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(Venice, Italy) Igor Stravinsky, the composer, is buried here in Venice on the Island of San Michele. Close to his tomb is the grave of Sergei Diaghilev, founder of the Russian Ballet. Together they collaborated on the ballet, Pulcinella, which premiered in Paris on May 15, 1920, choreography and libretto by the dancer, Leonid Myasin; costumes and sets by the artist, Pablo Picasso. That ballet, Pulcinella, based on a stock character from the Commedia dell'arte, merged music, dance, theater, art and (in a way) architecture, in the form of set design.

Who is Pulcinella? Here is a quirky English translation from The Pulcinella Museum website:

To Pulcinella are attributed magical powers. In Naples are sold little Pulcinella-statues from painted terra cotta. They serve as bringers of good luck. In Christmas-time they are placed in the stable, between the shepherds and the Magi. At discussions about the nature of Pulcinella is often brought to the fore that he resembles Christ - because he is a scape-goat and redeemer - but that he has a diabolic side as well. Pulcinella is also compared with certain gods from the Hellenistic antiquity, especially with the Greek God Hermes, because Pulcinella is, like Hermes, a companion of souls, and because he is the union of oppositions: life and death, masculine and feminine, old and young, wisdom and foolishness, etc.. Pulcinella is even called ‘the modern prosecution of Hermes’.


Click to find out more about the Pulcinella Museum, which is located in the Baronial Castle that once belonged to the Earls of Acerra:

http://www.pulcinellamuseo.it/museo/eng/index.php

I thought about Pulcinella the other day when I was at the La Biennale press conference inside the beautifully restored palazzo, Ca’ Giustinian, La Biennale's historic home. For those of you who don't know, La Biennale is an internationally renowned organization here in Venice featuring contemporary Art, Cinema, Theater, Dance, Music and Architecture under one vibrant umbrella. The restoration only took about two and a half years -- proof that mutual respect and cooperation are possible here in our Byzantine village, allowing everyone to get down to the real work at hand. Walking into La Biennale is like stepping into another dimension where creativity is valued and conversation is open and dynamic.


The press conference presented the Dance portion of La Biennale, and two men I greatly admire were the speakers: Paolo Baratta, the President of La Biennale, and Ismael Ivo, the Director of the Dance. If you're a regular reader of Venetian Cat - Venice Blog, you know I've spoken about them before.


The three year project is Grado Zero, or Zero Degree, and opens a new chapter in La Biennale's aim to lead dance into the future. With performances, master classes and projects for young people, La Biennale hopes to attract dancers from all over the world. Sound ambitious? Well, with Ismael Ivo at the helm, anything is possible. He is an energetic speaker, brimming with tremendous energy -- he is a bit like Barack Obama, and not just because he's black -- Ismael was in my environment long before Barack, and his enthusiam is for dance, not politics:) I had the opportunity to speak to Ismael after the conference, and by the end of the conversation, we were hugging each other and saying, "Yes, we can!" From La Biennale website:


The 'Arsenale della Danza' pilot project
The project invites dancers to attend an intensive research workshop. A three-month program with daily sessions run by masters who will prepare attendees to implement ideas, images and visions of the performer's art. The project is aimed at candidates with a solid basic education, skills and experience, who wish to professionally improve themselves in contemporary dance. Auditions will take place on 13th and 14th March 2009. The Arsenale Dance project will run 30th March to 30th June 2009.

To go to La Biennale's website, please click here:

http://www.labiennale.org/en/dance/

Maurizio Scaparro, the Director of the Theater section of La Biennale was also in attendance, and I had the opportunity to speak with him, too. Back in November, I promised I would let you know about the Hollywood screening of his film, L'Ultimo Pulcinella. There was all sorts of uproar over here when Gomorra was not nominated for Best Foreign Language Film. Well, I saw both L'Ultimo Pulcinella and Gomorra, and I thought L'Ultimo Pulcinella was riveting. I know that Gomorra has made it on to many critics "best" lists, but I am wondering if it's not more a matter of distribution.

In any event, those of you in Los Angeles will have the opportunity to judge for yourselves during
Los Angeles, Italia, a Film, Fashion and Art Fest taking place at the Manns Chinese 6 Theater in Hollywood on February 15 to 21. When I left Hollywood back in 1998, the redevelopment was just starting; the last time I was there was in 2006, and it was completely transformed, yet still retained some of its decadent charm. In fact, Hollywood sort of reminds me of Venice, and guess who is one of the sponsors? The Casinò di Venezia! And the entire stew reminds me of Pulcinella, with light and dark, life and death, the union of opposites, the resurrection...


L'Ultimo Pulcinella, a film which also combines the elements of Art, Theater, Dance, Music and Architecture into a dramatic statement, is screening on Friday, February 20th at 9:45PM. Maurizio Scaparra will not be there because he will be here with us in Venice, since he is also the Director of La Biennale Theater, which opens that same night with Le Sorelle Bronte directed by David Livermore at the Goldoni Theatre -- you can judge by Maurizio's level of activity how much talent the man is packing. However, those of you in Hollywood will be treated to the star, Massimo Ranieri, in person, as well as enjoying his powerful performance in the film. Admission is free, and there are all sorts of other great films like Il Postino and The Talented Mr. Ripley.

Los Angeles, Italia. Honoring Honoring the Italian Masters of Cinematic Art Vittorio De Sica, Federico Fellini, Gillo Pontecorvo and legendary Producer Franco Cristaldi. Special tributes to director Pupi Avati and showmen Christian De Sica and Massimo Ranieri. Tribute to ANTHONY MINGHELLA.


Click to go to the Los Angeles, Italia website:
http://www.losangelesitalia.com/

Ciao from Venice,
Cat
Venetian Cat - Venice Blog
http://venetiancat.blogspot.com/

(Venice, Italy) Ten years ago, when I first arrived in Venice, I was fortunate enough to score an Access All Areas pass to the Doge's Palace. I had permission to roam unrestricted wherever I wanted for an entire week, so Palazzo Ducale is magical to me. I imagined myself straight back into the past, and wandered with the spirits through the great halls and chambers. I gazed upon Titian's fresco of St. Christopher and Veronese's Victory Against a Sinner, and trembled in front of the Council of Ten. I mounted the Golden Staircase, and danced under Palladio's ceiling in the Anti-Collegio. I stepped into Tiepolo's Neptune Offering Gifts to Venice, her seductive finger holding back the yearning of the Adriatic, and never quite stepped out again.


In addition, the first press conference I ever attended was held in the Sala del Piovego, and I found myself in that very room a few nights ago for the Fifth Annual Venice Award for Intellectual Property Rights ceremony. As a writer, it is a topic close to my heart.

Alison Brimelow, the President of the European Patent Office was there, as was Paolo Baratta, who, among many other things (as you know if you've been reading this blog), is President of La Biennale. Kevin Cullen accepted the award given to the Association of University Technology Managers (AUTM) for their work in bringing together universities, research institutions, government agencies and innovative enterprises. In other words, they connect research to the market, and spin thought into gold.

Long, long ago in 1474, Venice herself passed the first written law to grant and protect patents. Paolo Baratta said they probably signed the law in the very room where we were seated, the Sala del Piovego. Although most of the Palazzo Ducale is now a museum, there are a few rooms that function in a contemporary way, and that room is one of them. Just think -- 534 years ago Intellectual Property rights were a topic of discussion here in town, and the Venetians were wise enough to understand that ideas and thoughts should be protected.

What is Intellectual Property? This is from Wikipedia:

"Intellectual property (IP) is a legal field that refers to creations of the mind such as musical, literary, and artistic works; inventions; and symbols, names, images, and designs used in commerce, including copyrights, trademarks, patents, and related rights. Under intellectual property law, the holder of one of these abstract properties has certain exclusive rights to the creative work, commercial symbol, or invention by which it is covered."

It is amazing that this battle has been going for 500 years, probably much longer. I have spent most of my life in a creative environment, so it is difficult for me to understand how others fail to recognize the worth of original thought, and the tremendous time, energy and effort it takes to produce it. It is what I encourage in the books I write, and I have been fortunate enough in the past week or so to be surrounded by like-minded people. These days, Venice is teeming with discussions and conferences about how to be creative and productive, not stagnant and destructive; it is a very exciting time. There is a fascinating dynamic that erupts when you bring contemporary thinkers into ancient venues; you can almost feel the thoughts still floating in the air from centuries ago mingle with present-day brain waves. (That's Canaletto's version of Palazzo Ducale, though he is only about 300 years old:)

Here is the text from the ancient law:

19th March, 1474

There are in this city, and also there come temporarily by reason of its greatness and goodness, men from different places and most clever minds, capable of devising and inventing all manner of ingenious contrivances. And should it be provided, that the works and contrivances invented by them, others having seen them could not make them and take their honour; men of such kind would exert their minds, invent and make things which would be of no small utility and benefit to our State.

Therefore, decision will be passed that, by authority of this Council, each person who will make in this city any new and ingenious contrivance, not made heretofore in our dominion, as soon as it is reduced to perfection, so that it can be used and exercised, shall give notice of the same to the office of our Provisioners of Common. It being forbidden to any other in any territory and place of ours to make any other contrivance in the form and resemblance thereof, without the consent of the author up to ten years.

And, however, should anybody make it, the aforesaid author and inventor will have the liberty to cite him before any office of this city, by which office the aforesaid who shall infringe be forced to pay him the sum of one hundred ducates and the contrivance be immediately destroyed. Being then in liberty of our Government at his will to take and use in his need any of said contrivances and instruments, with this condition, however, that no others than the authors shall exercise them.


After the ceremony, I wandered out onto the Loggia and gazed at the imposing courtyard below... the bronze well-heads, the Giants' Staircase... and I think I glimpsed the Doge!

Ciao from Venice,
Cat
http://venetiancat.blogspot.com/

The La Biennale press office sent over this release (which I edited very slightly for American ears). To me, the most exciting news is the huge increase in attendance by students, and that Aaron Betsky has introduced young minds to new ideas. And, of course, special thanks must go to Paolo Baratta, the President of La Biennale, for making it all happen. If you remember, back during the film festival I said it was too early to judge Paolo Baratta. Well, after seeing what he has done with the other sectors, I will state very strongly that I think he is brilliant and gutsy, and I am happy he exists. Whether you agree with what La Biennale is doing or not, at least there is finally a breath of air in here, and discussions.

(Venice, Italy) November 24, 2008 – The 11th International Architecture Exhibition, Out There: Architecture Beyond Building, directed by Aaron Betsky, organised by La Biennale di Venezia, and presided over by Paolo Baratta, closed yesterday, Sunday, November 23, with a record number of visitors.

A total of 129,323 visitors came to the Exhibition, divided between the venues of the Giardini and the Arsenale. During the ten weeks that it has been open, the 11th Exhibition has consistently been ranked at the top of the most visited Italian exhibitions in 2008. With a daily average of 1,827 visitors and record numbers of 8,840 people during the weekends, the total is higher than the last edition in 2006 (127,298).

The total number of students that visited the exhibition, either in groups or individually, was 61,436.

Officially inaugurated on September 13th by Sen. Sandro Bondi, the Minister for Cultural Affairs, the 11th Exhibition was also visited by Giorgio Napolitano, the President of the Italian Republic.

The discussion and criticisms about the original theme of the exhibition – “architecture beyond building” – and the unusual layout of the show by Aaron Betsky, stimulated a wide-ranging debate and high attendance for an architecture exhibition, especially in the current economic situation, which has seen a drop in tourist numbers.

The importance attained by the Architecture Biennale, which has enjoyed unmatched media coverage, and which was covered by all the Italian TV news channels on the day of its opening, has been confirmed by leading international publications:

· “The 11th Architecture Biennale of Venice, the most important event in the sector” (Grégoire Allix, Le Monde, 16.09.2008).
· “The Venice Biennale, the world’s most important architecture festival” (Edwin Heathcote, Financial Times, 16.09.2008).
· “The Venice Architecture Biennale remains the most anticipated and ambitious design show in the world” (Christopher Hawthorne, Los Angeles Times, 17.09.2008).
· “Enormous numbers of visitors, journalists arriving in crowds and an impressive press coverage: the 11th Architecture Biennale of Venice no longer has any reason to envy its big sister, the Biennale d’Arte” (Lorette Coen, Le Temps, 20.09.2008).
· “A fundamental appointment to learn of the latest trends” (Gerhard Matzig, Suddeutsche Zeitung, 11.11.2008).

The exhibition saw the presence of 2,360 journalists during the 71 days it was open to the public(1,294 non-Italian and 1,066 Italian; in 2006, a total of 1962 journalists visited). There were 85 television channels accredited during the entire exhibition (59 non-Italian and 26 Italian) and 183 television reporters visited the exhibition (105 non-Italian and 78 Italian). Press coverage has been ample and so far totals 920 articles, compared to 793 in the past edition of 2006.

The four-day vernissage, held from September 10th through 14th, was attended by 25,000 international guests (trade operators, curators, exhibitors, national representatives and the press), an increase of 19% from 2006. The number of journalists present at this year's vernissage was 1,570: 709 Italian and 861 non-Italian, up from 1,319 in 2006.

Another figure that has changed substantially for the Architecture sector concerns the number of national participations and collateral events: 56 national participations, one Special Event by the Milan City Authorities and 24 Collateral Events, double that of preceding editions.

The educational activities have also concluded successfully, with 16,794 visitors making use of them, an increase of 18% from 2006 (14,236). A particularly noteworthy figure is the 45% increase in the participation in educational initiatives by university students, and a 25% increase on the part of second-degree secondary schools. There have been 254 workshop activities (+49% from 2006) involving 5,037 enthusiasts, from the very young to adults. Of the 840 groups who have made use of these educational activities, 686 come from the world of research and teaching. These figures demonstrate that the Architecture Biennale has been chosen as a venue for learning and discovering the latest trends at all stages of the educational process, from primary school to university.

The 11th Exhibition has paid particular attention to the young public, becoming a creative workshop open to research. Its experimental character has been confirmed by the numerous inscriptions to the on-line Everyville 2008 competition entitled, Communities beyond Place, Civic consciousness beyond Architecture, aimed at university students from around the world: 245 groups for a total of 782 students from 48 countries took part in the competition. The works of the leading 10 and of the 40 honorable mentions were exhibited at the Artiglierie dell’Arsenale while the rest of the projects to have been received can be seen on the website: http://www.everyville.labiennale.org/.

Two publications, both by Marsilio, have accompanied visitors on their exploration of the Exhibition, Out There: Architecture Beyond Building: a catalogue divided into five volumes contained within a PVC case, and a DVD entitled The Making of the Biennale by Aaron Betsky.

The 11th Exhibition was held with the support of ACI-Automobile Club d'Italia, Domus, Fantoni, Foscarini, Nivea, Autodesk, Casamania, Matteograssi, Bisazza, Enel, Ferrovie dello Stato, Flex, Link, Mediacontech and Micromegas. And, for Everyville 2008, with the support of Telecom Italia, MACE and Newitalianblood. We wish to thank Actv for the shuttle services.

(Venice, Italy) Another little miracle – I am writing to you from inside the press room at Arsenale from the next section of La Biennale: Architecture. This morning, Paolo Baratta, the President of La Biennale, spoke at the press conference, together with a dynamic American, Aaron Betsky, who is the Director of the 11th International Exhibition of Architecture. Entitled, OUT THERE: Architecture Beyond Building, the festival opens on September 14th, and runs through November 23, 2008. I have just viewed the portion inside the Arsenale, and report that if you are in Venice during this time, YOU HAVE GOT TO COME! Do you see that image up there? That is the first thing you see when you walk into Arsenale. You can make all the points of light connect and change and move if you dance around and flash your energy up at the screen through your fingertips, just like a god. Any architecture exhibit that opens with something like that has got to be a window into the big brain, n'est pas?

Paolo Baratta said he was pleased that attendance is growing rapidly for the Architecture Biennale, both with the architects, and the journalists. Aaron Betsky confirmed that when it comes to cutting edge architecture that Venice is the place to be -- for the vehement criticisms. For the uncanny ability to debate. Betsky said, “You have to come to Venice.” The reknown architect Frank Gehry will be honored with the Golden Lion for Lifetime Achievement, and he has an installation here.

Aaron Betsky, who was born in Missoula, Montana in 1958 is feisty and outspoken, and, again, I am so happy to see Americans arriving here with this kind of energy. He began by thanking the staff at La Biennale for making his job easier, and said he was flabbergasted by the ability of the team here in Venice who worked to make these architectural concepts a reality. He said these were not final products, but catalysts.

He made a provocative statement: “The road to Utopia leads to the gas chamber.” He elaborated by saying that a totalitarian regime which uses technology and industrialization to control the environment can only hope to create a perfect static state. He said his idea of a beautiful city is one that is continually changing, both growing and shrinking. There was a lot of talk about pixels and molecules, which is right up my alley.

For example, I chatted with a young architect from Guallart Architects, "MIT's Center for Bits and Atoms," from Catalunya. I said, "So, tell me what this is." He said, "Tell me what you think it is." I said, "I think we are finally physically manifesting the unseen connections in the universe." He said, "On the planet." I said, "Okay, the planet, but, to me, the planet is part of the universe."

He said, "We want to show how that chair can also be the same as a table, and the same as a theater. That it is made up of the same corners, the same molecules." I said, "Very good, but I like that pineapple thingy you've got over there. I can't wait until architects incorporate even more fractal geometry. Mandelbrot discovered the formula for a tree, for the coastline. I'd like to see more of that -- not just in the movies."

Another one of my favorites was Diller Scofidio + Renfro, who are based in NYC. Their project was a two-screen film from the point of view of a passenger inside a gondola, with swiveling stools so you could look forward and back. The scene was the original Grand Canal (with a nice view of my apartment:), and the same scene from copies of Venice in Las Vegas, Macau, Doha, Nagoya and Tokyo -- I did not know we had so many Venices these days. In every city, there was a voice-over. Now, what, you might ask, does that have to do with architecture? Everything. When you see it, you will understand. Betsky said, "We are not proposing solutions. These are not final products." He used the word "catalyst" many times.

In any event, as I keep saying, I am totally in love with La Biennale, the organization. Perhaps it can only exist inside Venice, inside our "as it was, where it was" mentality. Perhaps the ancient, dusty energy of the past is a balance for the dynamic, creative energy of the future.

Ciao from Venice,
Cat
HOME: http://venetiancat.blogspot.com/

(VENICE, ITALY) By now, you probably know that The Wrestler won the Golden Lion at La Biennele di Venezia 65. Mostra Internazionale d’Arte Cinematografica, otherwise known as the 65th International Venice Film Festival. If you were to translate that word by word, it would look more like The Biennial of Venice 65 Exhibit International of the Art Cinematography. To add to the confusion, La Biennale, which means something that occurs every two years, is now practically non-stop here in Venice, what with the art, architecture, music, film and theater. And at an international festival, many different cultures collide. Add to that just how... um... Byzantine the city of Venice itself is -- not to mention its politics -- and you could run screaming to the hills. 

When the German director Wim Wenders made that declaration during the press conference after the awards ceremony: "I will never be on a jury again," a journalist said, "That is a headline. You have just given us a headline. Would you care to explain why?"

 

Wenders thought for a moment, and then said that in his heart he thought it was best not to talk

about it. He looked to the rest of the jury (Wim Wenders presided over this year’s jury, which included Juriy Arabov, Valeria Golino, Douglas Gordon, Lucrecia Martel, John Landis and Johnnie To), and they agreed it was best not to

 speak. Earlier in the evening, during the ceremony, Wenders had criticized the rule that the same film could not win Best Actor or Actress, and Best Film. He was very careful to clarify that his statement had absolutely nothing to do with the Italian actor, Silvio Orlando, winning the top award for his role in Il Papà di Giovanna. Later in the evening, Valeria Golina, another member of the jury, supported his statement, saying the selection of Orlando was unanimous. 

We can only imagine what went on behind the scenes. I rather liked Wim Wender's honesty and frank speaking; I found it refreshing. (He is a Leo). I would also imagine that, in the future, he will probably be on a jury again:)

When the Best Actress Dominique Blanc arrived, he asked her: "I have a question. Was that a real hammer?" (See my blog http://venetiancat.blogspot.com/2008/09/lets-talk-about-stars-venice-film.html

When the Russians arrived to talk about their Silver Lion for Paper Soldier, he asked them, "How did you guys create that rocket? Did you launch a real rocket or what?" (I didn't see the film.)

Another journalist asked Wim Wenders (that's Wenders with his wife) why Mickey Rourke went up on stage with Darren Aronosfsky, the director, to accept the Golden Lion. Wenders said he didn't know, but he was happy that Rourke did. Later Darren Aronosfsky arrived at the press conference, and did not enter with Mickey Rourke. I thought, ah, ha, now you'll all be disappointed if Mickey Rourke is not here. Moments later, Mickey entered, and I did not hear anyone complaining. 

Again, it was many of the same journalists asking the questions, and everything was okay until an Italian journalist asked Mickey Rourke if the Golden Lion for The Wrestler owed something to the long line of boxing movies like Rocky that had gone before. Mickey had said the day before that they had hesitated about bringing The Wrestler to Venice because the wrestling culture was so... American. He had explained and explained the difference between wrestling and boxing. So, Mickey was a tad piqued, as was I, because it was as if nobody had understood a word he'd said. He said: "You are comparing apples and oranges. That question does not make any sense."

 The journalist ended up apologizing, but I don't think he understood what he had done wrong. After speaking to other Italians, I think we have a classic cultural misunderstanding, and I am going to attempt to put my spin on it. 

Pro wrestlers such as Hulk Hogan, are sort of like cartoon characters, while professional boxers, like Mohammed Ali, are like artists and athletes. The Wrestler is not a Rocky story. After examing my own feelings, and speaking to people-on-the-street, I believe The Wrestler is striking an archetypical chord -- something uniquely human. We all destroy ourselves to some extent and attempt to rebuild. Most people do not destroy themselves as spectacularly or publically as Mickey Rourke, either in real life, or in the film. To me, the reason The Wrestler works so well, and appeals to both men and women, different nationalities and cultures, various ages, is because of its universality -- the story of a man struggling to become human. It's a story about individualization and differentiation against all attempts by society to crush the original spirit. Since I climbed out of the New Jersey suburbs myself, I related to it on a personal level. 

After the press conference, I chatted with John Landis. I said, "Do you live in Los Angeles?" He said, yes. I said, "I used to live in the hills of Los Feliz, but now I've lived here for ten years." He said, "Do you live on the Lido or in Venice?" I said, "I live on the Grand Canal right at Rialto, right in the thick of it. Don't you think I should get an award just for surviving?" He said, "Venice is not real. It's Disneyland." I said, "Venice is not Disneyland. It's the Magic Kingdom."

I spoke to many people on Saturday night, after the awards. I took an informal survey at two extreme locations, Harry's Bar and the Communist Festival at Rialto. The Harry's Bar people echoed the words of the journalist that it was a Rocky movie (which makes me think it's gossip running on that circuit), while a Venetian I have known for many years at the Communist Festival said, "You want to understand how Venetians feel? You are keeping alive a dead corpse using artificial respiration. All this --" he waved his hand, indicating the Communist celebration in the background -- "the film festival, everything... we are being suffocated. Venetians just want to do their jobs, eat good food, spend time with their families and go out on their boats." 

I went to the wrap-up press conference on Sunday morning headed by film festival director, Marco Mueller, and the new La Biennale director, Paolo Baratta (a director of Telecom Italia, which is sort of like AT&T). 

A journalist asked if the plans for the new Lido, (which is in the process of being transformed into a mini magic kingdom for the movies) will include a hospital and other real-life buildings for real-life people. Baratta replied that Venice could not only create four and five star hotels and everything that goes with that and hope to survive. That it needed to create housing and activities for young people. I will add that Venice also needs Venetians to survive. Living, breathing Venetians are the soul of Venice manifested into human form. In fact, it is almost as if dead people are making crucial decisions about Venice's future. Doesn't that sound spooky?:) Hey, I'll bet that would make a good movie! Wait -- didn't Robert Rodriguez already do that?

Another journalist asked about the Toronto Film Festival, which overlaps Venice this year (next year they are going to have a war and go head to head). Mueller replied that there was no mass decampment by journalists to Toronto. As I've said, I quite liked what Marco Mueller did with the American films; I didn't see enough of the entire festival to comment overall, but the jury did say more than once that they had seen a lot of bad films. It's too early to tell the difference between La Biennale directors Davide Croff and Paolo Baratta, but I liked that there were busses waiting nearly every time I stepped off the vaporetto, and at the festival itself. It made life so much easier. 

Today Infostrada called me to try to get me to switch phone companies. I said I was happy with Telecom:)

Ciao from Venice,

Cat

HOME: http://venetiancat.blogspot.com

From La Biennale's website:

"The Venice Biennale has for over a century been one of the most prestigious cultural institutions in the world. Established in 1895, the Biennale has an attendance today of over 300,000 visitors at the Art Exhibition. 

The history of the Venice Biennale dates back from 1895, when the first International Art Exhibition was organized. In the 1930s new festivals were born: Music, Cinema, and Theatre (the Venice Film Festival in 1932 was the first film festival ever organized). In 1980 the first Intl. Architecture Exhibition took place, and in 1999 Dance made its debut at the Venice Biennale."

Go to La Biennale:

http://www.labiennale.org/en/cinema/