{"id":2756,"date":"2005-06-30T11:12:00","date_gmt":"2005-06-30T09:12:00","guid":{"rendered":"https:\/\/www.rosamartinez.com\/sin-categorizar\/the-economist-londres-reino-unido-junio-2005\/"},"modified":"2025-06-11T16:49:36","modified_gmt":"2025-06-11T14:49:36","slug":"the-economist-londres-reino-unido-junio-2005","status":"publish","type":"post","link":"https:\/\/www.rosamartinez.com\/es\/entrevistas\/the-economist-londres-reino-unido-junio-2005\/","title":{"rendered":"The Economist, Londres, Reino Unido, Junio, 2005"},"content":{"rendered":"

The Economist, Londres, Reino Unido, Junio, 2005<\/h3>\n

GIRL POWER
\nRomping on the Rialto<\/span><\/p>\n

Venice Biennale.\u00a0Jun 2nd 2005 | Venice |\u00a0http:\/\/www.economist.com<\/a><\/p>\n

 <\/p>\n

ROSA MARTINEZ and Mar\u00eda de Corral, the directors of this year’s Venice Biennale which opens on June 12th, are like stars from a Pedro Almod\u00f3var film. Clever, stylish, funny and well-connected, the duo is juggling to complete the job at hand in record time, on a reduced budget and amidst a Byzantine bureaucracy. If they are not yet on the verge, it is only because this is business as usual at the Biennale.
\nAfter the 2003 event\u2014dubbed death in Venice because of the crippling heat and chaotic artists’ installations\u2014the 110-year-old art funfair has decided to restructure. Its new president, Davide Croff, a former banker, is trying to rationalise the event both financially (by encouraging private finance to supplement a dwindling public subsidy) and curatorially by creating a three-year plan in which the two Spanish women will be followed by a New Yorker, Robert Storr, in 2007.<\/p>\n

Ms de Corral, a former director of the Reina Sof\u00eda museum and of the Fundaci\u00f3n La Caixa collection in Barcelona, Spain’s most important contemporary art collection, likes to take the long view. Her exhibition in the labyrinthine Italian pavilion will present a series of \u201cconstellations\u201d of contemporary artists, rather than a single dominant view of how art is now. \u201cI am interested in highlighting the relation between artists of different generations, in ideas that emerge like fragments and sketches.\u201d On entering, viewers will see a massive cast staircase by Rachel Whiteread, a British sculptor, and then a series of galleries showing emerging artists such as Jorge Macchi, an Argentine, mixed with works by Francis Bacon, Philip Guston and Antoni Tapies.<\/p>\n

Ms Mart\u00ednez, on the other hand, is the baroness of biennali, having made her name as a peripatetic curator of international contemporary art expos in her native Barcelona, Istanbul, Busan (South Korea) and, most recently, Moscow. A biennial exhibition has an obligation to test the present, to challenge it, she says. \u201cIt provides a temporary global agora, a place for encounters between people…a chance to create new kinds of neighbourhoods between artists and audiences.\u201d
\nMs Mart\u00ednez’s domain is the Arsenale, the monumental Renaissance armoury that once supplied the Venetian navy and is now open only for the Biennale. Traditionally this is the space for the most avant-garde art, and Ms Mart\u00ednez is like an inmate who has taken over the asylum. She believes in art’s power to transform the status quo. \u201cIt can subvert established systems, rather than reinforce them.\u201d
\nSince the two were appointed last August, much has been made of the fact that they are the first women to have done the job and they have chosen a record number of female artists\u2014more than a third of the 92 names whose work is appearing in their respective exhibitions. But the curators differ on whether this Biennale is a feminist event. Ms de Corral says it is not. \u201cI do not have a deliberate agenda to include more women.\u201d But she has devoted space to Barbara Kruger and Jenny Holzer. Although they are best known for the radical feminist works they made in the 1970s, Ms de Corral has chosen to emphasise their prophetic qualities by selecting some of their word-based works that criticise the abuse of power in the media. \u201cIn the 1960s and 1970s, feminist artists used their bodies to express ideas, but these two were the first to use their minds. Their work has been incredibly influential.\u201d<\/p>\n

Ms Mart\u00ednez believes this Biennale is none other than a feminist statement. She has invited the Guerrilla Girls, a feminist artist’s collective, to perform, and is trying to include as many female artists as possible. \u201cI believe in positive discrimination\u201d, she says. \u201cI wanted half of the artists to be female. But I couldn’t find enough because women artists have children, relationships, break-ups that slow down their careers. These things happen to male artists too but somehow their careers continue. Women cannot afford to relax.\u201d<\/p>\n

Ms Mart\u00ednez titled her show \u201cAlways a Little Further\u201d, inspired by her favourite Corto Maltese comic strip, in which the hero is always pushing the envelope and making one more journey. She has no qualms about injecting the pop culture of comics into an exhibition that also includes a Samuel Beckett play, Rem Koolhaas’s architecture and installations by esteemed contemporary artists like the nonagenarian Louise Bourgeois. \u201cI like to mix art forms, generations, media, genders,\u201d Ms Mart\u00ednez says. Among the more radical works here is Joana Vasconcelos’s chandelier made of tampons, which, from a distance, look like shiny white glass. \u201cIt is pop and ironic, beautiful and rich in metaphor\u2014and it uses industrial materials in new ways,\u201d she says with a grin.<\/p>\n

According to Ms Mart\u00ednez, curators are more necessary than ever. Art and commerce have always been interdependent. But, she sees herself as a mediator who strikes a balance between the economic necessities of the market and the utopian dreams of artists. \u201cLike a therapist or an editor, a curator is someone who finds meaning in the chaos of messages that surround us. My motto comes from the philosopher Gilles Deleuze\u2014we have to think, create, resist.\u201d His words are a good banner for the Venice Biennale.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Economist, Londres, Reino Unido, Junio, 2005 GIRL POWER Romping on the Rialto Venice Biennale.\u00a0Jun 2nd 2005 | Venice |\u00a0http:\/\/www.economist.com   ROSA MARTINEZ and Mar\u00eda de Corral, the directors of this year’s Venice Biennale which opens on June 12th, are like stars from a Pedro Almod\u00f3var film. Clever, stylish, funny and well-connected, the duo is […]<\/p>\n","protected":false},"author":2,"featured_media":1727,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[390],"tags":[439,396,524,525,526],"yoast_head":"\nThe Economist, Londres, Reino Unido, Junio, 2005 - Rosa Mart\u00ednez - Independent Art Curator<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rosamartinez.com\/es\/entrevistas\/the-economist-londres-reino-unido-junio-2005\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Economist, Londres, Reino Unido, Junio, 2005 - Rosa Mart\u00ednez - Independent Art Curator\" \/>\n<meta property=\"og:description\" content=\"The Economist, Londres, Reino Unido, Junio, 2005 GIRL POWER Romping on the Rialto Venice Biennale.\u00a0Jun 2nd 2005 | Venice |\u00a0http:\/\/www.economist.com   ROSA MARTINEZ and Mar\u00eda de Corral, the directors of this year’s Venice Biennale which opens on June 12th, are like stars from a Pedro Almod\u00f3var film. 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