Page 13 - La Biennale di Venezia 2022 issue of World of Art Contemporary Art Magazine
P. 13

propose new alliances between species, and worlds inhabited by porous,
                                            hybrid, manifold beings that are not unlike Carrington’s extraordinary
                                            creatures. Under the increasingly invasive pressure of technology, the
                                            boundaries between bodies and objects have been utterly transformed,
                                            bringing about profound mutations that remap subjectivities, hierarchies,
                                            and anatomies.

         In 2018, she was the Artistic Director
                                            Today, the world seems dramatically split between technological optimism
         of the first edition of Art Basel Cities,
                                            − which promises that the human body can be endlessly perfected
         a new initiative in partnership with
                                            through science − and the dread of a complete takeover by machines
         Buenos Aires to celebrate the city’s
                                            via automation and artificial intelligence. This rift has widened during the
         thriving cultural ecosystem.
                                            Covid-19 pandemic, which has forced us even further apart and caged
         Alemani curated a city-wide
                                            much of human interaction behind the screens of electronic devices.
         exhibition titled Hopscotch (Rayuela)
         that featured 18 works in close
                                            The pressure of technology, the heightening of social tensions, the
         dialogue with their venues, shaping
                                            outbreak of the pandemic, and the looming threat of environmental
         a multilayered experience that
                                            disaster remind us every day that as mortal bodies, we are neither
         connected visual art, urban spaces,
                                            invincible nor self-sufficient, but rather part of a symbiotic web of
         and the city’s histories in unexpected
                                            interdependencies that bind us to each other, to other species, and to the
         ways. Among the participating artists
                                            planet as a whole.
         were Eduardo Basualdo, Pia Camil,
         Maurizio Cattelan, Gabriel Chaile,
                                            In this climate, many artists envision the end of anthropocentrism,
         Leandro Katz, Luciana Lamothe, Ad
                                            celebrating a new communion with the non-human, with the animal world,
         Minoliti and Stan VanDerBeek.
                                            and with the Earth; they cultivate a sense of kinship between species and
                                            between the organic and inorganic, the animate and inanimate. Others
         Before taking on these roles,
                                            react to the dissolution of supposedly universal systems, rediscovering
         Alemani worked as an independent
                                            localised forms of knowledge and new politics of identity. Still others
         curator collaborating with museums
                                            practice what feminist theorist and activist Silvia Federici calls the
         such as Tate Modern (London) and
                                            “re-enchantment of the world”, mingling indigenous traditions with
         MoMA PS1 (New York), non-profit
                                            personal mythologies in much the same way as Leonora Carrington.
         institutions such as Artists Space
         and Art in General (New York), and
         private foundations such as the Deste
         Foundation. From 2009 to 2010 she
                                            EXHIBITION STRUCTURE AND TIME CAPSULES
         directed the experimental exhibition
                                            The exhibition unfolds in the Central Pavilion of the Giardini, and in
         space X Initiative in New York, where
                                            the Corderie, Artiglierie, and the outdoor spaces of the Gaggiandre and
         she curated exhibitions by Keren
                                            Giardino delle Vergini at the Arsenale complex.
         Cytter, Derek Jarman, Hans Haacke,
         Tris Vonna-Mitchell and many others.
                                            The Milk of Dreams includes over two hundred artists from 58 countries.
                                            More than 180 of these artists have never been in the International Art
         Alemani received her BA in Philosophy
                                            Exhibition until now. For the first time in its 127-year history, the Biennale
         from the Università degli Studi in
                                            will include a majority of women and gender non-conforming artists, a
         Milan and her MA in Curatorial Studies
                                            choice that reflects an international art scene full of creative ferment
         from Bard College, Annandale-on-
                                            and a deliberate rethinking of man’s centrality in the history of art and
         Hudson, New York.
                                            contemporary culture.
         She has served as a contributor to
                                            The exhibition features contemporary works and new projects conceived
         numerous publications, including
                                            specifically for the Biennale Arte, presented in dialogue with historic works and Mousse Magazine,
                                            from the 19th century on. As visitors move through the exhibition in the
         and has had a regular column in D,
                                            Central Pavilion and the Corderie, they encounter five smaller, historical
         Repubblica since October 2019.
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