Biennale 2003
The 4th Florence Biennale is the world's most comprehensive exhibition of contemporary art, representing 891 artists from 72 countries. When thousands of provocative works of art in every medium are brought together from farflung destinations, a spectacularly equipped laboratory of global creativity comes into being, but for a limited time only. The challenge to all of us is evident: can this ten-day event produce results more durable than the "Shock of the New"?
My chief responsibilities as director of the Florence Biennale are two: to seek qualified critics for the International Jury which adjudges the prizes and for the Committee which selects the artists; and to respond to the requirements of the artists for an equitable installation that allows the work to speak on its own to the extent possible. Every other year in December, the unpredictable but exciting results are seen by all of us at the same time. The result comes nearer to offering a cross-section of global art than any other biennial; in 2001, the United Nations recognized the Florence Biennale as an official partner in its program, Dialogue among Civilizations. Surely it is a decisive step in the right direction when creative individuals return to their studios with heightened respect for another. Just as surely, as we review world events, the difficulties facing us remain daunting. "Art/Science/Art" is the connective theme for three significant collateral offerings in this year's Biennale.
Art conservation techniques are examined in a special exhibit from the Conservation Laboratory of the Vatican Museums. As a demonstration of the nexus of industrial design and science, Ferrari motor cars have lent a selection of champion racing vehicles and original drawings by Pininfarina. Finally, the importance of optical instruments for artists of the past is the subject of a public talk by David Hockney, who will also be presented with the Lorenzo de' Medici Career Award. In closing I would like to thank participating critics for their invaluable assistance, bidding adieu to those who have gone on to other projects and welcoming new arrivals Kevin Clark Power (Museo Reìna Sofia, Madrid) and Julián Zagazagoitia (Museo del Barrio, New York City). The Jury from Biennale 2001 remains the same except for the addition of noted critic Dore Ashton.
The Biennale was done under the high patronage of the President of the Italian Republic and has been supported by the Ministery of Foreign Affairs and recognized by the members of the Committee of Honour.
Florence Biennale 2003
The 4th Florence Biennale is the world’s most comprehensive exhibition of contemporary art, representing 891 artists from 72 countries. When thousands of provocative works of art in every medium are brought together from far-flung destinations, a spectacularly equipped laboratory of global creativity comes into being, but for a limited time only. The challenge to all of us is evident: can this ten-day event produce results more durable than the “Shock of the New?”
The Florence Biennale was founded in 1997 in order to promote dialogue and diversity. Instead of featuring a single curatorial vision, artists working in any style, from traditional to digital, and any genre, from conceptual to portraiture, are eligible or nomination by a standing committee of more than thirty critics of International experience. My chief responsibilities as director of the Florence Biennale are two: to seek qualified critics for the International Jury which adjudges the prizes and for the Committee which selects the artists; and to respond to respond to the requirements of the artists o fan equitable installation that allows the work to speak on its own to the extent possible. Every other year in December, the unpredictable but exciting results are see by all of us at the same time.
The result comes nearer to offering a cross-section of global art than any other biennial; in 2001, the United Nations recognized the Florence Biennale as an official partner in its program, Dialogue among civilizations. Surely it is decisive step in the right direction when creative individuals return to their studios with heightened respect for another. Just surely, as review world events, the difficulties facing us remain daunting.
Art/Science/Art is the connective theme for three significant collateral offerings in this year’s Biennale. Art Conservation techniques are examined in a special exhibit from the Conservation Laboratory of the Vatican museums. As a demonstration f the nexus of industrial design and science, Ferrari motor cars have lent a selection of champion racing vehicles and original drawings by Pininfarina. Finally, the importance of optical instruments for artists of the past is the subject of a public talk by David Hockney, who will also be presented with the Lorenzo de’ Medici Career Award.
In closing I would like to thank participating critics for their invaluable assistance, bidding adieu to those who have gone on to other projects and welcoming new arrival Kevin Clark Power (Museo Reina Sofia, Madrid) and Julian Zugazagoitia (Museo del Barrio, New York City). The Jury from Biennale 200 remains the same except for the addition of noted critic Dore Ashton.
John T. Spike
Art Director
A copy of Pietà di Michelangelo
Vatican Museum
Ferrari Enzo
Ferrari award ceremony