A visually sumptuous film of thirty minutes, Steve McQueen’s Giardini (2009) comprises two side-by-side projections of a series of evocative vignettes that play out in the shadow of the Venice Biennale. This essay offers a close reading of the film, drawing out its unexpected intertwinement of aesthetics and politics.
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Copyright © 2010 Nka: Journal of Contemporary African Art
2010
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