Venice Biennale. One hundred years.

Venice Biennale. One hundred years.

A hundred years ago the first small contemporary art exhibition opened in one of the Venetian palaces. It is, in fact, served as a sign of the fact that the city has not dozed off, lulled by the world-famous, the lapping of the waves and friendly sun. City-mirage, eclectic to the sweet aesthetic Insanely when swarthy gold Byzantine mosaics is adjacent to a colorful polyphony «Venetian» coloring of Titian and his school when the glowing crystal palaces reflected in the water channels look great, contrasting with the energy of the architectural forms of the Baroque and soothing metric Neoclassicism since drifting towards the present day, adding to the colorful panorama of styles and taste in recent years. Thus the tourist life of Venice, the days of the famous carnival replenished from time to time, with a break of two years, another interesting event.

So, on October 15 last year, closed Biennale, Forty-sixth of its kind, not fifty years since the world wars involuntarily (because muses are silent when the guns speak!) Increased the regulated range. The fact that as the exhibition demonstrated, it is worth remembering, if only because it is a rare opportunity to look into the eyes of modern art schools around the world. They look at the audience, we are watching them …

In the public garden, one of the outskirts of the island shortly after 1895 began to build a building exhibition. Among kup trees and statues of ancient park, partially preserved to our days, at different times there were pavilions strange shapes and styles. Most of them are now rebuilt. A happy exception is the «Terem» Russian type, built in 1914, designed by Shchusev. Perhaps at one time, as always, did not have enough money to upgrade it. However, the reason I do not so important, especially now that it is renovated and stands out among the standard neo-classical columns, and international fashion style of other buildings.

Venice municipality did not want that the city was turned into a luxurious tomb of yore spirit. It took into account the lessons of sfumato romantic Englishman William Turner, who in his landscapes, silhouettes of houses dipped in colored haze, making them ghostly visions of the meaning of the novella «Death in Venice» by Thomas Mann and calls futurist Filippo Tommaso mad Marinetti: «Venice — a great wound of the past. It is necessary to prepare the birth of another Venice. Aim the water in museum vaults and flooded them! Falling asleep channels gondola burn! «The prestige of the island had to be saved to its modest area, framed by the sea, when the cramped, where everything is close when all around, and the last match day of the current day.

The traveler, of course, does not come specifically to get acquainted with the new art. But along the way, after the contemplation of the masterpieces of the Academy, luxurious interiors of the Palace of the Doges and ever previous to on a high pedestal of bronze Bartolomeo Colleoni, he leaves the room of their hotel are numerous guides to his back to St. Mark’s Square, walk to the northern tip of the island to see » island «on the island: here in the low fence around thirty pavilions, manifesting the newest, most unusual, most …- understand what is tradition and what is innovation. Especially as the Biennale and the city already hinted to him about his existence. On the quays along the canals were installed bulk metal structures, hieroglyphs, painted in poisonous red — avant-garde writing, hinting that the exhibition, if not abandoned his «ghetto», is ready to spread throughout the city. Its branches are located in the Correr Museum and the Palazzo Grassi, a number of palaces and churches. The palace, once owned by Peggy Guggenheim, exhibited bronze exclamation thin figures of Alberto Giacometti, and a small square in front of Santa Maria della Salute are massive, endowed with an extraordinary inner strength sculptures by Henry Moore. Opposite the island of San Michele — the island of the dead, where a neo-Gothic brick wall resting Venetians, opened the exhibition «Other.» It is safe to assume that no visitor can not see everything. Too much. Probably only the organizers more or less fully imagine the whole panorama of the Biennale. Nevertheless, the mosaic of images, some trends, some well-known personality give relatively faithful (since then contemporary art is represented very selectively, depending on the will of the curators of national pavilions) idea of ​​what may be called «the art of the present day.»

It should be noted in advance that with few exceptions the day today was presented the «day yesterday.» New, even avant-garde standards, nothing. So Biennale nostalgic and seemed convinced that from our time and wait for nothing. Like it or not — is hard to say; clearly that such an exhibition of responsibility for the whole process of the art world to bear can not, and should not be. However evident that the French provided their premises for Cesar that «famous» for its «compression», that is, under the pressure of compression of the car body, the first of which appeared in the 1960s. The jury awarded one of the prizes to the American pop artist R.Kitayya working in poster-style landmark, the master of the same generation as the Frenchman. British viewers mighty pleased, texture painting L.Kosoffa, have its say in the expressionist tradition of nude figures and «Portrait of cathedrals», although, again, thirty years ago.

The most spectacular were presented master accessing the world of nature. That environmental issues, as relevant, heated similar interest. Canadian master E.Puatre put plaster casts of bones of extinct animals, photos of the former their habitat. As always, it was interesting Dane Jan Olsen. His works, he often draws like the windows of the museum of zoology (whose exhibits clearly inspired), which is the shell, dried trunk fish, stuffed birds. Next to such «natural» objects showing his drawings, fantasies on the same topic. Japanese Pavilion efforts decorators who braided colored plastic twigs wall, turned into a kind of flower baskets. Inside it in half-lit corridors of the maze-placed glass plate illuminated with pictures of herbs, flowers, fruits. Soon maze leads into a large room, and «your path» is on the television monitors, lying under the glass on the floor; around them scattered pottery shards. «Path» is the moving footage captured the jet stream, which you like wandering, and it leads into the distance indicated by the glowing neon tube, is lost in the darkness of the tunnel. South Koreans have also used the «eternal» theme, and the viewer walks among giant aquariums in which the rushing water and burst air bubbles up the «water ladder» to come to «the abyss», the lower glazed room, on the «ceiling» of which you can walk . Downstairs in the dark shine stilled unknown creatures. At the exit of the pavilion on bamboo supports suspended pots forming a chain zmeistuyu vessels. Clearly, this is a variation on the ancient oriental rituals associated with religion.

Many at the show frankly boring; usually empty halls of the Czech Republic, Poland and Romania; sterile clean and empty room in the joint exposition of Finland, Sweden and Norway. The closer to the north, the plastic arts more difficult to exist. Nevertheless, the Greeks decided to go the way of the simplest solutions; They have not opened a pavilion and more objects — semi-abstract compositions — was put in front of him. Typically each pavilion contains one, two, three masters. Luxembourg in its tiny building put a few sun loungers and chairs among the dead trees. Especially grand pavilion looks Italian. The old building of the modern era is hidden behind a powerful neoclassical facade thirties. On the walls are inscribed the names of artists who once exhibited there. And if the majority of exposures lot of free space, then there is really a warehouse of images, techniques, characters.

South palpable sense of boasting here. Italy, look in the mirror of his art, a frankly admiring. Well, the fact is right. Throughout the exhibition, which shows the history of the artistic life of the country, are «cross-cutting» theme columns, libraries, ancient labyrinths, texts, old art. And all this from the beginning of the century to the present day. The symbol of this exposure may be the song «column in the column» Luigi Pizzi, is a kind of plaster multimeter toy: the base of the Corinthian column, which you can enter to see the other, a little smaller. So you walk boldly into the classical art that can only be compared only with the habitable room. A certain attitude to the legacy of crony well palpable. Yes, it is clear: in Italy, old and new are usually located at a distance of a little more than a meter. The exhibition of painting, sculpture and some objects like the mentioned «column in the column» completes the picture A.Bonekki and Stefano Di Stasi — a strange mixture of neoclassicism and surrealism. Italians easily convert all the avant-garde art in the anecdote, why it is getting closer, clearer and more stupid. Nevertheless they reach desired; intrigued the imagination, provoke.

It is significant that a large space is devoted to the sesquicentennial of Italian photography. Magical accuracy of what has been, but it took, particularly attracted the attention of viewers. Here renovated studio master light-painting of the late XIX century.

Italy in all honesty say that, and so, indeed, it is obvious: in the culture of modern times especially attractive photo images. Photo — the massive and democratic art of the XX century; in the works of their great masters she bravely competes with all the other arts. Thus, the Venezuelan photographer is large size images of people who have eyes and mouths disappear.

No less significant is the fact that known as «video art». Like the picture, but in motion, showing the «second» reality multiplied technologically and presented to the audience. The Swiss pavilion placed seven television monitors. They displayed the history of the artist A.Fishli travel by car. On one monitor can be seen as it passes through a forest in winter, on the other — his stop in front of the diner, the third — a conversation with your friends, on the fourth — the view from the car window, and the like. The viewer is immersed in the element of life, it becomes like a movie, and the place of the hero begins to see the world through his eyes. American Bill Viola, using a super high-tech, creates the electronic panels, more precisely, their projection on the screen when the figure as a man standing still and the wind rustles the edges of their robes; then slowly begin to move pieces and clothing remains stationary; it’s like a dream, eerie, but unforgettable. Video art opens up huge opportunities for the combinatorics of different forms, different images. In a dark room hung a translucent screen; they both sides projected image; on average, they found the screen, re-animating each other.

Biennale paradox lies in the fact that most attention was given to the retrospective section exhibited by the Palazzo Grassi. He was the program, the conceptual. Here it is presented the art of XX century, the most significant of its manifestations. The largest museums of the world, including the Tretyakov Gallery showed works from their collections. Actually, before the audience is not the traditional art history of the XX century, and its revision. In keeping with the philosophy of structuralism of Claude Levi-Strauss (incidentally, the author of one of the articles of the extensive catalog of the Biennale) shows perpendiculars individual «isms» and parallels «eternal» themes and the main of them — «the triumph and transformation of the human figure», that is the meeting of the body as the body a spiritual principle. The titles of sections: «Impossible anatomy», «World technicism»

«Body and Soul,» «Portraits, mask, masquerade», «Delicate statue» and the like.

«Russian in Russian», as always, different spirit reigns … illustrative generated even XIX century, only slightly disguised by fancy Moscow conceptualism, that is under some play ideas. The idea and implementation are easy to surprise. In front of the Mansion, which protects the park statue before blurred rain that has long turned to stone a woman of the steppes, placed a TV monitor, the screen that projected movie with the image of the actor of the 1950s, which simulates nightingale, that is sifflet (in the house usually do not whistle, as the belief states that the money will not be). Then follows a small zalchik the stands on which pins are attached clippings from newspapers and magazines. A foreigner in Russian, of course, does not read, and quickly passes on. Yes, and you can not read: the light in the hall annoyingly flashes. Large and empty showroom: projected on the wall of a film projector familiar frames, namely the destruction of the Temple of Christ the Savior and the current recovery. The third hall — the average size room, whose walls are painted red — the color of the blood of the martyrs and the color of Socialist victories, became the principal. In the middle of it there is an aluminum box-polugrob poluko-saw blade in the slot which is asked to throw money, because, they say, their country is not enough, they have «whistled.» That’s the uncomplicated story. It is said that at the beginning of the project was richer and wiser, then the number of impoverished and financially, and intellectually.

Yes, we now are; and excelled at the Biennale.

So:

In the distance behind the boat docked in the sleep born reality. Venice Venetian throws the waterfront swimming.

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