At t h e 5 0 t h Ve n i c e B i e n n a l e , t h e
Venezuela Pavilion has been closed. In a
state of abandonment, dry leaves, and a
ribbon of cloth have blocked the entrance.
The same Pedro Morales ( 1958) , the
artist chosen from Venezuela to represent
their country, explains how things as :
“My work has been censored by the
Venezuelan authorities .” And he was
there , armed with outrage and flyers to
protest .
The work of net art censored ( City
Rooms, 2003) is visible on the network ,
accessible to anyone who wants to ” go
through ” this town-home in VRML
( virtual reality of one of the alphabets )
and visit with a click of its many rooms .
Intimacy home video game that the artist
invites us to freely explore : how cybervoyeur open doors and windows, turn
away tents, observe people and things ,
creating paths dictated by chance or by
curiosity. The catalog text reminds us that
the urban reality of Latin America ” is
compromised by political violence and
social attitudes marginal , poverty
increasing ,” and that the work of Morales
wants to be an answer to all this, a
possible alternative . Maybe it’s not much
to our liking blasé but it was enough for
the Deputy Minister of Culture of
Venezuela , so as to unleash its fury
anachronistic censorship .