Free Access until 31 January 2022: https://bit.ly/volume26-issue4
This special issue focuses on one of the most longstanding, international, and large scale exhibitions: the Venice Biennale. The keywords ‘art’, ‘agency’ and ‘market’ act as methodological pathways to investigate the evolution of its rich visual library. The texts offer a diachronic approach highlighting significant points of friction and continuity.
Marie Tavinor and Davide Lacagnina focus on the first two general secretaries Antonio Fradeletto and Vittorio Pica, who greatly contributed to shaping the institution. Giuliana Tomasella investigates the case of painter Alberto Salietti’s market success at the Biennale in 1942. Both Cristina Beltrami through the decorative arts, and Clarissa Ricci through the attempts at reopening the Biennale sales office, look into the complex relationship of the Venice Biennale with the art market. Lastly, a critical review of the large archival exhibition ‘Le Muse Inquiete/The Disquieted Muses’ held in Venice in 2020, reflects on the Biennale’s complex and fascinating history.
Questo numero speciale é dedicato alla Biennale di Venezia, una delle più longeve e durature esposizioni internazionali d’arte. I testi offrono una visione diacronica, mettendo in luce alcuni momenti significativi di rottura e/o continuità dell’evoluzione della Biennale. I percorsi metodologici messi in campo per indagarne la complessità sono riassunti dalle parole chiave ‘arte’, ‘mercato’ e ‘agency’. Marie Tavinor e Davide Lacagnina rivolgono la loro attenzione alle figure di Antonio Fradeletto e Vittorio Pica, i primi due segretari generali che hanno notevolmente contribuito alla crescita dell’istituzione veneziana. Diversamente invece Giuliana Tomasella indaga il caso del successo di mercato di Alberto Salietti alla Biennale del 1942. Mentre Cristina Beltrami, attraverso le arti decorative, e Clarissa Ricci, con i tentativi di riapertura dell’ufficio vendite della biennale, affrontano la complessa relazione della Biennale di Venezia con il mercato dell’arte. Infine, la recensione sulla mostra d’a archivio Le Muse Inquiete (2020) offre una riflessione critica sull’affascinante e articolata storia della Biennale di Venezia.
CONTENTS:
Art, Market and Agency at the Venice Biennale, 1895-1993
Journal of Modern Italian Studies, Vol 26, n. 4, 2021
Introduction: Art, market and agency at the Venice Biennale, 1895–1993
Clarissa Ricci & Marie Tavinor
‘God save Antonio Fradeletto’: Anglophilia and the consumption of British Art at the Venice Biennale, 1895–1914
Marie Tavinor
Through the lens of Vittorio Pica. Art criticism and collecting at the Venice Biennale, 1912–1926
Davide Lacagnina
The Venice Biennale and the market for Murano Glass, 1895–1930
Cristina Beltrami
War Biennali in 1940 and 1942: taste and sales during the Fascist era
Giuliana Tomasella
To sell or not to sell? Attempts at reopening the Venice Biennale’s sales office after 1973
Clarissa Ricci
Musing with the muses: the Venice Biennale’s anniversary exhibition
Review of the exhibition The Disquieted muses – When the Biennale meets history/ Le muse inquiete – La Biennale di Venezia di fronte alla storia. Central pavilion, Biennale Giardini, 29 August – 8 December 2020
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