A war in Venice “Biennale”

A pizza has sprung up in Venice, Ukraine, at the Gardens of Art Biennale, which opens its 59th edition on Saturday 23 April. Many sandbags have been piled up in the vicinity of the Central Pavilion to protect an ideal monument from bombs. The installation offers itself a “platform of solidarity” in the industrial world and to the attacking and tormenting nation of Biennale leaders. It was conceived by three curators of the Ukrainian pavilion (where an installation was planned by artist Paco Maklov, who is stuck in Kiev), and was created by Ukrainian architect Dana Kasmina. Meanwhile, before arriving at Arsenal – another venue in Biennale – Valeriza, a Ukrainian girl (born in the same country as President Zelensky) who survived the bombing, Riva Degli stretched 50 meters in Schiavoni. He took the picture and took it around Europe JR, the famous French street artist. It’s a big name – Marina Abramovich, with Damien Hurst, Olafur Eliasson – taking part in an exhibition that starts on April 23 at Della Misericordia in Scuola Grande, together with Ukrainian artists who have sent work “from the front”.

“This is Ukraine / Defending Freedom” is the title of the review Organized by the Kiev Art Institute – including the foundation of Victor Pinchuk, a well-known Ukrainian entrepreneur and collector who in recent years launched an award for “next generation” from Venice. Russia’s absence coincides with a re-launch for Ukraine. The historic pavilion, designed in 1913 by Alexei Sushev (architect of the Russian Church in Barry), has been closed and reopened since 1956, even during the Cold War. Not because of Western sanctions or censorship, but because of the decision of the two artists who will be exhibiting, Kirill Savchenkov and Alexandra Sukhreva (young entrepreneur of the Moscow Avant-Garde) and curator, Lithuanian Raimundas Malasauskas. “There is no place for industry when civilians die under bombs, when the Ukrainian population hides in shelters, when Russian opponents are silenced” – so Kirill boldly announced on Instagram in February (received 3617 likes before the crash, and what happened). Who knows)

Putin’s war brings an unexpected turn and an unwanted effect In a version of Biennale that the epidemic has already been postponed (it will be held in the summer of 2021). The project created by director Cecilia Alemani – a well-known Italian curator who lives in New York and established herself (with her husband Massimiliano Gioni), had a completely different purpose and, among other things, she managed the Italian pavilion at the 2017 Biennale. He declares, from the title of the fairy tale, the “milk of dreams” (from Leonora Carrington’s 1950s story) the desire to “breathe freely” after the epidemic has stopped. Thus, through the art of social and political realism (“industrialism” as Vincenzo Trion wrote in a recent article), the video industry has limited the “cold” languages ​​of conceptual and digital art. Make way for the physicality of painting and installation (including 5 interdisciplinary “capsules”) to explore and improve the “transformation of the human body and definition.”

A choice of conventional surreal-pop cuts, Which re-enacts post-ethnocentric thinking in a hypothetical key: for new relationships, mutations and symbiosis between different bodies of nature, animals and plants. With the announced references to the prophecies of the last preachers of human centralism, such as Donna Haraway, Marina Warner, Rosa Braidotti. “Man”, masculine nominee. This is why “Dream Milk” speaks to women: 190 of the 213 “invited” women. The Golden Lions for Lifetime Achievement are German Catherine Frisch and Cecilia Vikuna of Chile. Much more than the other half of the sky that Lea Vergine claimed. But transformed fluidity blends cultural genres and historical times. The list includes Josephine Baker, the heroine of the ‘900’s avant-garde (from Sonia Delaun to Nicki De St. Faley), along with actresses and singers like Violetta Parra. Symmetrically, of the 26 Italian names, 14 are missing artists. There is even Eusapia Palladino, the ignorant seer of the Minervino rooster who captured the imagination of our Chiara Fumai. The names of four or five young men; Giulia Sensei, a Tuscan from Amsterdam, seems to have emerged.

Of the 80 national representations present at this biennial, it resists men, Italian pavilion in Arsenal. But even here with an absolute novelty. For the first time in its history, only one artist represents us: Gian Maria Tosatti, a talented Roman-Neapolitan outsider who broke the national order (he was also the new artistic director of Quadrienal). It was chosen by curator Eugenio Viola, also from Naples, who rose from Madras to international experience from Singapore to Bogota. Two voices from the South to align our country with the trends of Western art. The title proposed by Tosatti is also gorgeous in appearance: “The history of the night and the fate of the comet”. The night seems to be the collapse of the country’s industry and at the same time Pasolini’s “death of the fireflies”; Comet announces hope – I don’t know in any visual way. A total art project, by far one of the most ambitious artists we’ve followed, even in “Gazzetta”, since he was almost unknown. It will not be easy, doubts and disputes are already flooded. We will try to understand closely, in the days of Venice, what milk can feed our dreams and what fate the art comets announce to us.

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