The Effectivness of Political Doscourse at the Venice Biennale

Even if we are faceing more and more political engagement in the Venice Biennales, generaly in a leftists spirit and curated as in they were place of resistance from the capialistic Industry of Cutere (Adorno and Horkheimer) and "Societe du Spectacle" (Debord), any attenp to be really radical risks to be submerged by the dinamic of the art system: one can see at play the interests of collectors and gallerists (who produce mane of the works), museums (who ratify their value), and the curatori themselves, unable to escape the logic of entertainment and soft diplomacy. These were principles at the very beginning of the BIennale (1895) and remain a sort of cultural root that often comes to the surface. Some exceptions can be seen within the National Pavilion, though even if they have been surrounded by a durable suspect of nationalisms. Actually, their curator can often enjoy more freedom from the idea of cultural kermesse than the curators of the main and international section.