Critique Questions Venice Biennale's Relevance Amid Ethical Contradictions
Martin Herbert reflects on the Venice Biennale's purpose, drawing from his first visit in 2001 under curator Harald Szeemann's exhibition 'Plateau of Humankind'. He contrasts that experience with the current 2022 edition curated by Cecilia Alemani, titled 'The Milk of Dreams', which references surrealist Leonora Carrington. Herbert notes the event's inherent contradictions: its noncommercial presentation alongside significant market activity, its role as a cultural barometer versus a synthesis of fashionable topics, and its environmental impact on Venice. He describes the 2019 edition, where Christoph Büchel's migrant ship installation sat near networking cafés, highlighting ethical dissonance. The author questions the biennial's continuation as tourism strains the city and wealth inequality is displayed, yet acknowledges peer pressure drives attendance. He suggests the format may be a 'zombie' perpetuated by vested interests, but concedes newcomers might still find value.
Key facts
- The 2022 Venice Biennale is curated by Cecilia Alemani with the title 'The Milk of Dreams'.
- Harald Szeemann curated the 2001 edition titled 'Plateau of Humankind'.
- Leonora Carrington is a key reference in Alemani's 2022 exhibition.
- Christoph Büchel presented a ship installation about migrant drownings at the 2019 biennale.
- Martin Herbert first attended the Venice Biennale in 2001.
- The author criticizes the event's ethical contradictions and environmental impact on Venice.
- The biennial is described as having significant market activity despite its noncommercial presentation.
- Herbert questions the biennial's ongoing relevance and collective inability to change it.
Entities
Artists
- Martin Herbert
- Harald Szeemann
- Cecilia Alemani
- Leonora Carrington
- Christoph Büchel
Institutions
- Venice Biennale
- ArtReview
Locations
- Venice
- Italy