Bienala de Artă de la Veneția: pavilionul ca obiect al intervenției artistice
Rezumat
La Biennale di Venezia: The Pavillion as Artistic Intervention Object
Abstract: In this paper I examine a particular type of exhibition space, namely the national pavilion at the Venice Biennale, and analyze the current tendency within contemporary art of treating the exhibition pavilion as an object of artistic intervention. Three case studies – Relocating a Structure by Maria Eichhorn, The Last Land by Hans Schabus and I, Impostor by Mike Nelson – were selected from the interval 2005-2022, as they capture an approach in which, I argue, the exhibition pavilion is comprised within the structure of the work as a physical, as well as a symbolic support. These are spaces that Eichhorn, Schabus, and Nelson mold and reorganize to their complete transfiguration, at times making them disappear or moving them altogether (even if only within the imagination). Starting from Kendall Walton’s concept of make-believe, and its further elaborations by Elisa Caldarola, I propose the pavilion as a support that determines two types of imaginative play through the mechanisms of content-oriented make-believe, and prop-orientated make-believe. Inspired by the theory of installation art advanced by Elisa Cadarola, I then analyze some techniques used to configure the space and structure the public’s experience within the three works. In doing so, I show how, in Eichhorn’s Relocating a Structure, Schabus’ The Last Land and Nelson’s I, Impostor, the exhibition pavilion becomes an artistic resource.
Keywords: national pavilion, Venice Biennale, artistic resource, artistic intervention, installation art, exhibition space, content-oriented/ prop-oriented make believe
Citation suggestion: Buț, Georgiana. “Bienala de Artă de la Veneția: pavilionul ca obiect al intervenției artistice”. Transilvania, no. 1 (2024): 44-55.
Acknowledgement: Lucrarea a fost realizată în timpul unui stagiu la Istituto Romeno di Cultura e Ricerca Umanistica din Veneția, obținut cu sprijinul statului român prin programul național de burse „Nicolae Iorga,” desfășurat în 2022 și face parte din teza de doctorat cu titlul Expoziția de artă contemporanăca medium artistic (2023), elaborată de Georgiana Buț la Universitatea „Babeș-Bolyai” Cluj-Napoca, Școala Doctorală de Filosofie.
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