Antonio Grolli kicks off our Venice Biennale 2022 hot ratings roundup sponsored by Cecilia Alemani. With also reference to the national (non-Italian) pavilions and the galleries at the lake
My feelings about this so-called biennial are still very fresh dream milk But I will try to write a hot comment. It seems to me that Cecilia Alemani has managed to create very nice gallery – in the classic sense of the word – robust, perfectly prepared, a staple and founding element of every gallery, with many high-quality works.
It is a biennial with a strong surreal imprint (as it was intended), connected to the present, to today, but able to move forward: it concerns many issues of political correctness, and today dominates public debate in almost the entire West. Especially in America where the curator lives, but she is not suffocated by these things, and she is not strict because of that, and the rhetorical tone does not appear except rarely in some comments but not in works; The danger was there.
There are a lot of figurative panels, which would have been unimaginable a few years ago, while I seem to have noticed fewer videos than in previous editions: perhaps a correct choice given the scale of this type of event, which forces many to visit for hours.
Cecilia Secular Exhibition at the Biennale Garden
The impression is that Giardini’s central winger is more successful than Arsenal. Some rooms stand out, such as the great and well-deserved honour Pola REGO, one of the few surviving giants of art, whose paintings of absolute quality and sculptures unforgettable for their strength and ability to deeply disturb. Also the space dedicated to the Swiss artist Myriam It was Or the large room with stained glass sculptures Go Ursotawhich appears to have come out of it crazy maxreacts profitably in contrast to the rigor of wall work – with a soft look but with a soul as sharp as a razor – rosemary Truecall.
The work I loved the most was without a doubt the video Nan golden titled Sirens, filmed in the past three years using only footage found for the first time in his career; It is a poignant poem by Doniel Luna, the actress and model who died of an overdose in 1979. In the work she was portrayed by the films in which she starred, directed by directors such as Kenneth Unger, Andy Warhol, Federico Fellini and Carmelo Bini, which literally embodied Salome with an exotic appearance. The soundtrack is whistling music created by composer Micah Levy, and a video that focuses on a luminous soul so much as crisp can only accompany a breath that comes out of the lips: I don’t think anyone knows how to combine music and an image like Nan Goldin, here with hers . The first (!) Venice Biennale. This is without a doubt The newest, simplest, cleanest and deepest works of the exhibitionAnd, this is the kind of work I’d like to see come out of young artist studios, and I hope it sounds like an alarm clock.
The only doubt I have regarding the whole event is the strong presence of artists from the past who are already dead, as an artist friend pointed out to me. This is not the first Biennale in which this has taken place, and it is now a clear practice: to develop his own theory, the Curator can actually draw from everywhere, but perhaps these events should go back to the events in which the new productions of young artists are not presented with a look potential into the future.
Italians in Venice Biennale
The presence of young Italian artists is interesting and mature. Huge installation, outside the long sleeve of Arsenale, by Julia sensei, which represents another step in his professional growth which shows that he is now one of our world class artists, able to take a difficult confrontation like the one that happened in the Biennale and not be afraid of a gigantic staircase, which few in Italy have the courage to do practice. I think his work can be considered one of the best examples of how Duchamp transcends sculpting by reallocating plasticity, morphology, and subjects considered dead – like the element of chivalry – without the smell of nostalgia.
The involvement of Italian artists of previous generations was less successful, and in some cases I did not understand their necessity and compatibility with the general theme.
Marilyn Dumas Gallery and Pavilion Francis AlŸS
Among the side events I would like to mention the excerpt excerpt of Marilyn always At Palazzo Grassi: a masterpiece. It is a huge anthology capable of summarizing the career of one of the greatest living artists. Compared to the great exhibition dedicated to it a few years ago – traveling between important museums such as the Tate – it seems to me, in this case, that they have managed to create something much more lively and impressive; Business selection shifted toward the part of business that was more gender-related and less political. A representation of the human being presented in a fluid and lyrical way, but able to preserve as a precious thing all the mystery and mysterious aspects of feelings and sensations related to the body and desire.
On the other hand, the National Wings were weak, at least from what I could see. Except in rare cases, such as the case of Belgium with Francisto meÿs. I seem to realize that hardly anything is capable of making its mark, as happened with the German winger by Anne Emof.
– Antonio Grolli