Opening Nederlandse inzending Biënnale van Venetië

Toespraak | 27-05-2013

In 1928 Rietveld wrote in the ‘Internationale Revue i 10’:

“The reality that architecture can create is space.”

And in this beautiful pavilion - where we have gathered to open the Dutch exhibition at this Venice Biennale – we can experience the meaning of his words.
The design of the pavilion and the materials used, are serving the space and the interplay of light.
And this quality not only accounts for the beauty of this structure, but also makes it an ideal exhibition space.

This year it provides an outstanding setting for the work of Mark Manders. Work in which nothing is what it seems. 

The exhibition is entitled ‘Room with broken sentence’. This title refers to the smallest object on display.
An object that joins with other artworks to form an artistic ‘sentence’.
A visual sentence intended as an expression of Manders’ own thoughts. A sentence that, in his own words, is never-ending.

Personally, I find his work fascinating.
Expressive, powerful, with a lot of tension. Or, as the artist himself says: “Explosion in slow motion.” It is work that surprises, moves and raises questions, as do all good works of art.

This year, for the first time, the Mondriaan Fund held an open call, inviting curators to submit work. A jury of experts then selected this winning exhibition.
Their choice was based on the intrinsic power of the work. And they were also impressed by the way the art intentionally interacts with Rietveld’s pavilion.
This dialogue makes this year’s Dutch entry all the more meaningful on the sixtieth anniversary of this pavilion.

Just as this pavilion gives space, so too the Venice Biennale has – for over a century – provided a forum for art, architecture and film. For the best that countries have to offer one another.
Today, the Venice Biennale is primarily devoted to international developments in the arts.
And through the years, the emphasis has shifted to the social significance of art and culture.

In recent years, the Netherlands has set its own agenda at the Biennale. At our last appearance, we even submitted a statement against the strong social emphasis of the event.
But I believe it’s time for us to abandon our resistance.
The times now call for a different approach.
We need to focus on the power of art and culture in their broadest sense: artistic, economic and social.
That is why the theme of this year’s Biennale – the transformative power of imagination – holds such tremendous appeal for me.

In these times of crisis, people have a tendency to withdraw. To be less tolerant to others. To cling to existing traditions. To stick to what they know. Take France, for example, where the prospect of same-sex marriage has unleashed a flood of conservatism and aggression.
But in these troubled times, what we really need is the exact opposite.

We need to rely on creative thinkers who are capable of devising new solutions to existing problems.
We need to rely on innovative artists whose work gets people thinking about ‘the other’ and other cultures.
We need to tap into new sources of energy - in the Netherlands, as in other countries - to keep our society sustainable.
To compete effectively with non-Western nations.
To become a true knowledge society, which we potentially are.

It is my ambition to make the power of culture visible in society. And so, in the near future, I want to encourage our Dutch cultural sector to forge the links needed to prove that power.

Take the links between artists and the world of technology. We have Studio Roosegaarde, for instance, where designers and technologists collaborate on environmentally friendly initiatives.
Another key area is creating a strong basis for cultural education in schools, since creative thinkers make a difference across all sectors of the job market.
And I will also consider measures to strenghten the position of our Dutch artists internationally.

If we, as a country, are able to communicate who we are and what we stand for, then we will be able to make a difference. Art and culture constitute an appealing and effective way to make such a statement. They are the face we present to the outside world.
And we need to make better use of them.
One way of achieving this is to invest in the international development of our talent.

The Netherlands is home to a great many contemporary artists who are enjoying international success:
Marlène Dumas and Fiona Tan, to name but two. Then there’s Rineke Dijkstra, and Aernout Mik.
And of course we cannot forget our honored designers and architects such as Rem Koolhaas or Jan Taminiau.

But every country needs up-and-coming young talent that will one day become the new cultural standard bearers.
Upcoming artists such as Falke Pisano – who is taking part in this year’s Prix de Rome – and Zoro Feigl – who is about to exhibit his work in China – have everything it takes to achieve global success.
And on their way to the top, they need our support.

This is why I intend to increase investments in the international development of talent.
I will discuss these plans in greater detail early next month.

We can also make better use of the international opportunities our culture provides by communicating our successes effectively.
By stating loud and clear that our artists, creators and performers are doing great things abroad.
And I would like to appeal to you all to make this happen.

The jury has made an excellent choice in selecting this Biennale exhibition. Because it enables us to raise our national profile through the work of a Dutch artist who is so greatly appreciated throughout the world.

That said, it is now time to hand this space back to Mark Manders. To experience his “explosion in slow motion”.
And to feel his work in this pavilion resonating within us.

It only remains for me to offer my sincere thanks to the artist and the curator for their magnificent work. And of course, I cannot forget the Mondriaan Fund and its staff, for their diligent organization.
Let’s make this Biennale a resounding success.
And now I will perform the official opening.