Sunday, November 30, 2008

Intellectual Property Rights at the Palazzo Ducale (Doge's Palace) in Venice

This post was updated in February, 2026, keeping the original context and dates. Now it's been nearly 28 years since I first arrived in Venice(!)

 (Venice, Italy) Ten years ago, when I first arrived in Venice, I was fortunate enough to score an Access All Areas pass to the Doge's Palace. I had permission to roam unrestricted wherever I wanted for an entire week, so Palazzo Ducale is magical to me.

I imagined myself straight back into the past, and wandered with the spirits through the great halls and chambers. I gazed upon Titian's fresco of St. Christopher and Veronese's Victory Against a Sinner, and trembled in front of the Council of Ten. I mounted the Golden Staircase, and danced under Palladio's ceiling in the Anti-Collegio. 

I stepped into Tiepolo's Neptune Offering Gifts to Venice, her seductive finger holding back the yearning of the Adriatic, and never quite stepped out again.

In addition, the first press conference I ever attended was held in the Sala del Piovego, and I found myself in that very room a few nights ago for the Fifth Annual Venice Award for Intellectual Property Rights ceremony. As a writer, it is a topic close to my heart.


Neptune Offering Gifts to Venice by Tiepolo

Alison Brimelow, the President of the European Patent Office was there, as was Paolo Baratta, who, among many other things (as you know if you've been reading this blog), is President of La Biennale. Kevin Cullen accepted the award given to the Association of University Technology Managers (AUTM) for their work in bringing together universities, research institutions, government agencies and innovative enterprises. In other words, they connect research to the market, and spin thought into gold.

Long, long ago in 1474, Venice herself passed the first written law to grant and protect patents. Paolo Baratta said they probably signed the law in the very room where we were seated, the Sala del Piovego, a Venetian term that loosely translates into the Hall of Public Interests. Although most of the Palazzo Ducale is now a museum, there are a few rooms that function in a contemporary way, and the Sala del Piovego is one of them. Just think -- 534 years ago Intellectual Property rights were a topic of discussion here in town, and the Venetians were wise enough to understand that ideas and thoughts should be protected.

What is Intellectual Property?

This is from Wikipedia:
Veduta del Palazzo Ducale by Canaletto
"Intellectual property (IP) is a legal field that refers to creations of the mind such as musical, literary, and artistic works; inventions; and symbols, names, images, and designs used in commerce, including copyrights, trademarks, patents, and related rights. Under intellectual property law, the holder of one of these abstract properties has certain exclusive rights to the creative work, commercial symbol, or invention by which it is covered."
It is amazing that this battle has been going for 500 years, probably much longer. I have spent most of my life in a creative environment, so it is difficult for me to understand how others fail to recognize the worth of original thought, and the tremendous time, energy and effort it takes to produce it. It is what I encourage in the books I write, and I have been fortunate enough in the past week or so to be surrounded by like-minded people. 

These days, Venice is teeming with discussions and conferences about how to be creative and productive, not stagnant and destructive; it is a very exciting time. There is a fascinating dynamic that erupts when you bring contemporary thinkers into ancient venues; you can almost feel the thoughts still floating in the air from centuries ago mingle with present-day brain waves. (That's Canaletto's version of Palazzo Ducale, though he is only about 300 years old:-)

Here is the text from the ancient law:
19th March, 1474
There are in this city, and also there come temporarily by reason of its greatness and goodness, men from different places and most clever minds, capable of devising and inventing all manner of ingenious contrivances. And should it be provided, that the works and contrivances invented by them, others having seen them could not make them and take their honour; men of such kind would exert their minds, invent and make things which would be of no small utility and benefit to our State.
Therefore, decision will be passed that, by authority of this Council, each person who will make in this city any new and ingenious contrivance, not made heretofore in our dominion, as soon as it is reduced to perfection, so that it can be used and exercised, shall give notice of the same to the office of our Provisioners of Common. It being forbidden to any other in any territory and place of ours to make any other contrivance in the form and resemblance thereof, without the consent of the author up to ten years.
And, however, should anybody make it, the aforesaid author and inventor will have the liberty to cite him before any office of this city, by which office the aforesaid who shall infringe be forced to pay him the sum of one hundred ducates and the contrivance be immediately destroyed. Being then in liberty of our Government at his will to take and use in his need any of said contrivances and instruments, with this condition, however, that no others than the authors shall exercise them.
After the ceremony, I wandered out onto the Loggia and gazed at the imposing courtyard below... the bronze well-heads, the Giants' Staircase... and I think I glimpsed the Doge!

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

Monday, November 24, 2008

Architecture La Biennale Wrap-Up: Record Number of Visitors!

The La Biennale press office sent over this release (which I edited very slightly for American ears). To me, the most exciting news is the huge increase in attendance by students, and that Aaron Betsky has introduced young minds to new ideas. And, of course, special thanks must go to Paolo Baratta, the President of La Biennale, for making it all happen.

If you remember, back during the film festival I said it was too early to judge Paolo Baratta. Well, after seeing what he has done with the other sectors, I will state very strongly that I think he is brilliant and gutsy, and I am happy he exists. Whether you agree with what La Biennale is doing or not, at least there is finally a breath of air in here, and discussions.

(Venice, Italy) November 24, 2008 – The 11th International Architecture Exhibition, Out There: Architecture Beyond Building, directed by Aaron Betsky, organised by La Biennale di Venezia, and presided over by Paolo Baratta, closed yesterday, Sunday, November 23, with a record number of visitors.

A total of 129,323 visitors came to the Exhibition, divided between the venues of the Giardini and the Arsenale. During the ten weeks that it has been open, the 11th Exhibition has consistently been ranked at the top of the most visited Italian exhibitions in 2008. With a daily average of 1,827 visitors and record numbers of 8,840 people during the weekends, the total is higher than the last edition in 2006 (127,298).

The total number of students that visited the exhibition, either in groups or individually, was 61,436.

Officially inaugurated on September 13th by Sen. Sandro Bondi, the Minister for Cultural Affairs, the 11th Exhibition was also visited by Giorgio Napolitano, the President of the Italian Republic.

The discussion and criticisms about the original theme of the exhibition – “architecture beyond building” – and the unusual layout of the show by Aaron Betsky, stimulated a wide-ranging debate and high attendance for an architecture exhibition, especially in the current economic situation, which has seen a drop in tourist numbers.

The importance attained by the Architecture Biennale, which has enjoyed unmatched media coverage, and which was covered by all the Italian TV news channels on the day of its opening, has been confirmed by leading international publications:

· “The 11th Architecture Biennale of Venice, the most important event in the sector” (GrĂ©goire Allix, Le Monde, 16.09.2008).
· “The Venice Biennale, the world’s most important architecture festival” (Edwin Heathcote, Financial Times, 16.09.2008).
· “The Venice Architecture Biennale remains the most anticipated and ambitious design show in the world” (Christopher Hawthorne, Los Angeles Times, 17.09.2008).
· “Enormous numbers of visitors, journalists arriving in crowds and an impressive press coverage: the 11th Architecture Biennale of Venice no longer has any reason to envy its big sister, the Biennale d’Arte” (Lorette Coen, Le Temps, 20.09.2008).
· “A fundamental appointment to learn of the latest trends” (Gerhard Matzig, Suddeutsche Zeitung, 11.11.2008).

The exhibition saw the presence of 2,360 journalists during the 71 days it was open to the public(1,294 non-Italian and 1,066 Italian; in 2006, a total of 1962 journalists visited). There were 85 television channels accredited during the entire exhibition (59 non-Italian and 26 Italian) and 183 television reporters visited the exhibition (105 non-Italian and 78 Italian). Press coverage has been ample and so far totals 920 articles, compared to 793 in the past edition of 2006.

The four-day vernissage, held from September 10th through 14th, was attended by 25,000 international guests (trade operators, curators, exhibitors, national representatives and the press), an increase of 19% from 2006. The number of journalists present at this year's vernissage was 1,570: 709 Italian and 861 non-Italian, up from 1,319 in 2006.

Another figure that has changed substantially for the Architecture sector concerns the number of national participations and collateral events: 56 national participations, one Special Event by the Milan City Authorities and 24 Collateral Events, double that of preceding editions.

The educational activities have also concluded successfully, with 16,794 visitors making use of them, an increase of 18% from 2006 (14,236). A particularly noteworthy figure is the 45% increase in the participation in educational initiatives by university students, and a 25% increase on the part of second-degree secondary schools. There have been 254 workshop activities (+49% from 2006) involving 5,037 enthusiasts, from the very young to adults. Of the 840 groups who have made use of these educational activities, 686 come from the world of research and teaching. These figures demonstrate that the Architecture Biennale has been chosen as a venue for learning and discovering the latest trends at all stages of the educational process, from primary school to university.

The 11th Exhibition has paid particular attention to the young public, becoming a creative workshop open to research. Its experimental character has been confirmed by the numerous inscriptions to the on-line Everyville 2008 competition entitled, Communities beyond Place, Civic consciousness beyond Architecture, aimed at university students from around the world: 245 groups for a total of 782 students from 48 countries took part in the competition. The works of the leading 10 and of the 40 honorable mentions were exhibited at the Artiglierie dell’Arsenale while the rest of the projects to have been received can be seen on the website: http://www.everyville.labiennale.org/.

Two publications, both by Marsilio, have accompanied visitors on their exploration of the Exhibition, Out There: Architecture Beyond Building: a catalogue divided into five volumes contained within a PVC case, and a DVD entitled The Making of the Biennale by Aaron Betsky.

The 11th Exhibition was held with the support of ACI-Automobile Club d'Italia, Domus, Fantoni, Foscarini, Nivea, Autodesk, Casamania, Matteograssi, Bisazza, Enel, Ferrovie dello Stato, Flex, Link, Mediacontech and Micromegas. And, for Everyville 2008, with the support of Telecom Italia, MACE and Newitalianblood. We wish to thank Actv for the shuttle services.

Thursday, November 20, 2008

BBCC Expo, Middle East Peace Orchestra, L'ultimo Pulcinella

(Venice, Italy) I was over at the press conference for the BBCC Expo the other day, which will be held next week at the Verona Fairgrounds on November 27th through 29. The BBCC Expo develops tourism based on cultural heritage, and is supported by governments, foundations and institutions from a variety of nations: Germany, Czech Republic, Holland, Slovenia, Slovak Republic, Poland, Hungary, France, Denmark, Norway, Spain, United Kingdom, Sweden, Switzerland, Austria and Russia. (The countries are in that order on the press release -- I hope I didn't forget anyone:) There will be three days of conferences and information exchange, a prestigious showcase of international products. If the BBCC Expo has any impact on elevating the level of tourism here in Venice, well, I am all for that.

The press conference was in Ca' Corner, which is the headquarters of the Province -- in fact, Davide Zoggia, the President of the Province was one of the speakers. The BBCC Expo is a joint venture between Venice and Verona. The main sponsor is the CasinĂ² di Venezia. The entrance is free, so if you are in the area and interested in international tourism, that is the place to be. For more information (it's in Italian, so use your Google Translator), go here:


Next, Jack Kessler, who discovered Venetian Cat - Venice Blog after someone forwarded him my blog on Jewish Spiritual Music (SEE: http://venetiancat.blogspot.com/2008/06/spiritual-jewish-music-moni-ovadia-and.html) sent over a press release. I know there are some of you who read Venetian Cat up there in Austria and Germany. It's too late for the Austrian concert, but you can still catch the show in Munich on Saturday at:

Samstag, 22.11, 20 Uhr, Carl-Orff-Saal, Gasteig
Middle East Peace Orchestra, USA
A Concert for Peace
The power of art to change the world:

The MIDDLE EAST PEACE ORCHESTRA features Arab and Jewish musicians in concert together to make a powerful statement for peace thru shared music. No speeches--the music is the message! This project exemplifies the potential for creativity between two groups both musically and beyond, and is an important statement in multi-cultural tolerance. This is the only performance group that, in addition to virtuoso instrumentalists capable of playing the music of both traditions, has both Hebrew and Arabic vocal specialists: Hazzan Jack Kessler, one of the premier masters of Jewish spiritual song, and the great Lebanese singer, composer and 'oud master Maurice Chedid.

Also known in North America as ATZILUT:CONCERTS FOR PEACE. the group has an extensive performance history, including the United Nations, the Algarve International Festival, Munich Gasteig, the Royal Opera Theatre of Copenhagen, and a recent tour of France in summer 08.
For more info (and that site is in German, so use your Google Translator:), click: http://www.juedischekulturmuenchen.de/dreiframe.htm

Finally, a couple of nights ago I saw a great film called L'ultimo Pulcinella as part of La Biennale Laboratorio Internazionale del Teatro, or the Theatre segment of La Biennale. The theme this year is Mediterraneo, and there are offerings from all sorts of Mediterranean countries. This film was directed by Maurizio Scaparro, who also happens to be the director of the Theatre Section itself (that is Maurizio Scaparro there on the right at the Rome Film Festival, where L'ultimo Pulcinella premiered). The movie was brilliant. Both Maurizio Scaparro, and the star, Massimo Ranieri (over there on the left), who delivered a perfect performance, spoke before the film, which was originally set to screen at the Malibran Theatre, but in typical Venetian fashion, ended up being shown at the Giorgione Theatre.

I spoke, briefly, with Maurizio Scaparro today at yet another press conference; hopefully I will have some details to share with you about the United States screenings in the near future. It really deserves its own blog, it was that good -- especially since I watched it in Italian and French with Italian subtitles!

The Pulcinella character shows up in many cultures. In America and the UK, we know Pulcinella as "Punch" of Punch & Judy, so the title of the film would translate as "The Last Punch," or "The Final Punch," which is sort of interesting if you think about it.

This is from the program:

"Pulcinella in the banlieue. What do the suburbs of Paris, theatres of social marginalization and violence, have in common with this character from the Neapolitan commedia della'arte? The suburbs of the world talk to one another. They share problems of integration, employment, youth. The theatre can become a metaphor for social redemption."

I can tell you from personal experience that is true. I used to be a Brownie leader for a group of troubled little girls, aged six and seven-years-old. I wrote a play for them, and it was something magical to see. One shy, beautiful little Hispanic girl, whose home was gangland Los Angeles, asked me if she could play the lead -- it really transformed her. It's strange to think that the girls would be in their 20s by now... The Arts -- music, theatre, art, dance, architecture, film -- are a great way to channel energy that can become destructive into something constructive. I have seen many a troubled youth turned around by Art.

Ciao from Venice,
Cat

Wednesday, October 22, 2008

Men Like Gods - Venice Hosts the Eurogolfe Forum

UPDATE: February 2026

Some of the links in this 2008 post are now defunct as the Eurogolfe Forum has since dissolved. But the experience was profound, back when Barack Obama was simply a presidential candidate -- especially when we reflect upon where the world is now, nearly 18 years in the future.

The event took place at the Fondazione Giorgio Cini on the Island of San Giorgio Maggiore from October 16–18, 2008. The central theme was "Europe, the Gulf and the Mediterranean: Reviving Common Legacies, Mapping Our New Region."

One of the key speakers mentioned, Christophe de Margerie (CEO of Total), died on October 20, 2014, when his private jet mysteriously collided with a snowplow(!) at Vnukovo International Airport in Moscow. At the time of this 2008 forum, the global financial crisis was actively unfolding, prompting his remark to "Stay Zen."

(Venice, Italy) When you find yourself in the same room as a Saudi Arabian Prince, the CEO of a major oil corporation, and too many Ministers, Advisors and Professors, to mention, life can seem a bit surreal.

I had the great privilege to attend the Eurogolfe Forum for Human Development Under the Patronage of the French Presidency of the European Union and the Qatar Presidency of the Gulf Cooperation Council held at the Giorgio Cini Foundation on October 16 - 18 entitled: EUROPE, THE GULF AND THE MEDITERRANEAN Reviving Common Legacies, Mapping Our New Region. Doesn't that sound weighty and impressive? Well, it was!

First, the Eurogolfe Forum wishes to send the World a message, which is:

The conflict between Israel and Palestine must end.

More on that later.

To give you an idea of the level of human beings in attendance, His Royal Highness Prince Turki Al-Faisal was one of the speakers. Prince Turki is the former Director of GID, which is Saudi Arabia's premiere intelligence agency (similar to the CIA in America). He was the Kingdom's former Ambassador to the United States -- until he abruptly resigned in December, 2006 after only 15 months on the job -- as well as to the United Kingdom and Ireland. Prince Turki is the youngest son of the Saudi Arabian King Faisal, who was assassinated on March 25, 1975, and the nephew of the present King. He came to the Forum in his capacity as the Chairman of the King Faisal Center for Research and Islamic Studies. After hearing Prince Turki speak, my immediate reaction was that I was in the presence of someone truly royal -- before I understood who he was.

Inviting Cat Bauer to a Forum like this was a brilliant idea because I come with very little baggage -- it is like inviting Alice to Wonderland -- and I am going to give you my honest impressions, as simply as I can.

First, like many Americans, I have very little sense of geography. To me, the entire Gulf region was a vague black hole filled with scary Muslims. Let's take a look at a map so we can get our bearings. It is difficult to find a good map, but I have permission from GraphicMaps.com to use theirs -- it is clean and simple and not cluttered with politics. Thank you, John O. Moen! (If you go to their site http://www.graphicmaps.com/ that little "WIN $100.00 HERE" sticker is a geography quiz, which, perhaps, many of us should take:)

Okay. That is the theatre, and those are the key players in this drama. Take a good look so you can put things into perspective. Really look at Israel, Palestine, Iraq and Iran, just where they are physically. Look at the Mediterranean Sea with respect to the Persian Gulf.

One of my mottos is "It's the Divine Comedy, not the Divine Tragedy." Let's be honest -- we all can agree that the world would be much more pleasant if Israel and Palestine stopped fighting. It is as if dinosaurs are battling in slow motion, and the entire planet is weary of the dynamics. Let's have two defined states already! Sure, it sounds frightening, but at least it is a decision. Then we take it from there.

Speaking of dinosaurs, let us not forget that dead dinosaurs help create oil itself, a non-renewable resource. The importance of investing in renewable resources was also a topic of discussion. Imagine, again, how different the world would be if we seriously incorporated renewable resources into the existing structure. To me, that resource should be the Sun. If I were an emerging nation with plenty of oil, I would sell my oil to other countries and switch my energy over to the Sun.

The attendees were mostly men, speaking from their hearts and their minds. It was fascinating to watch because I have never been in that environment before, and it was an honor to have a glimpse into their world. These were enlightened, reasonable people, on the whole. After pondering for days, I have arrived at a conclusion: what the Middle East needs is a female ruler. After Benazir Bhutto's assassination in Pakistan, however, perhaps I am being too naive to think that dream can become a reality.

Here is an excerpt from a Message from Nicolas Sarkozy, who is the President of the French Republic, and the current President of the Council of the European Union:

"The fourth edition of the Eurogolfe Forum in Venice today brings together political and economic leaders, academics, artists, intellectuals, students and representatives of civil society from the European Union and member States of the Gulf Cooperation Council. This diversity is evidence of the quality of the dialogue established between our two regions which are linked by the Mediterranean area. ... (again, look at the map)
...Choosing Venice to hold the Forum speaks to us all: Venice is the symbol of a maritime civilization with exceptional cultural outreach which, as a trading seaport, brought together the East and the West, the Latin, Greek, Arab and Turkish worlds, Christendom, Islam and Judaism. Venice is the magnificent outcome of a shared culture sustained by the exchange of men, ideas and goods."
It is amazing, isn't it, that a physically small area such as Venice -- the historic center is only about twice the size of Central Park; you can walk across it in about half an hour -- had, and still has, such enormous impact on the planet? It seems larger because it lies at the junction of two fractals, according to Andrew Crompton & Frank Brown, who wrote an abstract about it entitled The Double Fractal Structure of Venice for the Space Syntax 6 Conference in Istanbul last year.

So, for those of you who insist on calling Venice, "Disneyland," you can be sure that world leaders do not attend the Eurogolfe Forum in Disneyland. You must open your eyes, and make an effort to do your homework -- Venice is a microcosm of the macrocosm. If you see Venice as Disneyland, that says more about you than it says about Venice.

More from President Sarkozy:
"Venetian history, with its tragedies and boon periods, wars and works of art, is a mirror that reflects the challenges still facing the Mediterranean, Europe and the Gulf. The European Union is an unprecedented area of peace and prosperity in the Old World, a force of stability that prevails throughout the European environment through its economic strength and cultural outreach. Owing to plentiful oil supplies and financial liquidities, the Gulf Cooperation Council member States are becoming a new centre of our multipolar world where the media, banks, sovereign wealth funds, universities and museums have a growing impact on the major global flows of goods and images."
I think that Gilles Kepel, the Chairman of EuroGolfe and Professor of Middle-East Mediterranean Studies at Sciences-Po in Paris, and who organized the Forum, is on his way to sainthood. At the end of the Forum he gave special thanks to his students, saying it gave him comfort that they were a brighter generation. He said, "Bury me," in Arabic, which is a compliment:)

After taking time to digest what I experienced, I think a sincere effort is being made by sophisticated, caring people to reach out and create a New World. The financial market has deconstructed. The American Presidential elections are next month. New countries are emerging. We must accept that there is a New World being created in front of our eyes. I think it is our responsibility as members of the human race to do our part to create this New World based on genuine creative principals, using the highest qualities of the Old World upon which to build the foundation. Now, we have all heard all the conspiracy theories about a New World Order. I can only say one thing: listen to your hearts, and arrive at your own conclusions.

The Forum was held in English, with no translation, and, if my memory serves me correctly, everyone followed the rule except Giovanni Bazoli, the President of the Giorgio Cini Foundation, who spoke in Italian, Hubert Védrine, the Former French Minister of Foreign Affairs, who insisted on speaking in French -- in fact, declared how nice it was to hear French in the Tapestry Room -- and Prince Turki, who, after speaking in English for most of the conference, insisted on reading the message from his King in Arabic. (Gilles Kepel, who seems to be fluent in everything, translated, with a touch of weariness, whenever necessary.) I loved observing the dynamics when they interacted with each other, and to see that they were actual human beings with strengths and weaknesses.

Over and over again the speakers said that it is time to be transparent and honest so that we can do other things. Too many people have been lying and refusing to do their jobs in the proper fashion. That we cannot survive in a fortress. That this is a critical moment that cannot be underestimated. That the commodity we need is confidence.

A couple of days before I went to the Forum, I had the opportunity to speak, briefly, with Luca Francesconi, who is the new Director of the Music Section of La Biennale. He said something that struck me, and I think it's pertinent to this Forum. He said, "There is nothing left to deconstruct. Instead of destroying, it is time to create. We have an ethical mission to create."

I have heard this profound desire expressed by so many influential leaders who have recently passed through Venice, and it is my profound desire, also -- to create, not destroy. They have all expressed frustration with the status quo, or, even worse, the deliberate attempt to hold onto power by use of lies, intimidation and fear.

HRH Prince Faisal Bin Salman, another member of the Saudi Arabian royal family, said they were reaching out to the world. They said they felt they had been wrongly portrayed and would like to correct the situation -- "not to please others, but to present ourselves." They are working with women and have done things like invite female Scandinavian poets to meet with their Saudi counterparts, and exhibited Saudi female photographers so they could see things from the Saudi-woman perspective.

Honestly, the speaker who impressed me the most was Prince Turki. He spoke quite strongly about wanting to have a new dialogue and not play on humanity's fears to score cheap political points. He said that Europe and the Arab countries have much to share with each other. He truly seemed to want an international peace based on tolerance, understanding, sound business practices, and the building of bridges between the cultures -- not by imposing one culture upon another, but to sincerely make an effort to understand our individual cultures.

Another impressive speaker was Christophe de Margerie, the CEO of Total Oil, a great personality full of humor and wit. His advice as the financial crisis was happening all around us, and people were losing millions: "Stay Zen."

To see who all the speakers were, and the program, please go to Eurogolfe's website:

http://www.eurogolfe.com/

If that link does not work, you may find the same information at the Sciences-Po site:

http://eurogolfe.sciences-po.fr/archives/venise-2008.html

It would be impossible to summarize the huge amount of information that was imparted, so I will focus on the most important message that the Forum wishes to transmit, an end to the conflict between Israel and Palestine.

Another reason the Forum was held in Venice is because 28 years ago, on June 10 & 11, 1980, all the European Chiefs of State met at that very place -- the Giorgio Cini Foundation -- and created The Venice Declaration, which stated the same thing: Palestine has a right to self-determination, and there must be two separate states. Then there were only nine members; today there are 27 members of the European Union, and they feel more strongly than ever. The world is ready. The players are ready. Mothers from both sides who have lost their children appeal for help. The West Bank appeals for help. Everybody is tired. The world could rest. They want to enforce the 1967 resolution, which gives 78% of the land to Israel and 22% to Palestine.

Now, when someone with legitimacy appeals for help, I strongly feel that we have a moral obligation to help them!

I think we should go back to the Sumerians to really understand what's going on. Here is a map from Encarta, with today's countries outlined in white.

Let us not forget that the goddess Inanna-Ishtar had some prime real estate here in this region:) My greatest peeve with this Forum was the under-representation of women. To me, if you want Progress in the World, you are going to have to open that window, too. For the most part, the handful of women who were at the Forum were intelligent, well-spoken and dignified. To me, women are a great under-utilized natural resource, and that must be corrected.

I deliberately try to avoid politics and religion, but by attending a Forum such as this, I was forced to cram in an intense period of catch-up just to write this blog. At my gut level, I feel there is a bit of... confusion about the United States, and the true intention of its people, and who, exactly, we are -- there was little representation from the US at the Forum. Americans are, by nature, helpful and accepting of different cultures, otherwise a man like Barack Obama could not be a Presidential candidate. Americans have not been exposed to what the reality of the world situation is, and I think they are slowly realizing this.

I think that the EU and the GCC could influence America by use of Soft Power (see how I've picked up the lingo?:) For example, as a novelist, I yearn to publish first here in Europe and/or the Gulf in English, and sell first here -- where I have lived for ten years -- and then sell to the United States. I, personally, am another under-utilized resource here in Europe, and I am certainly not the only one. American writers for young people, together with librarians, teachers and scholars, are an organized, vocal group, capable of major impact. That is just one example, but all over America you can find artists, film makers, musicians, etc., with sympathetic voices, willing to help, just as there are in Europe and the Middle East. Just as Saudi Arabia feels like it has been misrepresented, I, as an American, feel that we have been misrepresented. I, too, strongly believe that the situation can be improved by being open and honest, and I am certain there are many Americans who feel the same way.

I would love to see the EU and the GCC work with Americans to solve the world's problems. What Americans need is accurate information. Forgive me if it sounds simplistic, but, to me, the way to influence the government of America is by educating the human beings that make up America -- if the name of the Forum is "Human Development," well, Americans are human beings also. Maybe I am overly optimistic, but I believe that if France took the lead on this -- in the spirit of enlightenment, not competition -- the other countries would follow. After all, if it wasn't for France, there wouldn't be a United States of America.

No matter how diverse our cultures, we all do have a common language: it is the language of the heart.

Ciao from Venice,
Cat
http://venetiancat.blogspot.com/

P.S. The nice thing about a blog is that it is like clay, and can be molded and changed as days go by. If you have read this before, you will see that I have been searching for a title, and decided on H.G. Wells' 1923 novel, Men Like Gods, about an Utopian world where Lying is the Blackest Crime. For those of you who haven't read it, Project Gutenberg of Australia has made it available online:

http://gutenberg.net.au/ebooks02/0200221.txt

Title: Men Like Gods (1923)Author: H.G. Wells* A Project Gutenberg of Australia eBook *eBook No.: 0200221.txtLanguage: EnglishDate first posted: March 2002Date most recently updated: January 2003

Monday, October 13, 2008

Venetian Cat Hits Australia! Cat Bauer - Venice Insider for ninemsn




 




Cat Bauer Venice Insider


Award-winning author Cat Bauer has lived in Venice since 1998, and is still learning how to navigate the labyrinth. Her blog, Venetian Cat, has been featured in the Financial Times Weekend Magazine.

***

Are you wondering what I have been up to? I hope so! I have a very good excuse for being lax, which is that I am now the Venice Insider for ninemsn, Australia's number-one interactive media company. It just went live yesterday, October 13, 2008. Please have a look:

Venice Insider: Cat Bauer


Channel 9 is an Australian television channel, but they write it "nine." (If you are American, compare it to NBC or CBS or ABC.) This is from their site (they do not capitalize "nine"):
"About ninemsn 
ninemsn is Australia's number-one interactive media company. Over 8.6 million people* visit ninemsn each month, representing 73 per cent of active Australian Internet users. ninemsn is the Australian home to popular Microsoft products such as Windows Live Hotmail, Windows Live Messenger and Windows Live Search and delivers well-known content from the Nine Network programs including Getaway, the Today Show, A Current Affair and National Nine News. It also represents popular Australian Consolidated Press (ACP) magazine titles online, including Ralph, Cleo, The Bulletin and Woman's Day. Across the entire network and over a range of categories, ninemsn aims to deliver content that informs, entertains and engages its audience. * Source: Nielsen NetView November 2007."
I have never been to Australia, but the first man I fell in love with was Australian, so I do have first-hand experience with the culture, which I will describe as "zesty, individualistic." I was quite old, age 27 -- I am very particular with my love. He is now in Paradiso, hopefully watching from above. So, this one's for you, Barry!

It was hard work because it required that I go against my artistic inclinations, but, as anyone who knows me can testify, I am capable of putting my nose to the grindstone when the need arises. Since the world-as-we-know-it is in the process of deconstruction, I switched into pragmatic-mode and produced (hopefully) an informative guide as to What's Real here in the Magic Kingdom. I had a short amount of time in which to perform this feat (about three weeks).

In addition, I was working under extreme duress. One example: my beloved Apple G4 12" Screen Powerbook was ailing during the Venice Film Festival, and then died a mysterious death in the middle of the ninemsn effort. It was sad, because I had personified her, and called her, affectionately, "GeeFour." Apple does not make 12 inch G4s anymore. (That is not my G4 in the photo, but a distant relative -- they all look alike, but, of course, their souls are different, depending on the owner:)

So, every day I ran over to the Internet Point to work. The people who worked inside the shop were so simpatici, they deserve a mention. My office-away-from-home was what used to be the Gas Store here in San Polo, and is now in the process of becoming... something else. They sell clothes, play hip music, and have five computers inside the store -- the kids who work there are incredibly cool.

For instance, after I wrote the Natalie Portman piece (GO: Let's Talk About Stars - Venice Film Festival ), one of the employees told me he had walked Natalie Portman over to our local Giorgioni Theatre a couple of nights before, where she stood in line with everyone else to buy her ticket. Ha! Yes! That is why she couldn't attend the fabulous ball -- she was busy being a human being!

I don't know the address of the internet point, so I am going to run over there right now. I will be right back.

Okay. Now I am back. I will describe my journey, so you can better understand Venice. On my way over, I poked my head into Do Mori, which is one of our oldest... bars... kinda, sorta. There, inside, was Count Francesco da Mosto. It is the full moon as I write this, so my energy is a little wild. I bubbled all over Francesco that I had put him on the ninemsn website (GO:http://travel.ninemsn.com.au/article.aspx?id=645212) and then apologized to the people whose conversation I had interrupted.

Then I had an ombra with some Venetians, a red wine ombra, which is a little glass of red wine. Ombra means shadow, in the sense of shade from the sun. So, we drank some shadows together and we cracked some jokes, one of which was "all intelligent Americans live in Europe," and then I continued on my journey.

Here is the info: The name of the Internet Point is Gas Point, and the address is 1572 Calle dei Boteri, which runs parallel to the main drag, Ruga Rialto, but further back. The cool Venetian kids are Francesca and Alberto. So, if you need to use the internet by Rialto, go there. Or if you want to buy some Gas clothes, or whatever kind of clothes, for reasonable prices, go there.

Then, on my way back, I stopped inside my Friendly Local Neighborhood Tobacco Shop owned by a young married Venetian couple, Cristiano and Claudia, who doesn't like her name because it is based on "Claudius," the Roman emperor who, although having some excellent qualities, was cruel and deformed. (I can assure you that the Claudia inside the Friendly Neighborhood Tobacco Shop is beautiful and sweet, especially because I often see her interact with her husband, Cristiano, side by side.)

Inside the shop was Gino, who is one of the sons of Antica Drogheria Mascari. I said, "You are on ninemsn. Over eight point six million readers per month. It went live yesterday."

Gino said, "How much do I have to pay?"

I said, "You should pay, but it is gratis. No, wait. You must give me some chocolate."

Instantly, Gino handed me some chocolate. Seriously! I had interrupted him in the process of slicing chocolate with a penknife -- I don't know why he was doing it -- he was behind the counter, so I couldn't see. Now, Gino does not belong in the tobacco shop behind the counter. He belongs inside Mascari behind the counter, so, the fact that he was inside the tobacco shop was a little strange to begin with, and that he was slicing chocolate at the precise moment I asked for it was even stranger.

Gino said, "You must write that I pay immediately upon demand." I stuck the chocolate in my pocket, and he scolded me. He said, "You cannot put chocolate in your pocket. It will ruin your jacket." I said, "I want to eat it at home."

Now I am home, and I have eaten the chocolate. And that, my dears, is Venice.

Ciao from Venice,
Cat

Thursday, October 2, 2008

Where's the Blood? Palladio Redux - Venice, Italy

Cat Bauer inside the Church of Redentore, Venice
Photo by Sara Jane Boyers, US operative
(Venice, Italy) Palladio! That image you see is me aligning myself with a beam of Palladian energy from a circle high up in the ceiling over at the Church of Redentore (now, don't go running over there asking to beam up, too, because it is behind the scenes:) Even though our dear Earth has lovely scenery, I will do anything to get off this planet. Beam me up, Scottie!

Seriously, I became intrigued after I went to the Palladian Gala back in July, and stumbled into the lecture by Professor Guido Beltramini, and learned about the anti-Palladio movement by architects in Vicenza. To read my reaction, go here:

500 Years of Andrea Palladio - Palladian Gala - Save Venice, Inc.


I was very much looking forward to the exhibit in Vicenza, which opened on September 20th. I was fortunate enough to score an invitation to the Gala the night before, but when we arrived, we were told we were too late for entry -- and we were late. There was heavy traffic that day from Venice to Vicenza. They would not let us in. Security was tight because there were many Heads of State and folks of that ilk inside. They told us to go over to the exhibit, which we did (not easy to clatter around Vicenza in high heels!).

I was anticipating all sorts of things -- blood-red color on the pillars, fauns on the floor, clues as to how Thomas Jefferson built Montecello, revelations of Jungian proportions about the subconcious mind finally revealed -- but I must have missed it. I guess I have to go again. If any of you readers out there would like to illuminate me, your comments would be most welcome.

The latest information I can find about the Palladio Exhibition Tour was given to me at the British Pavillion at La Biennale International Architecture Exhibition -- as I write this, even the official Palladio website seems to have incorrect info, which says: "It will open in Vicenza, (palazzo Barbaran da Porto, 20 September 2008 – 6 January 2009), it will then move to London (Royal Academy of Arts, 31 January – 13 April 2009) and will close in the United States of America in Autumn 2009." http://www.andreapalladio500.it/ (click English after the intro)

What I've got is from a press release from the Royal Academy of Arts:

Centro Internazionale di Studi di Architettura Andrea Palladio, Vicenza: 20 September 2008 - 6 January 2009
Royal Academny of Arts, London: 31 January 2009 - 13 April 2009
FundaciĂ² "la Caixa", Caixaforum, Barcelona: 19 May - 6 September 2009
Caixaforum, Madrid: 6 October 2009 - 17 January, 2010

Rumor has it that it might make it to America in 2011.

In any event, we will make due with some images taken by my former "friend," the US operative Sara Jane Boyers posing as a "photographer/writer." We went over to Redentore the other day. I was particularly intrigued by Professor Beltramini's statement about there being underground chambers in Palladio's buildings.

When I was a child, we had a basement below the ground, and it always scared me. We used to keep canned goods down there, and my mother would tell me to go down and get a can of tomatoes or peas. As I closed the cupboard, I would feel something dark behind my back and ran back up those steps as if the devil himself were chasing me. To be honest, I found it thrilling. There is something mysteriously satisfying about descending to a room below the earth, running up the stairs, and then bursting back into the light.

I knew there was a type of underground room at Redentore -- which is truly peculiar, since we have all sorts of problems with high water and flooding. How could there be an underground chamber in Venice? It seems impossible. Yet, there it is, in that photo over there on the right.

The windows are deceptive because the bottoms of the sills are closer to the ground than they appear -- in other words, they are almost level with the pavement outside.

Therefore, if my memory serves me correctly, the room itself is below the ground almost immediately beneath the windows. It's not like descending into a deep, dark basement, but part of that room is underground. There is an ancient irrigation system that keeps the water out.

The Capuchin friars use the underground room to pray in the winter because it is warmer than their small, sparse church, Saint Mary of the Angels, built in 1536 -- about 50 years before the Redentore itself. The Capuchin friars are humble by nature, so they are more comfortable in their little church.

On the altar is a copy on wood of Rocco Marconi's 14th century "Madonna and Child with Saints Gerolamo and Francesco." As you can see, their private church is not grand like Redentore -- and even that, compared to other churches, is lacking in ornamentation.

Here is something about Redentore that I wrote back in 2003 for the International Herald Tribune's Italy Daily:

"Known for its absence of ornate funeral monuments, the austerity of the church's interior was a result of the Capuchins' insistence that their vow of poverity be respected. The Venetian Senate ultimately consented and decreed that no burials should ever take place inside the church, thus providing an uncluttered view of the white luminous purity and harmonious lines of Palladio's original design."

If you look at that photo of Redentore's interior (taken from Wikipedia), you will understand a bit what the fuss is all about. Those pillars were originally red. They have been painted white. Red pillars inside the Church of Redentore is a whole other church. Gone is the "white luminous purity."

This is from a September 19, 2008 article from ANSA, which is sort of like the Associated Press. It refers to the Church of San Giorgio, but during the tour I was on in July inside Redentore, the professor said the pillars in Redentore were also red:

"Of particular interest was the discovery by top Palladian experts from Italy, France, Britain, Germany, Spain and the US that the Renaissance architect had a hitherto unknown penchant for occasional colour. Palladio's classical Roman designs are famous for their white simplicity but the latest research suggests that a number of works originally incorporated splashes of red.Traces of red paint have been found on several famous buildings designed by Palladio, including the Church of St. George in Venice, whose columns were repainted white in the mid-1600s. Experts are now convinced that an important element of Palladio's original design for the church was the contrast between its fiery red columns and their brilliant white bases."

What does it mean? Why were they painted over? I will leave it to the scholars to interpret the meaning of red pillars in a white church.

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

Thursday, September 25, 2008

GANESHA & Other Sponsors


This just in: Renato Canciani, super-salesman at Ottica Vascellari, reports that he sold Aaron Betsky, the Director of the Architecture section of La Biennale, a pair of eyeglasses. I knew Aaron was cool -- as is Renato.

To read more about Aaron, go here:

http://venetiancat.blogspot.com/2008/09/live-from-11th-international.html


To read more about Ottica Vascellari, go here:

http://venetiancat.blogspot.com/2008/08/ottica-vascellari-best-eyeglasses-in.html
Home: http://venetiancat.blogspot.com/

Friday, September 12, 2008

Live! From the 11th International Architecture Festival in Venice, Italy

(Venice, Italy) Another little miracle – I am writing to you from inside the press room at Arsenale from the next section of La Biennale: Architecture. This morning, Paolo Baratta, the President of La Biennale, spoke at the press conference, together with a dynamic American, Aaron Betsky, who is the Director of the 11th International Exhibition of Architecture. Entitled, OUT THERE: Architecture Beyond Building, the festival opens on September 14th, and runs through November 23, 2008.

I have just viewed the portion inside the Arsenale, and report that if you are in Venice during this time, YOU HAVE GOT TO COME! Do you see that image up there? That is the first thing you see when you walk into Arsenale. You can make all the points of light connect and change and move if you dance around and flash your energy up at the screen through your fingertips, just like a god. Any architecture exhibit that opens with something like that has got to be a window into the big brain, n'est pas?

Paolo Baratta said he was pleased that attendance is growing rapidly for the Architecture Biennale, both with the architects, and the journalists. Aaron Betsky confirmed that when it comes to cutting edge architecture that Venice is the place to be -- for the vehement criticisms. For the uncanny ability to debate. Betsky said, “You have to come to Venice.” The reknown architect Frank Gehry will be honored with the Golden Lion for Lifetime Achievement, and he has an installation here.

Aaron Betsky, who was born in Missoula, Montana in 1958 is feisty and outspoken, and, again, I am so happy to see Americans arriving here with this kind of energy. He began by thanking the staff at La Biennale for making his job easier, and said he was flabbergasted by the ability of the team here in Venice who worked to make these architectural concepts a reality. He said these were not final products, but catalysts.

He made a provocative statement: “The road to Utopia leads to the gas chamber.” He elaborated by saying that a totalitarian regime which uses technology and industrialization to control the environment can only hope to create a perfect static state. He said his idea of a beautiful city is one that is continually changing, both growing and shrinking. There was a lot of talk about pixels and molecules, which is right up my alley.

For example, I chatted with a young architect from Guallart Architects, "MIT's Center for Bits and Atoms," from Catalunya.

I said, "So, tell me what this is."

He said, "Tell me what you think it is."

I said, "I think we are finally physically manifesting the unseen connections in the universe."

He said, "On the planet."

I said, "Okay, the planet, but, to me, the planet is part of the universe."

He said, "We want to show how that chair can also be the same as a table, and the same as a theater. That it is made up of the same corners, the same molecules."

I said, "Very good, but I like that pineapple thingy you've got over there. I can't wait until architects incorporate even more fractal geometry. Mandelbrot discovered the formula for a tree, for the coastline. I'd like to see more of that -- not just in the movies."

Another one of my favorites was Diller Scofidio + Renfro, who are based in NYC. Their project was a two-screen film from the point of view of a passenger inside a gondola, with swiveling stools so you could look forward and back.

The scene was the original Grand Canal (with a nice view of my apartment:), and the same scene from copies of Venice in Las Vegas, Macau, Doha, Nagoya and Tokyo -- I did not know we had so many Venices these days. In every city, there was a voice-over. Now, what, you might ask, does that have to do with architecture? Everything. When you see it, you will understand.

Betsky said, "We are not proposing solutions. These are not final products." He used the word "catalyst" many times.

In any event, as I keep saying, I am totally in love with La Biennale, the organization. Perhaps it can only exist inside Venice, inside our "as it was, where it was" mentality. Perhaps the ancient, dusty energy of the past is a balance for the dynamic, creative energy of the future.

Ciao from Venice,
Cat
HOME: http://venetiancat.blogspot.com/

Monday, September 8, 2008

Wim Wenders Declares: "I Will Never Be on a Jury Again!" - 65th Venice Film Festival

Mickey Rourke, Darren Aronosfsky & Evan Rachel Wood at the Venice Film Festival -
Photo: courtesy La Biennale di Venezia

(VENICE, ITALY) By now, you probably know that The Wrestler won the Golden Lion at La Biennele di Venezia 65 Mostra Internazionale d’Arte Cinematografica, otherwise known as the 65th International Venice Film Festival. If you were to translate that word by word, it would look more like The Biennial of Venice 65 Exhibit International of the Art Cinematography. To add to the confusion, La Biennale, which means something that occurs every two years, is now practically non-stop here in Venice, what with the art, architecture, music, film and theater. And at an international festival, many different cultures collide. Add to that just how... um... Byzantine the city of Venice itself is -- not to mention its politics -- and you could run screaming to the hills.

65th Venice Film Festival Jury
Photo: La Biennale di Venezia
When the German director Wim Wenders made the declaration during the press conference after the awards ceremony: "I will never be on a jury again," a journalist said, "That is a headline. You have just given us a headline. Would you care to explain why?"

Wenders thought for a moment, and then said that in his heart he thought it was best not to talk about it. He looked to the rest of the jury (Wim Wenders presided over this year’s jury, which included Juriy Arabov, Valeria Golino, Douglas Gordon, Lucrecia Martel, John Landis and Johnnie To), and they agreed it was best not to speak.

Earlier in the evening, during the ceremony, Wenders had criticized the rule that the same film could not win Best Actor or Actress, and Best Film. He was very careful to clarify that his statement had absolutely nothing to do with the Italian actor, Silvio Orlando, winning the top award for his role in Il PapĂ  di Giovanna. Later in the evening, Valeria Golina, another member of the jury, supported his statement, saying the selection of Orlando was unanimous.

We can only imagine what went on behind the scenes. I rather liked Wim Wender's honesty and frank speaking; I found it refreshing. (He is a Leo). I would also imagine that, in the future, he will probably be on a jury again:)

When the Best Actress Dominique Blanc arrived, he asked her: "I have a question. Was that a real hammer?" (See my post.)

When the Russians arrived to talk about their Silver Lion for Paper Soldier, he asked them, "How did you guys create that rocket? Did you launch a real rocket or what?" (I didn't see the film.)

Another journalist asked Wim Wenders (that's Wenders with his wife) why Mickey Rourke went up on stage with Darren Aronosfsky, the director, to accept the Golden Lion. Wenders said he didn't know, but he was happy that Rourke did. Later Darren Aronosfsky arrived at the press conference, and did not enter with Mickey Rourke. I thought, ah, ha, now you'll all be disappointed if Mickey Rourke is not here. Moments later, Mickey entered, and I did not hear anyone complaining.

Again, it was many of the same journalists asking the questions, and everything was okay until an Italian journalist asked Mickey Rourke if the Golden Lion for The Wrestler owed something to the long line of boxing movies like Rocky that had gone before. Mickey had said the day before that they had hesitated about bringing The Wrestler to Venice because the wrestling culture was so... American. He had explained and explained the difference between wrestling and boxing. So, Mickey was a tad piqued, as was I, because it was as if nobody had understood a word he'd said. He said: "You are comparing apples and oranges. That question does not make any sense."

The journalist ended up apologizing, but I don't think he understood what he had done wrong. After speaking to other Italians, I think we have a classic cultural misunderstanding, and I am going to attempt to put my spin on it.

Pro wrestlers such as Hulk Hogan, are sort of like cartoon characters, while professional boxers, like Mohammed Ali, are like artists and athletes.  

The Wrestler is not a Rocky story. After examining my own feelings, and speaking to people-on-the-street, I believe The Wrestler is striking an archetypal chord -- something uniquely human. We all destroy ourselves to some extent and attempt to rebuild. Most people do not destroy themselves as spectacularly or publicly as Mickey Rourke, either in real life, or in the film. To me, the reason The Wrestler works so well, and appeals to both men and women, different nationalities and cultures, various ages, is because of its universality -- the story of a man struggling to become human. It's a story about individualization and differentiation against all attempts by society to crush the original spirit. Since I climbed out of the New Jersey suburbs myself, I related to it on a personal level.

After the press conference, I chatted with John Landis. I said, "Do you live in Los Angeles?" He said, yes. I said, "I used to live in the hills of Los Feliz, but now I've lived here for ten years." He said, "Do you live on the Lido or in Venice?" I said, "I live on the Grand Canal right at Rialto, right in the thick of it. Don't you think I should get an award just for surviving?" He said, "Venice is not real. It's Disneyland." I said, "Venice is not Disneyland. It's the Magic Kingdom."

I spoke to many people on Saturday night, after the awards. I took an informal survey at two extreme locations, Harry's Bar and the Communist Festival at Rialto. The Harry's Bar people echoed the words of the journalist that it was a Rocky movie (which makes me think it's gossip running on that circuit), while a Venetian I have known for many years at the Communist Festival said, "You want to understand how Venetians feel? You are keeping alive a dead corpse using artificial respiration. All this --" he waved his hand, indicating the Communist celebration in the background -- "the film festival, everything... we are being suffocated. Venetians just want to do their jobs, eat good food, spend time with their families and go out on their boats."

I went to the wrap-up press conference on Sunday morning headed by film festival director, Marco Mueller, and the prior (1998-2001) and returning La Biennale director, Paolo Baratta (a former director of Telecom Italia, which is sort of like AT&T).

A journalist asked if the plans for the new Lido, (which is in the process of being transformed into a mini magic kingdom for the movies) will include a hospital and other real-life buildings for real-life people. Baratta replied that Venice could not only create four and five star hotels and everything that goes with that and hope to survive. That it needed to create housing and activities for young people.

I will add that Venice also needs Venetians to survive. Living, breathing Venetians are the soul of Venice manifested into human form. In fact, it is almost as if dead people are making crucial decisions about Venice's future. Doesn't that sound spooky?:) Hey, I'll bet that would make a good movie! Wait -- didn't Robert Rodriguez already do that?

Another journalist asked about the Toronto Film Festival, which overlaps Venice this year (next year they are going to have a war and go head to head). Mueller replied that there was no mass decampment by journalists to Toronto. As I've said, I quite liked what Marco Mueller did with the American films; I didn't see enough of the entire festival to comment overall, but the jury did say more than once that they had seen a lot of bad films. It's too early for me to tell the difference between La Biennale directors Davide Croff and Paolo Baratta, but I liked that there were buses waiting nearly every time I stepped off the vaporetto, and at the festival itself. It made life so much easier.

Today Infostrada called me to try to get me to switch phone companies. I said I was happy with Telecom:)

Ciao from Venice,

From La Biennale's website:

"The Venice Biennale has for over a century been one of the most prestigious cultural institutions in the world. Established in 1895, the Biennale has an attendance today of over 300,000 visitors at the Art Exhibition.

The history of the Venice Biennale dates back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival ever organized). In 1980 the first Intl. Architecture Exhibition took place, and in 1999 Dance made its debut at the Venice Biennale."

Go to La Biennale: