The Venice Biennale, with its national pavilion structure, has always been a platform for political expression and soft power, a reality evident from its early 20th-century origins. Contemporary critic Arturo Lancellotti's 1909 review of the German and British pavilions was steeped in geopolitical context, revealing how national artistic displays were interpreted through the lens of imperial power and military alliances.
Un nuovissimo romanzo è ambientato nella Venezia rinascimentale e nel suo potente Arsenale (quello dove si tiene la Biennale)
Allegra Scattaglia and Luca Josi have co-authored a new novel titled "Venetians – Il segreto dell’Arsenale," published by Sonzogno. Set in Renaissance Venice, the story follows young patrician Marcantonio Bragadin as he becomes entangled in a plot driven by the city's sophisticated and ruthless political system. The narrative highlights the Arsenal, one of the world's first proto-industrial shipbuilding complexes, which also hosts the Venice Biennale. The book weaves together art, technology, diplomacy, and intrigue, featuring historical figures such as Titian, Tintoretto, Albrecht Dürer, Leonardo da Vinci, and Aldus Manutius.
Wo bitte geht's zum nächsten Skandal?
The article reports on the 2024 Venice Biennale preview days, where the atmosphere is dominated by political protests, media stunts, and social-media pressure rather than the art itself. Incidents include a solidarity drone choir for Gaza, a Pussy Riot and FEMEN protest at the Russian Pavilion, and a planned demonstration near the Israeli Pavilion, all amplified by PR agencies and WhatsApp alerts. A journalist describes being pressured by editors to cover scandals and political controversies instead of art reviews, which they say no longer attract clicks.
Oltre le armi. La forza sociale come vera difesa nel Golfo Persico
Journalist and observer perspectives highlight that Iran’s geopolitical resilience against international military pressure stems from its vibrant middle class and deep-rooted historical identity rather than just its arsenal. Observations from travels across Iranian cities like Tehran, Shiraz, and Isfahan reveal a society deeply engaged with its own culture, frequenting museums, cafes, and archaeological sites despite political isolation and a lack of foreign tourism.