The next Venice Biennale, postponed due to Covid, this seems to me a wise decision, because it is unthinkable that an event, collective par excellence, can be reduced to closed numbers and sacred masks. In the meantime, we hope that 2022 can be a year of regained freedom of movement, and it matters little if we are forced to have an annual vaccine, as we have done for what we used to call ordinary flu, which then wasn't so ordinary and even less so is this pandemic disease. The ultra-centenary Venetian exhibition, born in 1895, which many over time have considered obsolete, old-fashioned, even finished, is more alive than ever, with ever more interesting, often prestigious presences and always more capable of arousing attention and debate, for its lights and shadows, but with everyone, absolutely everyone, wanting to be there, because they consider their presence the culmination of a career and for many a launch or a relaunch.
It's only right that, after the sentiments and resentments that arise with each edition's appointment of the management team, judged the best by the winners and the worst by the losers, much debate here in Italy is sparked by the Italian Pavilion. It's often mistreated, relegated to a hostel for foreigners and rarely capable of expressing the true values of our country. The idea of making this pavilion multi-seated, multiplying it across the boot and islands, making the one in the gardens a thematic pavilion with a corner for the three Venices and then, with equal dignity, many exhibition halls, from Milan to Palermo, from Turin to Cagliari, would redesign national pride. This would be in obedience not to an absolute principle of decentralisation, which is reductive and provincial, but to a true, highly respected polycentrism, capable of reflecting Italy. This can never be achieved by a handful of lucky individuals, who are not the whole and often, very often, are not even the best of the moment.
A Biennale, with its heart in La Serenissima and its body throughout the land of towers and bell towers, truly valuing its many talents, with genuine prominence, on an equal footing.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
Italiano 
English (UK)