Gianluca Costantini ARTS APPLIQUES | ARTI APPLICATE
“Je crois dans les façons de faire qui dérivent d’une vieille loi, lorsque l’on dansait à un rythme différent”. Dead Can Dance
Souvent, la nature bouge en suivant le ballet déroulé sur une scène de perles bleues, le ciel est l’échange de fuite d’un noir architectural toujours plus noir, échanges de kaléidoscope dans le gardien du jardin avec coton de nuages, car la peinture est un tourment obscur de rien avec des tapis sourds équilibrés, demain une punition géométrique/mystique à la victime menteuse et innocente, une couronne d’épines avec des roses dans les yeux de pluie sur le front, des romanciers incarnés en cercles couleur de mot dans la restauration abandonnée, je cours pour moitié avec la sainte années soixante pendant une joyeuse intimité.
Je chronomètre que je n’ai jamais tué l’échange entre l’homme et l’animal, on m’accuse d’excès de vitesse. Tu semblais masquée très froidement et avec colme, une bonne actrice contre moi avec la forme d’une longue accusation d’enfant en colère contre son père pali et le coeur jusqu’ou genou d’à côté.
Prendre le médicament de gouttes de réaction tomber, pâlir. La fin de l’été est prolongée por les routes des ombres, elle marche en arrivant elle marche cygnes éteignent la lumière du feu du talent. Tu es confiant dominant de vieux qui emprisonnent, égoïstes du ire. Pourquoi? Non pas un siège petit et dur ému et manipulé, des revues de femmes mouillées, mettent en évidence très clairement et prétendent t’exciter folles de plumes. Un coeur brun à l’église dimanche détache d’autres étages. Mais il pense en t’étonnant agiter apeuré d’une aube interrompue por des bizarreries de cuisine. Je ne sais pas si tu as déjà vu la galerie de Stockon Street à Broadway dans les journaux excentriques de terre grêlée.
“Io credo nei modi di una vecchia legge quando noi danzammo a un differente tamburo.” Dead Can Dance.
La natura spesso si muove seguendo il balletto srotolato su un palcoscenico di perle blu, il cielo è lo scambio di fuga di una nerezza architettonica di tanto poi tanto, scambi di caleidoscopio dentro iI guardiano del giardino con cotone di nuvole, perché dipingere è un tormento oscuro di niente con tappeti sordi bilanciati, domani una punizione geometrica/mistica alla vittima bugiarda e innocente, una corona di spine con rose negli occhi di pioggia sulla fronte, romanzieri incarnati in cerchi color di parola nel restauro abbandonato, corro per metà con la santa anni sessanta durante una festosa intimità. Cronometro di non avere mai ucciso lo scambio tra uomo e animale, mi si accusa d’eccesso di velocità. Sembravi mascherata molto freddamente e con calma, una brava attrice contro di me con la forma di una lunga accusa di bambina arrabbiata con iI padre impallidito e il cuore usato fino al ginocchio accanto.
Prendere la medicina di gocce di reazione cascare, ìmpllidire. La tarda estate è prolungata dalle strade delle ombre, cammina raggiungendo cammina, i cigni spengono la luce del fuoco del talento. Sei confidente dominante di vecchi che imprigionano, egoisti del ridere.
Perché? Non un seggiolino piccolo e duro commosso e manipolato, riviste di donne bagnate, mettono in mostra con molta chiarezza e pretendono di eccitarti pazze di piume. Un cuore bruno in chiesa domenica distacca altri piani. Ma pensa stupendoti l’agitare impaurito di un alba interrotta da stranezze di cucina. Non so se hai mai visto la galleria di Stockon Street a Broadway nei giornali eccentrici di terra butterata.
The City of Rome joined the circuit of the Biennial in 1997, after Turin, and was selected to realize the project of a Biennial to be held in two connected phases (1999 and 2001) together with Sarajevo: the two Biennials, in fact, shared some projects, such as an architecture contest and the realization of six workshops.
For the city the Biennial represented an opportunity to improve the guidelines it had outlined in the previous years with regard to the field of youth policies and in particular to give birth, by the City of Rome, to Zoneattive, a private company owned by the City that in the following years was the main local actor in the production of contemporary cultural events. Moreover, the Biennial changed the urban destiny of one of the fundamental quadrants of the city, contributing to the development of the old slaughterhouse of the city, the “Mattatoio of Testaccio”, main venue of the Biennial, changing its use for cultural activities.
The Rome editions proposed a new disciplinary articulation that grouped together the traditional disciplines into the following ones: Applied Arts, Visual Arts, Cinema and Video, Music, Writing, Contemporary Music, Gastronomy, Fashion, Architecture and Perfromance. Furthermore, internationally renowned artists and intellectuals agreed to curate the various sections: Manuel Vazquez Montalban for Writing, Jannis Kounellis for Visual art, Javier Mariscal for Applied arts, Gianfranco Vissani for Gastronomy, Ferzan Ozpetec for Cinema, the band Agrcantus for Music, Jean Claude Gallotta for Performance, Veniero Rizzardi for Contemporary music, Ennio Capasa (Costume National) for Fashion and Zaha Adid for Architecture.
In order to give strength and visibility to the most generally cultural dimension, Rome also hosted a series of conferences that stimulated the debate around the theme of the Biennial: the Other.
Theme: the Other
The theme of this edition was The Other, conceived as the relation with diversities and mostly inspired by the special link between Rome and Sarajevo. The logo of the event was designed by Javier Mariscal, Spanish designer who previously realized the logo for the Barcelona Olympic Games.
Numbers
The Biennial of Rome hosted the works of more than 600 artists from 21 Countries (Albania, Algeria, Bosnia-Herzegovina, Cyprus, Croatia, Egypt, France, Jordan, Greece, Israel, Italy, Lebanon, Malta, Morocco, Palestine, Portugal, Republic of San Marino, Spain, Slovenia, Turkey, Tunisia) and 3 host Countries (Finland, Hungary and Serbia).
The Biennial was also the occasion for an international architecture competition for the design of the Sarajevo Concert-Hall, which would be built in the Parliament Square. To the pre-selection were sent more that 400 projects and the competition ended up with the selection of the winning project (from the architectural office UFO). Although there was a winner, the project couldn’t be realized.
Moreover, like in Turin, a Biennial Off was organized, with a rich program, which included hundreds of local artists. Nearly 90.000 people visited the complex of the Mattatoio.
Some of the most outstanding works of this edition were presented by: Accademia degli Artefatti, theatre company from Rome, Vasco Araujo, visual artist from Portugal, Enna Chaton, visual artist from Marseille, Ziga Kariz, visual artist from Ljubljana, Andreja Kuluncic, visual artist from Rijeka, Giovanni Davide Maderna, video-maker from Milan, Arnaud Mercier, graphic and interactive designer and video-maker from Marseille, Polys Peslikas, visual artists from Cyprus, Tobias Putrih, visual artist from Ljubljana, Second, rock band from Spain, Muruvvet Turkyilmaz, visual artist from Turkey and Zu, band from Rome.
Venues
All the exhibitions took place in the Mattatoio of Testaccio, built at the beginning of the century to industrialize the slaughter of livestock and abandoned for almost 20 years.
The Biennial represented the occasion to develop the entire complex and was the start for a renewal project for a multidisciplinary Cultural Production Centre: La Pelanda, 6.000 squared metres, finally inaugurated on February 2010.
