The Venus of Brassempouy was discovered in 1892 by Édouard Piette, a French archaeologist and prehistorian.
This is a feature that separates the Venus of Brassempouy from others. Often, they have a stylized head, most of the time disproportionately small, and lacking in detail. Generally speaking, these objects are small statuettes depicting voluptuous female figures, often with exaggerated breasts, abdomen, hips, and thighs. Whilst most Venus figurines were discovered in Europe, some have been unearthed as far east as Siberia. A present, about 200 of them are known to exist. These figurines may be made of a variety of materials including ivory, clay, and bone, and have been dated to the Upper Paleolithic period. This term (now considered to be controversial as well as inappropriate) was coined during the 19th century, as their physical features, which may be interpreted as signs of fertility, have led to their association with Venus, the Roman goddess of love.Ī medallion painting from the House of Marcus Fabius Rufus in Pompeii, Italy, executed in the Second Style and depicting the Greco-Roman goddess Venus-Aphrodite wearing a diadem and holding a scepter it is dated to the 1st century BC. The Venus of Brassempouy is a type of statuette referred to as ‘Venus figurines’. An alternative name for the Upper Paleolithic artwork is ‘La Dame de Brassempouy’, which means ‘the Lady of Brassempouy. It is a piece of a prehistoric figurine that was discovered in France. Today, the fragmented figurine is called the Venus of Brassempouy. Little did the artist know, the head of the figurine would eventually become one of the earliest known representations of a human face. Their works can be found in Force Majeure, part of the curator’s section at the Giardini’s Central Pavilion.About 25,000 years ago an Upper Paleolithic artist took up a piece of ivory and lovingly carved the details of a woman’s coiffed hair or headdress, gracefully curved chin, intense eyes, and carefully defined nose.
Prominent figures from the Rolex arts community taking part in the biennale include Ghanaian-British architect David Adjaye and his protege, Niger-born Mariam Issoufou Kamara, as well as Rolex Awards for Enterprise jury member Diebedo Francis Kere from Burkina Faso. Lokko says: “We envisage our exhibition as a laboratory where architects and practitioners across an expanded field of creative disciplines draw out examples from their contemporary practices that chart a path for the audience.”īesides the Giardini, the biennale is held across two other sites at Arsenale and Forte Marghera. She focuses the biennale on Africa – more than half the contributors to the exhibition are African and Diasporan practitioners, whose works are centred on climate change. In its 18th edition this year, the Biennale Architettura is themed “The Laboratory of the Future” and curated by Ghanaian-Scottish academic and educator Lesley Lokko.
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