Paolo Baratta's memoir reveals Szeemann's influence on Biennale

Paolo Baratta's memoir 'Il Giardino e l'Arsenale' (Marsilio Editori, 2021, 480 pp., €20) recounts his tenure as president of the Venice Biennale, highlighting the pivotal role of curator Harald Szeemann. Baratta describes meeting Szeemann in Canton Ticino in 1998, where Szeemann's keywords—'aperto', 'ampliamento', 'dilatazione', 'vecchie abitudini', 'troppi aventi diritto', and 'mettere insieme i settori'—became guiding principles. These were first applied in the 1999 exhibition 'dAPERtutto', which used the Arsenale for the first time and abolished the Italian pavilion, sparking controversy. Baratta also imposed a black-tie dress code for Cinema premiere galas, signaling a shift toward competing with Cannes. He clashed with then-film director Felice Laudadio, who was dismissed after suggesting the film festival be managed by Cinecittà. Baratta envisioned the Biennale as a total artwork integrating all disciplines, echoing Szeemann's ambition to surpass Documenta. The memoir covers political battles, including conflicts with undersecretary Vittorio Sgarbi and Minister Sandro Bondi, and Baratta's defense of the 1998 reform granting the Biennale autonomy. Baratta preferred Alberto Barbera over Marco Müller as film director, despite Müller's cross-disciplinary 'Orizzonti' section featuring artists like Rirkrit Tiravanija and Matthew Barney. The book concludes with Baratta's legacy of a renewed Biennale, strong statutes, and landmark exhibitions.