Venice. Courtesy of Carmela Tafaro.

At the Venice Biennale

It could not have started better. With great art and sunshine… could we ask for more?

This year, Christie’s Education London brought its Modern and Contemporary Art students to the 56th Venice Biennale — All The World’s Futures — curated by Okwui Enwezor.

On Day 1, we started by visiting the hit exhibition Slip of the Tongue, with & curated by Danh Vo, the hype artist of this Biennale. Here some impressions of the day.

Punta della Dogana, the interiors. Courtesy of Carmela Tafaro.

Danh Vo at Punta della Dogana. Courtesy of Carmela Tafaro.

“Powerless Structure” by the artist duo Elmgreen & Gragset at Punta della Dogana. Courtesy of Carmela Tafaro.

The lower ground floor at Punta della Dogana. Courtesy of Carmela Tafaro.

Senior Lecturer John Slyce wraps up the day after visiting ‘Slip of the Tongue’. Courtesy of Carmela Tafaro.

The Biennale’s Giardini is probably the only chance you’ll have to travel from Australia to France, then back to Japan and with a stop in Norway along the way in only half a day and without a passport.

On Day 2, French artist Celeste Boursier-Mougenot’s moving tree wondered between us as we approached the UK’s pavilion, where Sarah Lucas’s feminine bodies took over the space.

Just few meters away, Germany’s FABRIK constructed a “factory of ideas” with photographs, installations and moving images as Hito Steyerl’s futuristic video. Yet, nothing was quite as memorable as Chiharu Shiota’s artwork in Japan’s pavilion. Her large-scale installation filled with red threads of yam dominate the space, where hundreds of keys are suspended above the visitors’ heads.

‘Rapture’ by Camille Norment at the Nordic Pavillion. Courtesy of Giulia Franceschini.

‘The Keys in the Hand’ by Chaiharu Shiota at the Japanese Pavillion. Courtesy of Giulia Franceschini.

‘Wrong Way Time’ by Fiona Hall. Courtesy of Giulia Franceschini.

A version of this article originally appeared on the C# blog on November 3, 2015.