Those who think cultural tourism is a 21st-century invention are well off course – Venice invented it long ago. Intent on setting the city under the international spotlight, the first International Art Exhibition ever was held there in 1895. That is, the Venice Biennale, which has continued until this day.

The undisputed artificer of the avant-garde art pulse – Documenta notwithstanding – the Biennale has run into its 57th edition without losing steam. Six months full-out, from 13 May to 26 November, during which the city is invaded by contemporary art, which takes over both land and sea. What with vaporetti, churches and palazzi, we visited the city of canals to soak up the latest trends, soon to descend on museums and art galleries across half the globe. Let the Grand Tour begin!

Survival Manual

A cautionary word to all navigators – moving through the Biennale is no mean feat. The key – comfortable footwear, strategically placed accommodation and solid planning. The offerings are boundless and the spaces, gargantuan.

The main facilities are located at the Arsenale and the Giardini di Castello. Those are the sites of the official exhibition, Viva Arte Viva, as well as many of the 85 national pavilions dotting the island. And, as if that weren’t enough, the list is augmented by countless top-notch parallel exhibitions and events that have staked out their territory in the city’s historic buildings.

My advice – keep calm and don’t get flustered. The marathon only comes around every two years. Set aside three days on your agenda and you won’t succumb in the attempt. Take up lodgings in the area of Il Castello, the Biennale’s hard core, thereby avoiding vaporetto tickets. And, have a notebook on you and a camera with fully charged batteries so you can review the sights once you’re back home.

In the Giardini – the Cream of the Crop

Separating the wheat from the chaff can be exhausting. By way of a warm-up, we headed south-east, to the confines of the city. Located there are the Giardini di Castello, Venice’s green lung par excellence and the preserve of the national pavilions (a somewhat archaic idea, a reminder that the current Biennale is an updated version of the classical trade fairs of yesteryear). The fact is that in Venice each state has its own building to showcase to the world the cream of the crop of its contemporary art production, by way of an Art Olympics where the winner manages to show the most muscle.

While the Biennale is all about art, it is in fact also about power and architecture. In terms of the latter, some pavilions shine with a light of their own. Not to be missed are the Finland pavilion, built in timber modules by the luminary, Alvar Aalto, the father of modern Scandinavian architecture; the Austrian pavilion, the work of Josef Hoffmann who, together with Gustav Klimt, founded the Vienna Secession, and that of The Netherlands, its open forms highlighting the minimalist elegance of 1950s neoplasticism.

But, let’s get back to art and to the most talked-about offerings. The Golden Lion for the Best Pavilion was awarded to Germany, where artist Anne Imhof installed a glass floor under which performances displaying the world “as a kennel” take place. France depicts a musical space and recording studio, Studio Venezia, an installation designed by Xavier Veilhan where musicians and artists from all over the world perform. And Austria draws all the camera flashes with a lorry standing on its nose by Erwin Wurm, a playful proposal in a pavilion redolent with sculptures which visitors can interact and have fun with.

The Off Programme

Side shows, parallel exhibitions, talks, dialogues, performances and film cycles – no body is built to withstand Venice. Indeed, the official programme is rivalled by a series of first-rate artistic proposals staged in churches, foundations and museums around the city. Here, then, are the juiciest offerings in the Off-Biennale 2017.

Damien Hirst has hit Venice with a two-fold proposal. At collector François Pinault’s art spaces, the Punta della Dogana and the Palazzo Grassi, he has installed his latest eccentricities,including an 18-metre-high sculpture which rises into the firmament. In keeping with the British artist we are familiar with, his show is pure spectacle, and the perfect excuse to visit two historic buildings overlooking the Grand Canal.

The tiny island of San Giorgio Maggiore surrenders unconditionally to Michelangelo Pistoletto. A key figure of Arte Povera and one of the most prominent Italian artists, Pistoletto presents One and One Makes Three, an exhibition housed in an abbey designed by Palladio where he showcases a selection of his works created between the 60s and the present, also featuring his popular “Venus of the Rags”.

We wind up our marathon tour at the Palazzo Fortuny, a Venetian Gothic gem which rises between the Rialto Bridge and St Mark’s Square. This former home and studio of painter Marià Fortuny houses both the artist’s collection and temporary exhibitions. This time around, it is the turn of Intuition, a collective display dedicated to the evocative power of art and featuring such great names as André Breton, Joan Miró, Vassily Kandinsky, Marina Abramovic and Anish Kapoor.

Thus far our review of the Biennale, a centennial event which reinvents itself each year and showcases art to suit all tastes, interests and theories. We’re off to the canals!

Book your Vueling to Venice here

Text by Núria Gurina

Photos by: Andrea Avezzù, Jean-Pierre Dalbéra, Francesco Galli, g.sighele, imagea.org, Erin Johnson

Our main reason for visiting Iceland’s capital was to uncover the city’s musical melting pot. Reykjavik has continued to churn out musical icons ever since the initial boom in the early 1980s, as reflected in the documentary and double LP, “Rokk í Reykjavík”, featuring such Icelandic bands as Baraflokkurinn and Tappi Tíkarrass – the latter was Björk’s first serious music project. When talking of Iceland, the first thing that springs to mind are the two most popular names on the international scene – Sigur Rós, and the aforementioned Björk. However, there is an amazingly long list of artists distributed across the length and breadth of the land, as well as countless bands, soloists and collectives that often share their members, regardless of each group’s musical style.

All of these have at some time performed in Húrra, Reykjavik’s leading concert hall, previously known as Harlem. When we were there, we were impressed by the varied setlists scheduled for the following days – an extreme metal festival, a reggae group (Hjálmar, very popular in Iceland)  and a tribute group to the Sex Pistols which hails from the continent. Húrra really acts as a downtown music hub, covering all the musical genres. For starters, it is one of the customary venues for the popular music festival, Icelandic Airwaves, which is held at the beginning of November at various settings in the city, including the marvellous Harpa, a musical and cultural activities centre which has fairly galvanised the local scene in the last few years.

Needless to say, we had to finish off the night with a beer. There are myriad Icelandic brands, including the ubiquitous Viking, in addition to some imported varieties. We ended up at Kaffibarinn, also known as KB, owing to the fact that Damon Albarn from Blur is one of its proprietors. The downstairs hall is comfortable, cosy and features a good, ongoing soundtrack, principally pop and electronic. But, remember not to bother the DJ – not for nothing is there a metal plaque near the crockery which reads, “No requests accepted”. If you want to smoke, which is not allowed inside the premises, they have an open-air interior patio where you can smoke and still keep up a conversation with friends and acquaintances. But, at midnight, everything changes and the upstairs area at KB becomes a dance club which operates until the early hours.

The local scene is clearly both extensive and surprising. Apart from groups with a proven track record, notably Of Monster And Men, Sólstafir, Amina, FM Belfast and Sin Fang, it is the new generation that is shaking the very foundations of the city. We could start with Retro Stefson, a pop group which has been migrating toward electronic and has recently shot to the number one slot in Iceland thanks to their new single, Skin, a preview of their upcoming album, Scandinavian Pain. In fact, it was their vocalist and guitarist, Unnsteinn Manuel Stefánsson, who acted to some extent as our host during our fleeting visit. After inviting us to see his new studio, which is bound to become one of the most active in the city, he took us to have a coffee in Sæmundur í Sparifötunum, a hipster gastro hotel where he introduced us to two of Iceland’s best known rap stars, the upcoming talent, Gísli Pálmi, and the veteran Emmsjé Gauti, the author of a single called precisely Reykjavik. He talked to us about the female collective Reykjavíkurdætur, currently on a meteoric roll, and remarked how one of the leading lights of Iceland’s parliament, Óttarr Proppé, has played in various bands, among them HAM, which was very popular in the early nineties. He also revealed that his favourites included the very young singer (aged sixteen) from R&B and trap music, Aron Can, and the pop singer, Sturla Atlas. Truth be told, Manuel – of Portuguese and Angolan extraction – is also the brother ofLogi Pedro,one of the most celebrated hip hop producers in Iceland and the composer of much of the bass and rhythms for some of the aforementioned artists.

When it came to discovering new artists, we were also lucky enough to have the assistance of the writer, Sigurjón Birgir Sigurðsson, who goes under the stage nameSjónand who collaborates closely with Björk. He recommended the DJ, Flugvél Og Geimskip, and the trap duo, Úlfur Úlfur, whose popularity is on the up and up and who feature among Iceland’s best known current stars.

We could go on about contemporary figures well worth watching, including Sin Fang, who has just worked with Jónsi of Sigur Rós on the latter’s new album. Then there is the electropop group, Gangly, and Alex Somers, the hyperactive writer of American soundtracks who resides in the city and who, together with his boyfriend, the aforementioned Jónsi, recorded under the name Riceboy Sleeps.

And, of course, a must-visit is to the best record shop in town, Smekkleysa, associated with the Bad Taste label (which is what “Smekkleysa” means in Icelandic), and originally related to members of The Sugarcubes. In short, this venue is the basic driving force behind the burgeoning Icelandic scene, due largely to its promotion of such internationally acclaimed projects as Fufanu, Gus Gus, Jóhann Jóhannsson, Minus, Mugison, Múm and Sigur Rós itself.

You will be dazzled by the huge variety of musical offerings to be had in Reykjavik. Don’t pass up the chance to venture into the city’s music scene – check out our flights here.

Text by Joan S. Luna (Mondo Sonoro)

Images by Los Viajes de ISABELYLUIS

Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36

Each November San Sebastián hosts what for me is the best footrace on the national circuit, the Behobia-San Sebastián classic. It covers the 20 kilometres separating the Irunese town of Behobia on the French border from the capital. It is a veritable sports festival which this year chalked up its 51st edition, with some 30,000 runners signed up.

I took part in the race, but not on foot, as I chose to do it on skates. Indeed, it has a skating section and also features a Behobia Txiki version for children up to the age of 13. The latter takes place the day before the main event. There is also a much shortened version for teenagers from 14 to 18 years known as the Behobia Gaztea which covers the final 4.4 km of the main race. Lastly, organisers provide a Behobia for runners with disabilities; so, all in all, it caters for everyone. For the main event your physical preparation should be thorough and you must book your number and accommodation well in advance. The race itself includes continual climbs, so it can turn out to be really tough if you start out running above your rhythm.

More Than Just the Behobia-San Sebastián Classic

In my last London post I encouraged you to discover cities by running them. For an urban race in Donosti I would recommend the route of “the three beaches”. Starting at El Peine de los Vientos, Chillida’s sculpture at Ondarreta, you traverse the Paseo de La Concha as far as La Zurriola beach, crossing the Bulevar and the Kursaal bridge. The same route is also suitable for roller or inline skating.

But, apart from running through the city, San Sebastián also lends itself to interacting with its environment through such activities as these:

Surfing at La Zurriola. Zurriola beach, in the district of Gros, attracts foreigners all year around. The international atmosphere stems from the quality of its waves. There you will come across the friends of Pukas who have spent years promoting surfing in the Basque Country. They now also have a school in Barcelona. If you’re going to surf there for the first time, please place yourself in the hands of an instructor, as it is not an easy beach.

Kayaking and SUP at La Concha. You can hire equipment for kayaking and stand up paddling at the same facilities in Club Fortuna on La Concha beach. From there you can paddle carefully to the island of Santa Clara in Donosti’s old harbour. La Concha is noticeably calmer than La Zurriola and affords some spectacular views over the whole bay.

Swimming at La Concha. If you fancy open waters and have a wetsuit, you can extend your swimming season. La Concha is a calm beach, as long as you stay within the bay. There are changerooms with lockers where you can shower and leave your clothes. The lockers operate with a magnet key which is easy to wear while you are swimming.

Mountain biking or hiking in the monte Ulía.Anyone who has run the Behobia will recall (for better or for worse) the final climb known as the Alto de Miracruz, which comes after the final descent down Ategorrieta avenue. There, on the right, after passing the Arzak restaurant, is the climb up to Ulía. You can drive to the upper picnic area or walk up. The mountain is full of footpaths and tracks, so you can have a delightful time mountain biking, running or simply walking. At the very least, you will enjoy the views and the promenade leading to Pasajes de San Pedro and the Trintxerpe fishermen’s quarter.

If by chance the weather lets you down and you have to resort to indoor sport, you can use the gym at the Club Atlético San Sebastián for doing your gym routine (cycling, running, lifting) or, if you are looking for something different, go up to the Pabellón del Club Fortuna Pío Baroja to practise your skills on their climbing wall, using either a rope and safety harness (sports climb) or just climbing shoes. The hall is provided with safety mattresses for low-height climbing.

As you see, it is well worth coming to San Sebastián to do sport, even if you aren’t competing. However, if you have the urge to compete, take note of the following dates and events (in chronological order, after Behobia) and start booking your ticket at Vueling to enjoy them.

San Sebastián Marathon – end of November.
Lilatón – the first week in March, coinciding with International Women’s Day. The race is open only to women.
Onditz Memorial Triathlon – and women’s Triathlon in June.
La Concha Swim Crossing – in September.
Cross de las tres playas – in October.

Text by Raúl Casañas

Images by Iaona Manolache, Pello Sosoro