The Dutch Pavilion at the 54th International Art Exhibition of La Biennale di Venezia, curated by Guus Beumer, presented artists Joke Robaard, Johannes Schwartz and Barbara Visser, designer Maureen Mooren, architects Herman Verkerk and Paul Kuipers (EventArchitectuur), author Sanneke van Hassel and composer Yannis Kyriakides.
At his invitation, they all worked on a collaborative project for the Venice Biennale, entitled Opera Aperta / Loose Work. Opera Aperta / Loose Work has its origins in a linking of the notions ‘national identity’ and ‘community’. In the Netherlands, the concept of community has been uniquely embodied in its cultural infrastructure. This intricate infrastructure has been developed by the Dutch government since the 1960s. The result is a public system of production, distribution and reflection on art and culture in which the position of the artist in society is firmly embedded. However, this cultural infrastructure has begun to lose public support and has become a subject of major debate. Consequently the public space, the social position of art and the artist, as well as the notion ‘community’, need to be redefined in the Netherlands.
Part 1. Maquette by Maureen Mooren
Deel 2. Reader. Edited by Guus Beumer, with contributions of: Joost Kuiper, Guus Beumer, Domeniek Ruyters, Rob van der Zalm, Roland de Beer, Anna Tilroe, Willem Schinkel, Koen Kleijn and Ian Buruma.
Deel 3. Monologues by Sanneke van Hassel
The Dutch Pavilion at the 54th International Art Exhibition of La Biennale di Venezia, curated by Guus Beumer, presented artists Joke Robaard, Johannes Schwartz and Barbara Visser, designer Maureen Mooren, architects Herman Verkerk and Paul Kuipers (EventArchitectuur), author Sanneke van Hassel and composer Yannis Kyriakides.
At his invitation, they all worked on a collaborative project for the Venice Biennale, entitled Opera Aperta / Loose Work. Opera Aperta / Loose Work has its origins in a linking of the notions ‘national identity’ and ‘community’. In the Netherlands, the concept of community has been uniquely embodied in its cultural infrastructure. This intricate infrastructure has been developed by the Dutch government since the 1960s. The result is a public system of production, distribution and reflection on art and culture in which the position of the artist in society is firmly embedded. However, this cultural infrastructure has begun to lose public support and has become a subject of major debate. Consequently the public space, the social position of art and the artist, as well as the notion ‘community’, need to be redefined in the Netherlands.
Part 1. Maquette by Maureen Mooren
Deel 2. Reader. Edited by Guus Beumer, with contributions of: Joost Kuiper, Guus Beumer, Domeniek Ruyters, Rob van der Zalm, Roland de Beer, Anna Tilroe, Willem Schinkel, Koen Kleijn and Ian Buruma.
Deel 3. Monologues by Sanneke van Hassel
