The weird and the wonderful of the world’s premier art fair, according to one member of the family with a unique connection to the event.
In the 1960s and ’70s, whenever my father travelled to Italy to visit family, he’d make a detour to the Venice Biennale; to draw inspiration and to dream of something similar Down Under.
Several reorganisations occurred before and after the wars, and the one following the protests of the ’60s – initially heralded as being the solution – also proved short-lived. The Venice visitation this year is breaking records: the venues have never looked so good or worked so well, and the show is extraordinary.
Franco Belgiorno-Nettis [the author’s father] also had two degrees: in civil and electrical engineering, and, by the time of the first Biennale of Sydney in 1973, he and his partner Carlo Salteri had, in less than 20 years, forged Transfield into a leading Australian construction business.Franco was a man of few words renowned for his quip “results count”, suggesting he didn’t care so much for the means by which they were delivered.
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