2001
The high visibility of the Venice Biennale at this point was a series of very specific reactions in the middle. A large number of artists invited to participate in the Biennale sought whether to make the approach prior to the district which is entered in the official announcement, other artists posed works involving public places and certain communities apparently rhymed with the "spirit" of the Biennial. Some local artists came to demand their participation in the event simply by living in the neighborhood, suggesting that pre-selection (necessary in any event of this kind) was a form of discrimination. Space once the loan was kindly provided by the Junta de Acción Comunal de Barrio Venice, we were denied this edition, in fact, the board charged us an impossible to pay rent and had to rent an empty storefront in order to make the event, this raised several problems and some discomfort in the artists and organizers, problems that fortunately resolved later.
Thanks to the inclusion of the Biennale in the Nexus Project of the Andrés Bello, the Biennial was invited to an academic event in the framework of the Pirelli Salon of Young Art in Caracas in 2000. On this visit to take this opportunity to invite Venezuela as a guest of honor at this year's Biennale. At this point the Biennale became an international event with greater scope and more looks that come to enrich the initial process, and promoting linkages with important international cultural institutions. One of these entities confirmed its support and offered the gallery of Istituto Italiano di Cultura and alternative space for the realization of the Venice Biennale, so on this occasion the Institute graciously gave up his gallery display apparatus of some of the works and allowed that the Biennial is closer to other locations to interested public gold. On this occasion, to ensure that all the artists participating in the "same terms" was raised a theme from which started the curatorial strategy. This Theme was Art and Gastronomy, with the theme, because not everything comes through the eyes, an interesting discussion arose from a concept viewed from multiple angles, as articulated in the specific context of the Venice neighborhood, supplied the artist of good tools to propose a project, or procedural objetual. So. The artists, of any participatory group had to meet a particular theme, to raise its proposal from the neighborhood as a territory and to articulate their process, skills and interests to participate.
The experiment worked and the work was much more clear and forceful, public space took advantage of a more effective and local artist came into the dynamics of participation in events like the Biennial plastic, unlike other processes that do not care about the relevance of the work to its context, but become mere sampling of works arranged in a space community, whose only similarity is that the performers inhabit a common area. PARTICIPANTS
1. ORLANDO CASTANEDA
2. SECOND GROUP THREE HEADS
3. NICOLAS MENDEZ
4. INDIVIDUAL GROUP 5. Maria Isabel Rueda 6. MATUTE ANDREW
7. GUILLERMO
HOMELESS GROUP 8. ACOSTA FRANCISCO
9. SERGIO VEGA
10. MORENO NADIA
11. GROUP COMPANY CULINARY
12. CLASS GROUP Maski
13. PAUL Adarme
14. GROUP TWO FLAVORS
15. RODEZ
16. LAGOS
MILER 17. VILLA AND Fraize
GUSTAVO 18. GROUP UNGAR AND LUISA SANTOS BARBARA
19. PAN GROUP CREATE
20. ANTONIO CARO
21. OSCAR GROUP AND CAMILO PÁEZ ARDILA
22. ANA KARINA MORENO
23. GUERRERO KAROL
24.
AVENARE GROUP 25. DISPENSING GROUP
26. OSCAR MORENO
27. GROUP AND ANA MARGARITA GONZALEZ DELGADO
28. MARIA CATALINA GARCÉS
29. Ricardo Sanchez
30. MAYORGA
DORIS 31. DIAZ Audina
32. OCHOA NELA
33. MORALES methylene
34.
MORALES ADRIANA 35. GALÁN AGAPITO
SOME
IMAGES
Work of Paul Adarme
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