itself cognisant of the importance of historical memory, and whose voice is sadly missing from these pages. The Venice architecture biennale itself constitutes a forgotten history whose recovery has consequences for contemporary practice. Since its first articulation in 1895, the biennale has, in spite of its international visibility and attendance, remained one of the least accessible sites for archival research. As the pulse of the present subsides after each year’s biennale is over, the intensity of the experimental dispositions presented in Venice recedes into memory. It is thus important to unpack the implications of the traces that remain in archives and the public sphere more generally. In speaking with each of the past directors of the Venice architecture biennale (henceforth referred to simply as the biennale), we therefore hope to supplement the official record with a more anecdotal and informal telling, one that acknowledges the individual passions that mark their respective exhibitions. The traces they provide also help us recover the forgotten history of cultural experimentation that has taken place at each biennale, and the social conditions that provide a context for these experiments. Readers may notice that there is not one particular question or finding that emerges from these conversations. Instead, we have approached this project throughout with a sensibility of curiosity and openness towards the individual recollections and experiences. Moreover, these
conversations do not seek to recapitulate the exhibitions themselves but rather explore the questions and themes that they raise. As a research initiative, this project does, however, seek to be generative of future engagements with architectural curation, and begs the question of how previous models can inform contemporary practices. Perhaps the challenge today is no longer one of resisting the past but rather of affirming its consequences for present and future practice. Traditionally, the origins of the architecture biennale are thought to officially begin in 1980, when Paolo Portoghesi organised ‘The Presence of the Past’. The section titled Strada Novissima, in the newly restored Corderie dell’Arsenale, consisted of a series of dramatic facades by leading international architects. The installation provoked a new understanding of Main Street, and is recognised as popularising the postmodern movement in architecture. Its highly theatrical quality – it was constructed with the assistance of craftsmen from the Cinecittà film studios in Rome – continues to serve as a benchmark for subsequent curation. Portoghesi’s exhibition also set a precedent in that it was the first to receive international attention from the public, outside of a specialised academic and professional community. The spectacular success of the Strada Novissima has arguably overshadowed the historical importance of other sections of Portoghesi’s exhibition, including an exhibition of critics who
12
13