{"id":570,"date":"2022-01-03T19:13:11","date_gmt":"2022-01-03T18:13:11","guid":{"rendered":"https:\/\/fcdarchive.fr\/?p=570"},"modified":"2022-01-03T19:38:56","modified_gmt":"2022-01-03T18:38:56","slug":"biennales-de-venise","status":"publish","type":"post","link":"https:\/\/fcdarchive.fr\/?p=570","title":{"rendered":"Biennales de Venise"},"content":{"rendered":"\n<p>Dans les ann\u00e9es 50, suite au refus du D\u00e9partement d\u2019\u00c9tat Am\u00e9ricain de prendre la responsabilit\u00e9 du pavillon am\u00e9ricain durant les Biennales de Venise, le MoMA pris en charge la gestion du pavillon entre 1954 et 1962 avec des fonds de la CIA. Ainsi D\u00e8s la XXVII<sup>e<\/sup> biennale de Venise (1954), le MoMA s\u00e9lectionna cinq artistes pour l\u2019exposition du pavillon am\u00e9ricain. Parmi ces artistes, Willem De Kooning et Ben Shahn. Leurs s\u00e9lections s\u2019inscrivaient alors dans une vaste op\u00e9ration de politique culturelle \u00e9trang\u00e8re visant \u00e0 soutenir l\u2019image des \u00c9tats-Unis, politique lanc\u00e9e par le Pr\u00e9sident Truman en avril 1950. L\u2019objectif de cette \u00ab\u00a0campagne de v\u00e9rit\u00e9\u00a0\u00bb \u00e9tait de contrer l\u2019image n\u00e9gative de l\u2019Am\u00e9rique en Europe, image attribu\u00e9e \u00e0 une campagne de d\u00e9sinformation men\u00e9e par l\u2019URSS. Et comme l\u2019analysa Alfred J. Barr \u00e0 propos de la gestion du pavillon am\u00e9ricain \u00e0 la Biennale de Venise, cette gestion assurait l\u2019existence d\u2019un \u00ab\u00a0<span id=\"su_tooltip_6a03a5b71e702_button\" class=\"su-tooltip-button su-tooltip-button-outline-yes\" aria-describedby=\"su_tooltip_6a03a5b71e702\" data-settings='{\"position\":\"top\",\"behavior\":\"hover\",\"hideDelay\":0}' tabindex=\"0\">esprit progressiste libre de toute censure<\/span><span style=\"display:none;z-index:100\" id=\"su_tooltip_6a03a5b71e702\" class=\"su-tooltip\" role=\"tooltip\"><span class=\"su-tooltip-inner su-tooltip-shadow-no\" style=\"z-index:100;background:#222222;color:#FFFFFF;font-size:11px;border-radius:5px;text-align:left;max-width:300px;line-height:1.25\"><span class=\"su-tooltip-title\"><\/span><span class=\"su-tooltip-content su-u-trim\">Alfred J. Barr, Gli Stati Uniti alla Biennale : Shahn e de Kooning, Lachaise, Lassaw e Smith, Biennale di Venezia n\u00b0 19-20, Avril \u2013 juin 1954.<\/span><\/span><span id=\"su_tooltip_6a03a5b71e702_arrow\" class=\"su-tooltip-arrow\" style=\"z-index:100;background:#222222\" data-popper-arrow><\/span><\/span> \u00ab\u00a0.<\/p>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/fcdarchive.fr\/wp-content\/uploads\/2021\/05\/Achat-du-pavillon-US-par-le-MoMA_Communique-de-Presse.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Achat du pavillon US par le MoMA_Communiqu\u00e9 de Presse<\/a><a href=\"https:\/\/fcdarchive.fr\/wp-content\/uploads\/2021\/05\/Achat-du-pavillon-US-par-le-MoMA_Communique-de-Presse.pdf\" class=\"wp-block-file__button\" download>T\u00e9l\u00e9charger<\/a><\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img loading=\"lazy\" width=\"265\" height=\"175\" src=\"https:\/\/fcdarchive.fr\/wp-content\/uploads\/2021\/05\/Plan-pavillon-US_Biennale-de-Venise.jpg\" alt=\"\" class=\"wp-image-101\"\/><figcaption>Plan du Pavillon US \u00e0 la Biennale de Venise. <\/figcaption><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Dans les ann\u00e9es 50, suite au refus du D\u00e9partement d\u2019\u00c9tat Am\u00e9ricain de prendre la responsabilit\u00e9 du pavillon am\u00e9ricain durant les Biennales de Venise, le MoMA pris en charge la gestion du pavillon entre 1954 et 1962 avec des fonds de la CIA. Ainsi D\u00e8s la XXVIIe biennale de Venise (1954), le MoMA s\u00e9lectionna cinq artistes [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[21,88,36,10,32,15,9,90,89,3,14],"tags":[],"_links":{"self":[{"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=\/wp\/v2\/posts\/570"}],"collection":[{"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=570"}],"version-history":[{"count":5,"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=\/wp\/v2\/posts\/570\/revisions"}],"predecessor-version":[{"id":578,"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=\/wp\/v2\/posts\/570\/revisions\/578"}],"wp:attachment":[{"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=570"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=570"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fcdarchive.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=570"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}