I love modern art galleries, and not because I necessary always appreciate the work.  Sometimes I think it partly appeals to my love of puzzles, trying to understand what was in the mind of the artist when they created it, whilst at others the aesthetic appeal is obvious.  I’ll freely admit that some pieces fail on both counts.

Danh Vo’s work Autoerotic Asphyxiation was one from the former category;  the display of photographs taken by an American soldier in Vietnam but obscured by voile curtains may well be a metaphor for the way in which colonial history is viewed selectively, but the title?  I’m not getting that.

What I did get, was the beauty of a room in the Palazzo Grassi, whose intricate and highly structured ceiling contrasted with the soft fabrics concealing the photographs.  Vo did me a favour.  Had I been more engaged with his piece, I might never have seen it.



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