Internationally recognised art and literary critic, writer and cultural producer. Published in ELLE, Glamour, Esquire and Cosmopolitan; member of the Union of Writers.
The Venice Biennale is one of the most prestigious and influential events in the art world, attracting millions of visitors and showcasing the best of contemporary art from around the globe. But for Chile, the 2024 edition of the biennale has been a nightmare, marked by a chaotic and controversial selection process that resulted in multiple resignations, a lost venue, and a last-minute announcement of the artist who will represent the country.
The saga began in June 2023, when the Chilean Ministry of Culture, Arts, and Heritage launched an open call for proposals for the Chilean Pavilion at the Venice Biennale 2024. The call received 32 applications, which were evaluated by a jury composed of five experts from the fields of art, architecture, and culture.
However, the jury’s work was hampered by several factors, such as the lack of a clear budget, the absence of a curator, and the uncertainty about the availability of the pavilion’s venue, the Arsenale, which had been used by Chile since 2011. The jury also faced pressure from the ministry to select a proposal that aligned with the government’s agenda and vision.
The jury’s deliberations were delayed by several months, and in November 2023, two of its members resigned, citing personal and professional reasons. The remaining three members continued their work, but in December 2023, they were informed by the ministry that the Arsenale was no longer available for Chile, and that they had to find another venue within a week.
The jury managed to secure a new venue, the Palazzo Donà delle Rose, but the change of location meant that some of the proposals had to be revised or discarded, as they were designed specifically for the Arsenale. The jury also had to deal with the withdrawal of some of the candidates, who were frustrated by the lack of communication and transparency from the ministry.
In January 2024, the jury announced its decision: the artist Valeria Montti, who proposed a project titled “The Unbearable Lightness of Being”, which explores the themes of identity, memory, and migration. Montti, who is based in Berlin, is known for her installations and performances that combine sound, light, and movement.
The announcement came only five months before the biennale’s opening, leaving Montti and her team with little time to prepare and fundraise for the project. This quotes Montti as saying that she is “very happy and honored” to represent Chile, but also “very worried” about the challenges ahead.
Several sources who express their dissatisfaction and disappointment with the situation, and question the legitimacy and quality of Chile’s participation in the biennale. Some of them accuse the ministry of mismanagement, interference, and lack of support, while others blame the jury for being indecisive, unprofessional, and biased.
That Chile’s pavilion is in crisis, and that its future is uncertain. It also suggests that the case of Chile reflects a broader problem of the biennale system, which is often influenced by political and economic interests, and does not always guarantee the best conditions for artistic expression and experimentation.
