The Biennale, seriously
This week we are in the run-up to the inauguration/starting gun on the Biennale, now back in full force after some Covid side-effects such as lockdown.
Our neighborhood and near environs are absolutely pullulating with people dressed in weird ways, sitting together staring at their phones, drinking lots of spritzes and laughing. If the forecast is fulfilled (never a sure thing), a fierce northeast wind and lashings of rain and low temperatures will put a crimp in the laughing and spritzing on Friday and Sunday, but Saturday, the official opening day, should be sunny and bright. I do hope it works out that way, partly because I never know how far to trust the forecast and it would be interesting to see if they nabbed it this time.
One forecast I can make with total certainty, though, is that there will be inexplicable things strewn around the city that purport to be art. You already know this from past editions. If you think they’re art, they don’t need to be explicated, or you invent your own explication, or you repeat somebody else’s. If you don’t think they’re art, you’re on your own.
Yesterday morning we came upon a piece that, while less off-putting than the phallic column of gold in campo San Vio a few years back, still made Lino and me think assorted non-artistic thoughts.
My thoughts were these: I know it’s a cube. I know it’s made of gold. I know it weighs 130 kilos (286 pounds). I know that it required several rent-a-security-guards. I’m pretty sure I know that the cube-creator (Cubist?) takes his or her work seriously; he’d have to, considering that the current price of 130 kilos of gold is $8,078,590. But I do not know if it is art. And another thing I don’t know — though not knowing will not disturb my sleep — is why?
The Golden Calf meant life and death. The Mask of Agamemnon sends chills down the spine. The Sican beakers at least were useful as well as beautiful. The Panagyurishte Treasure is a cultural symphony.
And what have we to contribute, in the year 2022, to the multi-millennial history of goldsmithing? A cube.
I wish I had grandchildren just so I could tell them I had seen it.
Moving forward, backward, in circles?
I had an interesting dream last night, set in Venice; nothing particular happened but I did awaken with this thought: It’s not the canals that make Venice so particular (special, different, beautiful, strange, etc.), it’s the corners.
Why is that? Because there are so incredibly many of them, and when you turn one, or two, or more, you either move ahead or you somehow find yourself pretty much back where you started.
That’s my new metaphor for Venice. As far as I can tell, after the enormous difficulties and turmoil caused by two years of Covid, somehow it seems that we’re back where we started. You might think that could be a good thing (“Back to normal!”) except that it’s not (“Back to normal!”). Things keep happening, but almost nothing really changes. Names change occasionally, but the headlines seem to be set on “replay.”
There are now fewer than 50,000 Venetians living in the historic center of Venice. (In 2021, there were 50,434). This is a threshold many people dreaded crossing, but it has been crossed nonetheless. I have no idea what this means in real life, because supermarkets continue to open. Who are their customers?
When the mayor uses the term “Venice,” he is referring to the general metropolitan entity, the preponderance of which is on the mainland. Everybody knows he really only cares about the mainland: “The future of Venice,” he said openly, “is Mestre.” Take that, Venice-lovers! The future of Milwaukee may well be Sheboygan, but to someone who thinks of the Piazza San Marco when he/she hears “Venice,” Mestre is a bit much. Still, this is how it’s going. Eight of the ten city councilors are from the mainland. The ninth is in Venice itself, the tenth lives on the Lido. And of course the mayor too is from the mainland, where he has business interests. So voices speaking up for the dwindling historic center are faint and few.
Meanwhile, daily life is made up of stores closing, stores opening. Unpredictable transit strikes and all-too-predictable wailing by ACTV, we have no money we have no money. Tourists: We want them, but they’re making us crazy. The sudden drought of Russian tourists has torn a new hole in the city’s financial fabric.
Cruises: Big ships are banished from the Bacino of San Marco. The cruise ships will enter the lagoon at Malamocco, toiling like container ships up to the raggedy docks in the commercial port zone of Marghera.
The MSC “Sinfonia” opened the season by docking at Marghera on April 9, the first of the 200 cruises scheduled for this year. Sound good? Not when you compare it to the 565 cruises that stopped (or started) in Venice in 2019. But those days are gone.
MOSE: There will never be anything new to say about this. Work stopped, problems found, money gone, problems found, money arrives, work starts again, problems found, date of completion always on the horizon.
The thing is that headlines blurt out news that any Venetian already knew years ago. Example: Barnacles. Lino mentioned the inevitability of barnacle encrustation to me back in 1994. It would be impossible to astonish anybody who has kept a boat in the water here. This is as much a fact as that water is wet.
Still, somebody finally noticed the problem. In 2018, an article announced the discovery by an underwater drone that the MOSE barriers were rusting and encrusted with barnacles. Time passes, nothing is done. In 2022, another headline: Barnacles!! Or to be even more precise: Mussels.
Turns out that the gates that have been lying in their assigned position underwater awaiting the call to block the tide have not been receiving the required and agreed-upon maintenance. The money for maintenance was allotted some time back, but it seems to have not been spent on maintenance. If the crud was predictable, so was the fate of the maintenance money.
Years ago, the cost of annual maintenance was forecast to be some 15 million euros. Then estimates of maintenance costs rose to 80 million euros, and now they’re projected to be 200 million euros per year. Where do these numbers come from? Are they breeding in dark corners, like wire hangers? In any case, vast amounts of money can’t ever sit still long enough to be spent on what they’re supposed to be spent on. When you actually need the money, somehow it’s just not there anymore.
There’s no need to read headlines, this has been going on for generations now. The big hold-back-the-tide project began in 1973, when the Special Law for Venice allotted money for a competition for designs (held in 1975). When the first stone was laid in 2003, the end was promised for 2010. We were all so young, so innocent… Then the 2014 deadline came and went, then the middle of 2018, then the beginning of 2019. The “acqua granda” of November 2019 broke several financial logjams, and work picked up with the promise of concluding in 2021. Sorry, I meant 2023. Endless years pass of “We’ll get there! Give us more money!” Lack of funds closed the works for the entire year of 2021. Rome sends millions, then more millions. And yet, somehow there is never enough.
Tourism: They’re baaaaack. Intermittently, and more often on weekends, still more often just during the day. There were a few Carnival crush-fests in the San Marco area, but nothing noteworthy. I suppose it just wouldn’t be Venice without 100,000 or more visitors in a day. And just now, on the cusp of the Easter weekend, we are back under siege again.
This is supposed to be good (even as we see the interminable lines at the vaporetto stops for boats to Murano and Burano). Venice has got to get back in the game, seeing as it’s the only game there is.
Venice isn’t the only Italian city to take a major hit from the pandemic, but I am not seeking comparisons. There were 8,800,000 visits in 2019; 2,500,000 in 2020, and a little more than 3,200,000 in 2021. Between May and August of 2021 (peak summer season) the arrivals were 54 percent fewer than in 2019.
Last year sometime there was a brief quiver of excitement over the resurrected idea of installing turnstiles to control the flow of tourists entering the city at certain points. That idea has been mothballed. I think we don’t want to slow them down. The eternal subject of the selling a ticket to enter Venice has also been put aside. But these ideas will be back. They’re like the swallows going to Capistrano.
Biennale: Yes, it is opening this year — April 23 to November 27 — and the vibrations are palpable. The small park on the Riva dei Sette Martiri tends to host more light-hearted works. I’ll just call them “works,” because I can’t bring myself to say “art.” I honestly don’t know what they are.
So here we are, caught in the endless cycle of everything. Maybe there will be something new around the next corner (or ten), but I’m not counting on it.
O Christmas Screen, O Christmas Screen…
You might wonder how a Christmas tree could possibly make people mad (though considering the year almost past, you might not). Whatever your Yuletide habits, a lot of Venetians would have welcomed a honking big Norway spruce to its traditional place in the Piazzetta, some looming aromatic conifer loaded with scintillating lights, sumptuous ribbons, glittering glass baubles, etc. It would have been greeted with open arms, many smartphones, and shining faces.
But because we haven’t had enough computer screens in our lives this year, now we have the Christmas Screen.
It’s art, naturally, art that, from afar, sort of resembles a tree, though this structure isn’t even alive. But it does have the consolation of being, as I mentioned, art, groaning beneath loads of symbolism and verbiage.
Installed in the usual position last Thursday, this structure is the creation of artist Fabrizio Plessi, sponsored by the Assicurazioni Generali. No way of my knowing who had the final, or even the first, word in the discussions that led to this creation. It can’t be to attract tourists, because at this point in the evolution of the pandemic it would be easier to attract a Great Auk than a tourist.
The public has not been amused by a novelty that appears to be more like a refugee from the Biennale than a festive fixture.
The artist explains: “It’s a message of hope.”
The public responds: “A heap of scrap metal.” “Hanging ingots.”
“This year we need a message of light,” Sig. Plessi told La Nuova Venezia. “The 80 modules represent the flow of that many different cultures.” Furthermore, it would seem that the installation symbolically unites earth, water and sky.
“I understand whoever would have preferred a traditional tree,” Plessi continues, “but this is a message of hope. The use of digital in this context becomes spiritual emotion and expresses itself in the only possible language today, permitting us to reach others even if they are physically distant.”
Not sure about you, but while this is the sort of hot air that keeps the Biennale aloft for months on end, it doesn’t do anything for the spirit of Christmas. My own view is that the more you explain something, the less that something actually communicates. If you have to tell people what to think or feel about your creation, you’ve acknowledged that the creation is mute.
There is more. “This tree is well planted in tradition, but it is also a tree that wants to talk to the world,” says Simone Venturini, the city councilor for Tourism. “Personally I find it marvelous because it shows that Venice knows how to be, together, the city of great history and of the future. It shows that you can make contemporary art without waiting for the Biennale.” Of course you can, as long as you have a sponsor. I don’t want to put a pricetag on Christmas, but this installation, along with 50 kilometers of strings of lights in the Piazza San Marco and on the mainland, not to mention the lights shining on the Rialto bridge, cost a total of some 800,000 euros. So he could also have said that you don’t need to wait for the Biennale in order to spend money. I knew that.
Many years ago a homeless man at the entrance to the subway in New York stopped me with this request: “Hey lady, could you spare some change for an old wino?” How could I say no? His candor was irresistible.
If Mr. Plessi had said, “I like to make art using digital stuff. I don’t know why, I just like it. Maybe because it’s shiny. So here’s sort of a tree made of digital stuff. Kind of made me think of Christmas. Hope yours is happy, in spite of everything,” I’d have started a Fabrizio Plessi fan club.
Reopening report card
Monday morning, things were different. Yes, we (still) have no tourists, nor will we, probably, for an unknown stretch of time. But it seemed like there were more locals around, somehow. Life has begun to find its old grooves, though not always in a good way; “old grooves” means “do whatever I want.” I was afraid of this. More on this below.
There are still regulations, but they have evolved. The Gazzettino published two pages of lists, according to category, of what we’re allowed to do during this phase. (Phase 3 will begin June 3).
Masks are still required outdoors wherever it’s impossible to maintain social distancing, but gloves are no longer required inside a shop unless you intend to be touching the merchandise. (Shops will have bottles of hand-sanitizer and sometimes gloves available.) Clearly you can resist touching certain things, but only up to a point — I doubt that the employees will always be available to do your fetching and carrying. And of course, if you’re buying clothing you’ll have to touch the merchandise. Obvious. Just plan on gloves.
Gloves are no longer required on the vaporetto. Even more interesting is that the seating has been reassigned to accommodate more passengers.
Did I say “more passengers”? Transport is a mess now. The number of boats hasn’t increased, and the 4.1 and 4.2 lines have yet to reappear. A friend of mine waited 50 minutes at Piazzale Roma to be able to board a vaporetto bound for the Lido. I think what’s so annoying about that is that the ACTV seems to have been hoping people just wouldn’t notice that they had cut service by 50 per cent. When nobody could travel, the service could have been cut even more than that, but now people actually want to get somewhere. Amazing, I know. Who would have thought.
The main problem this week — and it’s a big one — is the increasing number of people not wearing masks, or with their masks pulled down below their chin. I saw a man this morning talking with a friend, and the man had pulled his mask down to make talking easier. I’m sure he put it back when it wasn’t needed anymore. And social distancing? Suddenly people here are having more difficulty than I am in estimating what “one meter” means (and they’ve grown up with the metric system)…
NOTICE: Do not overstep (this barrier), the zone is secure for persons at the tables. To reach the restrooms, use the side door in the calle and respect the wait times. The bar is disinfected (“hygienized”) at mid-day and at evening by means of a bleach-based solution as advised by the minister of health. Entrance is forbidden during the disinfection!
For your further care: Every table is supplied with spray and/or disinfectant wipes. Clients are free to disinfect tables and seats. Attention: The products are based on bleach solution (1 per cent). At night an anti-bacteria lamp with ozone will be used, to guarantee as germ-free a local as possible.
Please be aware of these and respect the rules, the customers, the owners, and the collective health.
NOTICE: At the table please keep your gloves on till you are sure to be in a disinfected area. You are requested to register (everybody) on our Facebook page to keep track of your presence to be notified in case of contagion.
You are requested to have your self-certification in case of any controls by the competent officers. Specific disinfecting products will be available to you. Remove your mask only to drink or eat. Put on gloves and mask before asking for the bill. Wait to be sure you have useful interpersonal space before moving around.
Avoid touching surfaces that you don’t need to use.
Please be aware of these and respect the rules, the customers, the owners, and the collective health.
Lest you think they have an extreme concern for their customers, which of course I hope they do, bear in mind that they also have an extreme concern for themselves. Literally overnight, like some diabolical algae bloom, masses of people gathering to party in public places has become a major problem. It’s happening all over Italy. Fines for these happy-hour shenanigans range from 300 to 4,000 euros, and if that’s no deterrent to the blithe spirits, the bar and restaurant owners are enjoined to break up any groups forming in front of their establishment, otherwise they (the owners) risk suspension of their licenses and will be closed.
All this revelry is the big story these days, because groups MUST NOT BE PERMITTED TO FORM. Front-page headline in the Gazzettino two days ago: “Spritz and folly: ‘I’ll close everything again'” (Luca Zaia, governor of the Veneto). “The Halt! of the governor: Exaggerated nightlife and too many without masks: They should remember the deaths.” “In Padova tens of young people drunk, carabinieri attacked” (wait, what?). “The prefect: Stupidity everywhere, I’m astonished by such childishness.”
The Gazzettino’s headlines yesterday: “Wild nights: Maxi-fines and closures. Bars packed and spritz without masks. (Prime Minister) Conte: This isn’t the time to be partying. Steep sanctions for whoever slips up and stopping the bars.” Sorry for the translation — like so many things, it sounds better in Italian.
“Look,” Zaia states on the front page — “I’ll close everything. We’ll go back to sealing ourselves in our houses with silicone. The use of the mask can’t be seen as a whim, it’s a lifesaver.”
So these modest little photos of via Garibaldi are nothing compared to the locust-swarms of adolescents of every age that overnight have turned the streets and piazzas of Italian towns into pullulating masses of merriment. What strikes me as modestly amusing is that in Venice a lot of this behavior used to be perpetrated by the much-maligned tourists. I’m not saying that whenever the tourists return, and presumably resume their rampant rude revolting craziness, that I’m going to be glad. I’ll be glad to see people enjoying the city, as I always have been when people come to Venice who do not act either like a herd of overstimulated wild boars or moribund water buffalo collapsing before they reach the river.
Speaking of tourists, this just in: The Biennale has been canceled for this year. It had been scheduled as per normal from late May to late November; comes the pandemic and it was halved to run from late August to late November. Now it will run from late never to late never. Whatever disappointment you may feel about losing the chance to see the exhibitions is nothing compared to what the myriad tourist-tenders are feeling. The 2019 edition logged almost 600,000 visitors, who not only paid the entrance fee but ate, slept, and did other money-intensive things here to the tune of 48,000,000 euros. Whatever percentage of that amount the city treasury realized, it will be sorely missed this year. Tourism to Venice isn’t just shirtless day-trippers laying siege to the Piazza San Marco.
Another sign of the new times is price hikes. Some hairdressers and bar owners are trying to make up lost ground by increasing their prices. There have been reports of an espresso costing as much as 1.70 euros (as opposed to the normal 1 or 1.10). Some salons have added 2 euros, marked “COVID” on the bill, to cover the cost of the single-use supplies they have had to lay in, and some have acquired expensive disinfecting equipment that cleans the air by ozone. Some shops have a box for contributions to help defray the new costs.
There’s at least one normal thing I’d rather not see. It has nothing to do with coronavirus, but is a sort of mine-canary for what I consider the dark side of life-as-usual here: Horrific motorboat accidents. For nearly three months private motorboats were grounded, and at the moment motorboat traffic is still fairly modest (taxis are yet to be seen, for one thing), so accidents haven’t made news because there weren’t any. But on May 18 there was a headline about a collision with a piling, and it brought a dank whiff of “Oh, so we’re back to doing that again,” not unlike the random shootings in the US once lockdown was lifted.
