welded steel
22.75h x 7.63w x 10.5d in (57.8h x 19.4w x 26.7d cm)
Double Info (1984)
Welded steel
13h x 13w x 7.8d in (33h x 33w x 19.8d cm)
Double Info (1984)
Welded steel
13h x 13w x 7.8d in (33h x 33w x 19.8d cm)
Festac 77 Lagos Reunion (1985)
Welded steel
8.3h x 7.5w x 11.8d in (21.1h x 19.1w x 30d cm)
Festac 77 Lagos Reunion (1985)
Welded steel
8.3h x 7.5w x 11.8d in (21.1h x 19.1w x 30d cm)
For Fresh Air (1993)
Welded steel
11h x 11.8w x 10.5d in (27.9h x 30w x 26.7d cm)
For Fresh Air (1993)
Welded steel
11h x 11.8w x 10.5d in (27.9h x 30w x 26.7d cm)
Go (1980)
Welded steel
9h x 7w x 6d in (22.9h x 17.8w x 15.2d cm)
Go (1980)
Welded steel
9h x 7w x 6d in (22.9h x 17.8w x 15.2d cm)
North and East (1992)
Welded steel
12.75h x 11w x 8.5d in (32.4h x 27.9w x 21.6d cm)
North and East (1992)
Welded steel
12.75h x 11w x 8.5d in (32.4h x 27.9w x 21.6d cm)
Siempre Gilberto de la Nuez (1994)
Welded steel
13.5h x 12.5w x 7d in (34.3h x 31.8w x 17.8d cm)
Siempre Gilberto de la Nuez (1994)
Welded steel
13.5h x 12.5w x 7d in (34.3h x 31.8w x 17.8d cm)
The Way It Is (1992)
Welded steel
18.25h x 21w x 16.5d in (46.4h x 53.3w x 41.9d cm)
The Way It Is (1992)
Welded steel
18.25h x 21w x 16.5d in (46.4h x 53.3w x 41.9d cm)
Ida W.B. (1990)
Welded steel
13h x 13.8w x 9.8d in (33h x 35.1w x 24.9d cm)
Ida W.B. (1990)
Welded steel
13h x 13.8w x 9.8d in (33h x 35.1w x 24.9d cm)
Texas Tale (1992)
Welded steel
18h x 8.3w x 11.3d in (45.7h x 21.1w x 28.7d cm)
Texas Tale (1992)
Welded steel
18h x 8.3w x 11.3d in (45.7h x 21.1w x 28.7d cm)
Hammer (1965)
Welded steel
10h x 10w x 7d in (25.4h x 25.4w x 17.8d cm)
Hammer (1965)
Welded steel
10h x 10w x 7d in (25.4h x 25.4w x 17.8d cm)
September Portion  (1991)
Welded steel
14.5h x 13w x 7.5d in (36.8h x 33w x 19.1d cm)
September Portion (1991)
Welded steel
14.5h x 13w x 7.5d in (36.8h x 33w x 19.1d cm)
Sonday (1964)
Welded steel
12.5h x 7w x 7.5d in (31.8h x 17.8w x 19.1d cm)
Sonday (1964)
Welded steel
12.5h x 7w x 7.5d in (31.8h x 17.8w x 19.1d cm)
Because of Struggle (1992)
Welded steel
15h x 15.5w x 15d in (38.1h x 39.4w x 38.1d cm)
Because of Struggle (1992)
Welded steel
15h x 15.5w x 15d in (38.1h x 39.4w x 38.1d cm)
Weapon of Freedom  (1986)
Welded steel
13h x 12w x 7d in (33h x 30.5w x 17.8d cm)
Weapon of Freedom (1986)
Welded steel
13h x 12w x 7d in (33h x 30.5w x 17.8d cm)

About the Exhibition



May 9 - November 22, 2015

Melvin Edwards
56th Venice Biennale
All the World's Futures

Venice, Italy
Curated by Okwui Enwezor

The ruptures that surround every corner of the global landscape today recall previous catastrophes throughout history. In order to better understand contemporary disquiet, the exhibition examines the relationship of art and artists to the current state of things. One hundred years after the first shots of the First World War were fired in 1914, and seventy-five years after the beginning of the Second World War in 1939, the global landscape again lies shattered and in disarray. Everywhere one turns new crisis, uncertainty, and deepening insecurity across all regions of the world seem to leap into view.

Rather than one overarching theme, All the World’s Futures is informed by a layer of intersecting Filters, namely Liveness: On epic duration; Garden of Disorder; Capital: A Live Reading. The 56th International Art Exhibition will employ as a Filter the historical trajectory that the Biennale itself, over the course of its one hundred and twenty years existence has run over, a Filter through which to reflect on both the current “state of things” and the “appearance of things”.

At the core of the Exhibition is the notion of the exhibition as stage where historical and counter-historical projects will be explored.

Related Press

  • Melvin Edwards New York Times May 15, 2015 PDF (377 K)

Artist Info