Codice Italia

The curator of the Padiglione Italia at the 56th Venice Art Biennale, Vincenzo Trione, gives Domus a sneak peek at his exhibition project exploring the peculiarities of Italian style.

Vincenzo Trione Codice Italia 56. Biennale Venezia
Vincenzo Trione, art critic, professor of Art & New Media and the History of Contemporary Art at IULM in Milan, and author of Effetto città, presented in the November issue of Domus, is the curator of the Padiglione Italia at the 56th Venice Art Biennale opening next May.
Appointed by Culture Minister Franceschini a few days ago, Trione was selected from a shortlist of ten candidates (Mauro Codognato, Cristiana Collu, Lorenzo Giusti, Gianfranco Maraniello, Letizia Ragaglia, Francesco Stocchi and Andrea Viliani), who all presented their exhibition projects. He gives Domusweb advance insight into his project, in many aspects still “confidential” and work-in-progress until next February.
Vista esterna del Padiglione Italia, all'Arsenale
Top: Vincenzo Trione, curator of the Padiglione Italia at the 56th Venice Art Biennial. Aurelio Amendola. Above: external view of the Padiglione Italia, Arsenale, 2010. Photo Giulio Squillacciotti. Courtesy la Biennale di Venezia

How did you come up with the exhibition title “Codice Italia” (“The Italian Code”)?

“Codice Italia” references the Italian genetic code. My project was born very simply – out of a need to understand whether or not there is a peculiar Italian style. The Italian pavilions have often limited themselves to offering a phenomenological overview. I would rather look at the Italian art scene and highlight its stylistic peculiarity.

Vincenzo Trione, curatore del Padiglione Italia alla 56. Biennale d'Arte di Venezia
Vincenzo Trione, curator of the Padiglione Italia at the 56th Venice Art Biennial. Photo Aurelio Amendola

What artists and from which generations will be featured?

There should be about 10-15 featured artists. I have tried to be extremely fair both geographically, bringing in artists from all over Italy, and in terms of age. It is my intention to show at least one significant work per artist, specially created for the occasion and in response to the theme. As Fabro and Merz had already realised, “Codice Italia” is founded on a very subtle mix of scandalous action and a constant return to memories - from autobiographical to historic and artistic ones. I would like identify those who have focused on this need, from Arte Povera to the present day.

 

Vista esterna del Padiglione Italia, all'Arsenale, 2010 Photo Giulio Squillacciotti. Courtesy la Biennale di Venezia
External view of the Padiglione Italia, Arsenale, 2010. Photo Giulio Squillacciotti. Courtesy la Biennale di Venezia

You only want to exhibit new works but the deadline is fast approaching…

I have worked to tight schedules before, at the Foro Romano for example. It doesn’t throw me and the scouting phase is what I find most fascinating. I would also like to identify some very young voices, choosing five or six artists. I also want to create a separate chapter on the youngest generations at the end of the exhibition route.

Have you developed any ideas on the spatial design yet?

I and the architect Giovanni Francesco Frascino have already developed a detailed project and all parts of the exhibition design are clearly defined – from the walls to the single design details. My partnership with Frascino is a consolidated one as we worked together on the De Chirico exhibition and “Valencia 09-Confines”, both at the IVAM.

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