It remains to be seen if Rugoff’s effort can top the 2017 attendance figure of 615,000. It is too early to know what place this year’s exhibition might hold in the event’s long history. The exhibition, on view through October 14, as well as its accompanying catalog, examine the history of the Biennale through the Clark’s archival materials and collections. Coinciding with this year’s installment, the Clark Art Institute in Williamstown, Massachusetts, is exploring the questions of identity, nationhood, and spectacle that are central to the Biennial in “Art’s Biggest Stage: Collecting the Venice Biennale, 2007–2019”. In addition, the show is expected to accurately reflect and assess the cultural condition of its times. This show, the 58th edition of the venerable biannual art event, has the job, as all previous Venice Biennales have had, of drawing ever more visitors to this glittery tourist gem on the Adriatic Sea. At that later time, when initial reviews of the exhibition have been all but forgotten-or forgiven, as in this year’s case-the whole event seems rather fresh and, ultimately, “interesting.” It’s much nicer to go later, as I was able to do this year, in mid June, weeks after the show’s May 11 opening. The preview days of the Venice Biennale, the ultra-prestigious vernissage, is a frenzied, jam-packed, art-world networking crush in which both audience and art alternately struggle and suffer to be visible and au courant. Early reviews of this year’s exhibition were mixed at best, but that tepid response may be attributed to the opening itself. The best time to see La Biennale di Venezia, as the Italians call it, is after the opening days, when the initial brouhaha has subsided. It to today’s “digital dissemination of ‘fake news’ that is corroding publicĭiscourse and the trust on which it depends.” Art, he suggests, has theĬapability of exposing the fraud and reimagining new possibilities for living “It’sĪ counterfeit curse,” he told the press and in the show’s catalogue he connects ![]() But there is no evidence that any such curse ever existed. Clark to Hillary Rodham Clinton) as an ancientĬhinese curse. Says that the phrase has been invoked for nearly a century by Western authorsĪnd politicians (from Arthur C. London-based curator Ralph Rugoff, director of the Hayward Gallery since 2006, Title “May You Live in Interesting Times.” The exhibition’s American-born, Venice Biennale, on view through November 24, has the head-scratching, ironic ![]() Photo: Andrea Avezzù, courtesy La Biennale di Venezia. By David Ebony Sea & Sun (Marina), opera-performance, Lithuania Pavilion, winner of the Golden Lion, Venice Biennale, 2019.
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