Burrasca’s interest is to test biennials’ ability to be an experimental tool having ever changing contours and representing a site for critical experimentation as a vital alternative to museums and other institutions – whose inertia sometimes do not allow them to respond with flexibility to contemporary art development – or, otherwise, if the biennial has become just a fashionable and mundane event with no particular content.
Description: Since the Biennale was born in 1895 a lot of institutions have inherited its name due to its wide success; The first Architecture Biennale, for example, was opened in Venice in 1980 radically affecting Architecture’s means of communication. Over the years, “Biennial” has been used in referring to a vast landscape of different frequent exhibitions.
In this issue, we reflect on the role of the biennial as critical public event and the curatorial responsibility it requires in two interviews: one with Paolo Portoghesi and the other with Joseph Grima. Starting from these interviews, Burrasca attempt is to highlight the latent dichotomy that seems to emerge among other contributions: some looking at the past others at the future, some more reflective others rather descriptive…
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