After a thirteen-year hiatus, the Bahamian Pavilion has returned to Venice with a proposition that is as much educational as representational: that the Caribbean nation can be reintroduced to the world through its contemporary artistic inheritance.
To do so, the pavilion turns to the late master John Beadle and his former student Lavar Munroe, framing their work through one of the Bahamas’ defining cultural touchstones — Junkanoo — the whistli…
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