{"id":15812,"date":"2011-08-16T07:49:55","date_gmt":"2011-08-16T07:49:55","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=15812"},"modified":"2020-11-25T09:32:54","modified_gmt":"2020-11-25T08:32:54","slug":"imprecision-suiza-54%c2%aa-bienal-de-venecia","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/imprecision-suiza-54%c2%aa-bienal-de-venecia\/","title":{"rendered":"[:es]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:gl]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:en]Swiss imprecision. 54\u00aa Biennial of Venice[:]"},"content":{"rendered":"

[:es]<\/p>\n

Bice Curiger plantea para la 54\u00aa Bienal de Venecia una perspectiva algo ingenua, alejada del palpitar del mundo actual. Ha construido un espacio seguro para un arte poco conflictivo<\/em>. Sobre el anaranjado del crep\u00fasculo veneciano, la 54\u00aa bienal que dirige Bice Curiger se dibuja con una lucidez imprecisa, y hasta se podr\u00eda decir que resulta ileg\u00edtima su parcial rehabilitaci\u00f3n del exultante optimismo de los a\u00f1os ochenta, aunque el lugar de la m\u00e1scara y el br\u00edo sean el Palazzo delle Esposizioni Della Biennale (el hist\u00f3rico pabell\u00f3n italiano) y el Arsenale, que, como en los escenarios m\u00e1gicos de las f\u00e1bulas, nos permiten distraernos de la seriedad de la vida. El presidente de la Biennale, Paolo Baratta, afirm\u00f3 recientemente en un tono neodad\u00e1 que \u00abestos \u00faltimos a\u00f1os, desde la primera bienal de Szeemann, en 1999, han sido un hermoso viaje desde las barbas de Harald al pintalabios carmes\u00ed de Bice\u00bb<\/em>. Harald Szeemann sent\u00eda respeto y cordialidad por la vida, sab\u00eda que \u00e9sta no era un valor absoluto, sino una apuesta, un coup de d\u00e9s.<\/em> Fue quiz\u00e1 su intuici\u00f3n m\u00e1s penetrante. Bice Curiger, suiza como Szeemann, tampoco se ha dejado dominar por el pathos<\/em> del presente, en la creencia de que al arte no le hace falta un prontuario de indignaci\u00f3n, simplemente la belleza y el mundo. El t\u00edtulo de su bienal, IlumiNaciones,<\/em> responde a su tenaz creencia de que el artista es capaz de encontrar los valores y sondear sus abismos con una inocente efusi\u00f3n de los p\u00e1lpitos del deseo, la vibraci\u00f3n de la vida.<\/p>\n

\"\"<\/a>Parapavilion<\/em>, instalaci\u00f3n de Song Dong en la Bienal de Venecia | Francesco Galli | elpais<\/span><\/p>\n

[…]<\/p>\n

\u00c1ngela Molina<\/p>\n

+ art\u00edculo publicado en elpais.com<\/span><\/p>\n

[:gl]<\/p>\n

Bice Curiger exp\u00f3n para o 54\u00aa Bienal de Venecia unha perspectiva algo inxenua, afastada do palpitar do mundo actual. Constru\u00edu un espazo seguro para unha arte pouca conflitivo. <\/em>Sobre o alaranxado do crep\u00fasculo veneciano, o 54\u00aa bienal que dirixe Bice Curiger deb\u00faxase cunha lucidez imprecisa, e ata se poder\u00eda dicir que resulta ilex\u00edtima a s\u00faa parcial rehabilitaci\u00f3n do exultante optimismo dos anos oitenta, a\u00ednda que o lugar da m\u00e1scara e o br\u00edo sexan o Palazzo delle Esposizioni Della Biennale (o hist\u00f3rico pavill\u00f3n italiano) e o Arsenale, que, como nos escenarios m\u00e1xicos das f\u00e1bulas, perm\u00edtennos distraernos da seriedade da vida. O presidente da Biennale, Paolo Baratta, afirmou recentemente nun ton neodad\u00e1 que \u00abestes \u00faltimos anos, desde a primeira bienal de Szeemann, en 1999, foron unha fermosa viaxe desde as barbas de Harald ao pintalabios carmes\u00ed de Bice\u00bb.<\/em> Harald Szeemann sent\u00eda respecto e cordialidade pola vida, sab\u00eda que esta non era un valor absoluto, sen\u00f3n unha aposta, un coup de d\u00e9s. Foi quiz\u00e1 a s\u00faa intuici\u00f3n m\u00e1is penetrante. Bice Curiger, su\u00edza como Szeemann, tampouco se deixou dominar polo pathos do presente, na crenza de que \u00e1 arte non lle fai falta un prontuario de indignaci\u00f3n, simplemente a beleza e o mundo. O t\u00edtulo do seu bienal, Iluminaci\u00f3ns, responde \u00e1 s\u00faa tenaz crenza de que o artista \u00e9 capaz de atopar os valores e sondar os seus abismos cunha inocente efusi\u00f3n dos p\u00e1lpitos do desexo, a vibraci\u00f3n da vida.<\/p>\n

\"\"<\/a>Parapavilion<\/em>, instalaci\u00f3n de Song Dong na Bienal de Venecia | Francesco Galli | elpais<\/span><\/p>\n

[…]<\/p>\n

\u00c1ngela Molina<\/p>\n

+ artigo publicado en elpais.com<\/span><\/p>\n

[:en]<\/p>\n

<\/em>Bice Curiger considers for 54 \u00aa Biennial of Venice a slightly ingenuous, remote perspective of fluttering of the current world. He has constructed a sure space for a slightly troubled art<\/em>. On the orange one of the Venetian twilight, 54 \u00aa biennial that Bice Curiger directs shows itself with a vague brilliancy, and even it might say that there turns out to be illegitimate his partial rehabilitation of the exultant optimism of the eighties, though the place of the mask and the vigor they are the Palazzo delle Esposizioni Della Biennale (the historical Italian pavilion) and the Arsenale, which, since in the magic scenes of the fables, they allow us to distract us of the seriousness of the life. The president of the Biennale, Paolo Baratta, affirmed recently in a tone neodad\u00e1 that \u00bb the latter years, from the Szeemann’s first biennial, in 1999, have been a beautiful trip from Harald’s beards to Bice’s crimson lipstick \u00ab<\/em>. Harald Szeemann was feeling respect and warmth for the life, knew that this one was not an absolute value, but a bet, a coup of d\u00e9s. It was probably his more penetrating intuition. Bice Curiger, Swiss as Szeemann, has not also been left to dominate for the pathos of the present, in the belief of which to the art he does not need a prontuario of indignation, simply the beauty and the world. The title of his biennial show, Lightings, it answers to his tenacious belief of which the artist is capable of finding the values and of exploring his abysses with an innocent effusion of the feelings of the desire, the vibration of the life.<\/p>\n

\"\"<\/a>Parapavilion<\/span><\/em>, <\/span><\/span>Song Dong’s installation in the Biennial of Venice<\/span> | Francesco Galli | elpais<\/span><\/p>\n

[…]<\/p>\n

\u00c1ngela Molina<\/p>\n

+ article is published in elpais.com<\/span><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Bice Curiger plantea para la 54\u00aa Bienal de Venecia una perspectiva algo ingenua, alejada del palpitar del mundo actual. Ha construido un espacio seguro para un arte poco conflictivo. Sobre el anaranjado del crep\u00fasculo veneciano, la 54\u00aa bienal que dirige Bice Curiger se dibuja con una lucidez imprecisa, y hasta se podr\u00eda decir que […]<\/p>\n","protected":false},"author":2,"featured_media":15813,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[211,510,556],"class_list":["post-15812","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-exposiciones","tag-bienal-de-venecia","tag-espacio","tag-exposicion"],"yoast_head":"\n[:es]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:gl]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:en]Swiss imprecision. 54\u00aa Biennial of Venice[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:gl]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:en]Swiss imprecision. 54\u00aa Biennial of Venice[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/imprecision-suiza-54\u00aa-bienal-de-venecia\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:gl]Imprecisi\u00f3n suiza. 54\u00aa Bienal de Venecia[:en]Swiss imprecision. 54\u00aa Biennial of Venice[:] - 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