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......As the golden age of globalization began to approach what now appears to have been its initial peak, in 2013, Germany and France swapped pavilions. That was a boon to Anri Sala’s installation, and an art-world high point for a borderless EU, the two nations denying viewers the ability to parse national identity by the name chiseled into the pavilions’ façades. In 2015, Vincent Meessen explored a new global solidarity by inviting a dozen or so international artists to the Belgian pavilion in express refusal of his country’s colonialist past, as well as the Giardini’s national framework, which Belgium sparked when it built the first nation-specific pavilion there in 1907.......
Greg Madison, (2006), Existential Migration, Existential Analysis, 17.2: 238 -60