La Biennale di Venezia 1993-2003 : l'esposizione come piattaforma (original) (raw)
Universitá Ca' Foscari Venezia, 2023
The research delves into the 1974 Venice Biennale (B74), titled "Freedom for Chile: Toward a Democratic and Antifascist Culture," in solidarity with Chile, in relation to the Biennale apparatus and the definition of contemporary art. The analysis of the extensive and diversified archive allows for the identification of a turning point in the historiography of the Venice Biennale in this edition, posing a series of historical and aesthetic questions. From an aesthetic standpoint, the concepts of "apparatus" and "contemporary art" will be examined in correlation with the exhibition model of biennials. Through primary sources, artistic solidarity relations between Chile and Italy during the 1960s and 1970s and the fragile political context of the two countries will be reconstructed. The in-depth exploration of the genealogy of the Biennale model identifies its anti-hegemonic character and its subsequent development in South America and Chile during the 1960s and 1970s. The historical, political, and aesthetic intertwining is complex, operating on different levels: the archive, testimonials, theoretical analyses, diverse artistic practices, and the critical analysis of works. This complexity prevents the organization of the work into a unified and linear schema, turning the fragmentary writing into a vivid representation of convulsive historical moments and continually reformulating conceptual models. The research hypothesis posits that the definition of "apparatus," its operability in the biennial model, and its correlation are essential conditions for contemporary art. The study also aims to determine how the Biennale apparatus has impacted postdictatorship Chilean aesthetics.