And did we mention the parties?
The Venice Biennale - the world's largest Art Event, opens on June 1st 2013, with press preview days on May 29th, 30th, and 31st.
The Biennial Project 2013 Venice Biennale Tour will begin on May 30th - so that anyone who is interested in getting a press pass (it's not hard, and we can work with you to help you get one) can have some time to see the exhibits, meet the artists, and go to the insanely-cool pre-opening parties before the Biennale is officially open. With press credentials you also get in free everyday and can get friends in free too!
Here is where we will be staying:
(This Residence is the perfect accommodation for a large group of people wishing to stay at the same place while having their own and individual privacy. The location could not be better, just footsteps off Campo San'Angelo, about 10 minutes away from San Marco, Rialto and the Accademia Bridge. The building is composed of 3 spacious apartments laid out on 4 floors in total.)
Click Here to see Our Fabulous Digs in Venice
Not bad huh?
The cost for this unforgetable trip will be between round $550 per person double occupancy for 7 nights.
For your ruples you will get a very well-organized trip and a one-of-a-kind experience with other fascinating artists, and an ability to promote your own work to an international audience.
You do not have to participate in any Biennial Project antics if you are silly enough to prefer not to - but everyone MUST help out with the ridiculously cool party that the group will host - not so terribly unpleasant.
We have spots for eighteen artists - with 14 spots already spoken for. So let us know right away if you want to be part of this amazing trip!!!
To help you decide, here are excerpts from a few of the many reviews our artists wrote for the press after coming back from our trip last year:
"Where to start in trying to report back from the first week of a spectacle that represents the art world equivalent of the Super Bowl, Cannes Film Festival, and Mardi Gras rolled up all into one? First, by admitting that this huge city-wide production does undeniably include a fair portion of the narcissistic self-congratulation by pretentious bores and snobs that you imagine that it would. Then, by trying to explain that despite all the silly pomp and circumstance, the Venice Biennale is worth it, because of two crucial additional ingredients. One is a heart-breakingly beautiful city that deserves every one of it’s endless accolades, and remains deeply intoxicating despite hoards of tourists.
This is a city that is built on art and festival, and is easily up to the challenge of hosting planet earth’s biggest art circus.
The second is an intense focus on art and what art means that is not matched anywhere in the world. The closest experience I’d had to this prior to this trip was several years ago when I spent some time with actor friends at a Shakespeare festival. After a week of nonstop watching/thinking/talking all things Shakespearean, a friend leaned over and whispered mischievously that “the problem is, now we’ll think that Shakespeare matters”.
The Venice Biennale is this level of intensity raised a few orders of magnitude, and leaves you feeling that art might possibly still be relevant to the role of being human. For an artist, there is nothing like this. We few, we lucky few indeed.
So that’s what me and the band of artist siblings I traveled with are feeling now – the euphoria not yet dispelled by returning to stacks of unpaid bills and dirty laundry. That’s one good drug, and I’ll take it again the next chance I get."
Anna Salmeron, 2011 Venice Biennale, The Power and the Glory, DigBoston
"I’m in Venice – at last – and, with its subtle mists and roaring crowds, it does not disappoint. I have seen my first ineffable sunset and have had the various parts of my anatomy shoved by an indifferent attendant into an impossibly packed vaporetto. So I’m in Venice and pretty indiscriminately happy, wandering around the ‘back-behind’ of mobbed St. Mark’s Square, escaping from the sun and heat and screaming masses of people, who, as Henry James observed a century ago, should immediately leave and let me properly enjoy all this alone, when I happen on the big red “Biennale” pennant outside an old building, church, whatever, and enter, mostly just to get a rest. The place is dim, quiet, cool, and a bit of a ruin, stripped to its architectural bones, former function unrecognizable. I climb the stairs to the loft and settle into a room-sized beanbag, and all I want or expect is about 15 minutes of peace. Luckily not to be had...
...Spectacle, you say? You bet. And I’d see it again. And, what’s more, it’s stayed with me and resonated this past month as no blockbuster movie has ever been able to do. One other point, about going to Venice. Getting there cost an obscene amount of money and was a hard thing to decide to do in these times. For anyone who still contemplates the purchase of, say, that big screen TV or latest i-thing, using the logic that these things are tangible and lasting whereas some vacation will be over in a matter of weeks,
my advice is to go for the real lasting thing, the trip.
True, I saw some really bad art, ate some mediocre food, was roasted, stomped on, and drenched by torrential rains, but this show alone (and it wasn’t alone in its wondrousness, ref. Swiss, German, Polish, and British Pavilions) was worth the price of admission. When the electronic objects are nothing but additions to the recycle bin, I’ll still have the Biennale and the aging Disney marvel that is Venice."
Charlene Liska, 2011 VENICE BIENNALE: THE CLOUD OF UNKNOWING, DigBoston
"When I look at art, I am unreasonable. I want it to ravish me, delight me. I want a revelation. Naturally, I am usually disappointed. But the Venice exhibition “New Chinese Art After the Cold War” left me exuberant and panting for more. I wish you could have been there."
Shelah Horvitz, Atlantic Works at Venice Biennale, DigBoston
That's all for now comrades -
see you in Venice!
(your favorite travel planners)
The Biennial Project