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| Bice Curiger The curator of the 54th International Art Exhibition ILLUMInations at the Venice Biennale | |
| The curator of the 54th International Art Exhibition of the Venice Biennale ILLUMInations is Bice Curiger (full name Beatrice Gabriella Livia Curiger). Graduate of the University of Zurich, art historian, critic and international curator, Curiger is a founder and editor-in-chief of the influential contemporary art magazine Parkett, published since 1984 in Zurich and New York. Since 1993 Curiger has been curator at the Kunsthaus Zurich. She is also the author of numerous authoritative publications, and since 2004 has been editorial director of the magazine Tate etc., published under the aegis of the Tate Gallery in London. Her predecessors as curators of the Biennale exhibition have included Daniel Birnbaum, Robert Storr, Francesco Bonami and the legendary Harald Szeemann. Curiger responded to Studija via email. | |
 Bice Curiger Courtesy La Biennale di Venezia | |
| Studija: In your opinion, what does the Venice Biennale mean to viewers and artists? And what does it mean to you this time? Bice Curiger: I think the Biennale is an outstanding institution for presenting contemporary art to a really broad public. For me it is also an opportunity to think about hidden possibilities and play with this sophisticated tool of an exhibition. Studija: Do you make up the exposition by selecting specific and already existing works of art? B.C.: No, I have tried to encourage the artists to do new works, and most of them are really presenting works created for the Biennale. Studija: Is there any “leading, central or most favorite” work of art among the others in the exposition? B.C.: Well, I want to show three paintings by the 16th century painter, Jacopo Tintoretto, which is meant to be a provocative gesture. But besides that, I would not want to favour other works in the show. Studija: Who are your authorities in art? B.C.: Every day new ones…! Studija: Do you see yourself more as a visible or invisible figure on the art scene? B.C.: Both, sometimes invisible, sometimes visible. Studija: What could help an artist to get noticed by you? B.C.: Quality – or at least, what I think is leading to it. Studija: What are the most powerful means of expression in contemporary art? B.C.: Surprise in a complex and intelligent way. Studija: What is the most potent art of today? What makes it powerful? B.C.: Intelligence and relevance. Studija: Does art have a national identity? What is its role in today’s world? B.C.: No, not the art work but the artist can have a national identity. But today these identities have become precarious and multifaceted. Studija: What to your mind has made the problem of identity and related issues so topical recently? Could the reason be apocalyptic premonition? B.C.: I do not see this in a pessimistic light – as long as it is dealt with in a very open-minded way. But there are people talking about a dreadful scenario seeing a McDonaldization of culture. Studija: Every living system has its limit. Could we say the same about the art scene? B.C.: Sure, the question is: What is the time span – 200 years? 20? 2000? | |
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