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[MUSIC PLAYING]

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The Venice Biennale has been
around for a very long time--

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earlier than the digital.

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And therefore, it has
been affected in a way

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as old institutions get
affected by revolution,

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maybe, both slower and
in more subtle ways.

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But it has also
profited from it.

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Obviously, it has a huge
online presence, its website,

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lots of apps related
to the Venice Biennale,

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the Biennale Zone and lots of
artists using digital platform

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to promote--

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the artists and galleries
promote their presence

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at the Venice Biennale.

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But all of this is
rather small, in a way,

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or rather micro sociological.

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But there's also a macro
effect and it is the fact

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that by Biennales, in general,
are much more connected because

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of the digital revolution of
the digitalization of culture

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in general which creates
a sort of global culture.

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Which is obviously
another subject.

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But that means that the
Venice Biennale, which

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used to be first the
only one, and then

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one of a few biennales,
is now part of a network.

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Part of a world of biennales,
which is a very central node.

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And that is a big difference,
from being more or less

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an island, is now
a node in a network

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that is connected globally.

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And that has actually augmented
its importance, I think.

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Both because it's the first
of its kind, and of a kind

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that has success
and therefore is

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seen as important and
repeatable format.

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And also because
at the Biennale--

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To be at the Biennale, either
in person, ideally, or at least

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digitally, to know what's
going on at a Biennale,

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is really a key indicator
of actually belonging

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to the art world.

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That particular art world.

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So in that sense it
has been very affected

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and generally, I
would think, in terms

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of its impact in what would
be seen in a positive way.

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Culturally that is maybe a
much harder answer to give

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and one that also
needs further research.

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