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Tutta L'arte Da Vedere Da Maggio a Novembre

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Tutta L'arte Da Vedere Da Maggio a Novembre VEDERE A© WHAT’S ON VENEZIA E VENETO N. 8, MAGGIO | NOVEMBRE 2019 SUPPLEMENTO DI «IL GIORNALE DELL’ARTE» N. 397 MAGGIO 2019 SOCIETÀ EDITRICE ALLEMANDI IL GIORNALE DELL’ARTE Joan Jonas, Moving Off the Land II Ocean Space, Chiesa di San Lorenzo TUTTA L’ARTE DA VEDERE DA MAGGIO A NOVEMBRE . VEDERE3 | Vedere A VENEZIAa Napoli | La 58ma Biennale |3 Anatema contro le barbarie della contemporaneità Anathema against the barbarity of contemporary life Settantanove artisti e novanta padiglioni nazionali per guardare il mondo nella sua complessità Seventy-nine artists and ninety national pavilions to observe the world in all its complexity Paolo Baratta, presidente della Biennale di Venezia Courtesy La Biennale di Venezia Ralph Rugoff, direttore artistico della 58. Esposizione Internazionale d’Arte della Biennale di Venezia © Andrea Avezzu’ Courtesy La Biennale di Venezia «Bona, Charlottesville, Virginia» di Zanele Muholi, 2015 (particolare) © Zanele Muholi Courtesy of Stevenson, Cape Town-Johannesburg and Yancey Richardson, New York Non è un vero e proprio tema. È un approccio It is not really a theme as such. It is an approach that che affida all’arte una funzione sociale, più che entrusts a social function to art, rather than the power il potere di esercitare forze in ambito politico. Si to exert forces in the political sphere. This is how the può sintetizzare così la linea d’indirizzo di «May “May You Live in Interesting Times” guideline, You Live in Interesting Times», il titolo che il the title that the curator Ralph Rugoff (director of curatore Ralph Rugoff (direttore della londinese the London-based Hayward Gallery) has chosen for Hayward Gallery) ha scelto per la 58. Esposizione the 58th International Art Exhibition of Venice, Internazionale d’Arte di Venezia. Un antico may be summarised. The words are an ancient curse anatema dall’origine incerta ripreso negli anni of uncertain origin picked up in the 1930s by Austen Trenta da Austen Chamberlain ed entrato poi nel Chamberlain and that later entered British parlance. vocabolario britannico. «Una sorta di maledizione nella “It is a sort of curse in which the words ‘interesting times’ quale la dicitura “interesting times” evoca tempi sfidanti e evoke challenging and threatening times, but which can also be minacciosi, ma che può essere anche un invito a considerare an invitation to consider the course of human events in their il corso degli eventi umani nella loro complessità», spiega complexity”, explains Paolo Baratta, president of the Paolo Baratta, presidente della Biennale. Intersting Biennale. Interesting times, therefore, marked by fake Sommario times, dunque, quelli contrassegnati da fake news, news, the pervasiveness of social media, the constant 3-7 La 58ma Biennale 20 Fondazione Cini e Fondazione Prada 32 Palazzo Grimani, Isola di San Servolo, 40 Galleria La Giarina a Verona 8 Gli eventi collaterali ufficiali 21 Fondazione Pinault Fondazione Vedova 41 Palazzo Leoni Montanari a Vicneza 9 Ca’ Pesaro e Museo Nazionale di Villa Pisani 33 Palazzo Cini, Chiesa di San Fantin, e Manuela Bedeschi ad Arzignano Apice 10 Ca’ Rezzonico, Palazzo Ducale 22 Zuecca Projects 42 Villa Pisani Bonetti a Vicenza e Museo del Vetro 24, 25 Il calendario e la mappa 35 Palazzo Bembo, Palazzo Mora 43 Museo Casabianca a Vicenza e Giardini della Marinaressa 11 Museo Correr, Museo Fortuny 26 Collezione Guggenheim 44 Valmore Studio d’Arte a Vicenza e Gianmaria Potenza 36 Galleria Michela Rizzo, 27 Fondation Valmont Galleria Alberta Pane 45 RossovermiglioArte a Padova 12, 13 Rapporto annuale di Gherardo Ortalli e Casa dei Cararresi a Treviso 28 Giudecca Art District 37 Galleria Comunale di Arte 15 Museo Ebraico 29 Fondazione Berengo Contemporanea «Ai Molini» 46 Palazzo Ragazzoni a Sacile 16 TBA21-Academy 30 Piedmont Pavilion, Negozio Olivetti, 38 Galleria d’Arte Moderna Achille Forti La fotografia in copertina è di Enrico Fiorese 17 Le Stanze del Vetro Gallerie dell’Accademia, Museo Correr 39 ArtVerona e Palazzo Fulcis 18 Fondazione Querini Stampalia 31 Casa dei Tre Oci a Belluno N. 8 MAGGIO | NOVEMBRE 2019 «vedere a/in» è un supplemento di «il giornale dell’arte» edito da allemandi srl, piazza emanuele filiberto 13, 10122 torino IL GIORNALE DELL’ARTE Umberto Allemandi, direttore responsabile Cinzia Fattori, advertising manager Traduzioni di Lucian Comoy e Julian Comoy Il giornale non risponde dell’autenticità delle attribu- Franco Fanelli, vicedirettore (011.8199118 - [email protected]) Relazioni commerciali: zioni delle opere riprodotte, in particolare del contenu- to delle inserzioni pubblicitarie. Le opinioni espresse Barbara Antonetto, caporedattore Editor at large: Jenny Dogliani Luciana Cicogna e Valeria Riselli negli articoli firmati e le dichiarazioni riferite dal gior- Alessandro Allemandi, web publisher Guest editor: Veronica Rodenigo ([email protected], [email protected]) nale impegnano esclusivamente i rispettivi autori. Si consiglia di verificare al telefono oppure online date e Beatrice Allemandi, product manager (autrice di tutti gli articoli non siglati o firmati) Stampa: GEDI Printing spa, orari delle manifestazioni. Claudia Carello, art director Hanno collaborato: Lidia Panzeri e Mariella Rossi via Giordano Bruno 84, 10134 Torino ilgiornaledellarte.com | allemandi.com . VEDERE A VENEZIA | La 58ma Biennale |4 Da sinistra: «This last line cannot be translated» di Chiara Fumai, 2017 (particolare) © Oto Gillen, Courtesy The Church of Chiara Fumai «Ultra Paste‚ di Enrico David, 2007 Courtesy Collection Nicoletta Fiorucci, London La copertina dello scorso numero di «Vernissage» «Untitled» di Enrico David, 2015 © l’artista, Courtesy Michael Werner Gallery, New York and London «La Spada nella roccia» di Liliana Moro, 1998 Courtesy Galleria de’ Foscherari, Bologna VERNISSAGE | IL FOTOGIORNALE DI «IL GIORNALE DELL’ARTE» | APRILE 2019 pervasività dei social media, ritmo incalzante rush of continuous information, immigration, dell’informazione continua, immigrazione, confini, boundaries, walls and identity lost or claimed. muri e identità perdute o rivendicate. Rugoff has deployed seventy-nine artists from all Rugoff ha schierato tra Arsenale e Giardini Supplemento a «Il Giornale dell’Arte» numero 396 over the world between the Arsenale and Gardens, settantanove artisti di tutto il mondo che mettono who question existing categories of thought with in discussione le categorie di pensiero esistenti con works on the precarious aspects of contemporary opere sugli aspetti precari della contemporanea existence. There is a predominance of women for a esistenza. Una predominanza femminile per una selection that is generally young, dotted with names selezione nel complesso anagraficamente giovane, that are not yet very well-known and others that costellata da nomi non ancora eccessivamente noti e are famous, such as Jimmie Durham (Golden Lion da altri celebri, come Jimmie Durham (Leone d’Oro for Lifetime Achievement), Danh Vo, Dominique alla Carriera), Danh Vo, Dominique Gonzalez- Gonzalez-Foester. In some cases the same are Foester. In alcuni casi gli stessi sono presenti con present with different works in different places. Such differenti lavori in punti diversi. È il caso della is the case of the thirty-seven-year-old Turin-born trentasettenne torinese Ludovica Carbotta (l’altra Ludovica Carbotta (the other Italian invited is her italiana invitata è la concittadina Lara Favaretto) fellow Turinese Lara Favaretto), who will exhibit che esporrà due installazioni del progetto «Monowe», two installations from the “Monowe” project, an una città immaginaria abitata da un unico abitante. ARTISTI imaginary city inhabited by a single inhabitant. One PISTOLETTO PADRE E FIGLIO BIENNALE DI VENEZIA Un’installazione sarà all’Arsenale e un’altra nel ANTEPRIMA PADIGLIONE ITALIA installation will be at the Arsenale and another in CASE D’ASTA IL BOOM DEL PONTE Progetto Speciale all’interno della Polveriera austriaca, I LUOGHI DEGLI SCRITTORI the Special Project in the Austrian powder magazine, PIERRE LOTI E VICTOR HUGO MUSEI a Forte Margera. L’altro Progetto Speciale è nelle Sale THE SHED A NEW YORK in Forte Margera. The other Special Project is in the RESTAURI d’Armi dell’Arsenale all’insegna, per il quarto anno, BAROCCO A GREENWICH armoury of the Arsenale marking the fourth year of a IN COPERTINA della collaborazione con il Victoria and Albert Museum MILOVAN FARRONATO collaboration with the Victoria and Albert Museum in . di Londra. La protagonista è Marysia Lewandowska, . London. The protagonist is Marysia Lewandowska, artista polacca residente a Londra, nota per il lavoro Labirintica Italia a Polish artist based in London, known for her work sulla funzione pubblica di musei, archivi e mostre. Il Padiglione Italia è curato da Milovan on the public function of museums, archives and Farronato ed è allestito nelle Tese delle Vergini exhibitions. all’Arsenale. Il titolo «Né altra Né questa: La sfida al Labirinto» è ispirato a La sfida al labirinto, Labyrinthine Italy un saggio di Italo Calvino del 1962 che propone The Italian Pavilion is curated by Milovan il labirinto come metafora dell’esistenza e della Farronato and is set up in the Tese delle Vergini rappresentazione del mondo. L’allestimento obbliga at the Arsenale. The title “Neither another nor il visitatore a una scelta: girare a destra o a sinistra this: The challenge to the Labyrinth” is inspired by per poi compiere un percorso non lineare. Tra The challenge to the labyrinth, a 1962 essay by Italo stanze di varia misura, pareti di diverse
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