World stage: the grand international exhibition
By: Berlanda, Tomà
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Publisher: London EMAP Publishing Limited 2020Edition: 14 May 2020.Subject(s): ARCHITECTURE GENERAL (AR-GEN)Online resources: Click here
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Architectural reviewSummary: At the moment of writing, the 2020 Venice Architecture Biennale, due to open on 23 May, has been postponed to the end of August. Until only a few weeks ago its title ‘How Will We Live Together’ could be understood as a straightforward question, but the current pandemic crisis has transformed it into a disquieting interrogative. In explaining its meaning, the curator Hashim Sarkis spoke of the need to create a new spatial contract that explores spaces where people can co-exist despite widening political divides and growing economic inequalities.
With the establishment of the Art Biennale in Venice in 1895, to ‘stimulate artistic activity and the art market’, the young Italian state decided to reaffirm the cultural unity of the country and assert the prestige of its artistic tradition. To this end it allocated, de facto privatising, a vast portion of public gardens to become a permanent venue of the event, inviting the participating countries to build their own pavilions. The result, the Giardini, reflects the political forces and relationships that shaped the 20th century: it has been observed that the placement of the German, British and French pavilions in close proximity to each other, and close to Russia’s pavilion, erected in 1914, is a three-dimensional map of the power dynamics on the verge of the First World War.
| Item type | Current location | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|
Articles Abstract Database
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School of Architecture Archieval Section | Not for loan | 2021-2021537 |
At the moment of writing, the 2020 Venice Architecture Biennale, due to open on 23 May, has been postponed to the end of August. Until only a few weeks ago its title ‘How Will We Live Together’ could be understood as a straightforward question, but the current pandemic crisis has transformed it into a disquieting interrogative. In explaining its meaning, the curator Hashim Sarkis spoke of the need to create a new spatial contract that explores spaces where people can co-exist despite widening political divides and growing economic inequalities.
With the establishment of the Art Biennale in Venice in 1895, to ‘stimulate artistic activity and the art market’, the young Italian state decided to reaffirm the cultural unity of the country and assert the prestige of its artistic tradition. To this end it allocated, de facto privatising, a vast portion of public gardens to become a permanent venue of the event, inviting the participating countries to build their own pavilions. The result, the Giardini, reflects the political forces and relationships that shaped the 20th century: it has been observed that the placement of the German, British and French pavilions in close proximity to each other, and close to Russia’s pavilion, erected in 1914, is a three-dimensional map of the power dynamics on the verge of the First World War.
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