Abstract

A visually sumptuous film of thirty minutes, Steve McQueen's Giardini (2009) comprises two side-by-side projections of a series of evocative vignettes that play out in the shadow of the Venice Biennale. This essay offers a close reading of the film, drawing out its unexpected intertwinement of aesthetics and politics.

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Additional Information

ISSN
2152-7792
Print ISSN
1075-7163
Pages
pp. 6-13
Launched on MUSE
2011-07-06
Open Access
No
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