Arte riproposta – 2013 – 55Aa Biennale Venezia – Altre foto

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Riproponiamo un articolo che ha avuto molto successo

La 55a BIENNALE DI VENEZIA 2013 – aperta al pubblico sino al 24.11.2013

Biennale Venezia 2013, Portogallo.
Biennale Venezia 2013, Portogallo.

 

55a Biennale di Venezia 2013, Indonesia.

55a Biennale di Venezia 2013, Indonesia.

55a Biennale di Venezia 2013, Angola. Palazzo Cini, Dorsoduro 864, San Vio; tra L'Accademia e il museo Peggy Guggenheim. Tra i capolavori di Sandro Botticelli, Piero della Francesca, Filippo Lippi e Pontormo.

55a Biennale di Venezia 2013, Angola. Palazzo Cini, Dorsoduro 864, San Vio; tra L’Accademia e il museo Peggy Guggenheim. Tra i capolavori di Sandro Botticelli, Piero della Francesca, Filippo Lippi e Pontormo.Ai Giardini non potete perdere

-l’atmosfera magica del padiglione del Portogallo,

-il padiglione russo che è una parodia dell’attuale improvvisa ricchezza per pochi ed ha una sala riservata alle donne.

Anche il padiglione della Corea merita la visita per i suoi suoni ed i suoi riflessi come arcobaleni.

L’indonesia vi sbalordirà per una serie di trovate originali e suggestive e per quella magia che l’oriente esercita su molti di noi.

Palazzo Cini.

Una visita al padiglione dell’Angola, Palazzo Cini, vi permetterà anche dei ammirare antichi capolavori dei più grandi artisti italiani uniti ad un’idea di Edson Chagas, tanto brillante, che è stata subito acquistata dal magnate dell’arte François Pinault.

Prossimamente altre info.

Biennale Venezia 2013 padiglione Cina.
Biennale Venezia 2013 padiglione Cina.

Perché questa Biennale merita di essere visitata?

Biennale Venezia 2013 Sehgal Leone d'oro

Biennale Venezia 2013,  Sehgal Leone d’oro.

-Perché il Leone d’oro per il miglior padiglione nazionale è stato assegnato all’Angola un perfetto sconosciuto alla Biennale. Il che dimostra un importante tentativo di uscire dal mondo glamour-mercantile dell’arte contemporanea; e scusate se è poco!

-Perché non è un ammasso di lavori senza un forte filo conduttore rispettato da tutti i partecipanti.

-Perché vi si affronta un tema quanto mai attuale come la relazione tra il nostro mondo saturo di immagini e il nostro passato: -vivo dentro la nostra testa- (“Live in your head” la collettiva più famosa del XX secolo che fu curata da Harald Szeemann presso la Kunsthalle di Berna nel “lontano” 1969 e che fu ed è l’emblema della perfetta mostra).

LOGO BIENNALE VENEZIA 2013
LOGO BIENNALE VENEZIA 2013

Infatti  il logo della Biennale 2013, riassume il concetto di cui sopra: una testa di profilo da dove si irradiano cerchi e frecce.

Azerbaijan Bunutay Hagverdiyev
Azerbaijan Bunutay Hagverdiyev

-Perché a 130 artisti, ben scelti, è stata data la possibilità di presentare alla Biennale il proprio lavoro.

-Perché le new entry: dall’Angola al… Vaticano sono una novità e quindi sempre uno stimolo; come tali meritano di essere viste e giudicate.

-Perché la maggioranza dei critici ha promosso questa Biennale, con qualche riserva “sullo sguardo all’indietro”.

-Bonito Oliva: “mostra antropologica che riparte da un’idea, come nel ’93”.

  Bice Curiger: “reazione al sistema dell’art-fair“.

 Renato Barilli: “tendenze surrealiste, tra dilettanti e qualche strizzata d’occhio allo star system“.

 Patrizia Sandretto Rebaudengo: “occasione per non vedere i soliti nomi”.

-Perché Sgarbi l’ha criticata; e quando mai potrebbe accadere il contrario? Il che significa che tutto fila liscio, o quasi.

-Perché si devono visitare le opere dei vincitori dei vari Leoni d’oro e d’argento, per poi trarne le più personali conclusioni:

ai Giardini: Tino Sehgal (britannico, nato nel 1976) come miglior artista; la cui opera “cerca di andare oltre la filosofia della solitudine che ha caratterizzato il Novecento”, dice lo stesso artista, creando empatia con l’osservatore; tanto che l’Associazione di Neuroestetica gli ha dedicato un convegno proprio a questo riguardo

all’Arsenale: -Camille Henrot (francese, nata nel 1978)

                     -Sharon Hayes (americana, 1970)

                     -Roberto Cuoghi(italiano, 1963)

i padiglioni nazionali di Cipro e Lituania.

-Perché il curatore, Massimiliano Gioni (1973) il più giovane della storia della Biennale, ha affermato di avere visitato i musei di Folk Art, che noi dovremmo visionare almeno in internet prima di visitare la mostra, i quali musei, secondo Gioni: “Costituiscono una base dell’antropologia”. Infatti nella mostra se ne possono scovare gli aspetti etnico-spiritualistici.

-Perché le “solite” artist-star non mancano, per la gioia di chi cerca soprattutto i grandi nomi, ma finalmente sono fuori dalla Biennale:

li trovate a Punta Dogana, Cini, Musei Civici, Ca’ Pesaro (Prada) dove “Live in your head” è ricostruita da Germano Celant www.fondazionepraga.org , Fortuny.

-Perché ci è piaciuto l’incipit, all’ingresso, con il libro Rosso di Carl Gustav Jung.

-Perché i temi affrontati sono, i consolidati frutti della precedente esperienza del curatore Massimiliano Gioni:

   “Ghosts in the Machine“, al New Museum di New York          (collettiva sul rapporto tra arte, tecnologia e comunicazione  a      partire dal dopoguerra)

    Goni ha portato a Venezia “Moving Mural (1968)” lavoro    pionieristico di Stan VanDerBeek (1927-84), proiezione in simultanea di 18 film ! Dove già pensava all’integrazione tra: cinema-teatro-drammaturgia-danza-suoni e immagini elettronici-biblioteche di film-mosaici in movimento…

Stan lavorava con fax, computer e animazioni come aveva fatto, con gli “attrezzi” del momento, il grande genio Munari. Dicevamo incompreso da un mondo presuntuoso, quale è quello dell’arte,  incapace di abbracciare i vasti campi della genialità, se non dopo secoli; vedi Van Gogh ecc…

La Biennale di Venezia

Biennale Venezia 2013 Ai Weiwei
Biennale Venezia 2013
Ai Weiwei
La Biennale di Venezia – ora presieduta da Paolo Baratta – è da oltre un secolo una delle istituzioni culturali più prestigiose al mondo. Fin dalla sua origine è all’avanguardia nella ricerca e nella promozione delle nuove tendenze artistiche. Organizza a Venezia manifestazioni internazionali nelle arti contemporanee, che si collocano ai vertici mondiali.
Nel 2013 organizza il 4. Carnevale Internazionale dei ragazzi (2 > 12 febbraio), attività di formazione e spettacolo per Biennale Danza (2 maggio > 30 giugno), la 55. Esposizione Internazionale d’Arte (1 giugno > 24 novembre), il 42. Festival Internazionale del Teatro (1 > 11 agosto), la 70. Mostra Internazionale d’Arte Cinematografica (28 agosto > 7 settembre), e il 57. Festival Internazionale di Musica Contemporanea (4 > 13 ottobre).
Inedite attività permanenti si aggiungono alle manifestazioni istituzionali, grazie alla nuova disponibilità in via permanente di sedi a Venezia (Ca’ Giustinian e Sala delle Colonne per mostre e incontri; Spazio bimbi; nuova Biblioteca della Biennale-ASAC ai Giardini per studio, consultazione, incontri; Laboratori e attività Educational con master classes, progetti per le scuole e percorsi guidati; oltre all’Archivio Storico della Biennale con i suoi fondi aperti alla consultazione).
L’Istituzione nasce nel 1998 dalla trasformazione dell’ex Ente Autonomo La Biennale di Venezia in Società di Cultura, figura giuridica di diritto privato atipica, che nel 2004 assume la denominazione di Fondazione.
Lavalet
Lavalet

Il Palazzo Enciclopedico

Il Palazzo Enciclopedico forma un unico percorso espositivo che si articola dal Padiglione Centrale (Giardini) all’Arsenale, con opere che spaziano dall’inizio del secolo scorso a oggi, e con molte nuove produzioni, includendo più di 150 artisti provenienti da 38 nazioni.

“Nel corso di questi anni – spiega il Presidente Paolo Baratta – nella rappresentazione del contemporaneo è cresciuto il desiderio dei nostri curatori di mettere gli artisti in prospettiva storica o di affinità reciproca, evidenziando legami e relazioni sia col passato, sia con altri artisti del presente. Nello stesso tempo, rispetto all’epoca delle avanguardie, è cresciuta sempre più l’attenzione verso l’intensità della relazione tra l’opera e lo spettatore (viewer) il quale, ancorché scosso da gesti e provocazioni, alla fine ricerca nell’arte l’emozione del dialogo con l’opera, che deve provocare quell’ansia ermeneutica, quel desiderio di andare oltre che ci si attende dall’arte.”

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“In questa direzione – prosegue Baratta – compie un passo decisivo questa Biennale che dà vita a una grande mostra-ricerca. Con Il Palazzo Enciclopedico Massimiliano Gioni, assai più che portarci un elenco di artisti contemporanei, riflette sulle loro spinte creative e sembra portare ancora più avanti il quesito: ma qual è il mondo degli artisti? L’interesse prospettico arriva al punto da ricercare relazioni con mondi diversi, per cui sono rappresentate opere di artisti contemporanei, ma anche opere del passato, riferimenti diversi, lavori che non hanno la pretesa di opere d’arte, ma che fanno parte degli stimoli a immaginare e sognare oltre la realtà, un’altra realtà. Insomma, quelle visioni che hanno nel tempo classico sollecitato le ‘aspirazioni’ degli artisti, nel tempo moderno le ‘ossessioni’ degli stessi, e a dar forma sensibile alle une e alle altre, fino al tempo presente, ove si verifica un vero e proprio capovolgimento. Oggi, ci sembra dire Gioni, è la realtà ordinaria a offrire su una tavola imbandita una pletora di immagini e visioni per l’uso quotidiano, e che tutte ci colpiscono senza possibilità di sfuggirle e che l’artista dovrebbe semmai attraversare restando indenne, come Mosè il Mar Rosso.”

La Mostra è ispirata all’utopistica idea creativa di Marino Auriti che nel 1955 depositò all’ufficio brevetti statunitense il progetto di un Palazzo Enciclopedico, un museo immaginario che avrebbe dovuto ospitare tutto il sapere dell’umanità. Auriti progettò un edificio di 136 piani che avrebbe dovuto raggiungere i 700 metri di altezza e occupare più di 16 isolati della città di Washington. “L’impresa rimase incompiuta – racconta Massimiliano Gioni – ma il sogno di una conoscenza universale e totalizzante attraversa la storia dell’arte e dell’umanità e accomuna personaggi eccentrici come Auriti a molti artisti, scrittori, scienziati e profeti che hanno cercato – spesso in vano – di costruire un’immagine del mondo capace di sintetizzarne l’infinita varietà e ricchezza. 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.”

“Sfumando le distinzioni tra artisti professionisti e dilettanti, tra outsider e insider, l’esposizione adotta un approccio antropologico allo studio delle immagini, concentrandosi in particolare sulle funzioni dell’immaginazione e sul dominio dell’immaginario. 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?”

Il Palazzo Enciclopedico indaga il desiderio di sapere e vedere tutto: è una mostra sulle ossessioni e sul potere trasformativo dell’immaginazione. La mostra si apre al Padiglione Centrale ai Giardini con una presentazione del Libro Rosso di Carl Gustav Jung. “Nei vasti spazi dell’Arsenale – ridisegnati per l’occasione in collaborazione con l’architetto Annabelle Selldorf – l’esposizione è organizzata secondo una progressione dalle forme naturali a quelle artificiali, seguendo lo schema tipico delle wunderkammer cinquecentesche e seicentesche.” Dalle numerose opere ed espressioni figurative in mostra, che includono film, fotografie, video, bestiari, labirinti, tavole enciclopediche, performance e installazioni, “emerge una costruzione complessa ma fragile, un’architettura del pensiero tanto fantastica quanto delirante.”

“Il Palazzo Enciclopedico – conclude Gioni – è una mostra in cui si rende manifesta una condizione che condividiamo tutti, e cioè quella di essere noi stessi media, di essere conduttori di immagini, di essere persino posseduti dalle immagini.”

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 Il catalogo e la guida

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Il catalogo della 55. Esposizione si compone di due volumi (pp. 756): il primo, dedicato all’Esposizione Internazionale, contiene riproduzioni delle opere degli artisti in Mostra, testi monografici sugli artisti partecipanti e una sezione speciale di saggi, coordinati da Sina Najafi e Jeffrey Kastner della rivista Cabinet, nella quale storici dell’arte, filosofi, accademici e scrittori affrontano, descrivono e discutono varie forme di ossessione, sistemi di conoscenza, avventure del sapere e altri viaggi dell’immaginazione. Il secondo volume è dedicato alle Partecipazioni Nazionali e agli Eventi Collaterali. La guida completa e dettagliata alla Mostra (pp. 304) è uno strumento indispensabile per la visita: contiene scritti monografici su tutti gli artisti invitati alla 55. Esposizione e include oltre 150 voci, testi e informazioni utili su tutti i Padiglioni Nazionali e gli Eventi Collaterali. Entrambi i prodotti editoriali sono realizzati da Marsilio Editori.

Le giornate di vernice e gli appuntamenti organizzati nel corso della 55. Esposizione saranno documentati in un ampio palinsesto composto da reportage e video-interviste realizzato da Ultrafragola tv, visibile sul Mediacenter del sito istituzionale www.labiennale.org.

Biennale Venezia 2013 Padiglione Olanda
Biennale Venezia 2013 Padiglione Olanda

Cataloghi, collezioni e tassonomie più o meno impazzite sono alla base di molte opere in mostra tra cui le fotografie di J.D. ‘Okhai Ojeikere, le installazioni di Uri Aran, i video di Kan Xuan, i bestiari di Shinichi Sawada e i labirinti di Matt Mullican. Paweł Althamer compone un ritratto corale con una serie di novanta sculture.L’esposizione raccoglie numerosi esempi di opere ed espressioni figurative che illustrano diverse modalità di visualizzare la conoscenza attraverso rappresentazioni di concetti astratti e manifestazioni di fenomeni sopranaturali. Nelle sale del Padiglione Centrale i quadri astratti di Hilma af Klint, le interpretazioni simboliche dell’universo di Augustin Lesage, le divinazioni di Aleister Crowley si intrecciano alle opere di artisti contemporanei. Ma Il Palazzo Enciclopedico non è una mostra sull’occultismo o sull’artista come medium: è una mostra in cui attraverso questi esempi si rende manifesta una condizione che condividiamo tutti, e cioè quella di essere noi stessi media, di essere conduttori di immagini, di essere persino posseduti dalle immagini.

I disegni estatici delle comunità Shaker trascrivono messaggi divini, mentre quelli degli sciamani delle Isole Salomone sono popolati da demoni e divinità in lotta con pescecani e creature marine. La rappresentazione dell’invisibile è uno dei temi centrali della mostra e ritorna nelle cosmografie di Guo Fengyi e in quelle di Emma Kunz, nelle icone religiose e nelle danze macabre di Jean- Frédéric Schnyder e nel video di Artur Żmijewski che filma un gruppo di non vedenti che dipingono il mondo a occhi chiusi. L’idea che l’immagine sia un’entità viva, pulsante, dotata di poteri magici e capace di influenzare, trasformare, persino guarire l’individuo e l’intero universo oggi ci appare come una concezione datata, offuscata da superstizioni arcaiche. Eppure come negare il potere talismanico dell’immagine quando ancora portiamo nei nostri cellulari le immagini dei nostri cari?

Un simile senso di stupore cosmico pervade molte altre opere in mostra, dai film di Melvin Moti alle riflessioni sulla natura di Laurent Montaron, fino alle sublimi vedute di Thierry De Cordier. Le piccole ceramiche di Ron Nagle, le intricate geometrie floreali di Anna Zemánková, le mappe immaginarie di Geta Brătescu e i palinsesti dipinti di Varda Caivano descrivono un mondo interiore dove forme naturali e presenze immaginarie si sovrappongono. Queste corrispondenze segrete tra micro e macrocosmo ritornano nelle figure ieratiche di Marisa Merz e in quelle assai più carnali di Maria Lassnig: entrambe trasformano autoritratti e corpi in cifre dell’universo.

L’esercizio dell’immaginazione attraverso la scrittura e il disegno è uno dei temi ricorrenti nell’esposizione che, accanto alle opere di artisti contemporanei, raccoglie le sperimentazioni visive di alcuni celebri autori del Novecento, dagli esseri inventati da Jorge Luis Borges e illustrati dall’artista Christiana Soulou, passando per i diari di Franz Kafka tradotti in immagini da José Antonio Suárez Londoño. La collezione di pietre dello scrittore francese Roger Caillois combina geologia e misticismo, mentre le lavagne disegnate dal pedagogo Rudolf Steiner tracciano diagrammi impazziti che inseguono il desiderio impossibile di descrivere e comprendere l’intero universo.

Il Palazzo Enciclopedico è una mostra sulle ossessioni e sul potere trasformativo dell’immaginazione. Artisti assai diversi quali Morton Bartlett, James Castle, Peter Fritz e Achilles Rizzoli hanno passato la vita a progettare mondi alternativi. La tensione tra interno ed esterno, tra inclusione ed esclusione è il soggetto di una serie di opere che indagano il ruolo dell’immaginazione nelle carceri (Rossella Biscotti) e negli ospedali psichiatrici (Eva Kotátková). Altri spazi di reclusione – più o meno fantastici – sono quelli disegnati da Walter Pichler che per tutta la vita ha progettato abitazioni e case per le sue sculture, quasi fossero creature viventi provenienti da un altro pianeta.

Nei vasti spazi dell’Arsenale – ridisegnati per l’occasione – l’esposizione è organizzata secondo una progressione dalle forme naturali a quelle artificiali, seguendo lo schema tipico delle wunderkammer cinquecentesche e seicentesche. In questi musei delle origini – non dissimili dal Palazzo sognato da Auriti – curiosità e meraviglia si mescolavano per comporre nuove immagini del mondo fondate su affinità elettive e simpatie magiche. Questa scienza combinatoria – basata sull’organizzazione di oggetti e immagini eterogenee – non è poi dissimile dalla cultura dell’iper- connettività contemporanea.

Dal Liber Novus di Jung, passando per gli assemblage di Shinro Ohtake fino ai volumi di Xul Solar, la mostra celebra il libro – questo oggetto ormai a rischio di estinzione – come spazio-rifugio, luogo della conoscenza, strumento di auto-esplorazione e via di fuga nel dominio del fantastico. Yüksel Arslan disegna le tavole enciclopediche di una civiltà immaginaria che assomiglia a una versione non troppo distorta dell’umanità. L’ambizione di creare un opus magnum – un’opera che, come il Palazzo di Auriti, contenga e racconti tutto – attraversa i disegni di Arslan e le illustrazioni della Genesi di R. Crumb, le cosmogonie di Frédéric Bruly Bouabrée e le leggende descritte da Papa Ibra Tall. Nel suo nuovo video Camille Henrot studia i miti di creazione di diverse società, mentre le centinaia di sculture di creta di Fischli e Weiss forniscono un antidoto ironico agli eccessi romantici delle visioni più totalizzanti.

Nei disegni di Stefan Bertalan, Lin Xue e Patrick Van Caeckenbergh, assistiamo a tentativi ostinati di decrittare il codice della natura, mentre i film di Gusmão e Paiva, le fotografie di Christopher Williams e dei pionieri Eliot Porter e Eduard Spelterini scrutano ecosistemi e paesaggi con lo sguardo meravigliato di chi vuole catturare lo spettacolo del mondo.

I video di Neïl Beloufa e Steve McQueen e i quadri di Eugene Von Breunchenhein immaginano diversi modi di visualizzare il futuro mentre il ricordo del passato e la memoria sono il punto di partenza per le opere di Aurélien Froment, Andra Ursuta e altri artisti in mostra.

Al centro dell’Arsenale l’artista Cindy Sherman presenta un progetto curatoriale – una mostra nella mostra, composta da più di duecento opere di oltre trenta artisti – in cui è messo in scena un suo personale museo immaginario. Bambole, pupazzi, manichini e idoli si mescolano a collezioni di fotografie, dipinti, sculture, decorazioni religiose e tele disegnate da carcerati che insieme compongono un teatro anatomico nel quale sperimentare e riflettere sul ruolo che le immagini hanno nella rappresentazione e percezione del sé. La parola “immagine” contiene nella sua etimologia una prossimità profonda con il corpo e con la morte: in latino l’imago era la maschera di cera che i romani creavano come calco per preservare il volto dei defunti.

Di corpi e desideri ci parlano anche il nuovo video di Hito Steyerl sulla cultura dell’iper-visibilità e il nuovo reportage di Sharon Hayes che presenta un remake girato in America di Comizi D’Amore, il film inchiesta sulla sessualità di Pier Paolo Pasolini. Il desiderio di verità inseguito da Pasolini stesso in tutta la sua carriera è ricordato nel monumento dedicatogli da Richard Serra.

Quelli sognati da Evgenij Kozlov sono corpi agitati da fantasie di un adolescente inquieto, che non stonano accanto alle matrone procaci di Friedrich Schröder-Sonnenstern o vicino ai guardoni di Kohei Yoshiyuki. Questa tensione scopofiliaca contraddistingue anche i quadri di Ellen Altfest che scruta i corpi dei suoi soggetti con uno sguardo lenticolare, come se volesse catturare e conoscere il mondo poco a poco, centimetro di epidermide dopo centimetro di epidermide.

I corpi post-umani e smaterializzati di Ryan Trecartin introducono alla sezione finale dell’Arsenale in cui opere di Yuri Ancarani, Alice Channer, Simon Denny, Wade Guyton, Channa Horwitz, Mark Leckey, Helen Marten, Albert Oehlen, Otto Piene, James Richards, Pamela Rosenkranz, Stan VanDerBeek e altri esaminano la combinazione di informazione, spettacolo e sapere tipica dell’era digitale.

A fare da contrasto al rumore bianco dell’informazione, un’installazione di Walter De Maria esalta la purezza silenziosa e algida della geometria. Come tutte le opere di questo artista leggendario – figura fondamentale dell’arte concettuale, minimalista e della land art – questa scultura astratta è il risultato di complessi calcoli numerologici, sintesi estrema delle infinite possibilità dell’immaginazione.

Una serie di progetti in esterni di John Bock, Ragnar Kjartansson, Marco Paolini, Erik van Lieshout e altri completa il percorso della mostra che si snoda fino alla fine dell’Arsenale, nel cosiddetto Giardino delle Vergini. Alcune di queste performance e installazioni si ispirano alla tradizione cinquecentesca dei “teatri del mondo”, rappresentazioni allegoriche del cosmo in cui attori e architetture effimere erano usate per costruire immagini simboliche dell’universo.

Da queste e molte altre opere in mostra, Il Palazzo Enciclopedico emerge come una costruzione complessa ma fragile, un’architettura del pensiero tanto fantastica quanto delirante. Dopo tutto, il modello stesso delle esposizioni biennali nasce dal desiderio impossibile di concentrare in un unico luogo gli infiniti mondi dell’arte contemporanea: un compito che oggi appare assurdo e inebriante quanto il sogno di Auriti.

il sole 24 ore

CHI E’ MASSIMILIANO GIONI?

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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.

Azerbaijan
Azerbaijan

AZERBAIJAN

Da Baku a Venezia: 6 artisti contemporanei dalla terra del fuoco. All’incrocio tra Oriente e Occidente, l’Azerbaijan è circondato da molti Paesi, genti e culture diverse: arabi, cinesi, russi, slavi ecc…

From Baku to Venice : six contemporary artists from the land of fire.At the crossroads of Orient and Occident, Azerbaijan is surrounded by many countries and different cultures. The inhabitants have always been in contact with merchants – Arab, Chinese, Russian, Slavic etc

Nota 1: a breve pubblicheremo le foto di altri lavori.

-Nota 2: l’articolo “Mostre e…” è stato aggiornato con aggiunte di nuove foto sulla mostra “Oltre Sant’Elia” a Como, Villa Olmo.

Inoltre, nell’articolo, è presente un accenno ad una precisa relazione, della quale nulla ha scritto la stampa specializzata, con l’attuale Biennale.

Per un eventuale interesse turistico-culturale vedi anche l’articolo sulla città di Como e dintorni.

La 55. Esposizione Internazionale d’Arte è realizzata anche con il sostegno di Swatch, partner della manifestazione, e di Enel, Japan Tobacco International, Foscarini, Vela-Hello Venezia, illycaffè, Ferrovie dello Stato Italiane e Gi Group.
Ringraziamenti a Cleary Gottlieb Steen & Hamilton LLP.

Azerbaijan
Azerbaijan

 

VARIE DALLA BIENNALE 2013

commons.wikimedia.it

atcasa.corriere.it

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    1. Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
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    1. Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

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      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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    1. Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

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      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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      Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

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      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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    1. Many thanks to you for reading !

      Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

    1. Many thanks to you for reading !

      Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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    1. Many thanks to you for reading !

      Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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    1. This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

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      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

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    1. Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

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      All rights of my blog are protected by the low.

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      All rights of my blog are protected by the low.

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      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

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    1. Many thanks to you for reading !

      Many people are asking me how to make a good blog.

      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

    1. Many thanks to you for reading !

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      I use Word Press a professional one and I appreciate it a lot.

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      But everybody can do a good work.

      First you have to be able to write in a good way.
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      This is a professional blog, I’m a journalist and a design-artist.

      The law protects the work of this blog: all rights are reserved

      I use Word Press a professional one and I appreciate it a lot.

      For have a blog like this you need experience and knowledge about: design, art, photo, journalism ecc.

      But everybody can do a good work.

      First you have to be able to write in a good way.
      And for this you have to read a lot good books.

      Than you have to know the arguments.

      But you have also to know more than a bit about internet and blogs.

      All rights of my blog are protected by the low.

      Good luck ! Let me see how are you doing G.

    1. Thanks for reading !
      This is a professional blog, I’m a journalist and a design-artist.
      Thanks to talk about my blog with friends or on Facebook.
      My art works at: https://www.donnecultura.eu/?cat=19
      P.S. : I’m part of a big and strog organism of Journalist we have lawyers and any all kinds of necessary protection, who robs us of the content has to do with an international organization that pursued anywhere in the world via the various associations of journalists.

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