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OUR SERVICES I BIENNALE ARCHITETTURA 2020

OUR SERVICES I BIENNALE ARCHITETTURA 2020

OUR SERVICES I BIENNALE ARCHITETTURA 2020

OUR SERVICES I BIENNALE ARCHITETTURA 2020

 

Direct link to the interview: click here

 

宅谈·ATS|从毕加索、博伊斯到P.S.1的国际策展生涯

 

本期嘉宾

Paolo de Grandis

保罗·德·格兰迪斯

 

意大利著名当代艺术策展人
PDG Arte Communications总裁
目前居住在意大利威尼斯。70-90年代活跃于纽约、巴黎和威尼斯。曾担任肯尼迪艺术基金会the Academia Foundation总监。90年代初起,他与国际上最著名的当代艺术家们常年合作在欧洲和亚洲的展览,并为国际艺术家和机构策划在威尼斯双年展、威尼斯建筑双年展和意大利的展览。自2016年起, de Grandis 与罗马当代美术馆(MACRO)长期合作多个威尼斯和罗马互动的当代艺术项目。

 

意大利现在的情况中国朋友都很担心,你在威尼斯最近怎么样?

我在家正享受着一个人的思考,计划新的展览方案和在米兰、罗马的艺术项目。感谢中国对我们意大利的帮助,我也计划着在这几个项目里能融入更多中国艺术家,希望能帮助到他们。

刚发现你在达利刚过世后的那几年,做了他在欧洲很重要的几个展览,他是对你影响最大的艺术家吗?

不是,我导师埃米利奥·韦多瓦(Emilio Vedova)还有博伊斯(Joseph Beuys)对我的帮助和影响是最大的。

编者备注:

埃米利奥·韦多瓦(Emilio Vedova),抽象艺术家,是意大利现代艺术史上最重要的艺术家之一;

约瑟夫·博伊斯(Joseph Beuys),德国著名艺术家,欧洲当代艺术史上最有影响力的艺术家之一。

 

只知道你跟小野洋子很熟,在欧洲你们合作了很多次的展览,不知道你还认识博伊斯。

跟博伊斯认识那会我还很年轻,小野洋子是后来我们在威尼斯认识的。记得第一次见博伊斯,我和他去圣马可广场喝咖啡,他很耐心地听我的策展计划,小时候的梦想就是跟博伊斯这样的艺术家一起工作。1984年我实现了这个愿望,在威尼斯双年展上,我跟其他三位当时在世界上最重要的策展人联合策划了一次展览,里面包括了博伊斯和其他三位当时在世界上最有影响了的艺术家。

编者备注:

文中所提及的展览名为“Quartetto”(四重奏);策展人:保罗·德·格兰迪斯(Paolo de Grandis)、阿奇莱·博尼托·奥利瓦(Achille Bonito Oliva)、阿兰娜·海斯(Alanna Heiss)、卡斯珀·科尼格(Kasper König);参展艺术家:约瑟夫·博伊斯(Joseph Beusy)、恩佐·库奇(Enzo Cucchi)、布鲁斯·瑙曼(Bruce Nauman)、卢西亚诺·法布罗(Luciano Fabro)。

 

1984年你也挺年轻的,能有机会与这样的艺术家合作,也只有极少数人才会有的机会。能讲讲你如何成为国际策展人的吗?

可能那时候的我很帅吧,哈哈哈哈哈。

大家知道的,我们意大利人爱开玩笑。

“策展人”这个词我记得是从拉丁语演变过来的,一九七几年的时候,当代艺术界关于“策展人”的身份还没有清楚的定义。我十五六岁在威尼斯,常常跟着佩吉·古根海姆(Peggy Guggenheim)的情人朱塞佩·桑托马索(Giuseppe Santomaso)出来玩。那个年代世界各地的艺术家都经常来威尼斯,他们有展览我就帮着挂画,那时候什么都做,今天叫做布展。很年轻的时候我就定下目标,要跟世界上伟大的艺术家一起工作。

编者备注:

佩吉·古根海姆(Peggy Guggenheim),20世纪最为传奇和重要的艺术收藏家、艺术赞助人之一。

看来“能玩到一起”真的是艺术圈很重要的社交方式呢。

19岁那年迎来了人生第一次独立策展的机会,是跟毕加索还有几个艺术家合作的玻璃雕塑展。当时玻璃雕塑的署名都是玻璃的制作者,我大胆尝试让艺术家介入制作,并且让他们在上面签上自己的名字。当时我们的玻璃是由当时世界上最棒的玻璃艺术家皮诺·西尼奥雷托(Pino Signoretto)来制作的。那个展览当时很成功,在当时也算得上是一次“策展变革”。之后没过多久,我搬去了巴黎,与当时巴黎最知名的艺术家们继续做“玻璃雕塑”系列展览。

那些年你在纽约蛮活跃,与凯斯·哈林(Keith Haring)、小野洋子这些艺术家都走的蛮近的,跟MoMA PS1互动也很多。

与在欧洲的情况完全不同,刚刚到纽约的时候没有人认识我,我与我的室友乔治·康多(George Condo)住在一起。

等等,你说的乔治·康多(George Condo)是画破碎肖像、扭曲脸的乔治·康多(George Condo)?

乔治·康多(George Condo)作品

是,就是他。他现在很有名气,已经很成功了。当然现在我们都算成功了,我们算是一起成长起来的,哈哈哈,后来我们一起去欧洲也合作了展览。刚到纽约的时候我们住在一起,在纽约都是无名小卒,每天喝酒、参加派对还有读诗。说到这里,读诗对我来说实在是挺无聊的,那时布鲁诺·毕修伯格(Bruno Bischofberger)晚上也会来我们公寓喝酒。

布鲁诺·毕修伯格(Bruno Bischofberger)?你指的是那位苏黎世的艺术品经纪人?把安迪·沃霍尔(Andy Warhol)和巴斯奎特(Jean-Michel Basquiat)捧红的画商?

嗯,是他。

OMG

一晚,喝着喝着,Bruno突然说了一句“George,今天我把你的画全买了吧”,我当时和George笑傻了,也差不多从那时我们在纽约的艺术事业开始起步。他们两个后来把凯斯·哈林(Keith Haring)介绍给我,就在一小段时间里认识了很多人。我那时候主要在纽约,工作感觉从来没有停下来过,纽约生活就是那样。白天做展览,晚上各种派对、派对、派对......没过多久我就去了肯尼迪家族艺术基金会(Academia Foundation)做总监。

有趣。

P.S.1那时还不是MoMA PS1,是由我们的好朋友阿兰娜·海斯(Alanna Heiss)于1971年创建的,刚刚提到在威尼斯与博伊斯合作的展览,她也是其中的策展人之一。P.S.1是从2000年与MoMA合并成为了一个分支,过了七八年Alanna就离开了那里。1985年,这一年值得提一下,那几年波普艺术(Pop Art)在美国很火,安迪·沃霍尔(Andy Warhol)、罗伊·利希滕斯坦(Roy Lichtensiten)、汤姆·韦塞曼(Tom Wesseimann)这些名字大家都很熟悉。而当时欧洲,流行与被关注的是与波普艺术完全相反的艺术运动,贫穷艺术(Arte Povera)。就在那年阿兰娜·海斯(Alanna Heiss)找到我,在美国合作了一场关于贫穷艺术(Arte Povera)的展览:“The Knot:Arte Povera at P.S.1”,那些当时贫穷艺术(Arte Povera)最具代表的艺术家们,乔瓦尼·安塞莫(Giovanni Anseimo)、皮诺·帕斯卡利(Pino Pascali)、米开朗基罗·皮斯托雷特(Michelangelo Pistolett)全部都来了。那时我已经在负责Academia Foundation,通过基金会我为展览筹到了赞助。

编者备注:

MoMA PS1是当今世界上最重要的当代实验艺术机构之一,也是美国最大的当代艺术机构之一。

在九十年代初期,我很怀念欧洲,便回到了威尼斯,后来就成立了现在的PDG Arte Communications(保罗·德·格兰迪斯艺术交流中心),开始为威尼斯双年展、威尼斯建筑双年展的国家馆等平行展览服务,同时也为世界上最棒的艺术家策划在欧洲的展览。至今我们做了127场展览了吧。

怎样才能做好策展人呢?

真诚地热爱艺术。

The exhibition space based in Riva San Biagio is newly available for events and art exhibitions. The strategic location between the Giardini and the Arsenale areas makes it particularly situable on the occasion of the BIENNALE ARCHITETTURA 2020 and BIENNALE ARTE 2021.

GoogleMaps Link

For more info please write us at: info@artecommunications.com

Link: Riva San Biagio Gallery

 

 

NEW DATES FOR THE BIENNALE ARCHITETTURA (2021) AND THE BIENNALE ARTE (2022)

NEW DATES FOR THE BIENNALE ARCHITETTURA 2020

NEW DATES FOR THE BIENNALE ARCHITETTURA 2020

 

The Biennale Architettura will open in 2021 and will last 6 months, from May 22nd to November 21st. The Biennale Arte will be held in 2022, from April 23rd to November 27th.

The decision to postpone the Biennale Architettura to May 2021 is an acknowledgment that it is impossible to move forward – within the set time limits – in the realization of such a complex and worldwide exhibition, due to the persistence of a series of objective difficulties caused by the effects by the health emergency underway. The current situation, up to now, has definitely prejudiced the realization of the Exhibition in its entirety, jeopardizing the realization, transport and presence of the works and consequently the quality of the Exhibition itself. Therefore, after consulting with the Curator Hashim Sarkis and in consideration of the problems, the invited architects, Participating Countries, institutions, Collateral Events are facing, thanking all of them for their efforts so far, La Biennale has decided to postpone the opening date of the Biennale Architettura to the year 2021, extending its duration back to the customary six months, from May 22nd to November 21st.

 
 

ROBERTO CICUTTO

“The last few days – declared President Roberto Cicutto – have clarified the real state of the situation we are all facing. With the utmost respect for the work done by all of us, the investments made by the Participants, and considering the difficulties that all countries, institutions, universities, architectural studios have met together with the uncertainty of the shipments, personal travel restraints and Covid-19 protective measures that are being and were be adopted, we have decided to listen to those, the majority, who requested that the Biennale Architettura be postponed. I have received many messages asking for a postponement to 2021.
We now plan to open the 17th International Architecture Exhibition in May 2021 and allow it a longer life until November, as it was before the pandemic. Nevertheless Architecture will be in Venice this Fall organizing several events keeping at the center of the stage the question, more relevant than ever, of How will we live together?.”

HASHIM SARKIS

“I am deeply moved by the perseverance of all the Participants during the last three months – stated Curator Hashim Sarkis. I hope that the new opening date will allow them first to catch their breath, and then to complete their work with the time and vigor it truly deserves. We did not plan it this way. Neither the question I asked How will we live together? nor the wealth of ways in response to it, were meant to address the crisis they are living, but here we are. We are in some ways fortunate because we are well equipped to absorb the immediate and longer-term implications of the crisis into the Biennale Architettura 2021. The theme does also provide us with the possibility to respond to the pandemic in its immediacy. This is why we will return to Venice in the coming months for a series of activities devoted to the Architecture.”

Excerpted from: https://www.labiennale.org/en/news/new-dates-biennale-architettura-and-biennale-arte

The Board of Directors of La Biennale di Venezia chaired by Paolo Baratta has appointed Cecilia Alemani as the Director of the Visual Arts Department, with the task of planning and curating the upcoming 59th International Art Exhibition: she is a curator who has organized many exhibitions of contemporary artists, she is currently Jr. Director & Chief Curator of High Line Art, the programme of public art of the renowned urban park build on an elevated railroad in New York, and is a past curator of the Italian Pavilion at the Biennale Arte 2017.

On the occasion of her appointment, Cecilia Alemani said: “It is a great honor to be able to take on this role in one of the most prestigious and recognized Italian institutions in the world. As the first Italian woman to hold this position, I understand and appreciate the responsibility and also the opportunity offered to me and I intend to give voice to artists to create unique projects that reflect their visions and our society.”

CECILIA ALEMANI BIOGRAPHICAL NOTES:

Cecilia Alemani (Milan, 1977) is an Italian curator based in New York.

Since 2011, she has been the Donald R. Mullen, Jr. Director & Chief Curator of High Line Art, the program of public art of the renowned urban park build on an elevated railroad in New York. In addition to commissioning and producing ambitious projects with some of today's most influential artists such as El Anatsui, John Baldessari, Phyllida Barlow, Carol Bove, Sheila Hicks, Rashid Johnson, Barbara Kruger, Zoe Leonard, Faith Ringgold, Ed Ruscha, Nari Ward and Adrián Villar Rojas, she also launched the High Line Plinth, a new program of monumental works inaugurated in June 2019 with Brick House, a sculpture by the artist Simone Leigh.

In 2017, Alemani curated the Italian Pavilion at the Venice Biennale, 57th International Art Exhibition. Titled Il Mondo Magico (The Magical World), the exhibition featured new large-scale, site-specific commissions by Giorgio Andreotta Calò, Adelita Husni-Bey, and Roberto Cuoghi.

In 2018 she curated, in collaboration with the city of Buenos Aires and Art Basel Cities, Hopscotch, a public art exhibition that celebrated the rich cultural ecosystem of the Argentine city.

Before taking on these roles, Alemani worked as an independent curator collaborating with museums such as Tate Modern (London) and MoMA PS1 (New York), non-profit institutions such as Artists Space and Art in General (New York), and private foundations such as the Deste Foundation. From 2009 to 2010 she directed the experimental exhibition space X Initiative in New York, where she curated exhibitions by Keren Cytter, Derek Jarman, Hans Haacke, Tris Vonna-Mitchell and many others. Alemani holds a degree in Philosophy from the Università degli Studi of Milan and a master's degree in curatorial studies for contemporary art from Bard College, New York.

Excerpted from: https://www.labiennale.org/en/news/board-directors%E2%80%99-press-release-10-january-2020