London Biennale 2015 the best Biennale yet?

The London Biennale 2015 brought together the elite of the contemporary art world for a collection that was as varied as it was breathtaking. It was held at the Chelsea Old Town Hall, a site rooted in history and tradition. The grandness of the classical architecture and interior provided an excellent contrast to the fresh and exciting work that was on display.
Immediately upon entering the exhibition, one was struck by Abul-Dahab’s “Doors.” The brilliant array of colours dazzled the eye and the 3D effect of the doors opening prompted the viewer to stop, stunned by the display. From there, the exhibition expanded into a brilliant mix of differing styles and mediums including sculpture, paper and oil painting. Even volcanic ash was used to create one of the pieces. The show was rich with intrigue and the element of surprise: with every turn the attendees were curious to see what had been curated. 
A favourite of the collection, Skogseide’s “The Cabin,” was mesmerizing. The delicately applied layers of paint, complemented with bright flecks of colour, created a mood that was both rustic and yet fresh; its size was imposing, commanding attention to its magic. The nod to Impressionism does not go unnoticed, but Skogseide merely hints at an Impressionist viewpoint  while creating a style that is distinct. Many of the artists pay homage to masters of the past while making a style that is individual and new. Daniel Pesta’s wonderful “Big Bang 3” was able to combine the symbolism and dream-like quality of Munch with the texture and feel of Klimt.
Overall, the London Biennale 2015 was a juxtaposition of the history and tradition of Chelsea with the fresh and exciting world of contemporary art. The exhibition was enjoyable to attend, as the presentation flowed seamlessly from one section to the next. The collector and critic could find a show that was technically superb, while the art enthusiast could enjoy a miscellany of work that was highly interesting, diverse and inventive.
by Shelley Leazer