ART IS HU­MAN, FREE, SUP­PORT­IVE

All About Italy (USA) - - Editorial - Www.la­bi­en­nale.org #Bi­en­nalearte2017

An artis­tic itin­er­ary to let your­self be sweetly en­rap­tured by the unique di­men­sion of life in Venice, made up of beau­ti­ful things to ad­mire, and with time ar­tic­u­lated by the slow va­poretti that plow its wa­ters

Ev­ery­one knows the re­al­ity of the canals, churches and mu­se­ums of Venice, the itin­er­ar­ies that are con­stantly the prey of tourists from all over the world. Why not then ded­i­cate your­self to an itin­er­ary of dis­cov­ery in search of an­other Vene­tian soul that with­out a doubt de­serves to be con­tem­plated and ex­pe­ri­enced, a con­tem­po­rary and avant-garde Venice? From Satur­day, May 13, to Sun­day, Novem­ber 26, in the Gar­dens and in the Ar­se­nal, the city presents the 57th In­ter­na­tional Ex­hi­bi­tion of Art, with the ti­tle “VIVA ARTE VIVA,” cu­rated by Chris­tine Ma­cel and or­ga­nized by the Bi­en­nale of Venice presided by Paolo Baratta.

A space ded­i­cated to open di­a­logue be­tween the artists and the pub­lic, this Bi­en­nale, in the words of its pres­i­dent, is “ded­i­cated to cel­e­brate and give thanks to the very ex­is­tence of art and artists, that with their world of­fer us an ex­pan­sion of our per­spec­tive and of the space of our ex­is­tence.” In the his­toric pavil­ions of the Gar­dens, in the Ar­se­nal and through­out the his­toric cen­ter of Venice, the ex­hi­bi­tion unites the spir­its of 87 dif­fer­ent coun­tries, four of which are present for the first time: An­tigua and Bar­buda, Kiri­bati, Nige­ria, and Kaza­khstan.

A uni­fied theme is de­clined in nine chap­ters, with the first two pre­sented in the Cen­tral Pav­il­ion of the Gar­dens and the other seven twist­ing from the Ar­se­nal to the Gar­dens of the Vir­gins.

Each of these fam­i­lies of artists in the Ex­hi­bi­tion “con­sti­tutes a pav­il­ion in and of them­selves, or a Transpavil­ion,” (in the sense of transna­tional), that re­sumes the his­tor­i­cal di­vi­sion of the Bi­en­nale into pavil­ions whose num­ber has never stopped grow­ing from the end of the 90s. From the “Pav­il­ion of Artists and Books” to the “Pav­il­ion of Time and the Infinite,” these nine group­ings “pro­pose a nar­ra­tive, of­ten dis­cur­sive and some­times para­dox­i­cal, with de­vi­a­tions that re­flect the com­plex­ity of the world, the mul­ti­plic­ity of po­si­tions and the va­ri­ety of prac­tices.”

In ad­di­tion, for the sec­ond con­sec­u­tive year, the

Bi­en­nale col­lab­o­rates with Lon­don’s Vic­to­ria and Al­bert Mu­seum in the Pav­il­ion of Ap­plied Arts in the Ar­mory of the Ar­se­nal, in an ex­hi­bi­tion cu­rated by Jorge Pardo, a Cuban artist and sculp­tor whose work com­bines art and de­sign.the col­lab­o­ra­tion with the La Fenice Theater has also been ren­o­vated for the Spe­cial Project ded­i­cated this year to the opera Cephalus and Pro­cris, with a li­bretto by Ri­naldo Küf­ferle and mu­sic by Ernst Krenek. With its world premiere given at the Bi­en­nale of Mu­sic in 1934 at the Goldoni Theater, the opera will be staged at Venice’s Mal­i­bran Theater from Septem­ber 29 to Oc­to­ber 2, 1017. The project was en­trusted to the French artist Philippe Par­reno at the sug­ges­tion of the 2017 cu­ra­tor Chris­tine Ma­cel. The ini­tia­tive thus con­tin­ues the col­lab­o­ra­tion be­tween the Bi­en­nale and La Fenice that be­gan in 2013 with Madame But­ter­fly, whose scenes and cos­tumes were en­trusted to the Japanese artist Mariko Mori, with the di­rec­tion given to Alex Rigola, then the artis­tic di­rec­tor of the Bi­en­nale Teatro. This was fol­lowed in 2015 with a new pro­duc­tion of Norma, with di­rec­tion, scenes and cos­tumes by the Amer­i­can artist Kara Walker.

Nat­u­rally, events cor­re­lated to the other sec­tors of the Bi­en­nale are fore­seen for the du­ra­tion of the Ex­hi­bi­tion: in June, the 11th In­ter­na­tional Fes­ti­val of Con­tem­po­rary Dance (di­rected by Marie Chouinard); in July and Au­gust, the 45th In­ter­na­tional Fes­ti­val of Theater (di­rected by An­to­nio Latella); from the end of Au­gust through the be­gin­ning of Septem­ber, the 74th In­ter­na­tional Ex­hi­bi­tion of Cin­e­matic Art (di­rected by Al­berto Bar­bera); and in Oc­to­ber, the 61st In­ter­na­tional Fes­ti­val of Con­tem­po­rary Mu­sic (di­rected by the com­poser Ivan Fedele): «VIVA ARTE VIVA is there­fore an ex­cla­ma­tion, an ex­pres­sion of pas­sion for art and for the fig­ure of the artist. VIVA ARTE VIVA is a Bi­en­nale with artists, by artists and for artists.” Chris­tine Ma­cel

LOS­ING ONE­SELF IN VENICE

It is not just the Bi­en­nale per se, then, but a civic web com­posed of in­nu­mer­able artis­tic paths, in­clud­ing pres­tige shows in his­toric palaces in which the in­nate propen­sity of Vene­tians for con­tem­po­rary art re­veals it­self in all its force and cre­ativ­ity.

One of these is Palazzo For­tuny, the res­i­dence-mu­seum of the ge­nial Mar­i­ano For­tuny—an eclec­tic cre­ator who worked with pho­tog­ra­phy, theater de­sign, tex­tile cre­ations and paint­ing— which since 1975 has con­sti­tuted one of the fun­da­men­tal ref­er­ences in Venice re­gard­ing vis­ual art.

A mag­nif­i­cent ex­am­ple of Vene­tian Gothic ar­chi­tec­ture, the palace was built at the end of the 15th cen­tury by the no­ble Pe­saro fam­ily; Mar­i­ano For­tuny bought it in the be­gin­ning of the 20th cen­tury in or­der to make it his stu­dio. After his death, his wife Hen­ri­etta do­nated the palace, which care­fully pre­served Mar­i­ano’s tex­tiles and col­lec­tions, to the city of Venice, which made it a place ded­i­cated to ex­per­i­men­ta­tion and in­no­va­tion, in homage to the spirit and cul­ture of the fa­mous pro­pri­etor.

The palazzo serves as the back­drop for mar­velous, must-see ex­hi­bi­tions, and its set­ting nat­u­rally high­lights and gives added depth to each dis­play, gen­er­at­ing a pos­i­tive en­ergy per­haps in­flu­enced by the golden pro­por­tions that are un­con­sciously in­her­ent in each one. The his­toric spa­ces have been com­pletely ren­o­vated and en­hanced by an eclec­tic charge of en­ergy in the de­sign: this is also the case with Palazzo Grassi-punta della Do­gana, which has re­cently re­in­forced its own pres­ence in the artis­tic and cul­tural life of Venice with a new struc­ture en­tirely ded­i­cated to con­fer­ences, en­coun­ters, pro­jec­tions and con­certs.

After the restora­tion of Palazzo Grassi in 2006, fol­lowed by that of the Punta della Do­gana, in­au­gu­rated in 2009, the re­cov­ery in 2013 of what had as­sumed the name of the Teatrino, or “lit­tle theater,” sig­naled the third step of François Pin­ault’s grand cul­tural project in Venice.

This com­plex operation, car­ried out by the ar­chi­tect Tadao Ando, in­serts it­self in a logic of ar­chi­tec­tural con­ti­nu­ity with re­spect to the pre­vi­ous restora­tions. With an area of 1,000 square me­ters

„Ca’ Gius­tinian“, Bi­en­nale di Venezia

Roberto Cuoghi , Belinda.

(10,764 square feet), the Teatrino has an au­di­to­rium with a ca­pac­ity of 225 places, with a foyer and var­i­ous tech­ni­cal ar­eas (dress­ing rooms, di­rec­tor’s room, booth for si­mul­ta­ne­ous trans­la­tion, etc.).

It is a place of ex­change and en­counter, open to the city and fur­nished with the best tech­no­log­i­cal con­di­tions (espe­cially in its acous­tics) and com­fort, thanks to which a pro­gram of cul­tural ac­tiv­i­ties was sub­se­quently de­vel­oped in­volv­ing en­coun­ters with artists, con­fer­ences, lec­tures, per­for­mances and pro­jec­tions of art films.

Venice is also, and above all, di­a­logue, in all its forms, such as that which brings to­gether con­tem­po­rary art and the mil­lenary tra­di­tion of glass­mak­ing, through the in­volve­ment of im­por­tant in­ter­na­tional artists in Mu­rano, which has made of this ex­tra­or­di­nary mat­ter an in­ter­na­tional bas­tion. It’s called Glasstress, a suc­cess­ful ini­tia­tive born in 2009 in the mind of Adri­ano Berengo, and it’s a project of con­sid­er­able reach cu­rated by Dim­itri Oz­erkiv and Adri­ano Berengo, whose pro­tag­o­nists are the Her­mitage Mu­seum in Saint Peters­burg, The Berengo Foun­da­tion, and Berengo Stu­dios in Venice, with the col­lab­o­ra­tion of the Foun­da­tion of Civic Mu­se­ums of Venice and the Ital­ian Her­mitage. www.for­tuny.vis­it­muve.it www.palaz­zo­grassi.it

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Chris­tine Ma­cel, chief cu­ra­tor of the Pom­pi­dou Cen­ter in Paris and the cu­ra­tor of this year’s Venice Bi­en­nale.

Gior­gio An­dreotta Calò, Me­dusa. Roberto Cuoghi, Hy­dra. Gior­gio An­dreotta Calò, Shell.

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