The Padiglione dell’America Latina: A Fascist Project of Cultural Diplomacy at the Venice Biennale, 1929-1932

− Abstract

Several nations from Latin America are currently represented at the Venice Biennale, either with pavilions in the Giardini, temporary showcases in the Arsenale, or by leasing spaces throughout the city. Yet the Latin American participation during the institution's formative years was marked by considerable difficulties. This paper examines the unsuccessful attempt to create a “Padiglione dell’America Latina”, a cultural diplomacy initiative that originated in 1932 under Antonio Maraini’s Secretariat.  This visionary project could have provided Mexico, Argentina, Uruguay, Chile, and Brazil with a stable representation in what was then the leading exhibition of contemporary art. Despite significant support from the Biennale administrations, this initiative did not succeed. The failure to realise the “Padiglione dell’America Latina” — a situation tied to the global geopolitical issues that arose after the 1929 Wall Street Crash, rather than disinterest from the Biennale or Latin American nations — had profound and lasting implications. Yet the notion of “Latin America” is inherently artificial, burdened with colonial and imperialist associations, and it does not have widespread acceptance in the region. The arbitrary inclusion of the aforementioned countries under this label may have jeopardised the project from the very beginning.