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Which is not to say that corruption isn’t rampant throughout the world (it’s getting worse). And otherwise well-meaning citizens consider government fair game for personal gain. Far from enabling society to function, many examples in the sequence of case studies suggest that public administration inadvertently provides the model for counterfeit governance like the mafia. Part of a cycle of frescoes in Siena’s Palazzo Pubblico, Good Government still sets the benchmark for any city aspiring to integrate its leaders’ ideals with those of its citizens.įurther ahead exemplars aren’t as benign. In the very first room of the show, Ambrogio Lorenzetti’s Allegory of Good Government features as an advance case study everyone can sign up to, and an effective reminder of Italy’s immense cultural patrimony. Yet architects (I’m guilty too) can’t help refer to Italian stereotypes. Where are the Carlo Mollinos or the Giò Pontis of today? Probably living in London or New York, or in Pestellini’s case, Rotterdam. With a few notable exceptions, its current artists and architects fail to match up to its vibrant and influential past. Sadly Italy’s reputation for cultural innovation has taken a kicking. It comes at architecture sideways, and even extends to a programme of dance and theatre, though I’d never heard of any of these performers.Īmbrogio Lorenzetti’s Allegory of Good Government occupies the very first room of the exhibition - an effective reminder of Italy’s cultural patrimony
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Applying OMA’s tried and tested research method, Monditalia tackles this national portrait with verve, connecting it both with the broader aims of the Biennale, and to the political reality of the whole country. The Biennale organisation, an ‘independent’ foundation registered in the Netherlands, often encourages partisan views. They want to stir the pot, and go beyond the tourist clichés of gondolas or pizza, the Colosseum or the Ponte Vecchio.
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Neither of its curators, Ippolito Pestellini nor Rem Koolhaas, depends on Italy’s culture of sweeteners for their professional livelihood. To focus on Italy at the Arsenale is undoubtedly a brave move, and not one that would be willingly undertaken by the Italian status quo. The latest scandal involves the mayor of Venice, Giorgio Orsoni, who is accused of using dirty funds to get elected, and a bevy of regional officials who siphoned off funds from the sea defence project currently under construction. We’re talking the most recent episode in Tangentopoli, the exposure of the dark force of self-interest that has plagued this country since the early 1990s. That means business, and where there’s business in Italy, opportunism is never far away. Woe betide any architect who does not study its every detail. Yet behind this scene men are on the make the unique weighty significance of Venice can’t help but be a living lesson about all cities.
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Nigel Coates critiques Monditalia at the Venice Biennale, an exhibition on the culture and history of ItalyĪs the Grand Canal widens out to the Bacino, the view across the lagoon to San Giorgio Maggiore hurts with Stendhalian sublime beauty.