Renato Barilli defends Biennale di Venezia's traditional divisions

In an opinion piece on Artribune, critic Renato Barilli argues against proposals to merge the Biennale di Venezia's traditional sections (art, cinema, music, theatre, architecture) into a single syncretic event. Barilli contends that the Biennale's strength lies in respecting its biennial rhythm and distinct disciplinary boundaries, contrasting it with documenta, which he claims suffered from a less frequent schedule and a forced fusion of arts in 2022. He distinguishes cinema from video art, asserting that video art lacks narrative and prioritizes raw sensory data, while cinema inherits storytelling. Barilli warns that audiences at the Venice Film Festival would reject performances in place of films. He also criticizes the poor placement of the Italian pavilion at the Arsenale and cautions against the Biennale becoming a "UN of the visual" with too many participating nations. Barilli suggests that a committee and the art director should select meritorious countries for official spaces (Giardini and Arsenale), while others find alternative locations. He concludes that with these adjustments, the Biennale has a long future ahead. The article was published in Artribune Magazine #70.