In my research into the 2009 Venice Biennale I was drawn to a performance art exhibit by American born (Frankfurt based) artist Mike Bouchet entitled “Watershed.” In an interview with AFP Bouchet said the piece — a one-to-one scale replica of a typical American surburban home floating in the Venice Arsenale basin — was to represent the American dream come to life: you can take it with you!
The floating house was scheduled to stay in the basin for up to six months but a pontoon failure led to it sinking shortly after installation in what the artist called a “happy accident,” where art imitates life and even the best laid plans can fail.
Bouchet is an artist intent on provoking a reaction.
His work at the Venice Biennale as well as early pieces in New York such as “The Dirty Room,” where he took a large room at the Lower East Side gallery Maccarone, Inc. and filled it with 50,000 pounds of topsoil, represent his attempt to mock the establishments that drive societies and the influence of corporations on contemporary art.
If the aim of the Venice Biennale is to promote new artistic trends, then Bouchet and his approach to shedding light on issues by twisting reality (altering a space by reimagining its context) is a great indication that contemporary art hasn’t seen its last days — new frontiers continue to be explored.
Bouchet’s goal of redefining culture by pushing against forced perceptions, led me to the work of fellow contemporary artist Mark Dion, who has also explored the notion of how we often manipulate the natural world to fit our ideals.
Dion’s work is based on challenging the “scientific voice” in societies so that we can gain a better understanding of our influences.
