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Venice \ aise \ – There 59. International Art Exhibition By title “The milk of dreams“, Edited by Cecilia Alemani And organized by Venice Biennale Presided over by Roberto Cicuto, it was inaugurated with the award ceremony on 23 April and will remain open to the public at Giardini and Arsenal until 27 November 2022.
The exhibition is divided into Central pavilion From The garden AndArsenalIncluding 213 female artists from 58 countries. 26 Italian artists, first participation in 180 international exhibitions, 1433 works and exhibitions, 80 new productions.
The title of the exhibition “Dream Milk” is taken from a story book by Leonora Carrington (1917-2011), where “Cecilia Alemani explains, the surrealist artist describes a magical world where life is constantly rediscovered through the prism of imagination.” And where it is allowed to change, transform, be other than itself. The “Dream Milk” show selects Carrington’s fantastic creatures, along with many other figures of transformation, as companions in a fictional journey through the transformation and definition of the human body.
The “exhibition”, the curator continues, “emerges from the numerous conversations that have taken place with many artists and performers in recent months. Many questions are constantly raised from these conversations that not only reveal this precise historical moment where the survival of humanity is threatened, but also summarizes many other issues that dominate the science, art, and mythology of our time. How is the definition of human being changing? What is the difference between plants, animals, humans and non-humans? What is our responsibility towards our colleagues, other life forms and the planet we live on? And what would life be like without us? These are some of the questions that guide this edition of Biennale Arte, whose research focuses specifically on three thematic areas: body representation and their transformation; The relationship between the individual and technology; The bonds between the body and the earth. “
“Distributed along the exhibition paths in the Central Pavilion and Cordrey, five small thematic exhibitions of a historical nature form a series of constellations where works of art, objects, patterns and documents are collected to solve some basic themes. Exhibition”, continues Stays. “Imagine as a time capsule, these micro-exhibitions provide tools for in-depth analysis and introspection, weaving references and correspondence into historical works – including important museum loans and unusual inclusions – and the thematic experiments of contemporary artists in neighboring places. – Enriches with historical and transversal approaches that trace similarities and legacies between similar artistic methods and practices, creating new hierarchies of meaning and short circuit between present and past, even after generations: a history book For sympathy and brotherhood “.
The “exhibition” was “the milk of dreams” and was realized in a time of great turmoil and uncertainty, “the scholar explained. Its origins and executions coincide with the beginning and continuation of the Covid-19 epidemic, which forced La Biennale de Venezia to suspend this edition for a year, an event that only occurred during World War I and World War II from 1895. That in itself is a remarkable fact: the new found is not a symbol of naturalness, but a sign of a concerted effort that has something miraculous to it. The most sincere answer I can give is that Biennial looks like everything we’ve painfully deprived ourselves of in the last two years: the freedom to meet people from all over the world, the possibility of travel, the joy of living together, the practice of difference, translation, misunderstanding and communication.
Dream milk is not an epidemic show but inevitably records the seizures of our time. In this moment, as the history of Venice Biennale teaches, art and artists help us to imagine new forms of coexistence and new, infinite possibilities for transformation. “
The exhibition will be attended by 80 national participants in historic pavilions in the historic centers of Giardini, Arsenal and Venice. For the first time, 5 countries are present in Biennial Art: Cameroon Republic, Namibia, Nepal, Oman Sultanate and Uganda. The Republic of Kazakhstan, the Republic of Kyrgyzstan and the Republic of Uzbekistan participated for the first time with their own pavilions.
The Italian pavilion of Tesse delle Virginia in Arsenal, supported and promoted by the Ministry of Culture, is curated by Eugenio Viola, the general guidelines for contemporary art and architecture and the urban perimeter.
Parallel events, organized by curators and promoted by national and international non-profit organizations and institutions, are organized in numerous venues in Venice and offer extensive contributions and participation that enrich the multitude of voices featuring the exhibition.
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Jury of the 59th International Art Exhibition at the Venice Biennale – Adrienne Edwards (USA), President of the Jury, Lorenzo Giusti (Italy), Julieta Gonzalez (Mexico), Bonaventure, on the occasion of the opening, 23 April. Soh Bejeng Ndikung (Cameroon) and Suzanne Pfeiffer (Germany) – Giardini della Biennale, awarded the Golden Lion for the best national participation in Great Britain with Sonia Boys’ “Feeling Her Way” project. By Emma Ridgway and with Emma Dexter of the British Council as Commissioner. Inspired by the jury, “Sonia Boyce offered another reading of the story through words. Working in collaboration with other black women, she uncovered many untold stories. Age offers a very contemporary language in fragmentary form that the visitor reconstructs through his experience in the pavilion. The important questions of evidence contradict the perfect analogy, as well as the relationship between the voices in the form of a chorus, at distances and at different points in the display ”.
Two special mentions responsible for national participation: Curated Europe and Foreign Affairs and Culture curated by Yasmina Reggad, Sam Bardawil and Till Fellrath (Commissioner of the Institute Franchise) for Geneva Sedira’s “Les rêves n’ont pas de titre / Dreams has no title”. Ministry); And Uganda with “Radiance: The Dream in Time”, which saw the project of Akaye Kerunen and Colin Sekazugo at the Palazzo Palumbo Fosati San Marco 2597 with the curatorship of Shaheen Merali (Commissioner Naumo Juliana Acorio).
Golden Lion American Simon Lake was awarded Best Participant in “Dream Milk” International Exhibition
(1967, Chicago, USA), Silver Lion Lebanese went to Ali Cherry (1976, Beirut, Lebanon) for a promising young participant in the international exhibition “Dream Milk”. The jury decided to make two special mentions to Lynn Hershman Lyson (1941, Cleveland, USA) and Shubhnai Ashuna (1961, Kingite, Nunavut, Canada).
The Board of Directors of the Venice Biennale, chaired by Roberto Cicutto, presented two Golden Lion Awards for lifetime achievement to Cecilia Alemani, German artist Catherine Fritz and Chilean artist Cecilia Vikuna, at the suggestion of the curator of the 59th exhibition. (aise)

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