Če je v devetdesetih vladala težnja močnih osebnosti kustosov, ki so z vplivom na uresničitev posameznega umetniškega dela in tematskimi koncepti oblikovali umetniško sceno, prinaša novo tisočletje spremembe – umetniki postajajo kustosi. V nasprotju s številnimi primeri tovrstne uspešne fuzije se povezava umetnika, kustosa in kritika v eni osebi za letošnji Beneški bienale ni izkazala kot najboljša. 52. bienale je za direktorja in glavnega kustosa angažiral Roberta Storra z impresivnim institucionalnim življenjepisom, ki ga uvršča kot člen med muzejskim in akademskim svetom. Storr je bil med letoma 1990 in 2002 kustos, potem višji kustos slikarstva in kiparstva v MOMA, zdaj pa je dekan na prestižni Yale School of Art, New Haven, Connecticut.
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While the nineties were ruled by the trend of strong curatorial personalities who had influence over the realization of individual artworks and whose thematic concepts shaped the art scene, the new century brings a change – artists become curators. Contrary to many such examples of successful fusions, the combination of artist, curator and critic in one person has not shown itself to be the best solution for this year’s Venice Biennale. Robert Storr, with his impressive institutional biography that positioned him as link between museum and academic world, was engaged to head the 52nd Biennale as director and head curator. From 1990 to 2002 Storr was curator and then senior curator of painting and sculpture at MoMA, and is currently the dean of the Yale School of Art, New Haven, Connecticut.
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