Australia Simryn Gill

Come già annunciato a Maggio sarà Simryn Gill a rappresentare l'Australia alla prossima Biennale, eccovi il comunicato stampa

Simryn Gill to represent Australia at theVenice Biennale 2013

The Australia Council for the Arts today announced Simryn Gill has been selected torepresent Australia at the 55th International Art Exhibition, Venice Biennale 2013.

The Sydney-based artist, who works across multiple media, will be the sole artist exhibiting at the AustralianPavilion in the Giardini in June 2013. The exhibition will be curated by Catherine de Zegher.Simryn Gill has had solo exhibitions at the Centre for Contemporary Photography, Melbourne (2009); Museum ofContemporary Art, Sydney (2008); Tate Modern, London (2006); Shiseido Gallery, Tokyo (2004); and the ArtGallery of New South Wales, Sydney (2002).Recent group exhibitions she has participated in include Untitled (12th Istanbul Biennial),

Istanbul, Turkey (2011); Animism, Kunsthalle Bern, Bern, Switzerland (2010); Provisions for the Future, Sharjah Biennial, UAE (2010); Transmission Interrupted  , Modern Art Oxford, Oxford, UK (2010); Revolutions 

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Forms That Turn  , Biennale ofSydney (2008); News From Islands 

, Campbelltown Arts Centre, Campbelltown (2007); documenta 12 

, Kassel,Germany (2007); and Living in the Material World 

, National Arts Centre, Tokyo, Japan (2007).

“Simryn’s work is deeply engaging and challenging,” said 2013 Venice Biennale Commissioner Simon Mordant.“She will be making a new set of works for Venice and I am overjoyed to be working with both her and Catherinede Zegher, in delivering a very exciting Australian contribution to this most important contemporary art

exposition.”

 Australia Council CEO Kathy Keele said: “Representing Australia at the Venice Biennale is a significantachievement

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over 190,000 people visited the Australian Pavilion in 2011. I congratulate Simryn on her selection and I’m confident she will leave a lasting impression on the international audiences at the VeniceBiennale  – and well beyond.

”

 The exhibition will be curated by Catherine de Zegher, Joint Artistic Director of the 18th Biennale of Sydney in2012. Catherine is an art historian, curator and writer. She is Visiting Curator at the Antoni Tàpies Foundation,Barcelona, and until recently, was Guest Curator in the Department of Drawings at the Museum of Modern Art,New York. From 1999-2006, Catherine was the Director of The Drawing Center in New York. In 1997, she wasthe Commissioner of the Belgian Pavilion at the 47th Venice Biennale. “I feel honored to be invited to do this exhibition and I thank the selection panel members for their trust," saidSimryn.

“I am delighted to be working with Catherine de Zegher. We have admired each other’s work from adistance for some time now and I look forward to the process of collaboration.

”

 Simryn was selected by a six-member peer panel comprising: Simon Mordant, Australian Commissioner for theVenice Biennale 2013 and Chair of the Museum of Contemporary Art; Professor Ted Snell, Chair, Visual ArtsBoard; Elizabeth Ann Macgregor OBE, Director, Museum of Contemporary Art; Nick Mitzevich, Director, ArtGallery of South Australia; Jessica Morgan, The Daskalopoulos Curator, International Art, Tate, London; andRussell Storer, Curatorial Manager, Asian and Pacific Art, Queensland Art Gallery/Gallery of Modern Art. 

“We are delighted to also announce the support of The Balnaves Foundation as the Major Partner, and Maddocks as Principal Corporate Sponsor for 2013,” said Kathy Keele. “ Their significant support, as well as the contribution of the Commissioner’s Council and many individual donors , ensures the Australian representationextends and leverages our presence in Venice to increase the profile and international opportunities for theAustralian contemporar y visual arts sector.”

The Biennale is considered the most important and prestigious event on the international contemporary arts calendar,and is the oldest and largest established biennale in the world. Australia has been consistently represented in the VeniceBiennale for more than three decades, through the financial support and management of the Australia Council for theArts. Visit http://venicebiennale.australiacouncil.gov.au for more information.

Beware of the holy whore: Edvard Munch and the dilemma of emancipation

Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation' is a project co-organised by the Office for Contemporary Art Norway (OCA) and Fondazione Bevilacqua La Masa in Venice, Italy, as the official Norwegian representation at the 55th International Art Exhibition, La Biennale di Venezia in 2013. The project, curated by Marta Kuzma, Director, OCA, Angela Vettese, President, Fondazione Bevilacqua La Masa and Pablo Lafuente, Associate Curator, OCA, revolves around emancipation as an issue always vexed with contradiction – between the realm of freedom and the consequences of the isolation that often accompanies pursuing a qualitatively different, ‘alternative’ life. In his Essay on Liberation, Herbert Marcuse noted that this striving toward what is essentially a ‘new sensibility’ involves a psychedelic, narcotic release from the rationality of an established system, as well as from the rationality that attempts to change that system. This new sensibility, which resides in the gap between the confines of the existing order and those of true liberation, might lead to a radical transformation – and in this transformation art serves as a technique through which to reconstruct reality from its illusion, its imitation, even its harmony, towards a reality not yet given, still to be realised. 

The impulse to operate in the margins – on the outside trying to break in or on the inside redefining the context – is one of the key driving forces in the history of art, and is also at the centre of 'Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation'. The exhibition, which will take place at Fondazione Bevilacqua La Masa’s gallery at Piazza San Marco, will bring together works from the collection of the Munch Museum in Oslo in order to explore Edvard Munch’s position within and response to the age of emancipation in which he lived, where sexual norms and traditional gender roles were challenged amid new psychological theories of sex and politics and a struggle for women’s equality. Challenged by social developments and psycho-emotional expression, Munch faced the alienation that characterised a society (the Kristiania Bohemia) bidding for emancipation but trapped in ‘reality’, struggling between two options: assimilating shared values, or going beyond them in order to construct a new frame for perception. As Munch’s illustrations for Charles Baudelaire’s Les Fleurs du mal warned, sex might bring death. 

Munch’s emphatic treatment of these themes from 1902 to 1908, before entering the asylum, reflected an internal ambiguity and anguish. Munch described this period as an ‘eternal civil war’, after which his work moved to a more distanced treatment of subjects, in social caricatures in which he offers an ironic critique of an increasingly capitalist and permissive society. In Social Studies: Cause and Effect, made shortly after, Munch also reflected upon the conditions of artistic production and its reception, via patronage, sales, criticism and public opinion, opening new dimensions for his work, from a psychological perspective into social and historical realms.

The ‘pile of humanity’ or ‘human mountain’, a recurrent motif in Munch’s work since the early 1890s, is a pivotal element for 'Beware of the Holy Whore: Edvard Munch and the Dilemma of Emancipation', in its reflection on an emancipatory drive that might conclude in tragedy. While some of the sketches, illustrations, drawings and lithographs of the versions portray the human mountain as a platform for what looks like a move towards true liberation, others show a sarcophagus at the mountain’s pinnacle – an allegory that reflects Munch’s deep ambivalence towards the new times, their promises and their possibilities, and that expresses the dilemma of emancipation. 

Padiglione Russo, scelto il curatore, Udo Kittelmann

Per la prima volta un curatore non russo per il padiglione russo, si tratta di 

Comunicato stampa ufficiale

The Commissioner of the Russian Pavilion, Stella Kesaeva, announced the appointment of the curator of the Pavilion for the 55th Venice Biennale. The curator of the Russian Pavilion will be Udo Kittelmann, Director of the Nationalgalerie, Staatliche Museen zu Berlin (State Museums in Berlin). 

Commenting the appointment, Stella Kesaeva said: “It was decided in April 2012 that the artist Vadim Zakharov would represent Russia at the Venice Biennale in 2013. The idea of inviting Udo Kittelmann as curator followed from the choice of the artist. As a result, the Russian Pavilion will be curated by a citizen of another country for the first time in its history. Udo Kittelmann is one of the most renowned curators in the art world and his appointment is an important and conscious step, reflecting our principal objective, which is to bring Russian art out of isolation and secure for it the attention that it deserves at the highest international level. I am very happy that Udo Kittelmann shares our view and has accepted the project.”

Accepting the appointment as Curator of the Russian Pavilion, Udo Kittelmann said: “I am very pleased to take on this responsibility and the tough challenge of curating the Russian Pavilion at the forthcoming Venice Biennale. The fact that Russia will be represented by the artist Vadim Zakharov means much to me. I am greatly honoured that Vadim Zakharov proposed me as candidate for the curatorship and that the commissioner, Stella Kesaeva, supported the idea, enabling the continuation of my long cooperation with Vadim, which dates from the 1990s. I greatly admire the contribution, which Vadim Zakharov has made to contemporary art. His work has a continuity of development and is marked by a unique outlook and independence of artistic thought. His constant role as thinker and protagonist of the Moscow Conceptualist movement from the end of the 1970s remains a hallmark of his work right up to the present. As a curator, it gives me joy to be able to present this outstanding artist to a broad public. It would be hard to find a better place for an international exhibition of Vadim’s work than the Russian Pavilion at the Venice Biennale.” 

The Venice Biennale in 2013 will be held from June 1 until November 24, with preview days on May 29, 30 and 31. Massimiliano Gioni has been appointed artistic director of the Biennale. The Russian Pavilion was built following a design by the architect Alexei Schusev. It is one of the oldest Biennale pavilions and stands on the main thoroughfare of the Giardini della Biennale. 

Udo Kittelmann

Udo Kittelmann was born in 1958 in Düsseldorf, Germany. Since fall 2008, he has been the Director of the Nationalgalerie, Staatliche Museen zu Berlin (State Museums in Berlin). In this position he is responsible for the Alte Nationalgalerie (Old National Gallery), Neue Nationalgalerie (New National Gallery) and the Hamburger Bahnhof, Museum für Gegenwart - Berlin (Museum for Contemporary Art), as well as the Berggruen Museum, the Sammlung Scharf - Gerstenberg (Scharf-Gerstenberg Collection) and the Friedrichswerdersche Kirche. Udo Kittelmann worked as a freelance curator from 1987 to 1993, organizing more then 100 exhibitions of contemporary art during that time. From 1994 to 2001 he was the director of the Kölnischer Kunstverein (Cologne). In 2001, he was the commissioner of the German Pavilion at the Venice Biennale, where the Totes Haus u r project by Gregor Schneider won the Golden Lion award for best national pavilion. Between 2002 and 2008, Udo Kittelmann was the director of the MMK, Museum für Moderne Kunst (Modern Art Museum) in Frankfurt. 

Udo Kittelmann is the author and editor of various publications and essays on art. 

Vadim Zakharov

Vadim Zakharov was born in 1959 in Dushanbe. After graduating from the Moscow Pedagogical Institute in 1982, he pursued experiments in conceptual art independently and in collaboration with other artists, including Sergey Anufriev, Igor Lutz, Victor Skersis, and Ivan Sokolov. Since 2008 he has been a participant of the Capiton and Corbusier groups together with Yuri Leiderman and Andrei Monastyrski. He took part in the activities of Apt-Art and the Club of Avant-gardists. In 1992 he organizedPastor Zond Editions, a publishing house with a catalogue of over sixty works, including the Pastor almanac. Some highlights of his exhibition history include the 49th Venice Biennale in 2001, Berlin-Moscow/Moscow-Berlin 1950-2000 (2003-2004), andRussia! at the Guggenheim Museum in New York in 2005. In 2003 his Monument to Theodor Adorno was erected in Frankfurt-am-Main. He is the author of Monument to Utopia created for the exhibition, Pavel Filonov. Witness of the Invisible (St. Petersburg, 2006). In 2006 he won Russia’s Innovation Prize for Contemporary Art, and in 2009 he was the winner of the Kandinsky Prize. He currently lives in Berlin and Moscow. 

Stella Kesaeva

Stella Kesaeva is the President of Stella Art Foundation, which was set up as a non-profit organization in 2003. The mission of the Foundation is cultural exchange, support for Russian art and for young artists and the creation of a museum of contemporary art in Moscow. Stella Kesaeva was appointed as commissioner of the Russian Pavilion at the Venice Biennale in 2011, 2013 and 2015 by decree of the Russian Ministry of Culture.

Stella Art Foundation has held the following exhibitions by Vadim Zakharov

Vadim Zakharov, Andrei Monastyrski. Mouse Hunting (Stella Art Foundation, 2004)

Vadim Zakharov. 25 Years on One Page (The State Tretyakov Gallery, 2006)

Vadim Zakharov. Lessons in the Boudoir (Stella Art Foundation, 2006)

sito ufficiale: http://www.ruspavilion.ru

Palazzo Enciclopedico veneziano

Nei giorni scorsi il Presidente della Biennale di Venezia, Paolo Baratta, accompagnato dal Curatore della 55. Esposizione Internazionale d’Arte, Massimiliano Gioni, ha incontrato a Ca’ Giustinian i rappresentanti dei Paesi invitati, dei quali 8 partecipano per la prima volta: Bahamas, Regno del Bahrain, Repubblica del Kosovo, Kuwait, Maldive, Costa d’Avorio e Nigeria, Paraguay. Era inoltre presente all’incontro il vice Presidente del comitato promotore del padiglione della Santa Sede alla Biennale Arte 2013. 

La 55. Esposizione Internazionale d’Arte si svolgerà dal 1° giugno al 24 novembre 2013 ai Giardini e all’Arsenale (vernice 29, 30 e 31 maggio 2013), nonché in vari luoghi di Venezia. 

“La Biennale d'Arte si ripropone ancora una volta nella forma "duale" definita nel 1998: una grande Mostra Internazionale diretta da un curatore scelto a tal fine e le Partecipazioni nazionali.” Così Paolo Baratta ha introdotto la 55. Esposizione Internazionale d’Arte, ricordando che “i padiglioni dei paesi sono una caratteristica molto importante della Biennale di Venezia. Una formula antica di presenza degli stati eppure viva e vitale più che mai. Preziosa in tempi di globalizzazioni, perché ci dà il tessuto primario di riferimento sul quale possono essere osservate e meglio evidenziate le autonome geografie degli artisti, sempre nuove, sempre varie. Ci si può chiedere in che misura questi Padiglioni portino con sé, per quanto ampia sia l’autonomia lasciata ai curatori, anche desideri di rappresentazione del Paese che li organizza. Ognuno ha la sua storia e il suo stile. Possiamo senz’altro dire che in essi i Paesi rivelano il ruolo attribuito all’arte contemporanea quale messaggera del loro presente e della loro ricchezza culturale. Ma dai Padiglioni vengono anche rivelazioni su realtà e ricchezze più profonde di quelle delle pretese o consuete immagini ufficiali e stereotipate.” 

Il titolo scelto da Massimiliano Gioni per la 55. Esposizione Internazionale d’Arte è: Il Palazzo Enciclopedico. 

Massimiliano Gioni ha introdotto la scelta del tema evocando l’artista auto-didatta italo-americano Marino Auriti che “il 16 novembre 1955 depositava presso l’ufficio brevetti statunitense i progetti per il suo Palazzo Enciclopedico, un museo immaginario che avrebbe dovuto ospitare tutto il sapere dell’umanità, collezionando le più grandi scoperte del genere umano, dalla ruota al satellite. L’impresa di Auriti rimase naturalmente incompiuta, ma il sogno di una conoscenza universale e totalizzante attraversa la storia dell’arte e dell’umanità e accumuna personaggi eccentrici come Auriti a molti artisti, scrittori, scienziati e profeti visionari che hanno cercato – spesso in vano – di costruire un’immagine del mondo capace di sintetizzarne l’infinita varietà e ricchezza. Queste cosmologie personali, questi deliri di conoscenza mettono in scena la sfida costante di conciliare il sé con l’universo, il soggettivo con il collettivo, il particolare con il generale, l’individuo con la cultura del suo tempo.” 

“Oggi, alle prese con il diluvio dell’informazione, questi tentativi di strutturare la conoscenza in sistemi omnicomprensivi ci appaiono ancora più necessari e ancor più disperati – spiega Gioni. 

“La 55. Esposizione Internazionale d’Arte indagherà queste fughe dell’immaginazione in una mostra che – come il Palazzo Enciclopedico di Auriti – combinerà opere d’arte contemporanea e reperti storici, oggetti trovati e artefatti.” 

Al centro dell’esposizione sarà “una riflessione sui modi in cui le immagini sono utilizzate per organizzare la conoscenza e per dare forma alla nostra esperienza del mondo.” Ispirandosi a quello che lo studioso Hans Belting ha definito una “antropologia delle immagini”, la Biennale Arte 2013 curata da Massimiliano Gioni avvierà “un’indagine sul dominio dell’immaginario e sulle funzioni dell’immaginazione. Quale spazio è concesso all’immaginazione, al sogno, alle visioni e alle immagini interiori in un’epoca assediata dalle immagini esteriori? E che senso ha cercare di costruire un’immagine del mondo quando il mondo stesso si è fatto immagine? Fino a dove si estende il dominio dell’immaginario, quando ancora si lotta in nome delle immagini?” 

“Come nei teatri della memoria progettati nel Cinquecento dal veneziano Giulio Camillo – cattedrali interiori in cui ordinare il sapere in immagini – l’esposizione “Il Palazzo Enciclopedico” cercherà di delineare – conclude Gioni - la cartografia di un’immagine-mondo, componendo un bestiario dell’immaginazione.” 

La 55. Esposizione Internazionale d’Arte della Biennale di Venezia presenterà, come di consueto, le Partecipazioni nazionali con proprie mostre negli storici Padiglioni ai Giardini, oltre che nel centro storico di Venezia. 

Anche per questa edizione si prevedono selezionati Eventi collaterali, proposti da enti e istituzioni internazionali, che allestiranno le loro mostre e le loro iniziative a Venezia in concomitanza con la 55. Esposizione. 

Note biografiche 

Massimiliano Gioni (Busto Arsizio, 1973) è curatore e critico di arte contemporanea. 

Direttore artistico della Fondazione Nicola Trussardi di Milano, Gioni è Associate Director e Director of Exhibitions del New Museum of Contemporary Art di New York. 

Nel 2010 ha diretto la 8. Biennale di Gwangiu essendone il più giovane direttore nonché il primo europeo. Nel 2003 ha curato la mostra “La Zona” per la 50. Esposizione Internazionale d’Arte della Biennale di Venezia; nel 2004 è stato il co-curatore della biennale di arte contemporanea itinerante Manifesta 5 e nel 2006 ha curato la 4. Biennale di Berlino in collaborazione con l’artista Maurizio Cattelan e la curatrice Ali Subotnick. Con Cattelan e Subotnick ha fondato la rivista Charley e lo spazio no profit The Wrong Gallery, inizialmente allestita nel 2002 a New York e ospitata nel 2005 alla Tate Modern di Londra. 

Gioni ha curato innumerevoli mostre collettive – tra cui si ricordano “Ghosts in the Machine”, “Ostalgia” e “After Nature” al New Museum – e mostre personali di, tra gli altri, Pawel Althamer, Tacita Dean, Urs Fischer, Fischli e Weiss, Paul McCarthy, Pipilotti Rist, Anri Sala, Tino Sehgal, Paola Pivi. 

Caporedattore della rivista Flash Art a New York dal 2000 al 2003, Gioni ha collaborato con importanti riviste d’arte contemporanea tra cui Artforum, Art Press, Frieze, Parkett e pubblicato saggi e cataloghi con Charta, Mondadori, Phaidon, Les Presses du Reel e Rizzoli. 

UAE Mohammed Kazem

Il Padiglione Nazionale degli Emirati Arabi Uniti ha scelto Mohammed Kazem, artista, e Reem Fadda, curatore, per rappresentare il paese alla 55 Esposizione Internazionale della Biennale di Venezia.

Mohammed Kazem è un artista concettuale di primo piano nella scena artistica contemporanea degli Emirati Arabi Uniti ed è conosciuto per la sua integrazione dei nuovi media e del linguaggio espressivo.

Comunicato stampa in lingua inglese

The National Pavilion of the United Arab Emirates announces Mohammed Kazem as featured artist and Reem Fadda as curator for the 55th International Art Exhibition–La Biennale di Venezia.

Mohammed Kazem is a leading conceptual artist in the UAE contemporary art scene and is known for his incorporation of new media and his sophisticated formalist language. His interest in conceptual art and progressive attitude towards form and context is especially highlighted by his ongoing series “Directions.” Kazem first studied Fine Arts at the Emirates Fine Art Society and subsequently studied music at the Al Rayat Music Institute of Dubai and painting at the Edinburgh College of Art. He was a Painting Instructor at the Dubai Art Atelier for ten years. Widely known through numerous solo and group exhibitions in the UAE and abroad, Kazem’s participation includes the Havana Biennial (2000), Singapore Biennale (2006), Dhaka Biennial–Bangladesh (2002), and the Sharjah Biennale (1993–2007). Most recently he exhibited at the University of the Arts, Philadelphia (2010); and at the Mori Art Museum, Tokyo (2012). His works have been collected by private collectors and institutions such as Deutsche Bank as well as museums in Doha, Sharjah, JP Morgan Chase Bank (USA), and Sittard (Holland).

From her curatorial concept, Fadda stated; “Mohammed Kazem, a pioneering contemporary artist and thinker from the UAE, represents a generation that emerged from an avant-garde legacy of arts and artists in the UAE and the surrounding region, one that has thrived since the mid-’70s with advocates such as his mentor artist Hassan Sharif. The curatorial research for our pavilions presentation in Venice will see Kazem as the key individual artist and thinker he is and highlight his contribution to the local artistic heritage.”

Artisti : Mohammed Kazem

Indirizzo: Arsenale

Web: http://www.uaepavilion.org/

Foto di Haupt & Binder

Libano Akram Zaatari

Akram Zaatari sarà l’artista che rappresenterà il Libano alla prossima Biennale di Venezia del 2013. Si tratta di un artista che utilizza diversi media e che opera su un esame delle produzioni ideologiche. Ha partecipato all’ultima Documenta.
Questa segna il ritorno della Repubblica del Libano alla Biennale di Venezia. Che coincide con il 70 ° anniversario della fondazione della Repubblica libanese.

Curatori: Sam Bardaouil, Till Fellrath

Artisti : Akram Zaatari

Indirizzo: Arsenale

Web: www.apeal-lb.org

  

Un ideale viaggio italiano - Linee generale per il prossimo Padiglione Italia alla Biennale di Venezia 2013

Oggi c'è stata la presentazione del progetto sulla Biennale di Venezia del Padiglione Italia, che il curatore Bartolomeo Pietromarchi ha presentato al folto pubblico della stampa, presso il Complesso del San Michele a Roma. 

Per correttezza vi riporto il comunicato stampa. 

La consacrazione in tutto il mondo dell’arte italiana più recente (Boetti, Pistoletto, Penone, Kounellis, e altri) impone di proseguire sulla strada di una promozione e un sostegno sempre più convinti delle nuove generazioni, per affermare la nostra centralità nel panorama artistico contemporaneo riconoscendo al tempo stesso il valore della tradizione artistica e culturale dalla quale proveniamo. 

In questo senso, il Padiglione Italia rappresenta l’occasione più importante e il contesto più adatto per far conoscere a una platea internazionale importanti e ancora poco valorizzate individualità della nostra storia recente e promuovere artisti più giovani già internazionalmente riconosciuti in ambito museale. In un mondo globalizzato e sempre più omogeneo è importante affermare i caratteri distintivi della cultura italiana, le sue peculiarità, la sua sensibilità estetica, per riaffermarne l’attualità e l’unicità. Ed è importante ribadire che la ricerca artistica del nostro paese, con la sua lunghissima e straordinaria vicenda, è più che mai in grado di reinventarsi e di dialogare col presente, proponendone visioni inedite e sorprendenti. 

Il progetto espositivo è concepito come un viaggio ideale nell’Italia di oggi e di ieri attraverso lo sguardo dell’arte. Un itinerario che racconta attraverso le opere di artisti di generazioni diverse identità e paesaggi, reali e immaginari, del nostro paese ed esplora al tempo stesso la complessità e le stratificazioni della nostra vicenda artistica e antropologica. Il percorso della mostra si snoda così attorno ad alcune opere di figure di maestri riconosciuti dell’arte italiana che rappresentano dei punti di riferimento con cui artisti delle ultime generazioni dialogano tra corrispondenze, derivazioni e differenze. 

La mostra diventa un’occasione per leggere criticamente alcune linee di ricerca dell’arte italiana dal 1960 in avanti non più come contrapposizione tra movimenti e generazioni ma come un atlante composto diacronicamente da temi riconducibili alla nostra storia e cultura nazionale, quali, ad esempio, il rapporto con il paesaggio, la città e l’architettura, i riferimenti alla storia e al mito, la spiritualità, l’immaginario e la cultura popolare, i temi del doppio e della maschera, del rapporto tra realtà e finzione. 

Pare quindi di capire che si tratterà di una vasta retrospettiva attenta a nomi meno popolari del sistema dell'arte, sicuramente è già un progetto e dopo la strana esperienza dell'edizione precedente, pare un passo avanti. 

Ovviamente sono state tante le domande su eventuali nomi e linee, ma tutto è ancora top secret. 

Chissà se riserverà interessanti sorprese?

Selezionato il curatore del Padiglione Italia

A seguito di una selezione ristretta, realizzata dal Ministero per i Beni e le Attività Culturali, su dei progetti curatoriali, è stato nominato il curatore per la prossima Biennale di Venezia del Padiglione Italia, si tratta di Bartolomeo Pietromarchi. 

Il Ministro, Prof. Lorenzo Ornaghi, nell’apprezzare assai positivamente il livello culturale delle proposte pervenute, ha sottolineato il valore complessivo del progetto di Bartolomeo Pietromarchi. Tale progetto potrà rappresentare in modo significativo il ruolo dell’arte italiana contemporanea nel quadro dei cambiamenti, estesi e profondi, che caratterizzano questa fase storica del nostro Paese. 

A breve sarà organizzata una conferenza stampa nella quale il curatore incaricato illustrerà il suo progetto. 

Via come sempre siamo fra gli ultimi, ma speriamo come sempre di riuscire ad arrivare in tempo. 

Note 

Bartolomeo Pietromarchi (Roma, 1968) è critico e curatore d’arte. 

Dal 2002 al 2007 è stato Direttore Artistico della Fondazione Adriano Olivetti. 

È curatore del Premio Italia Arte Contemporanea del MAXXI – Museo delle Arti del XXI secolo e co-curatore della mostra di apertura Spazio. 

Ha curato diverse mostre e cataloghi tra cui Santiago Sierra, Ponticelli, Museo MADRE, Napoli, 2009; la retrospettiva di Alfredo Jaar It Is Difficult, Hangar Bicocca e Spazio Oberdan (con Gabi Scardi), Milano 2008; Lucy+Jorge Orta – Antarctica, Hangar Bicocca, Milano, 2008; The Hot Season. Italian Art Now, Stenersen Museum, Oslo 2008, Not Afraid of the Dark – Emergenze, Hangar Bicocca, Milano 2007, il progetto di ricerca triennale Trans:it. Moving Culture through Europe, il laboratorio per giovani artisti Prototipi (con Stefano Chiodi). 

È autore di diverse pubblicazioni tra cui Il luogo (non) comune. Arte, spazio pubblico ed estetica urbana in Europa, ACTAR 2005, Creazione Contemporanea. Arte, società e territorio tra pubblico e privato, Luca Sossella Editore, Roma, 2004 (con M. De Luca, F. Gennari Santori, M. Trimarchi), Mario Merz. Igloo (Universale di Architettura, Testo&Immagine, Torino, 2001). Collabora con la rivista Reset di cui cura la sezione di arte contemporanea. info dal sito della Luiss

L'Uruguay proporrà Wifredo Díaz Valdéz.

L'Uruguay proporrà Wifredo Díaz Valdéz.

La Bienal de Venecia surge en 1893 por resolución del Consejo Municipal, que proponía la creación de una bienal nacional de exhibición artística que se llevaría a cabo al año siguiente, para celebrar la boda de plata del Rey Umberto y Margerita de Savoy. Recién dos años más tarde, el 30 de abril de 1895, se inagura la primeraBiennale di Venezia y Uruguay participa por primera vez en la década del 50.

El día 19 de julio de 2012, la Comisión Nacional de Artes Visuales -conformada por: Ricardo Pascale, Octavio Podestá, Lacy Duarte, Enrique Aguerre, Marcelo Legrand, Pablo Uribe y Gabriel Peluffo- designó a Wifredo Díaz Valdéz como el artista seleccionado para exponer en el Pabellón Uruguayo en la Bienal de Venecia 2013 (ver acta adjunta).

Además la misma comisión decidió solicitar a Pablo Thiago Rocca, Ángel Kalemberg, Carlos Capelán y Verónica Cordeiro, la presentación de un proyecto curatorial para el envío a la 55º Bienal de Venecia. Los proyectos, que se presentarán entre el 30 de agosto y el 10 de setiembre de 2012, serán evaluados por la Comisión a la que se le sumará el artista Wifredo Díaz Valdéz.

Indonesia, cinque artisti

Ben cinque artisti troveranno posto all'Arsenale per l'Indonesia, essi sono : Albert Yonathan Setiawan, Sri Astari, Eko Nugroho, Entang Wiharso, Titarubi.

Curatori: Carla Bianpoen, Rifky Effendy, Achille Bonito Oliva

Jakarta, July 25, 2012 – In 2013, Indonesia will present its own National Pavilion in the world’s most acclaimed and prestigious art exhibition, the Venice Biennale. First time in history, the Indonesian Pavilion will be located on a 500 square meters space in the Arsenale, one of the two main expo areas. The next Biennale will runs from June-November 2013.

The Venice Biennale is the largest and the most prestigious art exhibition in the world. Held every two years, its history goes back over a century ago and the initial 30 national pavilions have increased to 89 in 2011. Next year will be the 55th edition of the international art exhibition, presided by Paolo Baratta, with Massimiliano Gioni as the Director of the Visual Arts Section.

PT Bumi Purnati Indonesia, an independent company founded in 2007, is acting as the initiator and organizer of the Indonesia Pavilion. Bumi Purnati has been engaged in performing arts, exhibitions, as art consultants, as well as producers of art events on national and international level.

“Our participation represents both a coming-of-age for our contemporary artists and global recognition of their creativity,” said Bumi Purnati Director Restu Kusumaningrum. “The Indonesia Pavilion at the Venice Biennale is a milestone in the country’s contemporary art, which I believe will prove the sophisticated creativity and uniqueness of Indonesia’s contemporary artists and their oeuvre.”

The five contemporary artists representing Indonesia at the 2013 Biennale, are Albert Yonathan Setiawan, Sri Astari, Eko Nugroho, Entang Wiharso, and Titarubi, each of whose work have their own individual characteristic, representing the diversity in Indonesian contemporary art, says Carla Bianpoen, the head of the Artistic Team. Astari is interested in re-reading the Javanese tradition with its symbolism and specific values, and reconciling them with the spirit of today. Albert Yonathan is a ceramist who explores the relationship and spiritual dimension of humans with Nature, elevating ceramics to a form of high and performative art. Eko Nugroho’s work is grounded in local traditions mixed with popular global culture, narrating in a humoristic manner his comments on life around him and in the wide world. Entang Wiharso has a style that reminds of the past and the future, weaving personal stories and experiences into the greater narrative on the humankind. Titarubi was trained as a ceramist but expand her skills to sculptures and installation art using various materials. She explores gender relations, historical feats and the rich heritage of Indonesia. While they are all rooted in the culture in which they were born and raised, their works signal the birth of a new culture adjusting to the spirit of today.

As regards selection criteria, curator Rifky Effendi, who has been engaged in curating and co-curating prominent exhibitions in Indonesia and Asia Pacific and regularly contributes to general and art media publications, explained that the selection was a long process during which he, together with the Artistic Team and the Producers have had intensive discussions, the major criteria being the artists’ track record and potential to work together to make the pavilion an important example of Indonesian contemporary art at global level.

The Bumi Purnati Team is currently making arrangements for a single exhibit inside the Arsenale, a former shipyard of high historical significance and one of the two main Biennale venues. By participating in the Venice Biennale 2013, the Pavilion will help position Indonesia as a country where a vibrant contemporary art scene is a natural reflection of a rich cultural heritage. It also shows that it is ready to take its place in the international contemporary arts scene.

While the work of Indonesian artists made it into the Biennale in 2003 and 2005, having a national pavilion in one of the most important exhibition areas reflects the growing prestige of Indonesian art. It also has a very practical implication for reaching a wider international audience and art market.

“Contemporary art is indeed very close to each one of us, as most of it reflects the current issues we experience as the society develops,” said Commissioner Adji Damais. “We hope that through the art, we can unite as a nation and be proud of our diversity.”

In terms of long-range, broader objectives, the success of Pavilion Indonesia at the Venice Biennale 2013 will certainly require the full support and enthusiasm of the government, the private sector, and the public, according to Restu.

“This is the first time the Indonesia pavilion will be presented in the Arsenale and we intend to show the worth of Indonesian contemporary art to the world. This is about exploring the inherent character and the vibrancy of our nation,” she said.

“We are honored that on so many different sides people are supporting our mission to put Indonesia on the art map and alert art lovers to the stature of our contemporary artists.” 

Last but not least, PT Bumi Purnati has again asked the Change Performing Art from Milan, Italy to collaborate in this very important event.

web site http://indonesiavenice.com/

A che punto siamo?

Si stanno definendo le partecipazioni alla prossima Biennale di Venezia di Arti Visive. 

Pian pianino si sta definendo le partecipazioni nazionali alla prossima Biennale di Venezia, il cui curatore sarà Massimiliano Gioni. 

Mentre ci giunge la notizia che il Padiglione della Germania, che l’anno scorso aveva visto il Leone d’oro con l’omaggio all’artista Christoph Schlingensief, scomparso poco prima dell’inaugurazione, avrà, in uno spirito cosmopolita, ben quattro artisti : Ai Weiwei, Romuald Karmakar, Santu Mofokeng e Dayanita Singh, facciamo il punto delle partecipazioni stilando un elenco dei nomi già indicati dalle diverse nazioni partecipanti. 

Vi invito a segnalarmi eventuali dimenticanze o novità. 

Australia Simryn Gill  

Austria Mathias Poledna    

Belgio Berlinde De Bruyckere  

Canada Shary Boyle 

Cile Alfred Jaar  

Danimarca Jesper Just    

Estonia Dénes Farkas   

Finlandia con Terike Haapoja e Antti Laitinen

France Anri Sala    

Galles Bedwyr Williams   

Germania Ai Weiei, Dayanita Singh, Santu Mofokeng, Romuald Karmakar

Giappone Koki Tanaka 

Hong Kong Lee Kit 

Indonesia Albert Yonathan Setiawan, Sri Astari, Eko Nugroho, Entang Wiharso, 
Titarubi

Inghilterra Jeremy Deller 

Irlanda Richard Mosse 

Islanda Katrín Sigurdardóttir 

Israele Gilad Ratman 

Libano Akram Zaatari

Lituania Raimundas Malašauskas

Nuova Zelanda Bill Culbert 

Olanda Mark Manders 

Portogallo Joana Vasconcelos 

Russia Vadim Zakharov 

Scozia Duncan Campbell, Corin Sworn and Hayley Tompkins 

Singapore Skipping 2013 

Stati Uniti Sarah Sze 

Sud Corea Group show 

Spagna Lara Almarcegui

Svizzera Valentin Carron 

Taiwan Bernd Behr, Chia Hsu-wei e Katerina Seda

Turchia Ali Kazma

Uruguay Wifredo Díaz Valdéz

UAE Mohammed Kazem 

La Germania sceglie 4 artisti internazionali

Per la 55a Biennale d'arte la Germania si proporrà come una costellazione di figure da tutto il mondo. 

Per questo motivo la curatrice Susanne Gaensheimer ha invitato quattro artisti internazionali provenienti da diversi paesi: Ai Weiwei, Dayanita Singh, Santu Mofokeng, Romuald Karmakar. 

Tutti e quattro gli artisti sono legati con la scena artistica tedesca in modo particolare, hanno lavorato in Germania per molti anni, in stretta collaborazione con le istituzioni tedesche. Le loro opere condividono una critica delle realtà individuali e offrono importanti riflessioni sulle culturale del mondo globalizzato.

Curatore: Susanne Gaensheimer (Direttore del Museo MMK für Moderne Kunst Frankfurt am Main)

Artisti :Ai Weiwei Dayanita Singh Santu Mofokeng Romuald Karmakar

Indirizzo: Giardini della Biennale

Web: www.deutscher-pavillon.org

Four artists for the German Pavilion First information about the German contribution to the 55th Venice Biennale 2013

Dear Ladies and Gentlemen,

In May we announced that Dr. Susanne Gaensheimer, Director of the MMK Museum für Moderne Kunst Frankfurt am Main, has been appointed curator of the German Pavilion at the 55th International Art Exhibition – La Biennale di Venezia in 2013 for a second time consecutively.

Today we would like to present Susanne Gaensheimer’s curatorial point of departure and the invited artists for 2013.

With her plans for the German contribution to the upcoming Venice Biennale, Gaensheimer continues the transnational approach, which characterized her cooperation with Christoph Schlingensief in 2010–2011. “My decision to invite Christoph Schlingensief to Venice was ultimately also influenced by his Africa project, namely the opera village in Ouagadougou”, Susanne Gaensheimer commented in a press release in June 2010. “What becomes clear here is that Schlingensief is not only representative of art in Germany, but that he puts his concerns in a global context. Planning the opera house in Africa and cooperating with the local partners there and, importantly, by using the project for self-reflection in his play Via Intolleranza II, Schlingensief succeeds in giving his analysis of ‘being German’ and the issues associated there with a transnational dimension: ‚ Why are we always so interested in helping the African continent if we can’t even help ourselves?’ he asked.”

Using diverse forms of expression to explore the issues of his generation with uncompromising directness for over 30 years, Christoph Schlingensief pushed the boundaries of art. For the 2011 German Pavilion he planned to fundamentally address the problems of the German, European, and western relationship to Africa and to question the supposed unambiguity of so-called national identities.

In 2013 Gaensheimer carries forward this critical investigation of the significance of traditional forms of national representation in the national pavilions at the Venice Biennale. Contemporary artistic production in Germany, as elsewhere, is characterized by multilayered forms of cooperation between artists from all over the world and by international intellectual and cultural exchange. Therefore, at the Venice Biennale, Germany will not be represented as a hermetic national unit but as an active participant in a complex, worldwide constellation. For this reason Gaensheimer has invited four international artists from different countries:

Ai Weiwei

Romuald Karmakar

Santu Mofokeng

Dayanita Singh

The artists are represented in major museums and collections throughout the world and have taken part in important international, large-scale exhibitions and film festivals. Their works, exhibitions, publications, and films are part of the international artistic discourse and have in part determined this discourse. In addition, all four artists are also associated with the German art scene in a particular way. Ai Weiwei, Romuald Karmakar, Santu Mofokeng and Dayanita Singh have been working in Germany for many years, in close cooperation with German institutions, publishing houses, and collections. Their works share a critical reconsideration of the artists’ individual respective realities and offer important trajectories for reflecting on cultural and social selfconception in a globalized world. In the process the artists use a large range of media, including photography and film in addition to sculpture and installation.

On her choice of artists Gaensheimer says: “Both everyday life and the cultural landscape of Germany are determined by different religions, economies, and political approaches. This defines our everyday and leads to mutual enrichment as well as to confrontation. At the same time it is extremely evident that our society can no longer function without dialog, collaboration and the addressing of different philosophies and actual realities. For me, working together with a group of artists from different countries for the Venice Biennale is also a logical continuation of my work with Christoph Schlingensief. The artists whom I invited and their works are representative of a number of issues resulting from the convergence of diverse ideologies and conceptions of life, which impact us most immediately today. In the context of the Venice-project it is important to me that these artists manage to expand our perspectives and give us access to the view of the other, sometimes in an uncomfortable way. Although they develop their works out of specific, local contexts, they establish a kind of universal visual language by integrating their individual experiences of internationality.”

A publication is planned to accompany the exhibition in the pavilion and will include a number of exclusive, new contributions by international authors on the themes mentioned above as well as texts on the participating artists and an extensive photographic documentation of their works.

Elke aus dem Moore, Director of the Art Department of the Institute for Foreign Cultural Relations (Institut für Auslandsbeziehungen – ifa) comments: “In the context of the national pavilions in the Giardini the invitation of these four artists emphasizes the necessity of transnational collaboration. Susanne Gaensheimer, who received the Golden Lion in 2011 especially for her curatorial approach, once again shows a certain courage and vision with her curatorial concept. Both her concept and her choice of artists focus on art and it’s potential to cross borders. Gaensheimer addresses central questions of contemporary society and dares to critically reinterpret the rules of one of the biggest international cultural events. We are very much looking forward to this

collaboration.”

For a couple of months we and the invited artists are in direct dialogue with Christine Macel, the curator of the French Pavilion and Chief Curator at the Musée National d’Art Moderne – Centre Pompidou, Paris, and Anri Sala, the artist invited by France, about the possibilities of a cooperation between France and Germany. We will keep you posted on this in the next couple of weeks.

The German contribution is commissioned by the Federal Foreign Office of the Federal Republic of Germany and will be realized in cooperation with the Institute for Foreign Cultural Relations (Institut für Auslandsbeziehungen – ifa).

Olanda con Mark Manders

L'Olanda ha selezionato Mark Manders. 

Il suo progetto è visivamente forte: ha diversi strutture e porterà un sacco di energia speciale al Padiglione.

Curator: Lorenzo Benedetti

Artisti : Mark Manders

Indirizzo: Giardini della Biennale

Web: www.venicebiennale.nl

Elenco delle principali biennali che ci sono nel mondo

20.09.13 – 02.11.2013 Scape Christchurch Biennial

31.08.13 – 31.10.2013 Bergen Assembly

24.08.13 – 03.11.2013 Contour. Mechelen

10.08.13 – 27.11.2013 Aichi Triennale

27.07.13 – 14.09.2013 Bienal de Cerveira

01.06.13 – 24.11.2013 Biennale di Venezia

13.03.13 – 17.05.2013 Biennale di Sharjah

12.12.12 – 13.01.2013 Kochi-Muziris Biennale

08.12.12 – 07.04.2013 Asia Pacific Triennial

01.12.12 – 31.12.2012 Asian Art Biennale

08.11.12 – 12.01.2013 Regard Biennale Benin

19.10.12 – 20.11.2012 Tbilisi Triennial

12.10.12 – 12.01.2013 Western China Biennale

06.10.12 – 04.11.2012 Brighton Photo Biennial

02.10.12 – 31.03.2013 Shanghai Biennale

29.09.12 – 26.12.2012 Kuandu Biennale

28.09.12 – 22.10.2012 Beijing International Art Biennale

22.09.12 – 24.11.2012 Busan Biennale

15.09.12 – 25.11.2012 Liverpool Biennial

14.09.12 – 14.10.2012 Mediations Biennale

11.09.12 – 04.11.2012 Seoul Media Art Biennale

08.09.12 – 09.12.2012 São Paulo Biennial

Singapore - rinuncia

Dopo tre partecipazioni il Singapore non parteciperà alla  prossima edizione della Biennale di Venezia nel 2013. Il National Arts Council di Singapore ha dichiarato che sta rivalutando le strategie di promozione e che prevede dei ripensamenti di sostegno culturale. 

di "rivalutare criticamente Singapore a lungo termine partecipazione" alla manifestazione. Aveva partecipato nelle ultime sei edizioni, che risale al 2001. Nessun motivo è stato dato per la decisione di Singapore di ritirarsi dalla vetrina del prossimo anno.

Gli artisti selezionati alle scorse edizioni furono nel 2011 Ho Tzu Nyen, nel 2009 Ming Wong e nel 2007 Tang Dawu, Vincent Leow, Jason Lim e Zulkifle Mahmod.

Il Vaticano prossimamente a Venezia

Si fanno i nomi di artisti del livello di Anish Kapoor, Bill Viola e Yannis Kounellis per inaugurare il Padiglione della Santa Sede che sarà attivato il prossimo anno alla Biennale di Venezia. Le voci si fanno sempre più intense. Già per la scorsa edizione i primi mormorii ma pare che per la prossima edizione sarà un dato di fatto.

Responsabile di questa iniziativa è il cardinale Gianfranco Ravasi che da anni cura le relazioni fra la cultura artistica e i testi religiosi, promuovendo diverse iniziative che quasi di sicuro vedranno forma nella Sala d’Armi dell’Arsenale, accanto al nuovo padiglione che l’Argentina sta realizzando.

Lo stato del Vaticano sta cercando sponsor per promuovere questa iniziativa, costo previsto sul milioni di euro, che come per tutti i paesi è realizzata in modo autonomo dall’ente Biennale, che coordina tutte le iniziative.