Pier Luigi Sacco, La giovane arte italiana nella prospettiva internazionale: prospettive e opportunità in L’arte contemporanea italiana nel mondo: Analisi e strumenti, Skira, Milano, 2005, pp. 89-113
Kati Morawek & Beat Weber, Economics of the Art System: The example of Documenta. The economics of Documenta are a prime example for the funcioning of the art system. Our experiences as participants of the magazines project in “Malmoe”, 07/11/2007 and in Documenta Magazines Online Journal
Iolanda Pensa, Make it sexy. La promozione dell’arte contemporanea africana in L’arte etnica tra cultura e mercato, a cura di Guido Candela e Maurizio Biordi, Skira, 2007, pp. 93-131.
Parlare di arte contemporanea africana significa parlare di etichette e contenitori.
“This is what I call the Jack-in-the-Box theory of the artist, thrust in but ready to jump out and dance only when the art historian spings the catch” (Picton, 1993, p. 93).
Cultural Policy in the Netherlands, Ministry of Education, Culture and Science in the Netherlands, 2003 (pdf)
All That Dutch: International Cultural Politics, Nai Publishers, Rotterdam, 2005
Silent zones: On globalisation and cultural interaction, Rijksakademie van beeldende kunsten/RAIN Artists’ Initiatives Network, Amsterdam, 2001
Shifting Map: Artists’ platforms and strategies for cultural diversity, Rijksakademie van beeldende kunsten/RAIN Artists’ Initiatives Network, Amsterdam-NAi Publishers, Rotterdam, 2004
Iolanda Pensa, Check List in “Mousse”, 06/2007, cc by-sa.
“Finally, an African pavilion at the Venice Biennial!” – must have said prof. Carlo Anti and Aldobrandino Mochi while putting their compasses, goniometers and pendulums in their pockets. It was 1922 when the thirteenth Venice Biennial invited the public to enter the African pavilions.
Eighty-five years later, here we are again with the same desire to celebrate the “first” “African” pavilion in Venice.
