South African Art Exhibited at the 1952 Venice Biennale

International arts exhibition

Venice Biennale Biennale di Venezia
Genre	Biennale; focuses on contemporary art, and besides includes events for art, contemporary dance, architecture, cinema and theatre
Frequency	Biennial, every 2 years
Location(due south)	Venice, Italy
Inaugurated	1895
Founder	Metropolis Council of Venice
Website	www.labiennale.org/en/biennale/

Biennalist Giardini Master Entrance

View of "Pump Room", a work by the Hungarian artist Balázs Kicsiny at the Venice Biennale in 2005

Works at 54th Venice Biennale, special edition for the 150 Anniversary of Italian Unification, 2011–12^[1]

The Venice Biennale (; Italian: La Biennale di Venezia [la bi.enˈnaːle di veˈnɛttsja]; in English too called the "Venice Biennial") is an arts organization based in Venice and the name of the original and chief biennial exhibition the organization presents. The system changed its name to the Biennale Foundation in 2009,^[2] while the exhibition is now called the Art Biennale ^[iii] to distinguish it from the organisation and other exhibitions the Foundation organizes.

System [edit]

The Fine art Biennale, a contemporary visual art exhibition and then called because it is held biennially (in odd-numbered years), is the original biennale on which others in the world accept been modeled. The Biennale Foundation has a continuous being supporting the arts as well equally organizing the post-obit separate events:

Mutual proper name	Formal name	Founded	Frequency
Fine art Biennale	International Art Exhibition	1895	Odd-numbered years
Venice Biennale of Architecture	International Compages Exhibition	1980	Even-numbered years (since 2000)
Biennale Musica	International Festival of Contemporary Music	1930	Annually (Sep/Oct)
Biennale Teatro	International Theatre Festival	1934	Annually (Jul/Aug)
Venice Film Festival	Venice International Film Festival	1932	Annually (Aug/Sep)
Venice Dance Biennale	International Festival of Contemporary Dance	1999	Annually (June; biennially 2010–xvi)
	International Kids' Carnival	2009	Annually (during Carnevale)

History [edit]

1895–1947 [edit]

On April nineteen, 1893, the Venetian Urban center Council passed a resolution to gear up upwards an biennial exhibition of Italian Fine art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of Male monarch Umberto I and Margherita of Savoy.^[four]

A twelvemonth afterwards, the council decreed "to prefer a 'by invitation' arrangement; to reserve a section of the Exhibition for foreign artists likewise; to admit works by uninvited Italian artists, equally selected past a jury."^[5]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen past 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the start being from Kingdom of belgium. In 1910 the first internationally well-known artists were displayed: a room defended to Gustav Klimt, a i-human show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. Past 1914 vii pavilions had been established: Kingdom of belgium (1907), Hungary (1909), Federal republic of germany (1909), Great U.k. (1909), France (1912), and Russia (1914).

During World State of war I, the 1916 and 1918 events were cancelled.^[6] In 1920 the postal service of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought nearly the first presence of avant-garde fine art, notably Impressionists and Mail-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many of import modernistic artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the offset nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Fine art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) past Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice urban center council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial heave, as well every bit a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to every bit International Festival of Contemporary Music; the Venice Moving picture Festival in 1932, which they merits equally the get-go film festival in history,^[7] as well referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to equally International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian fine art abroad. From 1938, M Prizes were awarded in the art exhibition section.

During World State of war Two, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Motion picture Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.^[eight]

1948–1973 [edit]

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

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

In 1954 the island San Giorgio Maggiore provided the venue for the get-go Japanese Noh theatre shows in Europe. 1956 saw the selection of films post-obit an artistic choice and no longer based upon the designation of the participating country. The 1957 Gilt Lion went to Satyajit Ray'south Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abased. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Fine art Exhibition.^[10]

In 1972, for the outset time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the twelvemonth in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Movie theater) promoted past sectorial bodies in campo Santa Margherita, in Venice.^[11]

1974–1998 [edit]

1974 saw the first of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and movie house events were held in Oct 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-chosen Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the terminate of the year.^[12]

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

In 1980, the Architecture section of the Biennale was ready. The managing director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the get-go time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A 3-twelvemonth gap was left afterwards to brand sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.^[6]

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

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

1999–nowadays [edit]

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

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

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

The 51st edition of the Biennale opened in June 2005, curated, for the offset time past two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Cartoon on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first managing director from the U.s.a. to curate the Biennale (the 52nd), with a evidence entitled Think with the Senses – Feel with the Mind. Fine art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

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

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

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

The 2019 Biennale, titled May Y'all Live In Interesting Times, was directed past American-built-in curator Ralph Rugoff.^[21]

The 2022 edition was curated past Italian curator Cecilia Alemani entitled "The Milk of Dreams" later a volume by British-born Mexican surrealist painter Leonora Carrington.^[22]

The Biennale has an attendance today of over 500,000 visitors.^{[23] [24] [25]}

Role in the art marketplace [edit]

When the Venice Biennale was founded in 1895, one of its master goals was to establish a new marketplace for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,^[26] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important applied reason why the focus on non-commodities has failed to decouple Venice from the market place is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;^[ix] equally they regularly front the funding for production of ambitious projects.^[27] Furthermore, every other yr the Venice Biennale coincides with nearby Fine art Basel, the world's prime commercial fair for mod and contemporary fine art. Numerous galleries with artists on testify in Venice usually bring work by the same artists to Basel.^[28]

Central Pavilion and Arsenale [edit]

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

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented past the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held every bit i exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 meg renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.^[29]

A special edition of the 54th Biennale was held at Padiglione Italy of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The consequence was directed past Vittorio Sgarbi.^[30]

National pavilions [edit]

The Giardini houses 30 permanent national pavilions.^{[half dozen]} Alongside the Central Pavilion, built in 1894 and afterwards restructured and extended several times, the Giardini are occupied by a farther 29 pavilions built at dissimilar periods by the various countries participating in the Biennale. The first nation to build a pavilion was Kingdom of belgium in 1907, followed by Frg, Britain and Hungary in 1909.^[half-dozen] The pavilions are the property of the individual countries and are managed by their ministries of civilisation.^[31]

Countries non owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is all the same growing. In 2005, China was showing for the start time, followed by the African Pavilion and United mexican states (2007), the United Arab Emirates (2009), and Bharat (2011).^[32]

The consignment of the permanent pavilions was largely dictated past the international politics of the 1930s and the Cold State of war. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.^[31] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syrian arab republic were completely privately funded.^[33] The pavilion for Bang-up U.k. is always managed past the British Council^[34] while the United States assigns the responsibility to a public gallery chosen by the Department of Land which, since 1985, has been the Peggy Guggenheim Collection.^[35] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per foursquare meter.^[31]

In 2011, the countries were Republic of albania, Principality of andorra, Argentina, Australia, Republic of austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, Cathay, Congo, Costa Rica, Republic of croatia, Cuba, Cyprus, Czech republic and Slovakia, Kingdom of denmark, Egypt, Estonia, Republic of finland, French republic, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Nippon, Korea, Latvia, Republic of lithuania, Luxembourg, Republic of macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Kingdom of norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Espana, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, Britain, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two commonage pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Republic of the maldives, Paraguay, Tuvalu, and vatican city. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,^[36] Republic of Mozambique, Democracy of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the beginning time: Antigua & Barbuda, Republic of kiribati, and Nigeria.^[37] In 2017, four countries participated in the Fine art Biennale for the start time: Ghana, Madagascar, Malaysia, and Pakistan.^[38]

As well as the national pavilions in that location are endless "unofficial pavilions"^[39] that bound up every twelvemonth. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to claiming the prevalence of the nation land at the Biennale.^[40]

The Internet Pavilion (Italian: Padiglione Cyberspace) was founded in 2009 as a platform for activists and artists working in new media.^{[41] [42] [43]} Subsequent editions were held since,^[44] 2013,^[44] in conjunction with the biennale.^[45]

Awards [edit]

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

Also upon the recommendation of the curator, the Biennale names the five members of its international jury, which is charged with awarding prizes to the national pavilions.^[46] The international jury awards the Aureate Lion for best national participation, the Gilded Lion for best participant in the international exhibition, and the Argent King of beasts for a "promising immature participant" in the show. It may also designate ane special mention to national participants, and a maximum of two special mentions to artists in the international exhibition.^[47]

Management [edit]

Legal structure [edit]

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

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

In 1998 the Biennale was transformed into a legal personality in private law and renamed "Società di Cultura La Biennale di Venezia". The company construction – Board of directors, Scientific committee, Board of auditors and assembly of private backers – has a elapsing of 4 years. The areas of activity became six (Architecture, Visual arts, Movie theater, Theatre, Music, Dance), in collaboration with the ASAC (the Historical Athenaeum). The President is nominated by the Minister for Cultural Affairs. The Lath of directors consists of the President, the Mayor of Venice, and three members nominated respectively past the Regione Veneto, the Consiglio Provinciale di Venezia and private backers. Trip the light fantastic was added to the others.

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

Directors [edit]

• 2008–2020 – Paolo Baratta
• 2020–nowadays – Roberto Cicutto^[48]

Budget [edit]

For the 2013 edition, the master exhibition'due south upkeep was about $ii.3 1000000; in addition, more $2 million were raised by and large from private individuals and foundations and philanthropists.^[49] In 2015, the budget for the international exhibition was at 13 million euros (about $14.2 meg).^[l]

See besides [edit]

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

Notes [edit]

1. ^ Vittorio Sgarbi, Lo Stato dell'Arte, Moncalieri (Torino), Istituto Nazionale di Cultura, 2012
2. ^ "Activity Archives". Biennial Foundation . Retrieved March 20, 2020.
3. ^ "Everything You Need to Know About the 2019 Venice Biennale". Distant Media . Retrieved March 20, 2020.
4. ^ "La Biennale di Venezia – The origin". Retrieved September 29, 2014.
5. ^ "La Biennale di Venezia – From the beginnings until the Second World War". labiennale.org. 2014. Archived from the original on May thirty, 2013. Retrieved September 28, 2014.
6. ^ ^{a b c d e} "The Venice Biennale: Everything You Could Ever Want to Know". Artnews. 2019. Retrieved March 15, 2020.
7. ^ "122 Years of History". La Biennale di Venezia. La Biennale di Venezia. 2017. Retrieved Jan 25, 2018.
8. ^ "La Biennale di Venezia – From the beginnings until the Second World State of war". Archived from the original on May thirty, 2013. Retrieved September 29, 2014.
9. ^ ^{a b} Velthuis, Olav (June three, 2011). "The Venice Effect". The Fine art Newspaper . Retrieved Oct 22, 2011.
10. ^ Michele Robecchi, "Lost in Translation: The 34th Venice Biennale", Manifesta Periodical, no. 2, Wintertime 2003/Bound 2004. https://zs.thulb.uni-jena.de/rsc/viewer/jportal_derivate_00233809/Manifesta_journal_2_2003_04_0043.TIF
11. ^ "La Biennale di Venezia - From the post-war period to the reforms of 1973". Archived from the original on September 6, 2014. Retrieved September 29, 2014.
12. ^ Fabio Isopo, La Biennale del Dissenso: uno scontro a Sinistra, http://www.unclosed.eu/rubriche/amnesia/amnesia-artisti-memorie-cancellazioni/threescore-la-biennale-del-dissenso-uno-scontro-a-sinistra.html
13. ^ Riding, Alan (June x, 1995). "Past Upstages Present at Venice Biennale". The New York Times . Retrieved October 22, 2011.
14. ^ "La Biennale di Venezia - From the '70s to the reforms of 1998". Archived from the original on September 5, 2014. Retrieved September 29, 2014.
15. ^ Massiliano Gioni, Introductory Statement, Il Palazzo Enciclopedico/The Encyclopedic Palace: Short Guide. Venice: Marsilio, 2013: pp. 18 and 21.
16. ^ Javier Foot (December 4, 2013), Okwui Enwezor named director of the 2015 Venice Biennale The Art Newspaper.
17. ^ "Annex -Okwui Enwezor" (Press release). Italian republic: La Biennale di Venezia. Archived from the original on May 8, 2015. Retrieved June 4, 2015.
18. ^ "east-flux journal at the 56th Venice Biennale" (Press release). New York: eastward-flux. April 23, 2015. Retrieved June 4, 2015.
19. ^ "57th Venice Biennale 2017". universes.art . Retrieved January 11, 2021.
20. ^ Freeman, Nate (April thirteen, 2017). "Catalogue for Mark Bradford'south Venice Biennale Evidence Volition Include Essays by Zadie Smith, Anita Hill". ARTnews.com . Retrieved January 11, 2021.
21. ^ Harris, Gareth (December xv, 2017). "Ralph Rugoff named artistic director of the 2019 Venice Biennale". The Fine art Newspaper - International art news and events . Retrieved Apr 25, 2022.
22. ^ Cumming, Laura (April 24, 2022). "59th Venice Biennale review – the women's biennale". the Guardian . Retrieved Apr 25, 2022.
23. ^ "The British Quango and the Venice Biennale". United kingdom at the Venice Biennale. British Council. 2013. Retrieved Oct 22, 2011.
24. ^ "La Biennale di Venezia – Contempo years". Archived from the original on October 6, 2014. Retrieved September 29, 2014.
25. ^ Gareth Harris (November 24, 2015), Venice Biennale bows out with more than than half a meg visitors Archived 2015-xi-25 at the Wayback Auto The Art Newspaper.
26. ^ Adam, Georgina (June 6, 2009). "Trading places". Fiscal Times . Retrieved October 22, 2011.
27. ^ Kate Brown and Javier Foot (March 21, 2019), Biennials Are Proliferating Worldwide. At that place'south Only One Trouble: Nobody Wants to Pay For Them artnet.
28. ^ Cristina Ruiz (June 13, 2013), Venice makes the fine art globe get round Archived 2013-08-10 at the Wayback Machine The Art Paper.
29. ^ Carol Vogel (June 14, 1999), At the Venice Biennale, Art Is Turning Into an Interactive Sport New York Times.
30. ^ "54° Edizione della Biennale di Venezia – Sala Nervi di Torino Esposizioni". Beniculturali.information technology. Dec 16, 2011. Retrieved January 22, 2014.
31. ^ ^{a b c} Gareth Harris (May 15, 2013), Down merely not out, European countries invest in Venice Biennale pavilions The Art Newspaper.
32. ^ Vogel, Carol (June 7, 2009). "A More than Serene Biennale". The New York Times . Retrieved October 22, 2011.
33. ^ Farah Nayeri (May 10, 2015), Venice Biennale Pavilions for Iraq, Ukraine and Syria Reflect Strife at Dwelling house New York Times.
34. ^ https://venicebiennale.britishcouncil.org/
35. ^ National Pavilions Archived 2013-05-24 at the Wayback Auto La Biennale di Venezia.
36. ^ http://grenadavenice.org
37. ^ Bianchini, Riccardo. "Venice Art Biennale 2017 - info, programme, exhibitions, and events". Inexhibit . Retrieved May 4, 2017.
38. ^ "58th International Fine art Exhibition May You Alive In Interesting Times". Venice Biennale.
39. ^ Horan, Tom (June 8, 2009). "Venice Biennale: finding out about the at present". The Telegraph. London. Archived from the original on January 12, 2022. Retrieved Oct 22, 2011.
40. ^ Jayawardane, K Neelika (May 20, 2017). "Black presences at the Venice Biennale". Al Jeezera. Retrieved July 3, 2020.
41. ^ Simonson, Lily (July six, 2009). "Biennale Breaks New Basis: Inaugurating the Internet Pavilion". Art21 Magazine . Retrieved August 29, 2020.
42. ^ "The Internet Pavilion". Random Mag. June i, 2009. Retrieved August 29, 2020.
43. ^ Jan, Åman; Manetas, Miltos (August xix, 2009). "In At The Deep End. Curator Jan Aman speaks to Dazed most The Pirate Bay about invading the Venice Biennale. Known as the world'due south biggest internet pillagers, they continued to plunder every bit they took control of the visual fine art platform, Padiglione Internet". Dazed & Confused. No. 177. pp. 112–115. Retrieved August 29, 2020.
44. ^ ^{a b} Estremo, Vincenzo (May 21, 2013). "3rd Net Pavilion: An interview with curators Francesco Urbano Ragazzi". Droste Effect Mag . Retrieved August 29, 2020.
45. ^ "Internet Pavilion for the Venice Biennial". world wide web.padiglioneinternet.com . Retrieved Baronial 29, 2020.
46. ^ Andrew Russeth (April 23, 2015), Venice Biennale Awards Golden Lions to El Anatsui, Susanne Ghez, Names Jury ARTnews.
47. ^ Claire Selvin (April eleven, 2019), [Venice Biennale Appoints International Jury for 2019 Awards] ARTnews.
48. ^ James Imam (April 1, 2021), 'Fine art suffers when money is deficient': Venice Biennale's new president on saving the city from economic devastationThe Fine art Newspaper.
49. ^ Carol Vogel (May 23, 2013), New Guide in Venice New York Times.
50. ^ Rachel Donadio (May 7, 2017), A Venice Biennale About Art, With the Politics MutedNew York Times.

Further reading [edit]

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

External links [edit]

Media related to Venice Biennale at Wikimedia Commons

• Official website
• Official history

morrisonretak1953.blogspot.com

Source: https://en.wikipedia.org/wiki/Venice_Biennale

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