by Christos Zabounis

In the restaurant of “The Gritti Palace” the artists of the group indicate their preferences. “Only de Kooning is worthy,” exclaims, almost authoritatively, raising a glass of red wine, the South African Conor Mac Arthur, while Melanie Foster, just arrived from Paris, mentions Julie Mehretu’s Exhibition at the Palazzo Grassi. “Instead of doing a retrospective of her works, she invited 25 of her friends to support her.” Our “own” Margarita Myrogianni singles out the Jean Cocteau Exhibition, a side show at the Guggenheim Museum. The rest of us will necessarily go through the Gardens (Giardini) and the Arsenale where the national Pavilions are presented. The most interesting, due to geopolitical developments, seem to be of Ukraine (loan from Poland), with scenes from the war raging over there, Israel, which remains closed, with two soldiers guarding it, and Palestine (loan from Belgium), with a notice. The opening of the Greek Pavilion was held last Thursday, with a clarinet and folk songs. The protagonist is a watering machine framed by videos about the festivals. On another wavelength, the “Gallerie Artion” inaugurated its branch in Venice with an Exhibition of the sculptor Lorenzo Quinn – oh yes!, Anthony’s son – at the Museo Ca’ Rezzonico. Founded in 1895, the 60th Biennale presents 331 artists and Collectives, in indoor and outdoor spaces of the City of Doges. “Unlike Cinema, where Cannes comes first, in Art, Venice comes first”, I comment to Artion’s Konstantinos Manolakis. “That can change with the energy of the people. I’m thinking of inviting John Malkovich to the next Lido Film Festival,” he replies confidently.