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BBC RussianTL magazine, for its "poetic beauty".

But Chan, for some abstract reason, has decided not to install his exhibition as he initially intended—something about wanting to reflect his “curiosity about life, nature and the mysteries of the universe”. Instead, he decided to "just leave it unassembled, so as to address the idea of fragmented reality and uncertainty." The result is collection of works strewn around the warehouse floor in a mess of blasphemous bling that looks like giant trinkets stolen from Venice street hawkers.

Correction: This article originally misinterpreted a quote from Wallace Chan referring to the exhibition's lighting. This has since been amdended.

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Uffe Isolotto's We Walked the Earth for the Danish Pavilion © Ugo Carmeni

Danish Pavilion

We Walked the Earth, Uffe Isolotto

Uffe Isolotto’s “transhuman” installation for the Danish pavilion presents a spectacle that is disturbing and yet ultimately mystifying, failing to deliver any ideas to match the high-spec visuals. There is no denying the cinematic quality of the pavilion’s larger than life protagonists, a pair of hyperreal centaurs realised by a team of taxidermists, zoological model makers and prosthetic makeup specialists. But why are they here?

A trigger warning outside the pavilion advises visitors of “sensitive content, including scenes of life and death”. Sure enough, the male centaur hangs from the ceiling by a noose in a dingy chamber. His female partner lies in a farmhouse stall across the way, impassive in the act of giving birth. Mysterious glassy pods litter the floor and one room is inexplicably devoted to a hanging “mutant” leg of ham. No one seems any the wiser, with the most common reaction being a quick gawp and a photo opportunity, before hurrying out through the exit.