Agenda Venezia

Venetian Biennial

 

Correct, committed, well displayed, enjoyable, but not extremely emotionally involving. This is in short the final judgment on the 52nd International Art Exhibition, now on show at “Giardini” in Castello and in Venice’s “Arsenale” until November the 21st. This Biennial was curated by Robert Storr, the first American ever appointed for this prestigious role, he chose a nice title for the exhibition “Think with the senses: Feel with the mind”. Such motto reflects Storr’s will to go beyond strong and usual assumptions about contemporary art: for example that conceptual art is a merely rational creation (Sol LeWitt’s paintings, artist recently passed away, deny this claim) or that abstract-expressionism is the result of simple illogical urges (this is not true for Emilio Vedova, one of the lead artists in this Biennial, who gives shape to rigorous forms in spite of his vehement transport). The overcoming of this categories is doubtlessly to be considered one of Storr’s main merits; the curator doesn’t believe in a stringent border-line existing between old and new generations neither, that’s why he choose to present artist Luca Buvoli in the Arsenale, proposing his own personal reading of an historical artistic movement such as futurism. After this preamble we have to consider that the number of artists over 70 at this Biennial is extremely relevant, we start with Louise Bourgeois (year 1911) than Argentinean artist Leon Ferrari (1920), Americans Ellsworth Kelly (1923), Nancy Spero (1926) and Sol LeWitt (1928); the Thirties’ generation from Robert Ryman and Raoul De Keyser (both born in 1930) to Gerhard Ricther (1932); Mr and Mrs Kabakov (1933) and Italian artist Giovanni Anselmo (1934) to finish with Daniel Buren (born in 1938). All renowned artists presented over and over at the Venetian exhibition, as the dead artists Felix Gonzales- Torres (selected also by the American pavilion) and Martin Kippenberger to whom a whole room is dedicated in the “Padiglione Italia”. This display, a sort of memorial, includes a golden curtain as entrance, and is able to produce a strong impression on the visitor. Death is by the way a prevailing theme in this Biennial: it may be a private mourning, as Sophie Calle’s intense recalling of her mother’s agony or the loss of both parents in the skeletons embroidered on silk by Angelo Filomeno. More often death is evoked by the massive destructions caused by present or recent conflicts as in Gabriele Basilico’s pictures (referred to 1991 Beirut Crisis); by those of Melik Ohanian witnessing of bloody Chilean coup in 1973 or Paolo Canevari’s recalling of Serbian neighbourhood in Belgrade destroyed by NATO bombs. A strong accusation to “western civilization” is moved by Argentinean Leon Ferrari placing a crucifix on an American bomber. Also the theme of Aids is unavoidable, especially for the African continent, but faced with a challenging attitude. “Africa sings against Aids” is the photographic documentation (all shot in black and white) of a contest for indigenous singers organised in 2005 in Bamako, Mali’s capital city, to stir people’s attention over the issue. Mali is also the homeland of Malick Sidibè who was awarded this year “Leone d’Oro” for his career. It was the first time that the recognition was given to an African and also the first time such honour is bestowed upon a photographer. In any case photography is very much present in this Biennial. This year the African continent also had its own Pavilion, overall acceptable. Besides this collective representation there are also individual African participants such as Ghanese artist El Anatsui with his golden drapes, made out of poor materials, that have somewhat become an icon of this exhibition.

Speaking about pavilions finally the Italian one has been re-established, after almost ten years of absence, fortunately without too much fuss about it. Even if there could have been something to object since the space is a bit out-of-the-way (at the end of the Arsenale) and also for the decision to exhibit only two artists: a great master such as Giuseppe Penone that presented an over-view of his long experience activating even the sense of smell in the spectators; and young artist Francesco Vezzoli mocking American primary elections in his video “Democrazy”. Worth consideration is also Nico Vascellari chosen to represent young Italian art, he’s extremely skilled in using different media combined together with a vague reminiscence of “Arte Povera”. In Venice Pavilion, given back to Venetian artists, homage is payed to Emilio Vedova, who recently passed away. Foreigner pavilion inside and outside the Giardini are usually of good or even excellent level. Starting with the “women triangle” in Giardini (Sophie Calle for France; Tracey Emin for Great Britain and Isa Genzken for Germany). Worth mentioning also the Russian Pavilion (AES+ F group’s video is really fine) and the Dutch Pavilion (dealing with immigrants integration issues). Outside the Giardini Mexican Pavilion deserves a visit, artist Lozano-Hemmer involves the public with his interactive electronic installations and also the Roma Pavilion is quite interesting, first overview of the cultural creations of Roma artists.

All around the main show a great number of other initiatives flourishes: exhibitions spread all over available public spaces, occupying private palaces usually closed, unused churches and even the islands in the lagoon. Big stars from the art world try to outdo each other in order to be present at the Venice Biennial, between the most renowned artists are Bill Viola (in San Gallo’s church) Joseph Kosuth (on the Armenian Island); Damien Hirst (Pesaro Parafava Palace); Matthew Barney and Joseph Beuys (Peggy Guggenheim Collection); Jan Fabre (Benzoni Palace) and Enzo Cucchi at Correr Museum.