Biennale di Venezia: agosto 2013

domenica 25 agosto 2013

Padiglione Israele - Gilad Ratman "The Workshop (2013)"

Padiglione Uruguay - Wifredo Díaz Valdéz

giovedì 22 agosto 2013

Nuovo orario estivo alla Biennale Arte / New summer schedule at the Art Biennale

Below english

Nuovo orario estivo alla Biennale Arte

da Ferragosto apertura dell'Arsenale fino alle ore 21.00 tutti i weekend - venerdì e sabato - fino al 28 settembre

In seguito alle richieste del numeroso pubblico della 55. Esposizione Internazionale d’Arte, la Biennale di Venezia ha deciso di prolungare l’orario di apertura della sede dell’Arsenale fino alle ore 21.00 (anziché fino alle 18.00) nei giorni di venerdì e sabato per tutto il periodo estivo fino a sabato 28 settembre. L’iniziativa è resa possibile anche grazie alla collaborazione dei Paesi all’interno dell’Arsenale. L'orario di apertura rimane alle ore 10.00 del mattino.

In controtendenza rispetto alle tentazioni delle chiusure ferragostane, la Biennale non solo terrà aperta la Mostra fino alle ore 21.00, ma offrirà ai suoi visitatori "lo Spritz di Ferragosto" il 15 agosto dalle 18.00 alle 21.00 presso il bar alla Gru monumentale Armstrong/Mitchell (area Teatro alle Tese).

Per salutare l’iniziativa, la Biennale di Venezia offrirà ai visitatori già muniti di biglietto una visita guidata gratuita, disponibile in italiano e inglese, con partenza all'infopoint dell'Arsenale alle ore 18.00.

Per l’occasione, in tutte le giornate interessate dall'iniziativa, saranno prolungati anche i servizi bar e bookshop.

CALENDARIO APERTURA PROLUNGATA

10.00 – 21.00

Agosto

Giovedì 15 agosto

Venerdì 16 agosto

Sabato 17 agosto

Venerdì 23 agosto

Sabato 24 agosto

Venerdì 30 agosto

Sabato 31 agosto

Settembre

Venerdì 6 settembre

Sabato 7 settembre

Venerdì 13 settembre

Sabato 14 settembre

Venerdì 20 settembre

Sabato 21 settembre

Venerdì 27 settembre

Sabato 28 settembre

English

New summer schedule at the Art Biennale as of mid-August open at the Arsenale until 9 pm every weekend –Friday and Saturday– until September 28th

Following the requests of the large audience of 55th International Art Exhibition, la Biennale di Veneziahas decided to extend the opening hours of the Arsenale on Friday and Saturday until 9 p.m. (instead of 6 p.m.) for the summer period until Saturday September 28th. The initiative will be possible thanks to the collaboration of the countries exhibited in the Arsenale. The opening time remains 10 a.m.

In contrast to the temptations of the mid- August closures, la Biennale will extend the opening until 9 p.m. and on August 15th will offer an aperitif to visitors from 6 p.m. to 9 p.m at the bar near the Armstrong//Mitchell crane (nearby the Teatro alle Tese). La Biennale di Venezia will provide ticket holders a free guided tour, available in Italian and English, starting from the Infopoint at the Arsenale at 6 p.m.

For the occasion, during all the days covered by the initiative bar services and bookshop will also be extended.

EXTENDED OPENING SCHEDULE

10 a.m. – 9 a.m.

August

Thursday, August 15

Friday, August 16

Saturday, August 17

Friday, August 23

Saturday, August 24

Friday, August 30

Saturday, August 31

September

Friday, September 6

Saturday, September 7

Friday, September 13

Saturday, September 14

Friday, September 20

Saturday, September 21

Friday, September 27

Saturday, September 28

Conversazioni con racconti: FÉN - opera in ferro, legno, fieno e parole

below english

Giovedì 29 agosto ore 11 si terrà il decimo appuntamento dei Meetings on Art organizzati dalla Biennale di Venezia, in programma per tutto il periodo della 55. Esposizione Internazionale d’Arte con spettacoli, conferenze e dibattiti.

Marco Paolini, artista invitato da Massimiliano Gioni alla 55. Esposizione, incontrerà alle ore 11 il pubblico presso lo spazio Álvaro Siza del Giardino delle Vergini, all’Arsenale. L’appuntamento si iscrive nella serie di conversazioni di Paolini dal titolo FÉN (fieno), che si terranno fino a mercoledì 18 settembre.

FÉN è un’installazione, un mappamondo di utensili e fieno accanto al quale l’artista racconterà storie e pensieri dedicati a uomini di scienza e uomini di fatica, a utensili, al lavoro manuale al tempo del digitale. Queste storie messe in fila formeranno un sillabario: ad ogni incontro Paolini ne svelerà alcune, negli altri giorni sarà una registrazione ad accogliere i visitatori. Al pubblico è chiesto di contribuire alla costruzione dell’opera portando un mazzetto di fieno legato con lo spago e con un cartellino indicante il luogo di provenienza, che potrà essere inserito nel mappamondo.

La 55. Esposizione Internazionale d’Arte, intitolata Il Palazzo Enciclopedico, è aperta al pubblico all’Arsenale e ai Giardini (da martedì a domenica dalle 10 alle 18). La Mostra include più di 150 artisti provenienti da 38 paesi, 88 Partecipazioni nazionali e 47 Eventi collaterali in città.

Calendario di FÉN - opera in ferro, legno, fieno e parole

giovedì 29 agosto 2013, ore 11.00

sabato 7 settembre 2013, ore 11.00

mercoledì 18 settembre 2013, ore 11.00

“Raccontare l’artificio, rifare con le parole i segni che hanno cambiato il paesaggio, ricostruire i passaggi attraverso cui si sono formati gli strati di umano, di antropico.

Il passaggio a un mondo digitale soppianta agilmente tutto ciò che era analogico. Il lavoro diventa più questione di nervi che di muscoli, ma l’umana fatica di metter mano alle cose per ripararle, mantenerle, restaurarne i danni del tempo non è sostituita in tutto da macchine intelligenti. Serve occhio, attenzione e senso. Tutto questo non si impara dal futuro ma dalla trasmissione dell’esperienza.

Narrare storie è un lavoro fondato sull’esperienza, l’oralità è quanto di più vicino alla manualità. Quando sembra tramontare sconfitta dalla comunicazione mass-mediatica risorge come opera d’arte nel teatro e la sua forza stupisce e commuove.

Credo che il lavoro manuale contenga elementi di nobiltà che trascendono il suo valore economico e produttivo. C’è una sapienza nei gesti e nell’economia dei gesti che sono eredità da non disperdere nel passaggio tra generazioni.

Sono partito da “Leaves of Grass” di Walt Whitman e ho immaginato un covone con il palo in mezzo davanti al quale narrare storie dedicate al secondo principio della termodinamica.

Storie di invenzioni di utensili, di piccole imprese, di uomini di scienza e di uomini di fatica.

Ogni storia è fatta di parole da ordinare e mettere in fila per dargli una forma come nel covone.

Le storie messe in fila formeranno un sillabario: in ogni giornata in cui sarò presente alla mostra ne racconterò alcune, negli altri giorni sarà una registrazione ad accogliere i visitatori. Gradualmente l’accumulo delle storie formerà il sillabario.

Durante i mesi della Mostra, che coincide con il periodo della fienagione, andrò a inaugurare mete, covoni di fieno costruiti da gente che non li ha mai fatti prima, e che ha dovuto farsi aiutare da chi invece si ricorda ancora come si fanno. Questi mucchi di fieno in piedi saranno un impegno a prendersi cura di un paesaggio, un segno visibile di manutenzione e forse un’occasione di incontro.

A Venezia la meta avrà forma un po’ diversa, sarà una sfera, sarà un mappamondo di erba, tenuto insieme dagli utensili.

Mi piacerebbe far sapere ai visitatori che possono portarsi un ciuffo d’erba da casa, legato da un laccio dov’è scritta la provenienza e infilarlo tra il fieno già presente. Sarebbe allora davvero una mappa del mondo.

Vorrei dedicarlo a un vecchio e nobile contadino, si chiamava Alcide Cervi, classe 1875, aveva sette figli maschi a cui, per insegnare che il pezzo di terra che aravamo è solo una parte del tutto, e che a quel tutto apparteniamo, aveva fissato sul tappo del radiatore del trattore un piccolo mappamondo di latta.

C’è in quel gesto il senso di tutto ciò che voglio narrare, intorno al secondo principio della termodinamica e alla necessità di opporsi al degrado facendo della manutenzione una forma di resistenza.”

Marco Paolini

Marco Paolini è attore, autore e regista. Dagli anni Settanta al 1994 ha fatto parte di vari gruppi teatrali. È in uno di questi, il Teatro Settimo di Torino, che inizia a raccontare storie: nascono gli “Album”, i primi episodi di una lunga biografia collettiva che attraversa la storia italiana dagli anni Sessanta ai giorni nostri.

Noto al grande pubblico per Il racconto del Vajont,si distingue quale autore e interprete di narrazioni di forte impatto civile (I-TIGI racconto per Ustica,Parlamento chimico, Il Sergente, Bhopal 2 dicembre ’84, U 238, Miserabili) e per la capacità di raccontare il cambiamento della società attraverso i dialetti e la poesia sviluppata con il ciclo dei Bestiari. Appassionato di mappe, di treni e di viaggio, traccia i suoi racconti con un’attenzione speciale al paesaggio, al suo mutarsi e alla storia (come nel Milione).

Artigiano e manutentore del mestiere di raccontare storie, sa portare quest’arte antica al grande pubblico con memorabili dirette televisive (tra cui i recenti ITIS Galileo e Ausmerzen. Vite indegne di essere vissute, seguiti da quasi due milioni di telespettatori su La7).

Nel 1999 ha fondato Jolefilm, la società con cui produce tutti i suoi spettacoli e con cui sviluppa la passione per il cinema e il documentario. Per maggiori informazioni: www.jolefilm.it

English

Conversations with tales: FÉN – work piece in iron, wood, hay and words

On Thursday, August 29, the tenth Meeting on Art will be held, organized by la Biennale di Veneziaand scheduled throughout the period of 55th International Art Exhibition with performances, lectures and debates. Marco Paolini, one of the artists invited by Massimiliano Gioni at the 55th Exhibition, will talk at11 am in the Álvaro Siza space at the Giardino delle Vergini in the Arsenale. The meeting is part of a series of appointments called FÉN (hay), that will run until Wednesday September 18th.

FÉN is an installation, a world map composed of hand tools and hay, near which Paolini tells stories and thoughts dedicated to men of learning and men of toil, dedicated to tools, to manual labour at the time of digital culture. These stories lined up will form a primer: Paolini will tell some stories personally, on other days a recorded version will be offered to visitors. The public is asked to contribute to the construction of the work by bringing a small bundle of hay tied with a string and with a tag indicating the place of origin, which will be placed on the world map.

The 55th International Art Exhibition, titled Il Palazzo Enciclopedico (The Encyclopedic Palace) is open to the public at the Arsenale and Giardini (from Tuesday to Sunday 10 am – 6 pm). The Exhibition includes over 150 artists from 38 countries, 88 National Participations and 47 Collateral Events in the city of Venice.

Program
FÉN - a work made of iron, wood, hay and words

Thursday 29 August 2013, 11 amSaturday 7 September 2013, 11 am

Wednesday 18 September 2013, 11 am

“Telling the artifice, reshaping with words the signs that changed the landscape, reconstructing the transitions of human and anthropic layers.

The shift to a digital world easily replaces all that was analog. Working becomes a question of nerves more than muscles; however the human fatigue of dipping into things to repair them, to maintain them, to restore them from the damages of time cannot be fully replaced by the smart machines. You need an eye for this, care and respect. All this cannot be learned from the future rather from the transmission of experience.

Telling stories is a work based on experience; oral dexterity is about as close as to manual dexterity. When it seems to be fading, defeated by the mass-media communication, it rises again as a work of art in the theatre and its strength surprises and moves us.

I believe that the manual work contains elements of nobleness that transcend its economic and productive value. There is wisdom in the gestures and in the economy of gestures that are a heritage not to be lost in the transition between generations.

I started from “Leaves of Grass” by Walt Whitman and I have figured out a haystack with a pole in the middle, in front of which I will tell stories dedicated to the second law of thermodynamics.

These are stories of inventions, utensils, small businesses, men of science and men of hard labour.

Every story is made up of words to be sorted out and put in a line to give it a shape like the one of a haystack.

So the stories lined will form a spelling book: in the days when I will be attending the exhibition I will tell you some, on other days there will be a recorded presentation for visitors. Little by little, all of these stories will become the spelling book.

During the months of the Exhibition, which coincides with the period of haymaking, I will inaugurate new destinations, new haystacks built by people who never made them before, and who had to get the help of those who still remember how to make them. These piles of hay, standing, are a commitment to take care of a landscape, a visible maintenance sign and perhaps the opportunity to meet.

In Venice the destination will take a different shape, it will be a globe, a map of the world made of grass, held together by tools.

I would like that visitors knew that they can carry a tuft of grass from home, tied by a string where they write their country of origin and introduce it into the haystack. It would really be a world map.

I would like to dedicate it to an old and noble farmer, his name was Alcide Cervi, born in 1875, he had seven sons to whom in order to teach that the land parcel they were ploughing was only a portion of the whole, and that we belong to that whole, had fixed a small tin globe on the radiator cap of his tractor.

In that gesture there is the meaning of everything that I want to tell, around the second law of the thermodynamics and the need to oppose the degradation by turning maintenance into a form of resistance.”

Marco Paolini

Marco Paolini is a stage actor, author and theatre director. From the Seventies to 1994 he has been part of several theatre groups. It is in one of them, the Teatro Settimo of Torino, that he began to tell stories: the “Album” was created in those years, the first episodes of a long collective biography that crosses the history of Italy from the Sixties to the present day.

Best known to the general public for his Il racconto del Vajont (The Vajont Tale),he stands out as author and interpreter of impactful, civil narrations (I-TIGI racconto per Ustica, Parlamento chimico, Il Sergente, Bhopal 2 dicembre ’84, U 238, Miserabili) and for his ability to tell the changes that affect society through dialects and poetry developed with his cycle of the Bestiari. Fond of maps, trains and travels he sketches his tales with a special care paid to landscape its changes and to history (as in the Milione).

A craftsman and maintainer of the art of telling stories, he is able to offer this ancient art to the general public with memorable live television coverage (among them the recent ITIS Galileo and Ausmerzen. Vite indegne di essere vissute, followed by almost two million viewers on La7).

In 1999 he established Jolefilm, the company which produces all of his shows and with which he realizes films and documentaries. For more information:www.jolefilm.it

Padiglione Olanda - Mark Manders "Room with Broken Sentence"

Comunicato stampa dal sito http://www.venicebiennale.nl/

Mark Manders

Room with Broken Sentence

Dutch entry 55th Venice Biennale

Curated by Lorenzo Benedetti

Commissioner: Mondriaan Fund

1 June - 24 November 2013

The pavilion is » open!

Mark Manders (1968) is representing the Netherlands at the 55th International Art Exhibition - la Biennale di Venezia. The Dutch pavilion showcases Room with Broken Sentence, curated by Lorenzo Benedetti (1972). The exhibition covers a 23 year span of Manders’ activity, combining existing installations with a monumental 4 meter high monumental new work.

The larger installations developed specially for the Rietveld pavilion reveal significant new aspects of the artist’s vocabulary. Turning his back on the frenetic consumerist dynamics of today’s cultural system, Manders withdraws into sculptures that seem to have always been there. All works combine a certain mystery with tremendous visual appeal. Manders’ use of materials, in which nothing is what it seems (epoxy looks like clay, clay becomes bronze and bronze seems to be wood), enhances this enigmatic visual impact. Leaving the shelter of the ‘white cube’, it infiltrates, blends into and seeks acknowledgement within a reality close to that of the general public. In an interview Manders stated:

“I don't often show my work in the public domain, rather in museums where people choose to go to see art. But since 1991 I always test a work that I've just finished in a supermarket. I just imagine a new work there and I check if it can survive where it doesn't have the label of an artwork. It is just a thing that someone placed in a supermarket. Now I am sure that all of my works can stand in that environment”.

There is a satellite exhibition in a Venetian supermarket proving this aspect of his work.

2013 is a special year for the Netherlands at the Venice Biennale, as it celebrates both a 100th and a 60th anniversary. The Netherlands may have been present since the start of the Biennale, but only from 1913 onwards in their own exhibition space and since 1953 in the present pavilion designed by the great Dutch architect Gerrit Rietveld. The selection of Mark Manders places him in direct confrontation with Rietveld, whose Modernist pavilion is one of the architectural jewels of the Giardini of the Biennale. The result will be a dialogue between a Modernist architect and an artist who, a child of his time, sets out to decipher the enigmatic temporal dimension of our age and create a parallel, autonomous one of his own.

The Dutch entry at the 55th International Art Exhibition is a solo exhibition by one of the Netherlands’ most representative contemporary artists. Mark Manders launched his career in 1986 with a work entitled Self-Portrait as a Building: a floor plan of a building realised with pencils, pens and other writing implements. From this point onwards his art has revolved around the exploration of this inner building.

The Mondriaan Fund has been responsible for the Dutch presence at the Venice Biennale since 1996. This year the entry was determined through a » juriedopen call; 82 proposals were submitted from which the Manders & Benedetti plan was selected.

Padiglione Belgio - Berlinde De Bruyckere "Kreupelhout – Cripplewood"

Comunicato stampa dal sito http://www.belgianpavilion.be/

Berlinde DE BRUYCKERE

Kreupelhout – Cripplewood

PAVILION OF BELGIUM

55TH INTERNATIONAL ART EXHIBITION

LA BIENNALE DI VENEZIA

JUNE 1ST – NOVEMBER 24TH 2013

As the commissioning authority for the 55th International Art Exhibition – La Biennale di Venezia in 2013, Joke Schauvliege, the Flemish Minister of the Environment, Nature and Culture, has announced that Ghent-based artist Berlinde De Bruyckere will represent Belgium at the 118-year old international event. In her comments about this commission, The Minister cited De Bruyckere’s profound commitment to exploring universal issues of the human condition, as well as the relationship of her art to the great continuum of history. Over the past three decades, De Bruyckere has created a consistent body of work that is still evolving and has the power to transform her participation in the Biennale into a lasting international presence.

S.M.A.K., the Museum of Contemporary Art in Ghent, is organising the Belgian presentation at the 55th International Art Exhibition – La Biennale di Venezia, which opens to the public

on 1 June 2013.

For the Belgian Pavilion in Venice, De Bruyckere has conceived a new site-specific installation that builds upon her existing oeuvre but derives its potency from connections to the historical context of Venice. She has invited acclaimed writer J.M. Coetzee, winner of the 2003 Nobel Prize for Literature, to serve as curator and artistic collaborator. De Bruyckere and Coetzee have followed one another’s work for years. Coetzee stated, “I have long admired the work of Berlinde De Bruyckere. More importantly, I have been touched (aangeraak) by her work in ways that are often obscure to me. I would not wish it otherwise.

Her sculptures explore life and death – death in life, life in death, life before life, death before death – in the most intimate and most disturbing way. They bring illumination, but the illumination is as dark as it is profound”.

De Bruyckere has said that she sees in Coetzee “a kindred spirit” and senses in his work the all-devouring need to write about what she also feels in creating her sculptures.

Coetzee will not perform the traditional task of an artistic curator, but will act as a source of inspiration and a partner in dialogue for De Bruyckere. “To discuss plans and projects with her, and if the gods are on our side, to guide and be guided by her in her explorations,” Coetzee explained. This unique collaboration in Venice is a logical extension of a joint project from 2012, when De Bruyckere and Coetzee published the book ‘Allen Vlees (All Flesh)’, combining her images with his writings. The artist selected key passages from Coetzee’s books and arranged them alongside photos of details from her sculptures. In this way, words are juxtaposed with images to suggest two parallel worlds that enrich but do not overtly illustrate each other.

In addition to J.M. Coetzee, Berlinde De Bruyckere invited Philippe Van Cauteren, S.M.A.K. artistic director since 2006, to serve as the Belgian Pavilion co-curator. Under his directorship the museum has held major monographic exhibitions by Lois Weinberger, Kendell Geers, Paul McCarthy, Mark Manders, Dara Birnbaum, Jorge Macchi, Nedko Solakov, Joachim Koester, as well as artistic projects in public space like TRACK. Van Cauteren is currently organising a retrospective of the work of Berlinde De Bruyckere, which will be shown at S.M.A.K. in 2014 and at the Gemeentemuseum in The Hague (Netherlands).

Belgian Pavilion Catalogue

The official catalogue of the 2013 Belgian Pavilion will be published by Mercatorfonds. As with her previous publications, Berlinde De Bruyckere will create an artist’s book rather than a traditional exhibition catalogue. It will include essays by J.M. Coetzee; Philippe Van Cauteren; Herman Parret, Professor Emeritus at the Higher Institute of Philosophy at Leuven University (Belgium); and Berlinde De Bruyckere. Photographs will be included by Mirjam Devriendt.

Bio

Berlinde De Bruyckere (Ghent, 1964) makes her sculptures in a personal, highly physical and expressive visual idiom. She delves deep into man’s omnipresent needs and fears. Elements such as vulnerability, mortality and solitude run through her oeuvre. She takes inspiration from literature and film history, but her sculptural work also displays a great affinity for such old masters as Lucas Cranach and Antonello da Messina. As Ovid wrote in his Metamorphoses, ‘My mind leads me to speak of figures changed into new bodies’. This is a challenge that Berlinde De Bruyckere has also taken up. In her work, mutilation and suspected violence assume extreme forms; they will always be related to the possibility of transfiguration and growth.

Berlinde De Bruyckere regularly exhibits in major museums and institutions in Belgium and abroad. Her recent exhibitions include 'Philippe Vandenberg & Berlinde De Bruyckere. Innocence is precisely: never to avoid the worst', De Pont Museum of Contemporary Art, Tilburg (Netherlands) in 2012; 'The Wound', Arter, Istanbul (Turkey) in 2012; 'We are all Flesh', Australian Centre for Contemporary Art, Melbourne (Australia) in 2012; 'Mysterium Leib. Berlinde De Bruyckere im Dialog mit Cranach und Pasolini', which opened at Kunstmuseum Moritzburg, Halle (Germany) and travelled to Kunstmuseum Bern, Switzerland in 2011; and a solo exhibition at (DHC / ART Foundation for Contemporary Art,Montreal, Canada in 2011. De Bruyckere’s exhibition, ‘In the Flesh’ was on view this year at Kunsthaus Graz and the St Dominikus Chapel in Graz (Austria).

www.smak.be

With the support of the Flemish authorities