Chronology of Venice Biennale

　　1922

　　The first retrospective of Modigliani was held, as well as an exhibition of sculpture by African artists. These selections caused some criticism and diffidence, and in order to restrict the "boldness" of Pica, the town council set up an Administrative Board to work alongside him (in part a board of directors, in part a controller of the cultural selections), which initially comprised 7 members (these became 8 in 1924, 13 in 1926 and 9 in 1928; the Board was dissolved in 1930).

　　1927

　　Pica found an independent location for the Biennale head office in a ground-floor warehouse of Palazzo Ducale.

　　1928

　　The Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened its doors on 8th November; this constituted the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

　　1930

　　The Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. The forms of financing and the board's articles of association were established by a decree of 1931. With this transformation, the Biennale passed from the control of the Venice City Council to that of the Italian fascist state. Thanks to increased funds and the impulse provided by its president, count Giuseppe Volpi di Misurata, new events were set up (Music, Cinema, and Theatre) and the Biennale took on the multidisciplinary character that it has to this day. This year saw the first International Festival of Contemporary Music, taking place initially every two years, and then, from 1937, annually. Over the years, it would see premieres of international quality, with works by Stravinsky, Britten, and Prokofiev. The pavilion of the United States of America was built in the Giardini.

　　1932

　　The Film Festival appeared for the first time: the first edition of the Esposizione internazionale d'arte cinematografica (International exhibition of cinematographic art) was held between August 6 and 21 on the terraces of the Hotel Excelsior. No prizes were planned but a poll was held. From 1935, the Festival became annual. Amongst the pre-war films that won awards were Clarence Brown's Anna Karenina, Luis Trenker's Der Kaiser von Kalifornien, Carnet du bal by Julien Duvivier and Olympia by Leni Riefenstahl. The facade of the Italian Pavilion was renewed. In 1932 and 1934, two poetry conventions were organised by the Biennale.