In an edition unbalanced on women and African art, even the prizes are adjusted

An unconventional and courageous Biennial that gives voice to those who until now have had none, in an upside-down artistic panorama where the art of the European white man, the center and measure of everything, is replaced by the artistic practice of the rest of the world: non-Western and non-white, with a clear imbalance on the feminine. An “other” perspective, a sort of rectification of the system, open to “afroglossia” and “polyglossia” against all immobility and discrimination.

A walk through the pavilions

Visiting the 59th Biennale forces one to remember that history is cyclical, and this unfortunately is often a sad truth. The occurrences and recurrences of history, theorized at the end of the 1600s by Giovan Battista Vico, appear in all their chilling reality when, strolling through the Giardini, one arrives in front of the closed pavilion of Russia surrounded by a cold silence.

Alemani says she chose the fantastical creatures from Carrington’s "The Milk of Dreams" for a journey through the metamorphosis of bodies and a new definition of human

“May you Live in interesting times,” read the title of the 2019 Biennale; that said, a pandemic conjuncture, a war e, a climate of cancel culture and social distancing, and increasingly invasive technology accompany the new edition of the Biennale.

Venetia triumphans: a word to the Governor of Veneto, Luca Zaia

The great attendance of visitors to the event underlines the ability of the lagoon capital to make a comeback as a protagonist of culture

We meet Luca Zaia at the ceremony of the proclamation of the Golden Lions. He was smiling, looking slightly smug. President Zaia: Venetia triumphans. According to the number of presences in these days, there is so much desire in the world to come to the city.

Armando Marrocco’s solo exhibition at Luce gallery

20 works from the 1960s up to the present day are being showcased

By Silvano Costanzo. The photo is by the great Ugo Mulas and was taken at the 1972 Biennale. It depicts five young men on an old wooden boat moored in a Venetian canal. The young man in the foreground is Mario Merz. Next to him we can find Pietro Gallina, Luca Maria Patella, and Henry Martin. The last young man is Armando Marrocco. He is sitting while looking distracted. He is barefoot, has a large mass of hair and a black beard.

An important exhibition by Pablo Atchugarry in Lucca

Lucca’s 16th-century walls welcome marble and bronze sculptures and roots

Siae: resale right and reproduction right

by Leonardo Dell'Innocenti, Rossella Bruno. 
Dear Lawyer,
I would like to know whether an art gallery is obliged to pay the Italian Society of Authors and Publishers (Siae) when it publishes a work that has been lawfully purchased and for which the payment for resale rights has already been honoured in a printed magazine, for advertising purposes. I would also like to ask whether this fee is also due in the case of online publication on the gallery’s website.

Thank you.

A.S. Rome

Since 1988, I have never missed a visit to the Biennale of Venice. I have literally seen every type of edition, each one reflecting the vision of its curator. I have gone from Achille Bonito Oliva’s vitalistic and highly erotic vision to the somewhat gloomy and pessimistic vision of Jean Claus. I witnessed the discovery of contemporary Chinese art in the one by Harald Szeemann and the boring, good-guy who studied anthroposophy, of Massimiliano Gioni, husband of the current curator, Cecilia Alemani.

The floor to Vincenzo Trione

The academic always deployed for breaking down the barriers of the various artistic genres

Even the encounters with Vincenzo Trione belong to my personal memory. He was a printed words buddy who used to paraphrase Charlie Brown and I know him and his writings since the time he wrote for “Il Mattino” in the 90s, for then moving to “Il Corriere Della Sera” (and its related magazines “Io Donna” and “Sette”) and “La Lettura”, the cultural appendix which has recently celebrated ten years of activity.

Venice: Cecilia Alemani presents her Biennale

The title "The Milk of Dreams" is borrowed from a children's book by Leonora Carrington

Cecilia Alemani: she graduated in Philosophy and she completed a master's degree in Curatorial Studies in New York, where she still lives. She collaborated with the greatest museums of the world and in 2017 she curated the Italian Pavilion at La Biennale. This year she will curate the 59th International Art Exhibition in Venice (23 April-27 November).