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Last Issue: #31 The Journey
Twenty thousand leagues under the sea by Jules Verne (1825-1905). This book is the answer to my thoughts on travel. It certainly anticipated the saga...Read more
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Loading ...For the first time, illycaffè is a partner of the 10th International Architecture Exhibition at the Venice Biennale, continuing the relationship which began at the previous editions of Biennale Art in 1997, 2003 and 2005.
Against this background of cultural enjoyment we talked to Chairman Davide Croff on the theme of “food for thought”.
Having taken to heart its mission of research into modern art, the Venice Biennale has sometimes found it hard to identify and communicate with its public. Its experimental, often provocative nature has occasionally been misunderstood by artists and specialists, including the broader spectrum of art enthusiasts. To give an important example, which now raises a smile: the Biennale’s launch of Pop Art from the USA in 1964, when the Golden Lion was awarded to Robert Rauschenberg. Not an easy decision, it was derided by critics, visitors and institutions. Yet partly thanks to this Venetian award, Pop Art soon became one of the most appreciated forms of art and was very popular with the general public. The main cultural and social aim of the Biennale is exactly that: to perform a bold yet delicate role of mediation (in tandem with the role of art critics) between those who develop complex artistic ideas and those who are looking to acquire a deeper, more articulated vision of reality. Although on the one hand there is a duty to allow artists to produce their ideas freely and express themselves as creatively as possible, conversely, the demands of society cannot go unfulfilled. This is why the Biennale, like every cultural institution, should not be ashamed to ask itself who its “customers” are. This is why marketing and partnership initiatives, designed to improve the accessibility of cultural events – with specific projects designed to modernise the facilities on offer – should certainly not detract from the quality of exhibitions, or the artists on show. There is no law which states that an event is less “artistic” if marketing initiatives are used to promote it in order to make the experience more enjoyable and stimulating, establishing a more open, informal relationship with the public, in an environment that welcomes debate. Obviously, there has to be a balance.
Not only that, generating more resources, whether from private financing or proceeds from visitors is a way to become less dependent on public funding, which is increasingly hard to come by.
Yet for those who work in the field of culture, economic profitability and successful promotions are still a means to a very different end: to publicise new ideas as widely as possible to ensure that individual artists can flourish.
andrea illy angela vettese architecture Art artist berlin Biennale business coffee Colour communication community company creativity culture Design europe experience food future history idea ideas innovation internet Italy knowledge life london michelangelo pistoletto milan mind new york Passion past people school social Society Students time tradition university venice world
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