{"id":1135,"date":"2009-06-27T12:28:48","date_gmt":"2009-06-27T12:28:48","guid":{"rendered":"https:\/\/montsebadia.net\/new\/correcion-y-honestidad-a-proposito-de-making-worlds-venecia\/"},"modified":"2025-02-26T13:47:12","modified_gmt":"2025-02-26T13:47:12","slug":"correcion-y-honestidad-a-proposito-de-making-worlds-venecia","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/en\/correcion-y-honestidad-a-proposito-de-making-worlds-venecia\/","title":{"rendered":"Correction and honesty. About &#8220;Making Worlds&#8221; in Venice"},"content":{"rendered":"<p><a href=\"https:\/\/a-desk.org\/en\/magazine\/correccion-y-honestidad\/\">Link the article in A*DESK<\/a><\/p>\n<p>Despite the proliferation of biennials held around the world and the acceptance of their speculative nature, the Venice Biennale remains the benchmark event to which the entire art world flocks. As much criticised as it is celebrated, the Venice event remains firmly present on all the Blackberries, iPhones and Moleskins of the art world.<\/p>\n<p>2008-2009 has been a &#8220;bienal&#8221; period for Daniel Birnbaum. In 2008, he was the curator of the Yokohama and Turin triennials (we reported on the latter in a-desk: and this year he completed the curating of the international exhibition of the Venice Biennale.<\/p>\n<p>Daniel Birnbaum is a subtle curator. He is neither controversial nor dogmatic and he usually works &#8220;alongside artists&#8221;. Rector since 2001 of the Staedelschule in Frankfurt, he previously directed Iaspis, a study space for artists and exchange program in Stockholm. In his proposals, he is usually generous in his approach, in the sense that with his exhibitions and projects he raises questions in a way that is not too rigid and, often, he gives the spotlight to the artists and their works.<\/p>\n<p>If in the winter of 2008, melancholy as a creative motor was the &#8220;leitmotiv&#8221; of the Turin triennial, in the spring of 2009, the belief in art as a driving force for creativity was the theme of the triennial. To make, to fabricate, to build or to invent worlds is the motto of this Venice Biennale. The international exhibition curated by Birnbaum for the Venice Biennale is not prospective but recapitulative, it attempts to order and establish new genealogies rather than to launch new theories. It draws on some references in the recent history of exhibitions (such as &#8220;Poetry Must Be Made by All! Transform the World!&#8221;, which in 1969 juxtaposed radical politics with avant-garde art) or books such as &#8220;Ways of Worldmaking&#8221; by Nelson Goodman (from whom he directly takes the title for his exhibition) to vindicate the diversity and multiplicity of references, even if they sometimes do not fit or seem contradictory, appealing, ultimately, to multiplicity itself, so well explained by Pablo Neruda in his poem &#8220;Many We Are&#8221; (&#8220;Of so many men that I am, that we are \/ I can&#8217;t find any \/ They get lost under my clothes, \/ they went to another city.)<\/p>\n<p>Aware that &#8220;the party is over,&#8221; the curator of this biennial seems to call for calm and moderation and, above all, a lot of common sense. Birnbaum does not advocate spectacle, but rather positions himself at a good level of craftsmanship that defines concepts clearly and precisely. &#8220;Making Worlds&#8221; is a project that is carefully crafted. For example, the graphic design (by Stockholm Design Lab) deconstructs the flags of all countries until they are reduced to their most basic components: geometric shapes that are juxtaposed and take on new meanings. The exhibition at the Palazzo delle Espozioni in the Giardini (much more successful than the part at the Arsenale, it must be said) begins its journey with the tensions created in space by Tomas Saraceno, who immediately places the spectator in a different space and time, in which he has to define his position and his path consciously. An experience that has certain parallels with the wonderful start of the exhibition at Arsenale, with Ligia Pape&#8217;s golden threads that seem to struggle between tension and immateriality.<\/p>\n<p>The tour of the exhibition leads the spectator through moments that alternate between enjoyment, reflection and identification. The experience of space, the identification of the art space as a place for utopia and the possibility of the spectator being an active part of the process (and I am not talking about interactivity here, but of being a participant) are accompanied by Gordon Matta-Clark, Yona Friedman or Yoko Ono, to cite three examples that are well representative of these three aspects.<\/p>\n<p>&#8220;Making Worlds&#8221; confirms certainties rather than intuitions and seeks to draw genealogies that connect current artists with references anchored in the 60s and 70s, emphasizing their common points, but also pointing out the differences, with a double purpose: to support current discourses in previous references and, at the same time, to allow rereadings of positions that are already part of the history of art. The presence of Gutai, Baldessari, Fahlstr\u00f6m or the already mentioned Matta-Clark must be understood in that role of antecedents with clear survivals in the present and, at the same time, as the necessary revision of postulates that cannot differentiate art from life and that cannot fail to understand art as one of the last bastions from which it is possible to transform society (on a greater or lesser scale, but transform it, in the end).<\/p>\n<p>It is likely that &#8220;Making Worlds&#8221; will not become a reference in the history of the Venice Biennale. It is not groundbreaking, nor controversial, nor even speculative. However, it does seem to us to be honest in its approach and generous with the artists&#8217; work. The list is populated by creators with whom Birnbaum has worked on numerous occasions, a fact that translates into a good presentation of the works (excellent spaces dedicated to Wolfgang Tillmans, exceptional piece by Simon Starling, and very successful interventions by Tobias Rehberger in the bar and Rirkrit Tiravanija in the bookstore, to name just a few).<\/p>\n<p>&#8220;Making Worlds&#8221; is not an exhibition of thesis, but of proposals and experiences that adapt perfectly to the unreal space that is Venice, a bubble in which it makes no sense to turn the biennial into a theme park, because the city itself is one. And that is how John Baldessari&#8217;s intervention on the fa\u00e7ade of the pavilion should be understood. For this reason, it seems much more honest to reaffirm the belief in art and its capacity to open new paths and influence new ways of thinking and acting. Given the current situation, this is no small feat.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Link the article in A*DESK Despite the proliferation of biennials held around the world and the acceptance of their speculative nature, the Venice Biennale remains the benchmark event to which the entire art world flocks. As much criticised as it is celebrated, the Venice event remains firmly present on all the Blackberries, iPhones and Moleskins [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1135","post","type-post","status-publish","format-standard","hentry","category-textos-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Correction and honesty. 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