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Венецианская биенналеВенецианская биеннале
La Biennale di Venezia 2019.jpg
ЖанрБиеннале ; фокусируется на современном искусстве , а также включает мероприятия для искусства, современного танца, архитектуры, кино и театра.
ЧастотаБиеннале, каждые два года
Местоположение (а)Венеция , Италия
Торжественно открыт1895 г.
ОсновательГородской совет Венеции
Веб-сайтwww .labiennale .org / en / biennale /
65-й Венецианский международный кинофестиваль . « Золотой лев» вручается лучшему фильму, показанному на конкурсе фестиваля.
Деталь выставки
Главный вход Biennalist Giardini
Вид на бювет, работа венгерского художника Балажа Кичины на Венецианской биеннале в 2005 году.
Работает на 54-й Венецианской биеннале, специальное издание к 150-летию объединения Италии, 2011–2012 гг. [1]

Венецианская биеннале ( / ˌ б я ɛ п ɑː л eɪ , - л я / ; итальянский : Венецианская биеннале [ля би.энˈнале ди вˈнɛттся] ; на английском языке также называется «Венецианская биеннале ») - это художественная организация, базирующаяся в Венеции, и это название оригинальной и основной выставки, проводимой раз в два года. В2009 годуорганизация сменила название на Фонд биеннале [2], а теперь выставка называется Арт-биеннале [3], чтобы отличить ее от других выставок, которые организует Фонд.

Организация [ править ]

Художественная биеннале, выставка современного визуального искусства, названная так потому, что проводится раз в два года (в нечетные годы), является оригинальной биеннале, по образцу которой были созданы другие в мире. Фонд биеннале постоянно поддерживает искусство, а также организует следующие отдельные мероприятия:

Распространенное имяОфициальное имяОснованЧастота
Художественная биенналеМеждународная художественная выставка1895 г.Нечетные годы
Венецианская биеннале архитектурыМеждународная архитектурная выставка1980 г.Четные годы (с 2000 г.)
Биеннале музыкиМеждународный фестиваль современной музыки1930 г.Ежегодно (сентябрь / октябрь)
Биеннале ТеатроМеждународный театральный фестиваль1934 г.Ежегодно (июль / август)
Венецианский кинофестивальВенецианский международный кинофестиваль1932 г.Ежегодно (август / сентябрь)
Венецианская биеннале танцаМеждународный фестиваль современного танца1999 г.Ежегодно (июнь; раз в два года в 2010–16 гг.)
Международный детский карнавал2009 г.Ежегодно (во время Карневале )

История [ править ]

1895–1947 [ править ]

19 апреля 1893 года Венецианский городской совет принял решение об учреждении двухгодичной выставки итальянского искусства («Esposizione biennale Artista nazionale») в честь серебряной годовщины короля Умберто I и Маргариты Савойской . [4]

Год спустя совет постановил «принять систему« по приглашению »; зарезервировать часть выставки для иностранных художников; принять работы незваных итальянских художников по выбору жюри». [5]

Первая биеннале "I Esposizione Internazionale d'Arte della Città di Venezia (1-я Международная художественная выставка города Венеции)" (хотя первоначально запланирована на 22 апреля 1894 г.) была открыта 30 апреля 1895 г. итальянским королем и королевой. , Умберто I и Маргарита ди Савойя . Первую выставку посетили 224 тысячи человек.

В первые десятилетия 20-го века мероприятие становилось все более международным: с 1907 года несколько стран установили на выставке национальные павильоны, первый из которых был из Бельгии . В 1910 году были представлены первые всемирно известные художники - зал, посвященный Густаву Климту , персональная выставка Ренуара , ретроспектива Курбе . Работа Пикассо «Семья Saltimbanques» была удалена из испанского салона в центральном Палаццо, потому что опасались, что ее новизна может шокировать публику. К 1914 г. было создано семь павильонов: Бельгия (1907 г.), Венгрия (1909 г.), Германия (1909 г.), Великобритания (1909 г.), Франция (1912 г.) и Россия (1914 г.).

Во время Первой мировой войны события 1916 и 1918 годов были отменены. [6] В 1920 году посты мэра Венеции и президента Биеннале разделились. Новый генеральный секретарь Витторио Пика привел к появлению авангардного искусства, особенно импрессионистов и постимпрессионистов .

В 1922 году открылась выставка скульптур африканских художников . В период между двумя мировыми войнами здесь выставлялись работы многих известных современных художников . В 1928 году открылся Istituto Storico d'Arte Contemporanea (Исторический институт современного искусства), который стал первым ядром архивных коллекций биеннале. В 1930 году его название было изменено на Исторический архив современного искусства.

В 1930 году Биеннале была преобразована в Ente Autonomo (Автономный совет) Королевским указом с законом No. 33 из 13-1-1930. Впоследствии контроль над биеннале перешел от городского совета Венеции к национальному фашистскому правительству под руководством Бенито Муссолини . Это повлекло за собой реструктуризацию, связанный с этим финансовый подъем, а также нового президента, графа Джузеппе Вольпи ди Мисурата . Были учреждены три совершенно новых мероприятия, в том числе Музыкальная биеннале 1930 года, также известная как Международный фестиваль современной музыки ; Венецианский кинофестиваль в 1932 году, что они утверждают , что в качестве первого кинофестиваля в истории, [7]также известный как Венецианский международный кинофестиваль; и Театральная биеннале в 1934 году, также называемая Международным театральным фестивалем .

В 1933 году Биеннале организовала выставку итальянского искусства за рубежом. С 1938 г. в разделе художественных выставок вручались Гран-при.

Во время Великой Отечественной войны деятельность Биеннале была прервана: в 1942 году состоялась последняя серия мероприятий. Кинофестиваль возобновился в 1946 году, музыкальные и театральные фестивали возобновились в 1947 году, а художественная выставка - в 1948 году. [8]

1948–1973 [ править ]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[9] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

В 1954 году остров Сан-Джорджо Маджоре стал местом проведения первых в Европе спектаклей японского театра Но . В 1956 году фильмы были отобраны после художественного отбора и больше не основывались на обозначении страны-участницы. Золотой лев 1957 года достался фильму Сатьяджита Рея «Апарахито», который познакомил Запад с индийским кинематографом .

В 1962 году Arte Informale представила художественную выставку с Жаном Фотье , Хансом Хартунгом , Эмилио Ведовой и Пьетро Консагра . Художественная выставка 1964 года познакомила континентальную Европу с поп-артом ( The Independent Group была основана в Великобритании в 1952 году). Американец Роберт Раушенберг был первым американским художником, выигравшим Gran Premio, и самым молодым на сегодняшний день.

Студенческие протесты 1968 года также ознаменовали кризис биеннале. Студенческие протесты помешали открытию биеннале. В результате начался период институциональных изменений, который завершился принятием нового Устава в 1973 году. В 1969 году, после протестов, от Главных призов отказались. Они возобновились в 1980 году для кинотеатра Mostra del Cinema и в 1986 году для художественной выставки. [10]

В 1972 году биеннале впервые приняла тему под названием «Opera o comportamento» («Работа или поведение»).

С 1973 года Музыкальный фестиваль больше не проводился ежегодно. В течение года, когда выставка Mostra del Cinema не проводилась, на кампо Санта-Маргерита в Венеции проводилась серия «Giornate del cinema italiano» (Дни итальянского кино), проводимых отраслевыми организациями. [11]

1974–1998 [ править ]

1974 год ознаменовался началом четырехлетнего президентства Карло Рипа ди Меана . Международная художественная выставка не проводилась (до возобновления в 1976 г.). В октябре 1974 и 1975 годов проводились театральные и кинематографические мероприятия под названием Libertà per il Cile (Свобода Чили) - крупный культурный протест против диктатуры Аугусто Пиночета .

15 ноября 1977 года открылась так называемая Диссидентская биеннале (по поводу диссидентского движения в СССР). Из-за последовавших разногласий внутри итальянских левых партий президент Рипа ди Меана ушел в отставку в конце года. [12]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980 the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[6]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[13] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[14]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane. In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense. Swedish curator Daniel Birnbaum was artistic director of the 2009 edition, followed by the Swiss Bice Curiger in 2011.

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[15]

Curator Okwui Enwezor was responsible for the 2015 edition.[16] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[17][18]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[19] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[20]

The Biennale has an attendance today of over 500,000 visitors.[21][22][23]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[24] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[9] as they regularly front the funding for production of ambitious projects.[25] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[26]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[27]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[28]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[6] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[6] The pavilions are the property of the individual countries and are managed by their ministries of culture.[29]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[30]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[29] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[31] The pavilion for Great Britain is always managed by the British Council while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[32] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[29]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Hervegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [1], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[33] In 2017, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[34]

As well as the national pavilions there are countless "unofficial pavilions"[35] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[36]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[37][38][39] Subsequent editions were held since,[40] 2013,[40] in conjunction with the biennale.[41]

Awards[edit]

For a more comprehensive list, see List of Venice Biennale exhibitions.

The Venice Biennale has awarded prizes to the artists participating at the Exhibition since the first edition back in 1895. Grand Prizes were established in 1938 and ran until 1968 when they were abolished due to the protest movement. Prizes were taken up again in 1986.[6] The selections are made by the Board of la Biennale di Venezia, following the proposal of the curator of the International Exhibition.

Also upon the recommendation of the curator, the Biennale names the five members of its international jury, which is charged with awarding prizes to the national pavilions.[42] The international jury awards the Golden Lion for best national participation, the Golden Lion for best participant in the international exhibition, and the Silver Lion for a "promising young participant" in the show. It may also designate one special mention to national participants, and a maximum of two special mentions to artists in the international exhibition.[43]

Management[edit]

The offices of the Biennale are at Ca' Giustinian in the sestiere San Marco.

On 26 July 1973, the Parliament approved the Organization's new statute for the Biennale. A "democratic" Board was set up. It included 19 members made up of representatives from the Government, the most important local organizations, major trade unions, and a representative of the staff. The Board was to elect the President and nominate the Sectorial Directors – one each for Visual arts, Cinema, Music, and Theatre.

In 1998 the Biennale was transformed into a legal personality in private law and renamed "Società di Cultura La Biennale di Venezia". The company structure – Board of directors, Scientific committee, Board of auditors and assembly of private backers – has a duration of four years. The areas of activity became six (Architecture, Visual arts, Cinema, Theatre, Music, Dance), in collaboration with the ASAC (the Historical Archives). The President is nominated by the Minister for Cultural Affairs. The Board of directors consists of the President, the Mayor of Venice, and three members nominated respectively by the Regione Veneto, the Consiglio Provinciale di Venezia and private backers. Dance was added to the others.

On 15 January 2004, the Biennale was transformed into a foundation.

For the 2013 edition, the main exhibition's budget was about $2.3 million; in addition, more than $2 million were raised mostly from private individuals and foundations and philanthropists.[44] In 2015, the budget for the international exhibition was at 13 million euros (about $14.2 million).[45]

See also[edit]

  • São Paulo Art Biennial
  • Shanghai Biennale
  • Sharjah Biennale
  • Milan Triennial
  • Rome Quadriennale

Notes[edit]

  1. ^ Vittorio Sgarbi, Lo Stato dell'Arte, Moncalieri (Torino), Istituto Nazionale di Cultura, 2012
  2. ^ "Activity Archives". Biennial Foundation. Retrieved March 20, 2020.
  3. ^ "Everything You Need to Know About the 2019 Venice Biennale". AFAR Media. Retrieved March 20, 2020.
  4. ^ "La Biennale di Venezia – The origin". Retrieved September 29, 2014.
  5. ^ "La Biennale di Venezia – From the beginnings until the Second World War". labiennale.org. 2014. Archived from the original on May 30, 2013. Retrieved September 28, 2014.
  6. ^ a b c d e "The Venice Biennale: Everything You Could Ever Want to Know". Artnews. 2019. Retrieved March 15, 2020.
  7. ^ "122 Years of History". La Biennale di Venezia. La Biennale di Venezia. 2017. Retrieved January 25, 2018.
  8. ^ "La Biennale di Venezia – From the beginnings until the Second World War". Archived from the original on May 30, 2013. Retrieved September 29, 2014.
  9. ^ a b Velthuis, Olav (June 3, 2011). "The Venice Effect". The Art Newspaper. Retrieved October 22, 2011.
  10. ^ Michele Robecchi, "Lost in Translation: The 34th Venice Biennale", Manifesta Journal, no. 2, Winter 2003/Spring 2004. https://zs.thulb.uni-jena.de/rsc/viewer/jportal_derivate_00233809/Manifesta_journal_2_2003_04_0043.TIF
  11. ^ "La Biennale di Venezia - From the post-war period to the reforms of 1973". Archived from the original on September 6, 2014. Retrieved September 29, 2014.
  12. ^ Fabio Isopo, La Biennale del Dissenso: uno scontro a Sinistra, http://www.unclosed.eu/rubriche/amnesia/amnesia-artisti-memorie-cancellazioni/60-la-biennale-del-dissenso-uno-scontro-a-sinistra.html
  13. ^ Riding, Alan (June 10, 1995). "Past Upstages Present at Venice Biennale". The New York Times. Retrieved October 22, 2011.
  14. ^ "La Biennale di Venezia - From the '70s to the reforms of 1998". Archived from the original on September 5, 2014. Retrieved September 29, 2014.
  15. ^ Massiliano Gioni, Introductory Statement, Il Palazzo Enciclopedico/The Encyclopedic Palace: Short Guide. Venice: Marsilio, 2013: pp. 18 and 21.
  16. ^ Javier Pes (December 4, 2013), Okwui Enwezor named director of the 2015 Venice Biennale The Art Newspaper.
  17. ^ "Addendum -Okwui Enwezor" (Press release). Italy: La Biennale di Venezia. Archived from the original on May 8, 2015. Retrieved June 4, 2015.
  18. ^ "e-flux journal at the 56th Venice Biennale" (Press release). New York: e-flux. April 23, 2015. Retrieved June 4, 2015.
  19. ^ "57th Venice Biennale 2017". universes.art. Retrieved January 11, 2021.
  20. ^ Freeman, Nate (April 13, 2017). "Catalogue for Mark Bradford's Venice Biennale Show Will Include Essays by Zadie Smith, Anita Hill". ARTnews.com. Retrieved January 11, 2021.
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Further reading[edit]

  • Sophie Bowness and Clive Phillpot (ed), Britain at the Venice Biennale 1895–1996, The British Council, 1995
  • Martino, Enzo Di. The History of the Venice Biennale, Venezia, Papiro Arte, 2007.
  • Sarah Thornton. Seven Days in the Art World. New York: WW Norton, 2008.
  • Digitalarti Mag (2009). Venice Biennale (PDF). pp. 8–12.
  • 52nd Venice Biennale and Documenta 12 in Kassel vol.20 July 2007 n.paradoxa: international feminist art journal pp. 88–92
  • Vittorio Sgarbi, Lo Stato dell'Arte: 54 Esposizione internazionale d'Arte della Biennale di Venezia. Iniziativa speciale per il 150° Anniversario dell'Unità d'Italia, Moncalieri (Torino), Istituto Nazionale di Cultura, 2012

External links[edit]

Media related to Venice Biennale at Wikimedia Commons

  • Official website
  • Official history