Biennale de Venise — 2022 — 59e édition — Jardins de la Biennale de Venise — Exhibition — Slash Paris

Past: April 23 → November 27, 2022

Biennale de Venise 2019 — Revue de presse Slash vous propose un bilan de la Biennale de Venise à travers des points de vue d’observateurs du monde de l’art qui offrent la diversité de leurs impressions.

Biennale de Venise 2022 Vigorously questionning traditional forms of thought, the theme of the main exhibition of the Venice Biennale 2022 allows the emergence of the imagination as it encounters the perplexed aspirations of new generations aware of the impossibility of continuing the course of industrial growth and the aporias of the digital economy without endangering universal equity.

After welcoming nearly 600,000 visitors during its 2019 edition, the Venice Biennale is holding its 59th edition in the spring of 2022. The first Italian woman to head an edition of the Biennale, Cecilia Alemani (born in 1977), curator of the Pavilion Italian in 2017. A graduate in philosophy from the University of Milan and holder of a master’s degree in curatorial studies of contemporary art from Bard College in New York, she has collaborated in particular with MOMA PS1 and the Tate Modern in London as as an independent curator.

Slash’s gaze

If we can remain skeptical about its occultist excesses and the temptation of an irrationality that has become more of a pop icon than a true deconstruction of a Western rationality which deserves (and this has fortunately begun since the end of the 19th century) a crisis demanding, the theme of the main exhibition of the Venice Biennale nevertheless allows a place of the imagination to emerge which espouses the perplexed aspirations of new generations.

Impressively rich and undeniably driven by its radical openness to a hybridization of traditional aesthetic forms, The Milk of Dreams multiplies its narrative threads with warmth and passion, taking the visitor on a carousel of intense feelings. From illuminated kitsh to minimal subtlety, taste and form do not constitute here the standards of a grouping and leave room for an emotion, an affective sensitivity which lays the groundwork for a new definition of the notion of coherence.

A welcome breath of fresh air as it paves the way for experimentation and struggles with a hierarchical system that is too fixed on its model of success. Even more so than the artists invited to populate The Milk of Dreams course at the Biennale, visitors have a responsibility to embrace this sum of possibilities, to observe these successes and the place left to failures to make sense of this who opens and what hides. G.B.