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More and more: between the Giardini and the Arsenale, we will see 331 artists. This is the official number of the curators of the 60th Venice Biennale International Art Exhibition, entitled “Stranieri Ovunque – Foreigners Everywhere” Adriano Pedrosa (From April 20, pre-opening from November 17 to 24). The challenges facing the latest Biennale Cecilia Alemani Its objectives have shown growth: own revenues have increased, showing a greater self-financing capacity, thanks to an increase in visitors (+59.5%) and sponsorships (+50.5%) between 2015 and 2022. Of course, public donations have also been more substantial (+109.2%), but their impact on performance is improving, with a significant increase in profits. Venice has thus also confirmed itself in numbers as an important event for the art system and for the careers of the artists who arrived this year from the World South: many have never attended. In fact, this Biennale does not focus on the art system produced by the American and European worlds, but simply traces the paths of emigration.
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A change of pace
If art is not called upon to change the world, it will certainly show us it from a different perspective. The challenge of this exhibition brings to the centre disobedience, decolonialism, inequality, activism, uprooting, migration, but also artisan traditions (especially textiles), intergenerational transmission of creative knowledge and collaboration. National participation reaches a high level, with 90 countries (Russia is absent for the second year in a row) and 30 affiliated events. “The autonomy of the Artistic Director is the best guarantee that the Venice Biennale model will continue to work and produce sometimes surprising effects, even at a diplomatic and political level,” said the outgoing Biennale President. Roberto Cicutoentrusting the creative magma coming on March 2 Pietrangelo Buttafuoco He served for the next four years.
Four years of achievements
The number of the past four biennials shows us a path that begins Okwui Nzewo, It brings the periphery back to the center, presents unpublished works and returns the gaze to the state of things. A reflection on the present, today invites us to examine a wider, more inclusive geography. Artists, public and financiers all participate in a more visible arena, a springboard for subsequent artistic goals. The Biennale art machine is well in gear and, one year later, it has contributed to the restoration of the space and vision of the Lagoon.
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