Abstract:
Since the international exhibitions at the end of the nineteenth century, design obtained its visibility as an example of industrial progress. Later its perception changed together with the formation of the design museum collections in the twentieth century and the design galleries in the 1960s. Design became an independent entity of the art world, changing the designer into an independent creator. Henceforth, it was introduced beyond its functional nature, incorporated into the narrative and conceptual exhibitions.
This thesis aims to determine the curatorial approach that applied to contemporary design throughout the international biennial exhibition. Specifically, it will focus on the case of the third edition of the Venice Design Biennial. In the context of the city where the biennial exhibition format was established, the study investigates the reason why design wasn’t included in the Venice Biennale permanently and how the Triennale of Milan took a prerogative of being a first perennial show for design and architecture.
The methodology to study the curatorial practice involves the interview of the Design Biennial founders and curators, Francesca Giubilei and Luca Berta. The research is aimed to discover how the narration is conducted and the particular context of the exhibition space is influencing the way the design pieces are displayed and perceived. The analysis will be conducted around four displayed chairs: Potent, Grace by Anna Jensen, Lia Chair by Chiara Andreatti and Pierpaolo Mandis, #21.12B Tubes by Zaven, Silla Peluda by Pablo Reinoso. Consequently, the outcome will reveal the framework that is used to expose international contemporary design united under the single concept of the biennial show.
