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Viva Arte Viva ma la Terra è inbbBOOKMOBIjޒi ".e9R7r = ,_MOBI/(c 8& @EXTH@di*Biennale Arte 2017 ,Eventi ,MostreViva Arte Viva ma la Terra è inquieta

Viva Arte Viva ma la Terra è inquieta

Una riflessione sul posizionamento politico e sulla neutralità di discorso nella pratica curatoriale: un confronto tra la Biennale di Venezia Viva Arte Viva e La Terra Inquieta, la mostra che Massimiliano Gioni ha curato alla Triennale di Milano

La 57. Biennale di Venezia Viva Arte Viva di Christine Macel vorrebbe essere negli intenti un diverso palcoscenico per l’artista, sul quale far parlare la sua specifica progettualità rendendo visibile la pratica al pubblico: in questo senso l’arsenale si articola in padiglioni riassuntivi di macrotematiche appartenenti alla produzione artistica, come il colore, lo spazio comune o il “dionisiaco”. È evidente il tentativo, nobile in un certo senso, di attenuare quello sguardo oramai troppo abituato a una forma d’arte altamente politicizzata in favore, sembra, di quella figura romantica (e poco adeguata alla contemporaneità) dell’artista come semplice figura creativa, leggera. Nonostante il verbo discorrere significhi letteralmente correre qua e là, collocarsi all’interno di un discorso presuppone una specifica presa di responsabilità, una disposizione d’intenti riguardo all’oggetto trattato.

Il sentirsi responsabili di è perciò una premessa etica alla base di un agire che si manifesta nel voler prendersi cura. Così che una mancata collocazione rischia di compromettere l’efficacia di un racconto.
È difficile, infatti, intravedere in Viva Arte Viva un’idea narrativa solida, che leghi opere e padiglioni; rimane la sensazione di assistere a una forma di presentazione che somiglia a un catalogo senza catalogazione. Opere che in contesti più specifici sarebbero forse apparse pertinenti ed efficaci si ritrovano invece abbandonate su quel palcoscenico di pura presentazione.

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Ernesto Neto, Um Sagrado Lugar (A Sacred Place), 2017 57. Esposizione Internazionale d’Arte – La Biennale di Venezia, Viva Arte Viva © Andrea Avezzù. Courtesy: La Biennale di Venezia

 È il caso ad esempio di Um sagrado lugar di Ernesto Neto, e del corollario “sciamanico” messo in atto dal programma di performance e incontri. Lo scenario di una magica Amazzonia, inscenato dall’allestimento della grande tenda assieme agli strumenti rituali, si riempie di contraddizioni grazie al restringimento di senso con cui si presenta sia nell’allestimento che nella definizione del padiglione all’arsenale. Rappresentata giusto per alimentare quella piacevolezza estetica dal sapore new-age, forse fermandosi proprio lì.

Si dimostra così, oltre all’odierna impossibilità di un qualunque ritorno a un’arte ripiegata su sé stessa, la difficoltà di spogliare il politico dall’agire o dalla pratica artistica, dal momento in cui un posizionamento qualsiasi denota necessariamente un intervento nel mondo che è già di per sé politico.

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John Akomfrah, Vertigo Sea, 2015 Video Installazione 3 canali a colori, suono 7,1. still da video © Smoking Dogs Films, Courtesy Lisson Gallery

Mentre la Biennale fatica a trovare un collocamento etico nel racconto della contemporaneità, la mostra La Terra Inquieta, curata da Massimiliano Gioni alla Triennale di Milano, si posiziona all’interno di una problematica che a questo tempo appartiene; il racconto a più voci delle migrazioni, dell’era dei rifugiati, è il luogo da cui l’esposizione sceglie di parlare, facendo propria una disposizione ad agire che vuol essere parte attiva nel coro. Un modo di stare al mondo che è tatto, in una relazione di vicinanza testimoniata dalla predisposizione documentaristica delle opere esposte.

Il viaggio, narrato o documentato, diventa origine del racconto, ne offre la possibilità nel tentativo di raccogliere ciò che la storia perde, come una rete a strascico. È da questa forma di incontro tra una soggettività e l’aperto, che il mondo circostante si rende permeabile a una cattura, a un’istantanea. In questo contatto si dà un’arte come forma di resistenza al tempo e alla velocità, umanizzando questo tempo, offrendo un racconto connotato da una responsabilità. Qui l’arte non si carica di politica ma di mondo, per poi farsi politica in funzione delle qualità delle sue azioni. Come l’indifferente violenza incarnata dal mare nel video di John Akomfrah, Vertigo Sea, che finisce con l’appartenere a ogni forma di vita o relazione che lo abita;  è la morte che si innerva nelle scene liriche delle acque, costruendo una visione storica di uno spazio che lega il dominio naturale, la caccia alle balene e le migrazioni.

The 57th International Art Exhibition - VIVA ARTE VIVA - Curator: Christine Macel
The 57th International Art Exhibition – VIVA ARTE VIVA – Curator: Christine Macel

Nonostante le differenze tra queste mostre, è inevitabile che la pratica artistica sia sempre più politicamente connotata. In un mondo dove ormai è tutto politico, per scelta necessaria, l’arte non può far altro che reagire in funzione di una specifica vocazione. Anche nella silenziosa neutralità della Biennale, opere come Love Story (2017) di Candice Breitz, al padiglione del Sud Africa, testimoniano ancora la possibilità di un racconto eticamente orientato, parlante: in una prima sala Julianne Moore e Alec Baldwin recitano le storie di sei migranti e rifugiati, proiettate nella sala successiva, storie che hanno bisogno di essere ascoltate. Da una parte un ascolto concesso da volti familiari, che spesso abitano gli schermi, ma evidentemente recitato.  Dietro, l’origine del racconto, la true story della fiction, che ribalta la narrazione.

Similmente, il lavoro di Bouchra Khalili alla Triennale, The Mapping Journey Project (2008-2011), offre le storie di viaggio di otto migranti, una mappa a pieno schermo su cui la mano del protagonista disegna le traiettorie percorse.

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Boucra Khalili, The Mapping Journey Project, 2008-2011 Video installazione, otto canali singoli, NewYork, 2014 Courtesy Bouchra Khalili e Galerie Polaris, Paris © Benoit Pailley

I volti non inquadrati, nascosti dal viaggio, dalla forza mediatica di una carta geografica politica o dall’efficacia abitudinaria di un volto dello show. Così che raccontare diventa testimonianza di uno stare al mondo, presupposto storico per intraprendere un’azione determinata a scrivere il proprio capitolo o avere la propria parte nella narrazione contemporanea. Si tratta di averne cura, ovvero di un avvicinarsi deciso ad abbattere una lontananza: agire che non può essere altro che politico, aprendo, anche nella distanza, la possibilità di un incontro.

Piergiorgio Caserini

Viva Arte Viva, 57. Esposizione Internazionale d’Arte – La Biennale di Venezia a cura di Christine Macel
13 maggio/26 novembre 2017

La Terra Inquieta, a cura di Massimiliano Gioni
Triennale di Milano, 28 aprile/20 agosto 2017

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