Mike Watson on the state of political art in light of the 56th Venice Biennale and the Creative Time Summit

All The World's Futures was keenly anticipated as the 'Karl Marx biennial' as it centred around a marathon live reading of Das Kapital. But how did it live up to expectations?

By Mike Watson

Gulf Labor protesters outside the Peggy Guggenheim Collection in Venice. Photo: luciapizzani, via Instagram.

Writing now, as the 2015 Creative Time Summit on social art closes at the 56th Venice Biennale’s Arsenale location, it is possible to say that political art has emerged onto the world stage with a previously unseen level of visibility. Three days of talks around alternative education, with a broadly anti-neoliberal and anti-capitalist focus, have bought political debate to the biggest event in the art world calendar. The summit, titled The Curriculum included politically-orientated contributions from, among others: Afghan president…

Want to read more?

As an unregistered user you can view 5 articles per month.

You can register free to get a further 15 free articles

and access to 2 digital editions per month

or subscribe for unlimited access

If you have already signed up access you account here