President Paolo Baratta with Harald Szeemann at Ca’ Giustinian
1999
Photo: Fulvia Farassino
The Alighiero Boetti room with the works: Io che prendo il sole a Torino il 19 gennaio 1969 and, on the wall, Mappa
1980
Photo: Giacomelli
Ado Hamelrijck, Untitled, grease pencil on paper, work consisting in 10 drawings 300x200 mm each
1982
Photo: ASAC Fondo Artistico
Interview with Jean Clair, “Mi ha lasciato una lista” (“They gave me a list”), Panorama
11 January 1982
Photo: ASAC Fondo Storico
Central Pavilion (Italy): plan of the exhibition spaces
1982
Photo: ASAC Fondo Storico
Letter from Ileana Sonnabend to Maurizio Calvesi about the loan of works by Robert Rauschenberg
6 March 1984
Photo: ASAC Fondo Storico
Letter from Maurizio Calvesi to Ileana Sonnabend
8 February 1984
Photo: ASAC Fondo Storico
Letter from Bill Viola to Maurizio Calvesi about the video-installation, Stanza per San Giovanni della Croce, in the section: Technology and Computer Science
15 May 1986
Photo: ASAC Fondo Storico
Letter from Brian Eno to Maria Vitali about setting up the installation Opera con suoni luci n. 14, for the section: Technology and Computer Science
1986
Photo: ASAC Fondo Storico
Tessari. L’armadio delle meraviglie. Poster for the exhibition Wunderkammer curated by Adalgisa Lugli, 42nd Biennale: Art and Science. Offset print, 1000x700 mm
1986
Photo: ASAC Fondo Manifesti
Letter from artist Martin Kippenberger to Giovanni Carandente
18 May 1988
Photo: ASAC Fondo Storico
Letter from Jan Dibbets to the Secretary of the Biennale with details for the construction of the work Trittico del soffitto di San Casciano for the exhibition: Ambiente Italia
1990
Photo: ASAC Fondo Storico
Letter from Giovanni Carandente to Grazia Porazzini about the hospitality planned for Sol Lewitt
15 June 1988
Photo: ASAC Fondo Storico
Sol Lewitt, Wall Drawing. 10 working drawings for the pieces for the exhibition Ambiente Italia, including the sculpture Complex Form, pencil on paper, various sizes
1988
Photo: ASAC Fondo Artistico
Martin Kippenberger, End of the avant-garde
1988
Photo: Giorgio Zucchiatti
Jeff Koons, Made in Heaven: Ilona (pink background)
1990
Photo: Giorgio Zucchiatti
Jeff Koons, works from the series Made in Heaven, portraying the artist with Ilona Staller
1990
Photo: Giorgio Zucchiatti
Letter from Emilio Vedova to Giovanni Carandente complaining about the inadequacy of the catalogue for the Ambiente Berlin exhibition
1990
Photo: ASAC Fondo Storico
Letter from Emilio Vedova to Giovanni Carandente complaining about the inadequacy of the catalogue for the Ambiente Berlin exhibition
1990
Photo: ASAC Fondo Storico
Ilja Kabakov, The Red Pavilion
1993
Photo: Giorgio Zucchiatti
Hans Haacke, Germania
1993
Photo: Giorgio Zucchiatti
Fax from Thierry Ollat to Detlev Gretenkort, with details for the installation of the works of Sigmar Polke, Georg Baselitz and Francesco Clemente
1993
Photo: ASAC Fondo Storico
Letter from gallery-owner Donald Young to Jean Clair, asking for the technical specifications of the video installation Untitled by Gary Hill
24 April 1995
Photo: ASAC Fondo Storico
Press release by Emilio Vedova who denies having refused the prize he was awarded by the Biennale, as sustained in a leaflet that was disseminated around the city as a joke
11 June 1997
Photo: ASAC Fondo Storico
Letter with sketches by Daniel Buren and instructions for the work Diagonale pour 30 tilleuls, installed along the tree-lined avenue of the Giardini
1997
Photo: ASAC Fondo Storico
Letter with sketches by Daniel Buren and instructions for the work Diagonale pour 30 tilleuls, installed along the tree-lined avenue of the Giardini
1997
Photo: ASAC Fondo Storico
Letter from Marina Abramovic to Germano Celant
6 February 1997
Photo: ASAC Fondo Storico
Marina Abramovich during the performance of Balcan Baroque
1997
Photo: Giorgio Zucchiatti
Fax from Jan Fabre to Germano Celant, with the drawing for a work that was never made
17 February 1997
Photo: ASAC Fondo Storico
President Paolo Baratta with Harald Szeemann at Ca’ Giustinian
1999
Photo: Fulvia Farassino
Hand-written interview with Harald Szeemann by Arianna di Genova for “Alias”, a newspaper insert for “Il Manifesto”
29 May 1999
Photo: ASAC Fondo Storico
Hand-written interview with Harald Szeemann by Arianna di Genova for “Alias”, a newspaper insert for “Il Manifesto”
29 May 1999
Photo: ASAC Fondo Storico
Architecture officially became its own separate department for the first time during Giuseppe Galasso’s four-year presidency (1979-1982). Galasso appointed Paolo Portoghesi to be artistic director: he curated the first International Architecture Exhibition, titled La presenza del passato (The Presence of the Past).
1980 marked the first edition of ‘Aperto’ (Open), the Biennale’s new section for young artists, which continued until 1993; it was curated by Achille Bonito Oliva together with Harald Szeemann. The 1990s brought epoch-making changes that upset the entire global balance of power. This was the decade which followed the fall of the Berlin Wall and the end of the Cold War, the end of the standoff between the great Western and Soviet blocs and the emergence of a new borderless European community. In 1998 La Biennale was converted from a public body into a legal entity governed by private law, acquiring greater autonomy and flexibility. That same year Paolo Baratta was appointed president and ushered in significant changes: new exhibition spaces at Arsenale; new specific areas and auditoriums for dance, music and theatre events; a single curator appointed by La Biennale and responsible for the International Art Exhibition; an increase in participating countries, with national pavilions in the historic centre or at new Arsenale sites.
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