{"id":124060,"date":"2024-10-03T12:26:34","date_gmt":"2024-10-03T10:26:34","guid":{"rendered":"https:\/\/www.esteri.it\/sala_stampa\/archivionotizie\/\/2024\/10\/santiago-i-50-anni-della-biennale-di-venezia-1974\/"},"modified":"2024-10-03T14:36:24","modified_gmt":"2024-10-03T12:36:24","slug":"santiago-i-50-anni-della-biennale-di-venezia-1974","status":"publish","type":"post","link":"https:\/\/www.esteri.it\/en\/sala_stampa\/archivionotizie\/diplomazia-culturale\/2024\/10\/santiago-i-50-anni-della-biennale-di-venezia-1974\/","title":{"rendered":"Santiago \u2013 50th anniversary of the 1974 Venice Biennale."},"content":{"rendered":"<p>After the <strong><em>coup d\u2019\u00e9tat<\/em><\/strong> of 11 September <strong>1973<\/strong>, Carlo <strong>Ripa di Meana<\/strong> \u2013 newly elected <strong>President of the Venice Biennale<\/strong> \u2013 decided to <strong>dedicate the entire 1974 edition of the Biennale to Chile<\/strong>. Hortensia <strong>Allende<\/strong>, widow of Chilean President Salvador <strong>Allende<\/strong>, travelled to Venice to inaugurate the Biennale, entitled \u2018Freedom to Chile: for a democratic and anti-fascist culture\u2019.<\/p>\n<p>The 1974 Biennale became a device of <strong>multidisciplinary<\/strong> experiences, scattered in the historical centre and in the industrial outskirts of Venice, turning into a huge <strong>space for active confrontation<\/strong> and exchange between <strong>different generations<\/strong> of artists, students, cultural and political actors.<\/p>\n<p>On the occasion of the <strong>50th anniversary<\/strong> of the 1974 edition of the Biennale, the <strong>Italian Cultural Institute (IIC) in Santiago<\/strong>, in collaboration with local institutions and cultural operators, is organising a series of events aimed at <strong>commemorating<\/strong> said milestone and <strong>reflecting<\/strong> on the <strong>role of art<\/strong> in the socio-political context of yesterday and today.<\/p>\n<p>Two core activities will be organised: on the one hand, the presentation of the exhibition project <strong><em>\u2018Quimeras. La Bienal del 74 como laboratorio social del presente\u2019<\/em><\/strong> (Chimeras. The 1974 Biennale as a social laboratory of the present) by <strong>artists<\/strong> Patrick <strong>Hamilton<\/strong> and Eugenio <strong>Tibaldi<\/strong>, who propose a <strong>critical reflection<\/strong> on the legacy of the 1974 Biennale, which became a laboratory of social experimentation scattered throughout the Venetian streets. The exhibition project, organised in collaboration with the <strong>MAC Parque Forestal<\/strong> <strong>Museum<\/strong> for 2025, will be presented by <strong>curator<\/strong> Eugenio <strong>Viola<\/strong> and <strong>artists Tibaldi <\/strong>and<strong> Hamilton<\/strong> on 3 October at the museum in a conference open to the public.<\/p>\n<p>On the other hand, the course <strong><em>Historia de la \u2018Biennale Arte Venezia\u2019 del 1895 hasta hoy<\/em><\/strong> (History of the Venice Art Biennale from 1895 to today), curated by researcher, curator and art critic Mariagrazia <strong>Muscatello<\/strong>, and held between 30 September and 10 October. The course aims to <strong>delve into the history of the Venice Art Biennale<\/strong>, especially in the last session of 10 October which takes place in the auditorium of the IIC in Santiago, and focuses on the 1974 edition of the Biennale. Original archive footage \u2013 provided by <strong>Rai Teche<\/strong> \u2013 of the inauguration, which was also attended by President Allende\u2019s widow, will be screened.<\/p>\n","protected":false},"excerpt":{"rendered":"After the coup d\u2019\u00e9tat of 11 September 1973, Carlo Ripa di Meana \u2013 newly elected President of the Venice Biennale \u2013 decided to dedicate the entire 1974 edition of the Biennale to Chile. Hortensia Allende, widow of Chilean President Salvador Allende, travelled to Venice to inaugurate the Biennale, entitled \u2018Freedom to Chile: for a democratic [&hellip;]","protected":false},"author":5,"featured_media":124039,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[418],"tags":[398,32],"class_list":["post-124060","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-diplomazia-culturale","tag-america-latina-e-caraibi","tag-diplomazia-culturale"],"_links":{"self":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts\/124060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/comments?post=124060"}],"version-history":[{"count":3,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts\/124060\/revisions"}],"predecessor-version":[{"id":124065,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts\/124060\/revisions\/124065"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/media\/124039"}],"wp:attachment":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/media?parent=124060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/categories?post=124060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/tags?post=124060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}