Achille Bonito Oliva Critiques and Praises the 2017 Venice Biennale
In a discussion with Artribune, Achille Bonito Oliva, the Italian art critic who curated the 1993 Venice Biennale, shares his thoughts on the 57th Biennale, "Viva Arte Viva," overseen by Christine Macel. He contends that art should stand alone without qualifiers, criticizing the ideological framing as a constraint on its purpose. Oliva commends Macel for bringing attention to underrepresented artists, akin to Bice Curiger's 2011 Biennale. He finds the German, Australian, and Italian pavilions impressive, while considering the French and British pavilions rather modest. He also expresses unease regarding the prominence of non-Western artists. Drawing connections to his own 1993 Biennale and recalling his 1973 exhibition "Contemporanea," he shares these insights in an interview with Massimiliano Tonelli.
Key facts
- Achille Bonito Oliva criticizes the title 'Viva Arte Viva' for imposing an ideological function on art.
- Oliva traces the use of adjectives for art to French Cartesian culture.
- He finds Christine Macel's curatorial vision institutional and schematic.
- Oliva praises the German, Australian, and Italian national pavilions.
- He dismisses the French and British pavilions as modest.
- Oliva criticizes the inclusion of many non-Western artists as paternalistic.
- He draws parallels between his 1993 Biennale and Macel's 2017 edition.
- Oliva's 1993 Biennale featured trans-pavilions and a nomadic exhibition across Venice.
- His 1973 exhibition 'Contemporanea' integrated multiple art forms.
- Oliva moved to Venice for 18 months during his Biennale curation.
Entities
Artists
- Achille Bonito Oliva
- Christine Macel
- Bice Curiger
- Nam June Paik
- Joseph Kosuth
- Pedro Almodóvar
- Wim Wenders
- Peter Greenaway
- Michel Blazy
- Roberto Cuoghi
- Xavier Veilhan
Institutions
- Artribune
- Venice Biennale
- Exibart
- Gambero Rosso
- Università di Siena
Locations
- Venice
- Italy
- Arsenale
- Padiglione Italia
- Padiglione Francia
- Rome