Abstract
The article focuses on the analysis of selected examples of the use of new technologies in the artworks presented in the Venice Biennale during 2001–2017. Going along with time, national projects at the Biennale are forced at least to take the new technologies into account if not to build their presentations based entirely on them. Technology is no longer concealed or hidden: it is a matter of bravado. It is used to mark the vague profile of the “new poetics,” the exact sense of which is still unclear and incomprehensible to us. It has been pointed that turning to the new technologies does not always produce striking artworks, full of attractive images (i.e. Breaking the Waves by Lars von Trier).