Marco Goldin It is not wide-sleeved: if the artwork is worth it, then the star will run, but only one. To reach three, which is the highest in his estimation, you must encounter a masterpiece. It goes without saying that for being one of the greatest experts on Impressionism and, in particular, a deep connoisseur of Van Gogh, the art of our day is not really his bread. Treviso, born in 1961, acknowledges more than 400 exhibitions curated since 1984 and about ten thousand works on loan from institutions, museums and collections: “Excessive contemporary art is not universal, I am an art historian of the nineteenth and 900s, my world is painting and sculpture ». Except that brushes, plates, and chisels have not dominated the Venice Biennale for years, if anything, installations, performances, and creations made with new techniques go in. Other than the poppy fields of Dutchman Vincent. And for this reason, too, his final verdict is surprising in some ways: the 9th Venice Biennale is promoted The Fifty of the Arts which will officially open its doors to the public tomorrow.“Let’s see, how.”
Not everything, of course. For some works—particularly installations, such as Ellen Cameron Weir’s military sarcophagus—Goldin kept his thumbs down (“re-chew, contemporary Baroque, always the same things for fifty years now”), not to mention whether he was excited about the central wing mezzanine where Roman presented Alexandra Percy an offer to the dancers (“It doesn’t excite me, and it doesn’t forget at all”). The star seemed almost biased – only one – to honor Chile’s Cecilia Vicuna, the golden lion of lifetime achievement, made in Venice, an installation of ropes and debris collected in the lake. “If this is art? I always ask myself. The definition of art is related to testimony, to condemnation: the exploitation of the land as Vicuna said, the climatic impact, the historical condition.” So do not be surprised if the national pavilions of Spain and Germany do not impress you: there is a blank white space, and there are walls “They are ideas, processes of a conceptual nature.” Instead, he curiously liked the work of the Japanese collective Dumb Type: lasers, sounds, glass, and “a lot of atmosphere.”
But the real promotion is for Cecilia Alemani, the Italian curator (an unprecedented record in Venice) at the 59th Biennale who wanted nearly all women, as many as 191 out of the 213 artists in attendance. “He did so well,” Goldin says convincedly, “the art world needed to unmask him.” He liked the show’s title less, Il latte dei figli, (“Ugly, but don’t write it, let’s say it’s not evocative”), even if it was all trifles. “The entry and the end of the exhibition is fundamental to determining its success or not. Al-Yamani concentrated the subject, directly from the words we read at the entrance to the central pavilion.”
Business that should not be missed? In the central wing, there is not so much the green elephant painted by Katharina Fritsch as “still appropriate”, so much as the creations in the following rooms. Golden was fascinated by the colorful paintings of Jade Vadogotimi, the British woman who draws to the beat of Japanese video game soundtracks: “Well, restoring the seemingly outdated painting instead.” And for Jadé, there are three stars, for example. Two more stars for the crystal sculptures of Andhra Ursota: “Come da Tucharlie”. And then Rosemary Trockle’s woven canvases that reminded him of “60s American moderate abstract painting from Mark Rothko to Barnett Newman”, as well as portraits of Elie Perez (“Bellissim”) and the pastel colors of Paula Rego. “Really talented,” two stars, thirty-year-old Venetian Chiara Enzo: “Extraordinary” work, says Goldin, admiring her out-of-context portraits, as well as choosing to display the small paintings side by side, making for an “amazing installation.”
What would Vincent van Gogh say if he was at the Biennale today? “He passed away five years before the first gun fair, but he was a person so willing to learn new languages, I don’t think he would have been scandalized, but perhaps he would have entered that flow.” And perhaps he would also like the Italian pavilion of Gian Maria Tosatti – here also a record, a unique artist – who, at Arsenal, conquered the art historian of Treviso: “It is as if there were three theatrical scenes. Factory with work isolation in the seventies. The poetic divider of a bedroom with window, a large chest of drawers, and a wall-mounted telephone with an old turntable: this interior reminded me of the 1960s of Antonio López Garcia paintings. Then she spirals between sewing machines and imagines the women bending over their clothes, to the end on the water with fireflies. pure poetry There is only an idea, there is an eternal element, what I look for in art.” Well, but on November 27, when the curtain comes down on the 59th Biennial, there will be nothing left of this work. “Exactly, I hope it will be reproduced in a museum.”
Before leaving Corderie, Goldin agrees: at this art biennale, the first under the chairmanship of Roberto Cicutto, there were no scandals, no provocations were seen. “That’s right, it’s an institutional Biennale. Let’s see for sure.” And am I missing a list?” That person goes to the bar outside Arsenale who advertises sandwiches and schnitzel and ends it all by making it clear that there is nothing left to eat because there is the Biennale. On the second day of the opening. But is it possible? ».