The Art of Espionage

Read Time:3 Minute, 48 Second

MOVIE REVIEW
Taking Venice
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Genre: Documentary
Year Released: 2024
Runtime: 1h 38m
Director(s): Amei Wallach
Where To Watch: opens at IFC Center in New York City on May 17, 2024, and at Laemmle Royal in Los Angeles on May 24, with additional markets to follow

RAVING REVIEW: Dive into the shadowy nexus of Cold War politics and avant-garde art in TAKING VENICE. Director Amei Wallach navigates through a real-life thriller with stakes as high as global cultural dominance. This is a gripping journey into how deeply politics can infiltrate the arts. It’s an intriguing mix you don’t think about at first, but it all connects as the film dives into the reasons behind specific actions.

From the opening frames, TAKING VENICE thrusts viewers into the turbulent waters of the 1964 Venice Biennale, where art and international politics clash under the guise of cultural competition. Wallach looks into a fascinating exposé on the U.S. government’s manipulation of the art world to counteract Communist influence during the Cold War. The documentary uncovers the strategic use of Robert Rauschenberg’s artwork to navigate geopolitical tensions, making every scene resonate with the thrill of a spy mission. While the film is meant to focus on Cold War politics, it often finds itself more interested in the art and exhibits (which, to be clear, is fine, but it was almost like this should have been a two-part documentary that allowed the focus to be split.)

Central to the narrative are figures like Alice Denney, Alan Solomon, and Leo Castelli, who seem pulled straight from a spy novel. They strategically champion Rauschenberg’s groundbreaking style, steering them through a sea of conservative criticism within the art community. Their mission goes beyond artistic management, venturing into chess-like geopolitical maneuvering.

Mimicking the suspense of a heist film, TAKING VENICE details each calculated move toward Rauschenberg’s “contentious” win. This was one of the most intriguing aspects to me, the manipulation of something considered the pinnacle of its craft all for ulterior motives.

Wallach confronts the ethical dilemmas head-on, delving into the murky waters of cultural manipulation for political ends. The film offers a balanced critique, probing the moral implications of using artistic triumphs as pawns in the global power game. It challenges viewers to contemplate the ethical boundaries of such endeavors.

Moreover, TAKING VENICE reflects on the legacy of 1960s American Pop Art. It connects Rauschenberg’s work to broader cultural and political shifts, depicting art as both a reflection and a shaper of societal norms, resonating with contemporary issues that straddle the worlds of culture and politics.

With her extensive expertise as an art critic and historian, Wallach brings a depth of analysis that makes the documentary accessible and engaging. Her exploration of the 1964 Biennale is informative and enthralling, drawing viewers into the complex interplay between art and politics.

TAKING VENICE is a powerful commentary on how art influences and reflects the political climates that mold it. The documentary invites audiences to re-evaluate the role of art in international politics and the continuous interplay between cultural expressions and governmental power.

A must-see for anyone interested in the crossroads of art, history, and politics, TAKING VENICE offers a comprehensive look at a moment when art was simultaneously a participant in and an observer of the Cold War's historical behind-the-scenes action.

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[photo courtesy of ZEITGEIST FILMS, KINO LORBER]

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