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Journal articles on the topic 'Biennale Teatro di Venezia'

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Author: Grafiati

Published: 10 March 2023

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1

Salvatori Maldonado, Pía. "Dos montajes chilenos en la Biennale di Venezia 2019." Investigación Teatral. Revista de artes escénicas y performatividad 11, no. 17 (May 29, 2020): 174–81. http://dx.doi.org/10.25009/it.v11i17.2633.

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Durante la 47 versión de la Biennale di Teatro1 se presentaron, por primera vez en la historia de este encuentro internacional –realizado desde 1934–, dos obras chilenas y las únicas latinoamericanas que se han mostrado en este foro: Realismo (2016) y Estado vegetal (2017), de la dramaturga Manuela Infante. Se trata de un momento prolífico para la visibilidad de algunas manifestaciones artísticas chilenas en el extranjero,2 esto debido a la autogestión, la intervención del sistema privado –como fundaciones, asociaciones o centros culturales– y el paulatino interés de la institucionalidad estatal que, desde algunos años, comenzó a identificar, entre sus prioridades de política cultural, “potenciar la difusión, circulación y exhibición internacional” (“Política nacional” 84).Recibido: 06 de septiembre de 2019Aceptado: 26 de febrero de 2020

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2

Vázquez, Angélica González. "La biennale di Venezia." MODOS: Revista de História da Arte 5, no. 2 (May 27, 2021): 293–305. http://dx.doi.org/10.20396/modos.v5i2.8665180.

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En este artículo de reflexión proponemos abordar la historia de la Bienal de Venecia a través de varios enfoques, el primero en relación a la historia de su modelo expositivo, el segundo en relación a la construcción de la memoria del evento a través de su archivo histórico y el tercero en relación a su actualidad a través de la última versión presentada, la 58ª Bienal de Venecia que lleva por título May you live in interesting times. El artículo busca situar la importancia de este mega-evento aún en tiempos de coyunturas difíciles que no constituyen una excepción de la actualidad sino son consustanciales a la trayectoria de esta institución.

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3

Norman, Will. "Exhibition: La Biennale di Venezia." British Journal of General Practice 65, no. 637 (July 26, 2015): 424. http://dx.doi.org/10.3399/bjgp15x686353.

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4

Spielmann, Yvonne. "Exhibition: La Biennale di Venezia." Leonardo 39, no. 2 (April 2006): 172–73. http://dx.doi.org/10.1162/leon.2006.39.2.172.

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5

Rocco, Renata Dias Ferraretto Moura. "Considerações sobre a I Bienal de São Paulo." Revista de História da Arte e da Cultura 1, no. 1 (July 10, 2020): 105–22. http://dx.doi.org/10.20396/rhac.v1i1.13627.

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Este artigo tem como objetivo a discussão de alguns aspectos apontados na correspondência enviada pelo crítico de arte Marco Valsecchi ao secretário da Biennale di Venezia, Rodolfo Pallucchini, em novembro de 1951, a propósito de suas impressões acerca da primeira Bienal de São Paulo. Esta correspondência localizada no Arquivo da Biennale di Venezia é bastante relevante na medida em que ilumina não somente a opinião e expectativas dos italianos sobre a mostra brasileira, mas também os bastidores de sua realização.

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6

Bertelé, Matteo. "Sergei Diaghilev and the “VII Esposizione Internazionale d’arte di Venezia,” 1907." Experiment 17, no. 1 (2011): 94–124. http://dx.doi.org/10.1163/221173011x611851.

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Abstract Based on previously unpublished archive material, the text details the troubled organization of the Russian Hall commissioned by Sergei Diaghilev for the Venice Biennale of Fine Arts in 1907. Its focus is on the correspondence between the “Esposizione”’s Secretary General, Antonio Fradeletto, and Diaghilev, a discourse saturated by national stereotypes and mutual ignorance, which, because of mistrust and deep incompatibilities, ends up relying on a wide network of mediators, among which figure international diplomats and socialites.

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7

MITHLO, NANCY MARIE. "REAPPROPRIATING REDSKINS:PELLEROSSASOGNA(RED SKIN DREAM): SHELLEY NIRO AT THE 50TH LA BIENNALE DI VENEZIA." Visual Anthropology Review 20, no. 2 (September 2004): 22–35. http://dx.doi.org/10.1525/var.2004.20.2.22.

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8

Tanapant, Samustpon. "Book Review: Beyond Bending: Reimaging Compression Shells." Journal of Architectural/Planning Research and Studies (JARS) 16, no. 1 (June 26, 2019): 139–44. http://dx.doi.org/10.56261/jars.v16i1.192576.

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สาระในหนังสือเล่มนี้คือสัมฤทธิ์ผลที่เกิดจากการศึกษาภายใต้กรอบแนวคิดการวิจัย (Research framework) 5 ประเด็น คือ 1) การวิเคราะห์โครงสร้างที่เกิดจากการก่อ (Analysis of masonry structure) 2) การศึกษาการออกแบบและพัฒนาโครงสร้างด้วยแผนภาพแรง (Graphical analysis and design methods) 3) การใช้ระเบียบวิธีเชิงคอมพิวเทชั่นในการค้นหารูปทรงของโครงสร้างที่เหมาะสม (Computational form finding and optimization) 4) การออกแบบเพื่อการประกอบแบบไร้วัสดุประสาน (Design of discrete assemblies) และ 5) ระบบการผลิตและก่อสร้างด้วยเทคโนโลยีดิจิทัลแฟบริคเคชั่น (Digital fabrication) โดยกลุ่มวิจัยบล็อก (The Block Research Group : BRG) สถาบันเทคโนโลยีแห่งสหพันธ์สวิสในซูริก ภายใต้การนำของศาสตราจารย์ ด็อกเตอร์ ฟิลิป บล็อก และ ด็อกเตอร์ ทอม เวน เมล หนังสือเล่มนี้แบ่งเนื้อหาออกเป็น 2 ส่วนตามสาระที่ถูกจัดแสดงในนิทรรศการสถาปัตยกรรมนานาชาติ เวนิสเบียนาเล่ พ.ศ. 2559 (La Biennale di Venezia, the 15th International Architecture Exhibition in 2016) ซึ่งประกอบด้วย 1) Beyond Bendingและ 2) The Making of the Armadillo Vault เนื้อหาทั้ง 2 ส่วนนี้ไม่เพียงนำเสนอฐานความรู้เชิงทฤษฎีและกรณีศึกษาต่าง ๆ ของกลุ่มวิจัยบล็อกเท่านั้นแต่ยังนำเสนอความรู้เชิงเทคนิค ระเบียบขั้นตอนการออกแบบ การผลิต การประกอบ และก่อสร้างทุกขั้นตอนตลอดจนไปถึงการรื้อถอนโดยละเอียด

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9

Bravo, Luisa. "Academic Learning about Public Space. Knowledge Sharing toward Implementation of the New Urban Agenda." Journal of Public Space, Vol. 4 n. 4 (December 31, 2019): 109–14. http://dx.doi.org/10.32891/jps.v4i4.1244.

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In September 2018 City Space Architecture organized a three day event in Venice titled ‘Knowledge sharing toward implementation of the New Urban Agenda’, included in the ‘Past Present and Future of Public Space’ international conference series started in 2014 with an inaugural three day event in Bologna. City Space Architecture signed a cooperation agreement with La Biennale di Venezia within the 16th International Architecture Exhibition (Venice Architecture Biennale) - titled FREESPACE, curated by Yvonne Farrell and Shelley McNamara[1] - in order to be included in the ‘Biennale Sessions’, a special program for Universities and Higher Education Institutions. The 2018 conference in Venice was organized in partnership with UN-Habitat, ISOCARP – the International Society of City and Regional Planners, University of Auckland (New Zealand), and Hunan University (China). It was willing to strengthen City Space Architecture's efforts around the implementation of the New Urban Agenda adopted at the Habitat III conference and to continue the discussion on the importance of public space in cities, with the participation of students and young researchers. [1] 16th International Architecture Exhibition FREESPACE, curated by Yvonne Farrell and Shelley McNamara: https://www.labiennale.org/en/architecture/2018.

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10

Turchi, Roberta. "Illustrazioni per La Trilogia della villeggiatura." Quaderni d'italianistica 36, no. 1 (January 27, 2016): 173–92. http://dx.doi.org/10.33137/q.i..v36i1.26278.

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Nel Settecento, Venezia continuò a ricoprire un posto di assoluto rilievo anche nella tradizione del libro illustrato. Con le vignette delle edizioni Pasquali e Zatta, Pietro Antonio Novelli fu uno dei primi acuti interpreti del teatro di Carlo Goldoni. Soprattutto con le illustrazioni della Zatta il pittore ci ha tramandato immagini legate all’evento teatrale. Nel contributo si prendono in esame quelle relative alla Trilogia della villeggiatura, cui guardò anche Giorgio Strehler per le regie del capolavoro goldoniano.

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11

Charitonidou, Marianna. "Exhibitions in France as Symbolic Domination: Images of Postmodernism and Cultural Field in the 1980s." Arts 10, no. 1 (February 12, 2021): 14. http://dx.doi.org/10.3390/arts10010014.

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The article examines a group of exhibitions that took place in the late seventies and early eighties and are useful for grasping what was at stake regarding the debates on the tensions between modernist and post-modernist architecture. Among the exhibitions that are examined are Europa-America: Architettura urbana, alternative suburbane, curated by Vittorio Gregotti for the Biennale di Venezia in 1976; La Presenza del passato, curated by Paolo Portoghesi for the Biennale di Venezia in 1980; the French version of La presenza del passato—Présence de l’histoire, l’après modernisme—held in the framework of the Festival d’Automne de Paris in 1981; Architectures en France: Modernité/post-modernité, curated by Chantal Béret and held at the Institut Français d’Architecture (18 November 1981–6 February 1982); La modernité, un projet inachevé: 40 architectures, curated by Paul Chemetov and Jean-Claude Garcias for the Festival d’Automne de Paris in 1982; La modernité ou l’esprit du temps, curated by Jean Nouvel, Patrice Goulet, and François Barré and held at the Centre Pompidou in 1982; and Nouveaux plaisirs d’architecture, curated by Jean Dethier for the Centre Pompidou in 1985, among other exhibitions. Analysing certain important texts published in the catalogues of the aforementioned exhibitions, the debates that accompanied the exhibitions and an ensemble of articles in French architectural magazines such as L’Architecture d’aujourd’hui and the Techniques & Architecture, the article aims to present the questions that were at the centre of the debates regarding the opposition or osmosis between the modernist and postmodernist ideals. Some figures, such as Jean Nouvel, were more in favour of the cross-fertilisation between modernity and postmodernity, while others, such as Paul Chemetov, believed that architects should rediscover modernity in order to enhance the civic dimension of architecture. Following Pierre Bourdieu’s approach, the article argues that the tension between the ways in which each of these exhibitions treats the role of the image within architectural design and the role of architecture for the construction of a vision regarding progress is the expression of two divergent positions in social space.

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12

Quinziano, Franco. "Ecos cervantinos en los escenarios italianos del XVIII. Baretti y Corsetti: dos modelos de apropiación e inversión." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 111. http://dx.doi.org/10.17811/cesxviii.26.2016.111-135.

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RESUMENLa presencia del Quijote en los escenarios italianos del XVIII constituye aún un campo parcialmente abonado por la crítica. Las diversas recreaciones cervantinas del período nos hablan de una importante presencia y recepción de temas y motivos en la cultura italiana, siendo estas piezas —no sólo las óperas serias o bufas, sino también las composiciones cómicas breves— verdaderas canteras aún por explorar. En dicha perspectiva se examinan dos intermezzi de clara derivación quijotesca, Don Chisciotte a Venezia (Baretti) y Don Chisciotte nella selva di Alcina (Corsetti), en los que la figura del caballero andante, implantado en ambientes festivos y carnavalescos, es despojada de toda dignidad literaria, al tiempo que se percibe una inversión en la configuración de su perfil moral. Ambas piezas confirman este proceso de apropiación e inversión en el que se plasman nuevas reencarnaciones del famoso hidalgo, recargando las tintas sobre los componentes satíricos y paródicos, a través de un proceso de reelaboración textual en el que la comicidad se desplaza hacia ámbitos decididamente grotescos y caricaturescos.PALABRAS CLAVEQuijote, recreaciones cervantinas, teatro musical, siglo XVIII, Baretti, Corsetti. TITOLOPresenze cervantine negli scenari italiani del Settecento. Baretti e Corsetti: due modelli di appropriazione e inversioneSOMMARIOLa presenza e ricezione del Quijote negli scenari italiani del Settecento costituisce ancora un campo parzialmente affrontato dalla critica. I diversi rifacimenti del periodo per il teatro musicale ci parlano di una importante presenza e ricezione di temi e motivi cervantini nella cultura italiana, essendo questi componimenti —non solo le opere serie o buffe, ma anche i sottogeneri comici e giocosi brevi— vere e proprie miniere da esplorare. In questa prospettiva lo studio esamina due brevi libretti di chiara derivazione chisciottesca, Don Chisciotte a Venezia (Baretti) e Don Chisciotte nella selva di Alcina (Corsetti), in cui la figura del cavalliere errante, inserito in ambienti festivi e carnavaleschi, è spogliata di ogni dignità letteraria, al tempo che si profila un processo di rovesciamento e inversione del suo profilo morale. Questi due intermezzi confermano un singolare processo di appropriazione e di rovesciamento rispetto al romanzo cervantino, in cui si plasmano nuove reincarnazioni del celebre protagonista, enfatizzando gli elementi satirici e parodici attraverso un processo di rielaborazione testuale in cui la comicità si sposta verso contesti decisamente grotteschi.PAROLE CHIAVIDon Chisciotte, rifacimenti cervantini, teatro musicale, Settecento, Baretti, Corsetti.

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Lawrance, Benjamin N. "Ghana Freedom: Ghana Pavilion at the 58th International Art Exhibition La Biennale di Venezia (11 May–24 November 2019)." Ghana Studies 22, no. 1 (2019): 223–30. http://dx.doi.org/10.3368/gs.22.1.223.

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Riding, James. "Representing a divided place: the artistic-military practice of Mladen Miljanović." cultural geographies 24, no. 1 (June 22, 2016): 171–80. http://dx.doi.org/10.1177/1474474016647372.

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This essay on the work of the Bosnian artist Mladen Miljanović, born in Zenica, Yugoslavia, in 1981, is wrought around an account of the divided place in which his art is mobilised. Following a short military term, Miljanović enrolled at the Academy of Arts, in Banja Luka, where he still lives. A potent opposition to a divisive ethno-nationalist politics ever-present in the post-conflict, post-socialist, transition era of Bosnia-Herzegovina, Miljanović deploys what he calls an artistic-military practice. Incorporating cartographic and military surveying techniques learnt at a reserve officer military school, Miljanović deconstructs his own soldierly past and interrogates, through his artistic-military practice, an ethno-nationalist militarised Bosnia-Herzegovina. I focus in the main here on the artist’s recent attempt to represent post-conflict Bosnia-Herzegovina at the 55th Biennale di Venezia, a granite triptych entitled, The Garden of Delights.

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15

Karlholm, Dan. "Filtering Futures La Biennale di Venezia. 56th International Art Exhibition, 2015. All the World's Futures. Artistic director and curator: Okwui Enwezor." Konsthistorisk tidskrift/Journal of Art History 84, no. 4 (October 2, 2015): 248–51. http://dx.doi.org/10.1080/00233609.2015.1115428.

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16

Luppi, Andrea, and Ivano Cavallini. "I due volti di Nettuno. Studi su teatro e musica a Venezia e in Dalmazia dal Cinquecento al Settecento." International Review of the Aesthetics and Sociology of Music 26, no. 2 (December 1995): 254. http://dx.doi.org/10.2307/837004.

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17

Laccone, Francesco, Luigi Malomo, Marco Callieri, Thomas Alderighi, Alessandro Muntoni, Federico Ponchio, Nico Pietroni, and Paolo Cignoni. "Design And Construction Of a Bending-Active Plywood Structure: The Flexmaps Pavilion." Journal of the International Association for Shell and Spatial Structures 63, no. 2 (June 1, 2022): 98–114. http://dx.doi.org/10.20898/j.iass.2022.007.

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Mesostructured patterns are a modern and efficient concept based on designing the geometry of structural material at the meso-scale to achieve desired mechanical performances. In the context of bending-active structures, such a concept can be used to control the flexibility of the panels forming a surface without changing the constituting material. These panels undergo a formation process of deformation by bending, and application of internal restraints. This paper describes a new constructional system, FlexMaps, that has initiated the adoption of bending-active mesostructures at the architectural scale. Here, these modules are in the form of four-arms spirals made of CNC-milled plywood and are designed to reach the desired target shape once assembled. All phases from the conceptual design to the fabrication are seamlessly linked within an automated workflow. To illustrate the potential of the system, the paper discusses the results of a demonstrator project entitled FlexMaps Pavilion (3.90x3.96x3.25 meters) that has been exhibited at the IASS Symposium in 2019 and more recently at the 2021 17th International Architecture Exhibition, La Biennale di Venezia. The structural response is investigated through a detailed structural analysis, and the long-term behavior is assessed through a photogrammetric survey.

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Lawrance, Benjamin N. "Ghana Freedom: Ghana Pavilion at the 58th International Art Exhibition La Biennale di Venezia (11 May–24 November 2019) by Nana Oforiatta Ayim." Ghana Studies 22, no. 1 (2019): 223–30. http://dx.doi.org/10.1353/ghs.2019.0011.

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19

Spielmann, Yvonne. "La Biennale di Venezia 52nd International Art Exhibition. “Think with the Senses—Feel with the Mind. Art in the Present Time,” curated by Robert Storr, 6 June–21 November 2007, Venice, Giardini and Arsenale and other venues." Leonardo 41, no. 2 (April 2008): 196–97. http://dx.doi.org/10.1162/leon.2008.41.2.196.

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20

"Biennale di Venezia includes music/electronics exhibition." Journal of the Acoustical Society of America 80, no. 5 (November 1986): 1549. http://dx.doi.org/10.1121/1.394371.

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21

Dulguerova, Elitza. "Esposizione Internazionale d’Arte, La Biennale di Venezia, 1895-2019." Critique d’art, May 29, 2020. http://dx.doi.org/10.4000/critiquedart.61723.

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22

Zacchini, Simone. "Il Padiglione dell’Istituto Italo-Latino Americano alla Biennale di Venezia. Storia di un progetto d’identità culturale." Quaderni Culturali IILA 1, no. 1 (March 1, 2022). http://dx.doi.org/10.36253/qciila-1520.

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In the area of interest about the perception of Latin American art in Italy, the article focuses on the role played by the Italo-Latin American Institute (IILA) for the promotion of Latin American art in Italy, in particular through its repeated participation in the Venice Biennale International Exhibition with its own pavilion.

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23

Boccali, Renato. "Riconfigurare il trauma: rappresentazione, presentazione, testimonianza." Altre Modernità, May 8, 2022, 19–32. http://dx.doi.org/10.54103/2035-7680/17804.

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Il saggio indaga le modalità attraverso le quali l’opera d’arte riesce a riconfigurare le esperienze traumatiche incidendo sulle dinamiche con cui esse si iscrivono nei contesti collettivi. I processi creativi di modellizzazione offerti dall’opera d’arte generano un effetto di trasgressione che apre un campo figurale in cui il trauma si fa immagine e si dà a vedere. Tre sono le principali strategie esaminate: quella della rappresentazione, quella della presentazione, quella della testimonianza. Si tratta di tre diverse modalità estetiche di riconfigurazione del trauma che verranno analizzate attraverso le opere di Nelson Rangelosky, Teresa Margolles e Shilpa Gupta, esposte durante la Biennale Arte di Venezia del 2019 curata da Ralph Rugoff.

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24

Stefani, Gianluca. "Uno scenografo e un impresario: il contratto Madonis-Bellavite al teatro Sant’Angelo di Venezia (1724)." Drammaturgia, April 11, 2022, 435–61. http://dx.doi.org/10.36253/dramma-13554.

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On 24 January 1724, the Veronese set designer Innocente Bellavite signed a contract with the impresario Antonio Madonis to create the sets for the operas at the Teatro Sant’Angelo in the 1724-1725 season. The contract, broken by when he entered the pay of Antonio Denzio’s company in Bohemia, is a rare testimony of the clauses established between a set designer and an impresario in Venetian theatres at that time. By highlighting this unpublished document for the investigation of Baroque scenography, this contribution adds new details to the laconic biographies of two overly neglected protagonists of early 18th-century European theatre.

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25

Poggi, Christine. "Christine Poggi. Review of "La Biennale di Venezia. 56th International Art Exhibition: All the World’s Futures" by Okwui Enwezor." caa.reviews, May 18, 2016. http://dx.doi.org/10.3202/caa.reviews.2016.62.

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26

Wainwright, Lisa. "Lisa Wainwright. Review of "La Biennale di Venezia. 56th International Art Exhibition: All the World’s Futures" by Okwui Enwezor." caa.reviews, May 18, 2016. http://dx.doi.org/10.3202/caa.reviews.2016.63.

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27

Bloom, Lisa. "Lisa E. Bloom. Review of "La Biennale di Venezia. 56th International Art Exhibition: All the World’s Futures" by Okwui Enwezor." caa.reviews, May 18, 2016. http://dx.doi.org/10.3202/caa.reviews.2016.64.

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28

Badolato, Nicola. "«Non ho scritto una tragedia, ma un drama per le scene di Venezia»: i libretti di Adriano Morselli per il San Giovanni Grisostomo (1688-1692)." Drammaturgia, December 15, 2022, 53–103. http://dx.doi.org/10.36253/dramma-14132.

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This paper examines a series of drammi per musica written by Adriano Morselli during the last years of his own career as librettist for the Teatro di S. Giovanni Grisostomo in Venice: Amulio e Numitore (1689), Pirro e Demetrio (1690) and L’incoronazione di Serse (1691), with music by Giuseppe Felice Tosi; La pace fra Tolomeo e Seleuco (1691) and L’Ibraim sultano (1692), with music by Carlo Francesco Pollarolo. Investigating a series of topoi and dramaturgical devices that place this works in the wake of the writing conventions of late seventeenth-century Venetian opera, the paper takes into consideration the dramatic models employed by the poet, with their direct influences from the classical French theatre. This allows us to consider Morselli’s libretti as an example of a poetic trend, only partially studied by theatrologists and musicologists, which flourished in Venetian opera during the last quarter of the 17th century.

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Arranz, Félix, and Jorge Badia Rodríguez. "Vogadors: Catalan & Balearic Threads: Hard Materiality for a Permeable Architecture: Exposición del Pabellón (Eventi Collaterali) de Cataluña y Baleares en la Biennale di Venezia 2012." Palimpsesto, no. 05 (June 2012). http://dx.doi.org/10.5821/pl.v0i5.1260.

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