How Many Angels Can Dance on the Head of a Pin?
Mustonen, Anna; Hannus, Max; Claydon, Steven; Balke, Thora Dolven; Fetzer, Fanni
Tuotetiedot
| Nimeke: | How Many Angels Can Dance on the Head of a Pin? |
| Tekijät: | Mustonen, Anna (Toimittaja) Hannus, Max (Toimittaja) Claydon, Steven (Kirjoittaja) Balke, Thora Dolven (Kirjoittaja) Fetzer, Fanni (Kirjoittaja) |
| Tuotetunnus: | 9789527371992 |
| Tuotemuoto: | Pehmeäkantinen kirja |
| Saatavuus: | Tilaustuote toimitetaan myöhemmin |
| Hinta: | 40,00 € (35,24 € alv 0 %) |
| Kust. tuotetunnus: | 113653 |
| Kustantaja: | Kiasma |
| Sarja: | Nykytaiteen museon julkaisuja 183 |
| Painos: | 2026 |
| Julkaisuvuosi: | 2026 |
| Kieli: | englanti |
| Sivumäärä: | 96 |
| Tuoteryhmät: | Kaikki tuotteet |
| Kirjastoluokka: | 70 TAIDE. TAIDEHISTORIA |
| Avainsanat: | taidehistoria, nykytaide |
Nordic Countries Pavilion catalogue, 61st International Art Exhibition of La Biennale di Venezia, 9.5.–22.11.2026.
How Many Angels Can Dance on the Head of a Pin? turns our attention to the Nordic Pavilion as a living architectural organism - a place where questions of coexistence, transformation, and shared space unfold. Conceived in the 1950s as a collaborative venture between Finland, Sweden, and Norway, the Pavilion sought to establish a unified Nordic presence within the rapidly globalizing landscape of the Venice Biennale. Yet its archival record reveals a far more layered and contingent story. Rather than embodying an ideal of Nordic purity or light, Sverre Fehn's 1962 building emerged from dense negotiations among material forces, cultural expectations, technical improvisation, and the rhythms of Venetian life.
How Many Angels Can Dance on the Head of a Pin? turns our attention to the Nordic Pavilion as a living architectural organism - a place where questions of coexistence, transformation, and shared space unfold. Conceived in the 1950s as a collaborative venture between Finland, Sweden, and Norway, the Pavilion sought to establish a unified Nordic presence within the rapidly globalizing landscape of the Venice Biennale. Yet its archival record reveals a far more layered and contingent story. Rather than embodying an ideal of Nordic purity or light, Sverre Fehn's 1962 building emerged from dense negotiations among material forces, cultural expectations, technical improvisation, and the rhythms of Venetian life.