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2.6.03


Gearing Up for the Biennale: Bonami, Kippenberger, More
Artforum 2.6.03
BONAMI BEGS TO DIFFER
Bonami indicates that the Biennale will differ from another large-scale, high-profile international festival—the recent Documenta 11—in several important respects. The lengthiness of the videos at Documenta 11 (more than three hundred hours of viewing altogether) was problematic for Bonami. "I only want to show videos that, first, are short and, second, can be comprehended immediately."
And, while the last Documenta concentrated on "documents of the world," Bonami hopes to show "art as a metaphor for the world."

NEW HEADQUARTERS FOR THE BIENNALE
According to a report in La Repubblica, the Punta della Dogana could become the new headquarters for the Venice Biennale. Originally, the Guggenheim Foundation had its eye on the former customs house, which is located at the opening of the Canale Grande just across from the Piazza San Marco. In 1995, the foundation signed a special agreement with the city of Venice in hopes of using the prestigious site to expand its exhibition space. But the Guggenheim's project never materialized, and now both the municipality and the Biennale are working on a plan to set up the festival's offices, as well as an exhibition space, in the building.




Les squatters restent dans le Carrosse
Libération 2.6.03
Pour la première fois, dans un procès opposant un squat (artistique parisien) à un propriétaire (d'une ancienne carrosserie du XXe arrondissement), un jugement favorable aux occupants a été rendu. En dépit de la plainte, la juge a décidé qu'il n'y avait pas lieu d'expulser le Carrosse. A deux conditions : que les artistes payent 400 euros d'indemnité par mois, et qu'ils quittent les lieux dès que les propriétaires justifieront d'un projet d'exploitation des locaux.

Leoncavallo show
Il Manifesto 1.6.03
Va bene, non hanno mai voluto o potuto pagare l'affitto e lo sfratto è in corso, è vero, per ora soluzioni all'orizzonte se ne vedono poche, ma al centro sociale Leoncavallo the show must go on. Ieri sera dopo una maratona interminabile - in corteo dalla periferia di via Watteau fino in piazza della Scala - migliaia di ragazzi e ragazze sono rientrati nello storico centro sociale milanese per assistere a uno spettacolo di solidarietà che è stato più di un concerto. Perché sul palco per chiedere che il Leoncavallo rimanga dove è c'erano Modena City Ramblers, Francesco Baccini, Piero Pelù e anche Enzo Jannacci, un mix inedito di personalità artistiche capaci di soddisfare palati differenti, come lo sono ormai le migliaia di persone che vivono il Leoncavallo come una specie di istituzione che, comunque la si pensi, nessuno vorrebbe veder scomparire.




All'assalto dei media Usa
Il Manifesto 1.6.03
I grandi gruppi favoriti da una riforma di legge. No a Murdoch. Mobilitazione in America contro una norma che favorisce le grandi concentrazioni.
Si tratta di una normativa studiata per favorire i conglomerati «veriticalmente integrati», che controllano giornali, emittenti, studios e pubblicità. In particolare, a trarne benificio sarà l'impero Murdoch che batte cassa per l'eccellente lavoro svolto sul fronte interno durante l'attacco all'Iraq con un indefessa opera di fiancheggiamento attraverso gli schermi di Fox News, virtuale ufficio stampa dei falchi del dipartimento della difesa.


1.6.03


Do look now
The Guardian 31.5.03
So what will the 50th Biennale be like? As always, a thoroughly mixed bag. But if there is one big story it is that painting - a medium that has been scorned, ignored, mocked and left for dead by previous Biennale directors - will be coming in for special treatment.




Remembering Cannes 2003: Worst Festival Ever
The New York Times 1.6.03
The shock of this Cannes was the overall mediocrity of the official competition slate, which, by the time the awards were announced last Sunday, had overwhelmed even the most tolerant and optimistic observers.
It was widely noted that, while four of the films competing for the Palme d'Or were French, a far greater number had at least some French financing. In an interview in Le Monde, Gilles Jacob, the president of the Board of Directors, insisted that this was evidence not of cronyism or parochialism, but of France's "profound interest in diversity," and was a sign of the French film industry's good health. Further, he observed that the American studios had offered "a dearth of films that have both great artistic quality and popular appeal."
No argument here. But Mr. Jacob's accusation would have carried more weight if either artistic quality or popular appeal had been more strongly in evidence among the hodgepodge of odd, bad, puzzling, boring, amusing and sometimes not-too-terrible films that dominated the program. In a festival consecrated to the work of established and emerging masters, the list of directors whose new films were not in competition was remarkable: Ingmar Bergman, Wong Kar-Wai, Joel and Ethan Coen, Robert Altman, Bernardo Bertolucci, Emir Kusturica, on and on. What a festival that might have been.