The central exhibition set up between the Gardens and the Arsenal redraws the maps of art and becomes the revenge of all those peoples who have been penalized for too long by the system

That it will not be a Biennial like all the others is clear when you find yourself in front of the entrance to the central pavilion of the Gardens, distorted in its original aesthetic by the Amazonian paintings in technicolorby the Mahku collective (Movimento dos Artistas Huni Kuin), which brought the spirit of the forest, animals and indigenous communities to the Lagoon.

All this, in perfect coherence and harmony with "Foreigners Everywhere - Foreigners everywhere", the title of the event chosen by the Brazilian Adriano Pedrosa, first curator Latin American history.

The main exhibition is ajourney into research, in-depth analysis, in openness to the different. We do the gymkhana among installations, photographs, performances, murals and above all paintings, there are so many, which come from far, far, far away.

Like the works in the Gardens of Chang Woosoung, a leading artist in the Korean tradition of ink painting, who with the painting “Atelier” (1943) recounts the modernized urban life conditioned by Japanese and Western colonization.

Or of Louis Fratino, star of figurative art today, who - a few meters from the works of Filippo de Pisis - presents brand new oils that explore the LGBTQ+ universe and the complex family dynamics that queer people face from childhood to adulthood. Or, again, of Teresa Margolles, who has always worked with the presence of death within and beyond the Mexican borders and with “Venezuelan Canvas” (2019) throws a silhouette imprinted with the blood of a murdered migrant in the public's face.

Among the musts of the Arsenale is the "Italians Everywhere" section: a real excursus among the works - all displayed on transparent glass panels inspired by the installation designed by Lina Bo Bardi - of Italian masters who lived much of their artistic life (and not only) abroad.

Above all, the painting signed by Domenico Gnoli on which the maxi sole of a shoe stands out shines with its own light. A usually invisible glimpse, which here transforms into the paradigm of invisibility to which many of the artists present in the Lagoon were forced.

Also at the Corderie dell'Arsenale, another work not to be missed is “Disobedience Archive” by Marco Scotini.

It is an archive of video images conceived in various phases that mixes artistic practices and political action. Since 2005 the project has been presented in various countries and has constantly changed its configuration, revealing forms of contemporary resistance.

On the occasion of the 60th edition of the Biennale, another two macro sections were included with as many as 40 films: "Diaspora Activism", which addresses transnational migratory processes and "Gender Disobedience", dedicated to breaking the absolute heterosexual binary.

patriarchy is, finally, at the center of the video “Void” by Joshua Serafin. To make the film, the multidisciplinary artist originally from Bacolod in the Philippines drew on the myths that tell the story of the creation of the archipelago of his homeland and, thanks to a queer performance, imagined a new tomorrow for a non-binary species, in realm of gender diversity.

Acting as the motif for all these creations are the luminous writings of the Claire Fontaine collective which Pedrosa considers the symbolic work of the entire Biennale.

More generally, as if wanting to sum up were a physiological necessity, it can be stated that "Foreigners everywhere" has succeeded in the feat of pushing the boundary a little further, putting once for all the West faced with the real proportions of the world.

The works chosen, in fact, are not all masterpieces but they overturn the order to which we have been accustomed since the dawn of time, putting in the foreground those who have always been relegated to the rear. However, “Foreigners Everywhere” is also a warning to all of us, who believe - who knows why - that we are the true fulcrum of the world.

Pedrosa, through artists from Asia, Africa, Central and South America and Oceania, tells us to reset the compass and rethink the territorial and historical coordinates of modernism. “There is time for all this to happen - said the curator himself - My exhibition involves 80 countries and among these also states that are not officially nations, such as Hong Kong, Puerto Rico and Palestine.

The Venetian exhibition will last seven months and I am sure that many things will change. Readings, interpretations and reviews will change. And I hope a lot of people learn something." To find out if this will really happen, we have to wait at least until November 24...