All the world’s future
Scavi nel futuro
1 Ottobre 2015
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1 Ottobre 2016All the World’s Future, di Okwui Enwezor, è una Biennale poco o per nulla proiettata al futuro, a dispetto del titolo; è tuttavia molto garbata, raffinata, elegante. Ciò grazie all’indubbia, consacrata esperienza del suo curatore, non nuovo a queste esperienze. Una rassegna che ha finalmente registrato la fine, o per lo meno l’abbandono del “virtuale”, delle video installazioni, del digitale a tutti i costi, dell’elettronica, per un ritorno alla materia e all’arte “convenzionale”, a quella capacità delle opere di esprimersi per quel che sono, per sé stesse, piuttosto che per le intenzioni degli autori.. Anche i tre temi che la raccontano: Il giardino del disordine, Vitalità: Sulla Durata Epica e Leggendo il Capitale, poco mi pare hanno a che fare con i mondi futuri. Una Biennale, come ha ricordato Angela Vettese, che “di rivoluzionario non ha niente né vuole averlo”. Una Biennale, piuttosto, che agisce sul visitatore inducendolo a pensare, a riprendere temi e questioni note, a “montare” assieme ciò che è già noto. Una rassegna da interpretare soggettivamente, nella consapevolezza che una mostra, anche una Biennale, non ha il potere di sovvertire il mondo, di cambiarlo, ma solo quello di raccontarlo, ipotizzarlo, interpretarlo. Piuttosto deludente l’Arsenale, generalmente centro propulsore delle rassegne veneziane. Molto interessanti, invece, gli ottantotto padiglioni nazionali distribuiti in tutta la città. Di grande effetto il padiglione giapponese The Key in the Hand, di Chiaru Shiota, caratterizzato da una fitta concentrazione di fili rossi pendenti dal soffitto con appese delle chiavi, proiettate su piccole barche in legno. Molto poetico ed evocativo.
Molto interessante il lavoro della settantanovenne Joan Jonas con l’installazione They come to us without a word, all’interno del padiglione americano. Da sempre interessata al mondo letterario la Jonas si è ispirata, per la sua installazione che opera su diversi strati/livelli, incorporando video, disegni, oggetti e suoni, al lavoro di Halldór Laxnes e ai soui scritti sulla spiritualità e sulla natura. Il risultato è enigmatico e al tempo stesso avvincente. Straordinario il “vuoto” del padiglione austriaco di Heimo Zobernig , sospeso tra il nero dell’“opera” e il bianco delle pareti, e di grande effetto quello dei paesi nordici, con i suoi vetri infranti e le sue voci diffuse, di Camille Norment. Di grande interesse anche il padiglione francese, con i suoi “alberi mobili”, che molto lentamente si spostano all’interno dello spazio del padiglione, in simbiosi con gli alberi dei giardini; e quello olandese, interpretato da Herman de Vries, dove elementi naturali come la terra, petali, legno, acqua, propongono un’interpretazione dell’esistenza e dei suoi possibili percorsi. Molto “accademico” sia pure interessante il padiglione spagnolo che Martí Manen ha proposto per la 56ª edizione della Biennale di Venezia presentando lavori artistici di nuova produzione con un tono, con una modalità di intendere la produzione artistica molto personali. Inizia con Dalí, ma senza Dalí: non c’è pittura, c’è solo lui o la costruzione pubblica del suo personaggio.
Una Biennale, come ha ricordato Angela Vettese, che “di rivoluzionario non ha niente né vuole averlo”.
Una costruzione che implica l’esistenza di un’altro Dalí, un Dalí presente ma non necessariamente pubblico. Anche un Dalí che gioca con il mercato, che supera le sue norme, che fa ciò che in teoria non deve. Un soggetto che crea un vocabolario proprio e lo ripete insaziabilmente cercando la tranquillità nel riconoscimento per poi caricare fino al punto che desidera. Un tono, un modo di fare, un luogo nella storia. E poi l’oggi, con le sue incertezze. Tre progetti artistici che si possono intendere dalla logica della complessità. Criticabile per molti aspetti il padiglione inglese, curato da Sarah Lucas, completamente orientato su varie interpretazioni “totemiche” e di utilizzo dell’organo sessuale maschile, proposto all’ingresso in una versione gialla gigante e riproposto all’interno in vari modi e forme. Non se ne comprende il senso. Di matrice usualmente “accademica”, in linea con l’approccio italiano alle Biennali, si presenta il Padiglione Italia curato da Vincenzo Trione che, sia pure opposto negli esiti al tema della Biennale, ha proposto un’antologia di 15 artisti già consacrati come Vanessa Beecroft, Jannis Kounellis, o Mimmo Paladino,…, un padiglione, quello del Codice Italia, che non ci è affatto dispiaciuto. Un “manifesto” giocato sulla memoria, un manifesto contro la dimenticanza, scaturito da una conversazione con Umberto Eco, a cui hanno partecipato Gillo Dorfles, Claudio Magris, Jacques Herzog, David Lynch. Una Biennale da vedere e rivedere che, con il passare del tempo, si ripresenta nei pensieri.
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