German pavilion

The German pavilion houses Germany's national representation during the Venice Biennale arts festivals.

Background

The Venice Biennale is an international art biennial exhibition held in Venice, Italy. Often described as "the Olympics of the art world", the Biennale is a prestigious event for contemporary artists known for propelling career visibility. The festival has become a constellation of shows: a central exhibition curated by that year's artistic director, national pavilions hosted by individual nations, and independent exhibitions throughout Venice. The Biennale parent organization also hosts regular festivals in other arts: architecture, dance, film, music, and theater.[1]

Outside of the central, international exhibition, individual nations produce their own shows, known as pavilions, as their national representation. Nations that own their pavilion buildings, such as the 30 housed on the Giardini, are responsible for their own upkeep and construction costs as well. Nations without dedicated buildings create pavilions in venues throughout the city.[1]

Organization and building

Architect Daniele Donghi designed the pavilion in a neoclassical style. It was built in 1909 and originally displayed Munich Secession works. The building was torn down and rebuilt by Ernst Haiger's design in 1938.[2]

The commissioner for the German contribution to Biennial is the Federal Foreign Office. On the recommendation of an advisory committee of museum directors and art experts, the ministry appoints a curator (formerly called a commissioner) responsible for the selection of the artists and the organisation of the contribution. This appointment is usually for two years in succession. The Sparkassen-Kulturfonds (culture fund) of the Deutscher Sparkassen- und Giroverband is the pavilion's main sponsor. The Goethe-Institut and, since 2013, the ifa Friends of the German Pavilion are also funders.[3]

From 1982 until 1990 the German Democratic Republic organized its own exhibitions in the former Pavilion of Decorative Art. Germany's pavilion was redesigned by Ernst Haiger and inaugurated in 1938 by the ruling Nazi government, a fact that has inspired artistic responses from some presenters.[4]

Representation by year

Art
gollark: At best you might get a few when not many people are mining.
gollark: Which are bad.
gollark: CPU miners.
gollark: - Linux- OpenCL- uWebsockets- TCLAP or something
gollark: Apemanzilla was, I believe, working on a rust version.

References
  1. Russeth 2019.
  2. Volpi 2013.
  3. Gareth Harris (May 15, 2013), Down but not out, European countries invest in Venice Biennale pavilions The Art Newspaper.
  4. "ARTINFO's Comprehensive Guide to the 2011 Venice Biennale National Pavilions". ARTINFO. Louise Blouin Media. May 30, 2011. Retrieved October 22, 2011.
  5. Michael Brenson (July 1, 1986), Biggest Biennale, The 42, Opens In Venice New York Times.
  6. Michael Kimmelman (May 28, 1990), Venice Biennale Opens With Surprises New York Times.
  7. Kunst-Biennale Venedig: Florian Ebner kuratiert deutschen Pavillon Spiegel Online, March 27, 2014.
  8. https://www.nytimes.com/2017/05/13/arts/anne-imhof-fierce-young-artist-and-choreographer-wins-venices-top-prize.html
  9. Alex Greenberger (October 27, 2016), Anne Imhof Will Represent Germany at the 2017 Venice Biennale ARTnews.
  10. Andrew Russeth (October 25, 2018), Under the Name Natascha Süder Happelmann, Natascha Sadr Haghighian Will Rep Germany at 2019 Venice Biennale ARTnews.

Bibliography
  • Russeth, Andrew (April 17, 2019). "The Venice Biennale: Everything You Could Ever Want to Know". ARTnews. Retrieved April 22, 2019.CS1 maint: ref=harv (link)
  • Volpi, Cristiana (2013). "Germany". In Re Rebaudengo, Adele (ed.). Pavilions and Garden of Venice Biennale. Rome: Contrasto. p. 182. ISBN 978-88-6965-440-4.CS1 maint: ref=harv (link)

Further reading
  • Becker, Christoph (2009). "The Venice Biennale and Germany's Contributions from 1895 to 1942". In Moore, Elke aus dem; Zeller, Ursula; Institut für Auslandsbeziehungen (eds.). Germany's contributions to the Venice Biennale 1895–2007. Translated by Bohan, Ann Marie; Laurie, Eileen; Nichols, Catherine. Cologne: DuMont. pp. 63–88. ISBN 978-3-8321-9249-5. OCLC 406143089.
  • Leister, Wiebke (July 2014). "Photography In-the-Round: Gerhard Richter's '48 Portraits', 1972 and 1998". Photographies. 7 (2): 217–246. doi:10.1080/17540763.2014.933399. ISSN 1754-0763.
  • Moore, Elke aus dem; Zeller, Ursula; Institut für Auslandsbeziehungen, eds. (2009). Germany's contributions to the Venice Biennale 1895–2007. Translated by Bohan, Ann Marie; Laurie, Eileen; Nichols, Catherine. Cologne: DuMont. ISBN 978-3-8321-9249-5. OCLC 406143089.
  • Ostrow, Saul (June 2, 2009). "Venice Preview: Liam Gillick". Art in America. Retrieved June 20, 2018.
  • Ostrow, Saul (June 2009). "Liam Gillick: Practical Considerations". Art in America. 97 (6): 130–136. ISSN 0004-3214 – via EBSCOhost.
  • Verhagen, Erik; Penwarden, Charles (September 2011). "Georg Baselitz: 'I'm not a good student.'". Art Press (381): 49–50. ISSN 0245-5676 – via EBSCOhost.
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