Perhaps the spirit of the Biennale is destined to change. The world in which we live has changed, the so-called “art system” is showing cracks that were once unsuspected, and the figures animating it-artists, critics, curators, public and private institutions-demand original attention. The absence of Italian artists generates an almost inevitable bewilderment: we win so many medals at the Winter Olympics, we excel in tennis, but our art seems to be eclipsed. The “relational geography of art” envisioned by curator Koyo Kouoh does not contemplate Italian artists, but, disappointment aside, I don’t believe in conspiracy or disfigurement at all. This exhibition privileges a singular approach, in many ways unprecedented, of the relationships that are forged between artist and environment, between mode of operation and cultural forms, which a “desperate and satiated” world seems to have forgotten.
The surprise of an absence should not lead us to despair. Perhaps something could have been amended and the curator - prematurely deceased - would certainly have provided congruous, reasonable explanations. However, a question must be asked: in our country, in terms of communication, are there procedures that allow foreign curators to get to know our artistic production? Is the Italian Council able to put in place a project capable of making known abroad what our artistic investigation is capable of expressing?
The author of this article: Beatrice Buscaroli
Beatrice Buscaroli è docente di Storia dell'Arte moderna e Storia dell'Arte contemporanea presso l'Accademia di Belle Arti di Bologna dal 2011. Laureata e specializzata in Storia dell'Arte moderna presso l'Università di Bologna, prima di passare all'Accademia di Bologna ha insegnato Storia dell'Arte contemporanea all'Università di Bologna dal 1999 al 2011. Ha curato numerose mostre per enti pubblici e privati. Tra le mostre da lei curate, la Quadriennale di Roma 2003-2004 e, con Luca Beatrice, il Padiglione Italia della Biennale di Venezia del 2009. Dal 2009 al 2014 ha fatto parte del comitato scientifico del MAGA di Gallarate e dal 2009 al 2013 del comitato scientifico del MAXXI di Roma. Dal 2014 al 2018 è stata membro del Consiglio Superiore dei Beni Culturali. Dal 2021 fa parte del cda della Pinacoteca Nazionale di Bologna e dal 2022 del comitato scientifico del Palazzo Ducale di Mantova.Warning: the translation into English of the original Italian article was created using automatic tools. We undertake to review all articles, but we do not guarantee the total absence of inaccuracies in the translation due to the program. You can find the original by clicking on the ITA button. If you find any mistake,please contact us.
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