The 53rd Venice Biennale, 2009

From Artist Organized Art

facts about the article
As of	2009/06/16
Author(s)	Emilio Fantin
Benefits	Artists, General Public
Boroughs
Cities	Venice, Bologna
Countries	Italy
Full Article	Full Article
Mentions	Daniel, Birnbaum, Brunce Nauman, Wolfgang Tillmans, John Baldassarri, Cesare Pietroiusti, Mario Pieroni, Mario Merz, Berlinde De Bruyckere, Thomas Houseago
Neighborhoods	Sant Erasmo, Giardini, Arsenale, Palazzo Fortuny, Punta della Dogana, Tadao Ando, Ponte dei Sospiri
Organizations	La Biennale di Venezia, Artist Organized Art
Regions
States
Subject(s)	Biennial Exhibition
Supports	media, cultural education
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The 53rd Venice Biennale, 2009 (Full Article)

by artist and critic: Emilio Fantin

What we might discuss, after having seen such a "biennale," is something about the industry of culture itself, which, of course, includes the art-system. As Paolo Virno suggests, "fabricating politics" out shines the reality of work itself. The equity in verbs like creating, producing and making is cashed out. According to Guy Debord, the show is a productized form of human communication, yet it is also a staple of the culture industry. Artworks function as special devices of communication, as such they are interchangeable and adaptable to varied trends. Regardless of what they transmit, express or evoke they stand subsidiary to the culture industry. As it expands and monetizes communications in traditional sectors of the daily economy, eventually it requires the very role of the artist to be conformed to its strategy. It requires art making to sacrifice its sovereignty. The artist is scripted to the character type of independent thinker, original inventor or simply autonomous worker. Omnivorous and ravenous, involved only in its own flourishing, the show alone must go on.

Neighborhoods
Sant Erasmo Giardini Arsenale Palazzo Fortuny Punta della Dogana Tadao Ando Ponte dei Sospiri

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