The Global South will be the protagonist of the 2024 Art Biennale: curator Adriano Pedrosa explains how he put handmade, craftsmanship and processes considered "extraneous" at the center of his research
“I promise you a lot of beauty”. A significant commitment, relaunched by the director Adriano Pedrosa during the conference presenting the new Biennale Arte of Venice.

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The sixtieth anniversary of the glorious history of the lagoon event which this year is entitled "Foreigners Everywhere" and looks beyond the borders of the West, beyond the frontiers of art considered by many as the 'official' one.

The title is inspired by a series of works created since 2004 by the Claire Fontaine collective, born in Paris but based in the heart of the city of Palermo.

“Wherever you go - said the curator of Brazilian origins, who has brilliantly coordinated the Museu de arte of Sao Paolo for about a decade - in any place you are you will always meet foreigners: they are, or rather, we are everywhere. Regardless of where you are, at the end of the day, deep down we are all foreigners. Here, the 2024 Art Biennale will be a celebration of them."

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This concept almost seems like the natural continuation of the Architecture Biennale (read the dedicated article here) just concluded, where the most debated concepts were decolonization and emigration.Even on the occasion of the event which will take place in Laguna from 20 April to 24 November the themes will be more or less the same. Declined through the works of great outsiders, representatives of queer culture (such as Evelyn Taocheng Wang or Louis Fratino), but also indigenous, folk, immigrants , expatriates, diasporics, émigrés, exiles.

In total there will be 332, divided into two maxi chapters which make up the great novel in the history of extra-European creativity.

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The first of these chapters, set up in the Corderie, is dedicated to the contemporary and will be told through painting, sculpture and textile art thanks to the works of artists such as Yinka Shonibare,Pacita Abad and LizCollins.

The second, in the spaces of the Central Pavilion at the Giardini, will instead focus all its attention on the past by staging works created in the 1900s in South America, Africa, Asia and the Middle East.

Precisely in the central pavilion, whose façade will be dominated by a gigantic mural created by the Brazilian collective Mahku, the main exhibition will branch into three other subsections : the first is dedicated to Portraits and will feature highly emotional sculptures and paintings by 112 artists (including LeeQuell, Cìcero Diaz and Selwyn Wilson); the second, called Abstractions, will collect the visions of 37 exponents such as Eduardo Terrazas and Samir Halaby; while the third, defined as the Italian artistic diaspora of the 20th century, will bring on stage all those Italian artists - from Lidy Prati to Gianni Bertini - who have chose to establish their creative bases outside their country.

Acting as a leitmotif for this last thematic area, the glass easel installation inspired by the one developed by the Italian-Brazilian architect Lina Bo Bardi, to whom three years ago the Golden Lion in memory was awarded.

In total there will be ninety national participations located in the Pavilions in the Giardini and the Arsenale, as well as in various points of the historic center of Venice (two years ago there were eighty).

Four new entries: Ethiopia, Tanzania, Benin, Timor Leste.

The return of the Holy See Pavilion is also highly anticipated and this year it will show off one of the most anticipated projects of the entire event. Curated jointly by Chiara Parisi and Bruno Racine, director of Palazzo Grassi, it will be entitled Come i mie occhi and will be set up in the Female prison house of Giudecca. Finally, there will be around thirty collateral events.

Among which the exhibition City of Refuge III of the great Belgian sculptor Berlinde De Bruyckere at the Abbey of San Giorgio Maggiore, as well as that of the pioneer of European street art Ernest Pignon shine with their own light -Ernest at the Espace Vuitton a stone's throw from Piazza San Marco and the solo exhibition of the Polish painter Ewa Juszkiewicz with her female portraits inspired by Arcimboldo and the Flemish paintings with the provisional title A masked ball , organized thanks to the Fundación Almine y Bernard Ruiz-Picasso of Madrid.