Antonello Tolf’s opinion at the Venice Biennale

Antonello Tolf’s position at the Cecilia Alemani Biennale is clear: boring, repetitive and full of missed opportunities, like the lack of prizes for Italy’s Tossati pavilion.

This Cecilia Alemani Biennale seems to me too much to remember Milk stereotypes Of them women, and with them a whole host of issues now related to the now (micro) new slavery now to the now postcolonial with the difference and diversity of skin (are we still in this?), have not been compensated or exalted at all but have been used and simply included in a gallery of trifles , clichés, rhetoric, tribalism, excellent craftsmanship, and applied arts (a lot of cloth, a lot of porcelain). To repeat this too, the ridiculous prizes awarded by the jury according to the best schemes of the now prevailing trend dictated political correction, without taking into account some wonderful projects presented, for example, in the Greece Pavilion by Lukia Alafano or in the Serbia Pavilion by Vladimir Nikolic. Golden Lion for Best National Entry by Sonia Boyce (feeling her wayGreat Britain), the Golden Lion Award for Best Participant in the International Exhibition dream milk To Simone Leigh (sovereigntyUS) reminiscent of the Sugar Sphinx Kara Elizabeth Walker and special references to France and Uganda suggest that Guilt triumphsthat the system of power had won, that the dominant culture disguised as a subculture of a former minority (always crushed and tamed) had won, and that there was no real redemption but only a game played at the upper-tier level of which also includes the winning artists themselves: the lion The golden in the American pavilion is like a lion for a country that is now finished and washes its conscience!

Austria Pavilion, Arte Biennale 2022, Ph.D.  Irene Vanessa
Austria Pavilion, Arte Biennale 2022, Ph.D. Irene Vanessa

boring year

The repetitive and sometimes boring Al Yamani Biennale seems to touch on some issues but never deepen them. Of course there are important works: there are absences (Gina Pani, if you like) and there is generosity in the selections (Regina Cassolo Bracchi, Candice Lane, Delsey Morelos, Paola Rego, Ovartache…), but There is no concrete critical spirit, perhaps a real attitude Or a certain danger that makes us feel the right energy as a whole. Poland with Małgorzata Mirga-Tas, Austria with Jakob Lena Knebl and Ashley Hans Scheirl, Latvia with Skuja Braden and Melissa D. Braden or Denmark with Uffe Isolotto, along with Turkey’s Füsun Onur story and Yunchul Kim’s Techno Liquid operations for Korea, are not to be missed .

Gian Maria Tosatti.  The history of the night and the fate of comets.  Italian Pavilion, Biennale Arte, Venice 2022. Courtesy of DGCC - MiC
Gian Maria Tosatti. The history of the night and the fate of comets. Italian Pavilion, Biennale Arte, Venice 2022. Courtesy of DGCC – MiC

My big unlikely toast

The biggest crime then committed in the 2022 Biennale, and I don’t want to dwell on it too much, is to make no mention of the Italian Pavilion, for a powerful project sponsored by Eugenio Viola and entirely forged by the skillful hand of an artist who over the years has had the opportunity to demonstrate (even bravely) his long and balanced intellectual skills Sophisticated and graceful. The history of the night and the fate of comets It’s an incredibly poetic suite, muscular work at it Gian Maria Tosatti exhibits deep coherence, methodological clarity and morphological freshness..
In this work, Tosatti is Tosatti to the end: you feel that he works in full maturity and precision of thought: you feel that he constitutes space as matter (as a component) of the mind: you feel that he achieves in reality, and manipulates time, restoring elegance traditionTouch the audience’s gaze directly to be inserted into a complex visual device where the pulse of time, past and present can be smelled.
In the environment in which twenty stations are set up with Singer, Durkopp, Yamato, Kansai or Rimoldi sewing machines, we find a strong correlation, stratification, and temporal overlap, where the artist’s contextual and environmental stance touches unparalleled visual points. Tosati in (who) this Biennale is the only artist to have used space as a mental habit, not only by the power of thought but also by an open reflexive extension of the Other.
Unfortunately, with this edition of the Biennale, a real intellectual crime took place in Italy, it seems to me: not supporting one’s own and not defending one’s artist, his colleague. (There are those who also hoped not to win: this, it must be said, is really a loser.) But why can’t we unite and ally ourselves only with us? Why do we find this great evidence of weakness and this fat sadness only with us? for me this time We all missed a great opportunity: And when I say everyone, I am referring in particular to all the Italian arts which could have opened a new and wonderful chapter in its history, with an award owed to Gian Maria Tosati.

Antonello Tolf

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