Following the global success of Anthropocene, a multimedia exhibition documenting humanity’s irreversible impact on the Earth, photographer Edward Burtynsky continues his exploration of the environmental effects of industrialization with a new exhibition, presented for the first time in Italy at M9 – Museum of the 20th Century. After a successful debut at the Saatchi Gallery in London, the Edward Burtynsky exhibition arrives in Italy, offering the most comprehensive retrospective of Burtynsky’s more than 40-year career.

Renowned for his large-scale images of industrial landscapes, Burtynsky has dedicated his life to capturing the profound impact of human activity on the planet. His work focuses on what he describes as “large-scale industrial incursions across the planet,” documenting the often unseen consequences of industrial processes that serve our current needs but jeopardize the future of our environment.

Curated by Marc Mayer, former director of the National Gallery of Canada, with exhibition design by Alvisi Kirimoto, the Edward Burtynsky exhibition features over 80 large-format photographs, 10 high-definition murals, and an Augmented Reality experience. A new section, Process Archive, offers a behind-the-scenes look at the tools and technologies Burtynsky has used throughout his career, including drones that have expanded his ability to capture vast landscapes from unique perspectives.

Visitors will also encounter Burtynsky’s powerful photographic campaign from 2022, commissioned by the Sylva Foundation, which documents the environmental catastrophe caused by Xylella on Apulian olive trees. This collection starkly illustrates the tangible impacts of climate change in Italy. Additionally, the exhibition screens the award-winning short film In the Wake of Progress (2022), co-produced by Burtynsky and music producer Bob Ezrin, featuring original music by the late Phil Strong. Shown in immersive mode, it debuts in Italy in the M9 Orizzonti room.

Burtynsky’s large-scale images often appear as abstract fields of color, drawing the viewer in before revealing the devastating reality behind them—industrial landscapes that testify to the environmental toll of human progress. This Edward Burtynsky exhibition is a visual reminder of the consequences of industrialization and climate change, prompting critical reflection on our role in shaping the planet’s future.

Burtynsky’s work is housed in over 80 major museums worldwide. His notable exhibitions include Anthropocene (2018), Water (2013), Oil (2009), China (2005), and Manufactured Landscapes (2003). Among his many accolades, Burtynsky received the 2023 PHotoESPAÑA Award and the Pino Pascali Award. He is also recognized for his role in producing the acclaimed documentary trilogy Manufactured Landscapes, Watermark, and ANTHROPOCENE: The Human Epoch, all of which continue to be featured in festivals globally.

Images courtesy of BataGoran, CC BY-SA 4.0, via Wikimedia Commons

The exhibition 1912-1930 Murano Glass and the Venice Biennale, curated by Marino Barovier, offers a rare opportunity to explore the evolution of Murano glass at the Venice Biennale. Running until 24 November 2024 at LE STANZE DEL VETRO, this showcase focuses on the pivotal period from 1912 to 1930, highlighting how Murano glass gradually gained prominence at the prestigious event. This Murano glass exhibition presents 135 exquisite works, many of which are exceptionally rare, sourced from renowned museums and private collections.

Between 1912 and 1930, Murano glass became increasingly visible in the Biennale’s exhibitions, with artists recognizing the extraordinary possibilities offered by this medium. The artworks on display demonstrate the creative and technical mastery achieved by Murano glassmakers during this time, showing how the craft evolved into a fine art that could stand alongside traditional painting and sculpture. This period saw the introduction of the Applied Arts section, which included glassworks, housed alongside the Fine Arts exhibits in the Palazzo dell’Esposizione.

One of the highlights of this Murano glass exhibition is the way it illustrates the journey of Murano glass from a craft tradition to a key part of the Venice Biennale’s narrative. The decision to showcase Murano glass in the Biennale was a significant step in recognizing glass as an art form in its own right. By 1930, the Biennale acknowledged the importance of applied arts, leading to the eventual creation of a dedicated pavilion in 1932. This transition is a crucial moment in the history of both the Venice Biennale and the development of glass as a medium for artistic expression.

The exhibition is not only a visual celebration but also a scholarly one, as it is accompanied by a comprehensive catalogue curated by Marino Barovier and Carla Sonego. The catalogue is the product of meticulous research, combining an in-depth investigation into archival documents from the Biennale Historical Archive and a thorough bibliographic study. Visitors to the Murano glass exhibition will gain a deeper understanding of the artistic and historical significance of Murano glass. Its relationship with the Venice Biennale during these formative years.

This exhibition at LE STANZE DEL VETRO provides a unique insight into the delicate balance between tradition and innovation that defined Murano glass production in the early 20th century. As the exhibition runs until 24 November 2024, visitors have ample time to explore this fascinating chapter of art history. It is the rare chance to see some of the finest examples of Murano glass from the period. Whether you’re an art enthusiast, a glass aficionado, or simply curious about the rich cultural heritage of Venice, this Murano glass exhibition offers a captivating look at how one of the world’s most beautiful materials found its place in one of the most important art events globally.

Images courtesy of https://lestanzedelvetro.org/ – Ph. Enrico Fiorese

The Julie Mehretu exhibition titled “Ensemble” will be presented at Palazzo Grassi from 17 March 2024 to 6 January 2025. Curated by Caroline Bourgeois, Chief Curator of the Pinault Collection, together with Julie Mehretu herself, this is the most comprehensive exhibition of Mehretu’s work to date in Europe. Spanning 25 years of her artistic journey, the exhibition features over fifty works, including both paintings and prints, with a particular focus on recent pieces from 2021-2024.

Spread across two floors of Palazzo Grassi, the Julie Mehretu exhibition brings together 17 works from the Pinault Collection alongside key loans from international museums and private collections. This rich selection allows visitors to experience the full scope of Mehretu’s dynamic and evolving artistic practice. Her works are known for their intricate layering of lines, forms, and marks, which create complex compositions that reflect global issues, urban landscapes, and the chaotic nature of contemporary life.

The exhibition is structured as a non-chronological exploration of Mehretu’s oeuvre, encouraging visitors to engage freely with her work. Central to the concept of the Julie Mehretu exhibition is the theme of collaboration and dialogue. Alongside Mehretu’s works, the exhibition features pieces by several of her closest artist friends, including Nairy Baghramian, Huma Bhabha, Tacita Dean, David Hammons, Robin Coste Lewis, Paul Pfeiffer, and Jessica Rankin. These artists, who share with Mehretu an experience of displacement—whether leaving or fleeing countries like Ethiopia, Iran, and Pakistan—engage in a rich visual and conceptual dialogue with her art.

Through this exhibition, Mehretu explores the idea that art is not created in isolation. Instead, it is deeply influenced by connections, relationships and shared experiences. This collaborative spirit is at the heart of Ensemble, revealing how Mehretu’s artistic practice has been shaped by her peers and how her works resonate with broader social, political, and cultural themes.

The Julie Mehretu exhibition will also include a series of public conferences and cultural events at the Teatrino di Palazzo Grassi, providing additional insights into the exhibition’s themes and the artists involved. A comprehensive catalogue, published by Marsilio Arte, Venice, will accompany the exhibition, featuring contributions by Hilton Als, Caroline Bourgeois, Patricia Falguières, Julie Mehretu, Jason Moran, and two in-depth conversations between Mehretu, Paul Pfeiffer, Lawrence Chua, and Caroline Bourgeois.

In collaboration with K21–Kunstsammlung Nordrhein-Westfalen in Düsseldorf, which will present the exhibition in 2025, the Julie Mehretu exhibition at Palazzo Grassi offers a unique opportunity to explore the work of one of the most significant contemporary artists today, showcasing her continued innovation and engagement with the world around her.

Images courtesy of https://www.flickr.com/photos/ugardener/52018331061 – Ph. JR P

The Henri Matisse exhibition at the Centro Culturale Candiani presents a new and captivating project, drawing from the civic collections of modern art at Ca’ Pesaro. This exhibition focuses on the work of Henri Matisse, one of the most significant masters of the 20th century, and his connection to the vibrant artistic movements of his time. Featuring three important lithographs from the 1920s and two drawings from 1947, all from the Galleria Internazionale d’Arte Moderna, the exhibition brings Matisse’s work into dialogue with that of his contemporaries, including Henri Manguin, André Derain, Albert Marquet, Maurice de Vlaminck, Raoul Dufy, and Pierre Bonnard.

Matisse, known for his expressive use of color and line, played a key role in the Fauve movement, which sought to break free from traditional artistic constraints. Central to the Henri Matisse exhibition is the idea of light and color, particularly the Mediterranean light that inspired many of the artists on display. The Fauves, including Matisse, were driven by a desire to capture the golden light of the Mediterranean, a light that “suppresses shadows,” as Derain once wrote to Vlaminck. This light, along with the vibrant use of color, formed the foundation of their expressionist approach.

The exhibition weaves Matisse’s artistic journey with those of his close contemporaries, showcasing how these artists revolutionized modern European art by focusing on the inner qualities of mimetic painting, both optical and conceptual. Matisse’s deep connection to the Mediterranean, especially to cities like Nice and Saint-Tropez, is a prominent theme throughout the exhibition. These locations were central to the evolution of his art, shaping the visual language of the 20th century and influencing the way future generations approached color and form.

Drawing plays a vital role in Matisse’s work, often bordering on obsession, as seen in his meticulous attention to the arabesque lines of his female figures and his reflections on the decorative arts. His work, as explored in the Henri Matisse exhibition, embodies the concept of “pleasure in drawing,” a notion also reflected in the writings of philosopher Jean-Luc Nancy. The exhibition not only explores Matisse’s mastery but also examines how his friendships and collaborations with artists like Derain and Vlaminck contributed to the artistic revolutions that shaped modern art.

At the heart of the exhibition is the Mediterranean itself, a geography of artistic creation that served as a muse for Matisse and his peers. The Mediterranean, with its vivid colors and dynamic landscapes, became a central figure in their work, symbolizing freedom and expression. Through this Henri Matisse exhibition, visitors can explore how the region’s light and landscapes profoundly influenced Matisse and left an enduring legacy on 20th-century art.

Images courtesy of https://www.flickr.com/photos/gandalfsgallery/7793747306 – Ph. Gandalf’s Gallery

The Eva Jospin exhibition titled “Selva” invites visitors to explore the unique relationship between nature and art through her intricate and immersive creations. Born in Paris in 1975, Eva Jospin completed her studies in 2002 and later became a resident at the Académie de France in Villa Medici, Rome from 2016 to 2017. Her artistic journey is deeply rooted in her fascination with nature, capturing its raw essence as well as the diverse iconographic and iconological interpretations it has inspired throughout history.

Using humble materials such as cardboard, plant-based elements, fibers, metal, and fabric, Jospin creates large-scale plastic compositions that evoke a world of landscapes, trees, plants, geological formations, and architectural structures. These works often possess a fairy-tale quality, imbuing her creations with a mysterious, almost magical tone. Through these intricate compositions, she encourages reflection on themes like the creative intellectual processes of past and present, environmental and ecological concerns, and the perception of space. Her works alter both the intellectual and physical space of the venues in which they are displayed, creating a transformative experience for viewers.

The Eva Jospin exhibition at Venice’s Palazzo Pesaro exemplifies her ability to engage with both the historical and environmental contexts of her surroundings. The ancient palazzo, which houses the diverse collections of Mariano Fortuny, serves as the perfect backdrop for Jospin’s work. Her sculptures interact with the existing collections in a dialogue that reveals surprising and unexpected aesthetic and methodological affinities between her creations and Fortuny’s artistic vision. This connection forms the conceptual foundation of the exhibition and drives the choice of the venue, highlighting the relationship between Jospin’s poetic vision and the historical art housed within the space.

Through Selva, Jospin invites visitors to delve into a world that straddles the line between reality and imagination, where nature and art converge in an immersive experience that challenges both intellect and emotion. The Eva Jospin exhibition not only showcases her technical skill but also her profound engagement with the themes of nature, creation, and environmental awareness, making it a must-see event for art lovers visiting Venice.

Images courtesy of https://www.flickr.com/photos/dalbera/53838929666/ – Ph. Jean-Pierre Dalbéra.

From 28 March to 24 November 2024, the Helmut Newton exhibition titled “Legacy” will take center stage in Venice, curated by Matthias Harder, Director of the Helmut Newton Foundation in Berlin, and Denis Curti. This retrospective marks the hundredth anniversary of the iconic photographer’s birth (Berlin, 1920 – Los Angeles, 2004) and stands as the most comprehensive exhibition dedicated to Helmut Newton’s work to date.

With over 250 photographs, polaroids, and archival documents, the Helmut Newton exhibition retraces the legacy of one of the most influential and controversial photographers of the 20th century. Known for his provocative style, Newton’s work pushes the boundaries of fashion photography, often blending boldness with elegance. The exhibition on San Giorgio Maggiore Island, with its stunning views over the San Marco basin, further enhances the power of Newton’s imagery, displaying iconic works alongside a selection of previously unseen pieces that offer new perspectives on his practice.

Born as Helmut Neustädter in Berlin, Newton fled Nazi Germany in 1938 and started his photography career in Australia, where he eventually opened his own studio. In Melbourne, he met June Brown, also known as Alice Springs, who would become his lifelong partner and muse. His career blossomed in Europe and the United States, particularly through his collaborations with renowned magazines like Vogue and designers such as Yves Saint Laurent, Karl Lagerfeld, and Thierry Mugler. Newton’s daring approach to fashion and the female form, as seen in his celebrated Big Nudes series, challenged conventions and left an indelible mark on the world of photography.

The Helmut Newton exhibition is structured into six chronological chapters, allowing visitors to trace the evolution of Newton’s career from his early days in Australia in the 1940s and 1950s, through his work in France in the 1960s, and on to his groundbreaking fashion photography in the 1970s in the United States. The exhibition continues with his prolific period in Monte Carlo and Los Angeles during the 1980s and highlights his work throughout the 1990s, documenting his global travels and extensive body of work.

Curator Matthias Harder emphasizes Newton’s deep connection to Venice, as evidenced by his various projects in the city, such as his 1966 report for Queen magazine and his portrait of Anselm Kiefer. After living in Australia and the United States, Newton returned to Europe, residing in Paris and Monte Carlo while making frequent visits to Venice. This exhibition in Venice is a fitting tribute to his lifelong fascination with the city and his remarkable contributions to photography.

Images courtesy of https://www.flickr.com/photos/drewwilsonphotography/7160325045– Ph. Drew Wilson.

The Francesco Vezzoli exhibition marks a significant chapter in the artist’s ongoing exploration of the relationship between contemporary culture and classical antiquity. Running at the Museo Correr in Venice, this exhibition is a natural continuation of Vezzoli’s artistic journey, which has evolved over the past decade to create a bridge between past and present, blending solemn historical references with pop culture.

Francesco Vezzoli is known for his ability to merge different media, including video, artistic performance, and his signature portraits adorned with embroidered tears. His work juxtaposes the grandeur of classical art with contemporary icons, creating a dialogue that spans centuries. This new Francesco Vezzoli exhibition builds on this theme, presenting works from his extensive artistic repertoire alongside masterpieces from the Museo Correr’s collection, offering a fresh narrative that views the history of art as alive, relevant, and constantly evolving.

Vezzoli’s ability to recontextualize the past was first showcased internationally in his 2011 Sacrilegio exhibition at the Gagosian Gallery in New York. There, he transformed the gallery into a Renaissance chapel, inserting contemporary supermodels like Claudia Schiffer and Linda Evangelista into reinterpretations of 16th-century Italian Madonnas. This bold combination of sacred and profane elements has become a hallmark of Vezzoli’s work, and his latest project in Venice continues this tradition of blending different eras and artistic expressions.

In Musei delle Lacrime, Vezzoli presents a series of historical and recent works, including some created specifically for this exhibition. By placing them alongside religious and cultural masterpieces from the Museo Correr, Vezzoli encourages a new reflection on themes such as identity, emotion, and the role of the past in the present. His work does not seek to erase or deny history, but rather to engage with it in a way that highlights its ongoing relevance.

The Francesco Vezzoli exhibition is not only a celebration of art history, but also a tribute to the city of Venice, a city that embodies the intersection of tradition and modernity. The project is designed with Venice in mind, paying homage to the city’s rich cultural legacy and the work of architect Carlo Scarpa, who played a significant role in shaping the artistic identity of Venice’s museums. By merging past and present, Vezzoli’s work emphasizes the transcendental power of art and its ability to resonate across different historical moments.

Vezzoli’s previous projects, such as his exhibitions at the Collection Lambert in Avignon (2019) and Palcoscenici archeologici with the Fondazione Brescia Musei, have explored similar themes of archaeology and memory. His work often incorporates ancient art into contemporary settings, as seen in his 2021 sculptures for the project Francesco Vezzoli in Florence, where he placed modern and ancient elements in public spaces, creating powerful visual statements about the coexistence of past and present.

This latest Francesco Vezzoli exhibition at the Museo Correr furthers his exploration of these ideas, inviting visitors to experience the dialogue between his art and the historical treasures of Venice. Through a unique blend of classical and contemporary, Vezzoli’s work continues to challenge and inspire, offering a fresh perspective on the timeless power of art.

Images courtesy of https://www.flickr.com/photos/medievalkarl/16276861420/– Ph. Karl Steel.

The exhibition “Banksy. Painting Walls” offers its visitors the unique opportunity to immerse themselves in the artistic universe of a creative who has dominated the world cultural scene for over twenty years. In particular, through his ability to intervene with artistic messages even in war contexts, Banksy demonstrates once again his extraordinary ability to connect with the present, maintaining an artistic commitment that stands out for addressing crucial issues such as climate change, social inequalities, migration flows, conflicts and human rights.

The focus of this exhibition are three original walls painted by the British artist. These are three extraordinary works from private collections, created by Banksy in 2009, 2010 and 2018 respectively, and located in London, Devon and Wales. The three works stage three young teenagers, embodying the sensitivity of a new generation that seems to resonate in tune with the themes dear to the English artist.

In particular, “Season’s Greetings”, which appeared in Port Talbot, Wales, in December 2018, was chosen as the emblematic image of the exhibition. This work depicts a young man with his arms wide open and his tongue stretched out to taste the snowflakes falling from the sky, but it turns out that these “flakes” are actually ash that is lifted from a burning garbage can. Port Talbot, defined by the World Health Organization (WHO) as the most polluted city in the United Kingdom, thus becomes the dramatic backdrop of this representation.

In addition to these three main walls, the exhibition will include other significant works such as “Heart Boy” and “Robot/Computer Boy”, as well as a selection of unique pieces that will further enrich the exhibition experience, for a total of about one hundred original works.

As part of the Venice 1600 program, to celebrate sixteen centuries since the mythical founding of the city, the Museum of Oriental Art in Venice announces the exhibition JAPANESE TALES. Costumes and Stories from Nō Theatre at the Museum of Oriental Art, curated by the Museum’s director Marta Boscolo Marchi.

From March 26 to July 3, 2022, the exhibition spaces on the third floor of Ca’ Pesaro will host paintings, prints, photos, documents, costumes, musical instruments and masks related to the Nō theatre, one of the most famous Japanese theatrical forms, which made its very first appearance in Europe thanks to the 13th International Theatre Festival of the Venice Biennale in 1954. Most of the items and works on display are part of the heritage of the museum, which mostly consists of Prince Henry of Bourbon-Parma’s collection. In addition to these there are loans from private collections as well as a series of unpublished photographs by Fabio Massimo Fioravanti, who has been researching the Nō theatre since 1989.

The exhibition has been realized with the collaboration of scholars from Italian and international universities composing the scientific committee: Monique Arnaud, Marta Boscolo Marchi, Matteo Casari, Andrea Giolai, Diego Pellecchia, Bonaventura Ruperti and Silvia Vesco.

Inaugurated in 1928, the first Italian State Museum to exhibit Asian art, the Museum of Oriental Art in Venice houses Prince Henry of Bourbon-Parma’s considerable collection, which became part of the public patrimony in 1925, and has since been displayed on the top floor of Ca’ Pesaro. Among the works and artefacts in this collection, the Japanese ones from the Edo period (1603 – 1868) stand out – in number and quality – as the most significant in terms of development of Japanese art. The costumes and works on display are also part of this period: paintings, prints and screens show the diffusion of those stories, drawn from poems, legends and tales of the past, which inspired both theatrical texts and iconographies.

The middle section of the exhibition – the richest – will be dedicated to stage costumes purchased by Prince Henry during his long journey around the world between 1887 and 1889, now kept in the museum’s storage and never exhibited to the public all together until now. In the Nō theatre, the stage costumes focus the public’s attention and reveal the nature, age and social class of the characters. The mask also plays a fundamental role – to accompany the costumes. Some of the masks exhibited will be from the collection of Renzo Freschi in Milan.

The musical accompaniment of the Nō is traditionally entrusted to the hayashi, the ensemble that accompanies the singing and acting, the entry and exit of the actors, the dance, and consists of one wind instrument (flute, fue or nōkan) and three percussion instruments: kotsuzumi, ōtsuzumi and taiko. All the hayashi instruments belonging to the Museum collection will be presented in a dedicated section.

The contemporary staging of the dramas will be evoked through the photographic documentation of Fabio Massimo Fioravanti, who has been carrying out work on the Nō theater since 1989. Eighteen unpublished images have been selected from his archive to capture some salient moments of the representation and measured gestures of the actors, not only on the stage but also behind the scenes – in the mirror room called kagami no ma – or along the bridge that leads from this to the scene. In addition to the photos is the docufilm The Flight of the Heron, by Giuliano Cammarata and Alessio Nicastro, dedicated to the work of the master Udaka Michishige.

Finally, a special section will retrace the arrival of the Nō theatre in Europe in1954 which was through a series of shows held in Venice. In fact, that year the city celebrated the 700th anniversary of the birth of Marco Polo and on the occasion of the 13th International Theatre Festival of the Venice Biennale a group of actors from the Kanze and Kita schools marked the history of the performing arts by performing at the Teatro Verde on the Island of San Giorgio between August 6 and 7, 1954. Through the images and documents preserved in the Historical Archive of the Venice Biennale, it will be possible to reconstruct the phases of this very important exchange between Venice and Japan.

JAPANESE TALES. Costumes and Stories from Nō Theatre at the Museum of Oriental Art, promoted and sustained by Direzione regionale Musei Veneto of the Italian Ministry of Culture, avails itself of the patronage of the General Consulate of Japan in Milan, the Fondazione Italia Giappone (Italy-Japan Foundation), the Istituto Giapponese di Cultura in Roma (Japan Foundation in Rome) and the International Noh Institute, and will be documented through a catalogue published by Grafiche Antiga, realized thanks to the support of the Comitato Giapponese Venezia aVvenire, as part of the initiatives of the Association of International Private Committees for the Safeguarding of Venice.

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JAPANESE TALES

Costumes and stories of Nō Theatre at the Museum of Oriental Art

curated by Marta Boscolo Marchi

March 26 – July 3, 2022

Oriental Art of Venice

Ca’ Pesaro – Santa Croce, 2076

Venice

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The Casa dei Tre Oci in Venice presents, from March 11 to October 23, 2022, the largest retrospective ever held – and the first in Italy – dedicated to the Franco-Swiss photographer Sabine Weiss, who passed away at the age of 97 at her home in Paris on 28 December 2021, one of the greatest representatives of French humanist photography along with Robert Doisneau, Willy Ronis, Edouard Boubat, Brassaï, and Izis. 

The exhibition is the first and most important international tribute to her career, with over 200 photographs. Curated by Virginie Chardin, the retrospective is sponsored by the Fondazione di Venezia, realized by Marsilio Arte in collaboration with the Berggruen Institute, and produced by the Sabine Weiss atelier – Laure Delloye-Augustins, with the support of the Jeu de Paume and the International Festival Les Rencontres de la photographie d’Arles, under the high patronate of the Swisserland Consulate general in Milan.

The only woman photographer of the postwar era to have practiced this profession for such a long time and in every photographic genre – from reportage, artists’ portraits, and fashion to ‘street’ photography, with particular attention to children’s faces and her extensive travels around the world, Sabine Weiss, who was able to actively participate in the construction of this exhibition, had opened her personal archives in Paris to tell her extraordinary story and present her work in a comprehensive and structured way.

The shots exhibited at the Tre Oci retrace, along with various publications and magazines of the time, Weiss’s entire career, from her beginnings in 1935 to the 2000s. From the outset, as the photographs of children and passersby in the exhibition testify, Weiss directed her lens on bodies and gestures, immortalizing emotions and feelings, in the spirit of French humanist photography, an approach from which she would never deviate, as can be seen from her words: “To be powerful, a photograph must speak to us about an aspect of the human condition, make us feel the emotion that the photographer felt in the presence of her subject“.

Born Sabine Weber in Saint-Gingolph, Switzerland, on 23 July 1924, later taking the surname of her husband, the American painter Hugh Weiss (Philadelphia, 1925 – Paris, 2007), she approached photography at an early age. She completed her apprenticeship with the Boissonnas, a dynasty of photographers who had been working in Geneva since the end of the 19th century. In 1946, she left Geneva for Paris and became the assistant of Willy Maywald, a German photographer specializing in fashion and portraits. When she married Hugh in 1950, she embarked on a career as an independent photographer. Together, they moved into a small Parisian studio and frequented the postwar art milieu.

One of the core groups of works in the exhibition Sabine Weiss. The Poetry of the Instant tells the story of the 1950s, the period in which the photographer gained international recognition. In 1952, her career took a decisive turn when she joined the Rapho agency on the recommendation of Robert Doisneau. From 1953 onwards, her photographs were published by major international dailies and magazines including Picture Post, Paris Match, Vogue, Le Ore, The New York Times, Life, and Newsweek. In that same year, Weiss participated in the exhibition Post War European Photography at the Museum of Modern Art in New York (MoMA), and in 1954 the Art Institute of Chicago dedicated an important solo exhibition to her work. In 1955 Edward Steichen chose three of her shots for the historic anthological exhibition The Family of Man at the MoMA.

From 1952 to 1961, Weiss collaborated with photographers such as William Klein, Henry Clarke, and Guy Bourdin, producing some memorable fashion shoots for Vogue, from which the exhibition displays several vivid color prints along with 15 original issues of the legendary magazine.

A section of the exhibition is dedicated to her portraits of painters, sculptors, actors, and musicians. For five years, Hugh Weiss mentored the artist Niki de Saint Phalle, whereas Sabine was close to Annette Giacometti, wife of the great sculptor Alberto. The exhibition features their portraits alongside those of other personalities such as Robert Rauschenberg, Andrè Breton, Anna Karina, Françoise Sagan, Romy Schneider, Ella Fitzgerald, Simone Signoret, and Brigitte Bardot.

A trip to America in 1955 aboard the ocean liner Liberté in the company of her husband Hugh made a strong impression on her, and the shots taken in the streets of New York, teeming with details, from the Bronx and Harlem to Chinatown and Ninth Avenue, were published in The New York Times in a major spread entitled “A Parisienne’s New Yorkers”. The images tell the story of America from a French point of view, with a marked sense of humor, many of which are exhibited for the first time in Italy, on the occasion of the retrospective at the Tre Oci.

The exhibition also reserves ample space for works created in the 1980s and 1990’s, when the artist was in her sixties and seventies, during her travels to Réunion, Portugal, India, Myanmar, Bulgaria, Japan, Poland and Egypt. As the curator VirginieChardin observes, “What strikes the viewer is the sense of isolation and sometimes the tender sadness that emanate from these later photos, where children and old people resemble each other in their shared fragility. A melancholy and sometimes darkly somber quality emerges from these images, contrasting with the photographer’s lively, playful personality, over which time seems to have no hold.”.

In addition to photographs, the exhibition will also feature extracts from documentary films dedicated to Weiss (La Chambre Noire by Claude Fayard, 1965; Sabine Weiss by Jean-Pierre Franey, 2005; My work as a photographer, by StéphanieGrosjean, 2014) in which the photographer recounts, in different periods of her life, her artistic journey, her travel experiences, and the difficulty of being a female photographer. The strength of her curiosity for the world and her joy of seeing and documenting it make Sabine Weiss a symbol of courage and freedom for all women photographers.

The catalogue, published by Marsilio Arte, includes many previously unpublished images, along with texts by Virginie Chardin, curator of the exhibition, and Denis Curti, artistic director of the Casa dei Tre Oci.

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Homo Faber Event returns in 2022 for a second edition of the groundbreaking cultural event dedicated to contemporary craftsmanship.

→ 15 exhibition spaces, each dedicated to different aspects of craftsmanship, imagined by a team of world-class designers, curators and architects

→ A special focus on craftspeople from Japan and their time-honoured skills, featuring the work of 12 National Living Treasures, a prestigious designation for its finest master artisans

→ International master artisans and rising stars illustrate the diversity of materials, techniques, origins and skills behind functional everyday objects and outstanding decorative pieces

→ An immersive experience with interactive digital initiatives, exceptional scenography and live artisan demonstrations

→ Homo Faber in Città, a chance to experience craftsmanship across Venice

Homo Faber Event returns to Venice in 2022 to unveil an unprecedented cultural experience of craftsmanship with 15 immersive exhibitions. For its second edition, the event looks to highlight the excellence of master craftsmanship internationally. With a special focus on craftspeople from Japan, it spotlights the country’s venerated craftsmanship traditions and time-honoured skills, and showcases its influence on European creativity and craftsmanship. Together, the exhibition spaces showcase a diverse array of materials and expertise, from traditional skills in danger of being lost to the most cutting-edge contemporary techniques.

The event champions talented artisans from across the globe, their cherished savoir-faire, their unique stories, and the territorial influences that enrich their masterpieces. Some of the exhibition spaces invite visitors to meet the artisans and share moments with them as they work, while others animate craft with their scenography. Visitors have the chance to explore the connection between contemporary craftsmanship and the wider arts and design world. In one exhibition space, the world’s most prestigious luxury brands reveal the craftsmanship behind their pieces; in another, a rendering by director Robert Wilson of an iconic evocation of Puccini’s opera, Madama Butterfly, takes visitors on a theatrical journey. The role of next generation automata will also be explored, while a crafted tea room considers the relationship craftsmanship has with our everyday lives. Elsewhere, artisans and ateliers reveal the essential role of the artisanal touch in creating design pieces.

Guided by a philosophy of sustainability, the event highlights the importance of making crafts viable and safeguarding them for the future, with a strong focus on the next generation through interactive and informative educational activities aimed at different age groups. The Young Ambassador Programme will animate the exhibition spaces with its talented students. Selected from the best applied arts and design schools across Europe, they will be on hand to offer visitors guided tours.

With Europe’s treasure trove as its starting point, the exhibition broadens its horizons to explore the entwining cultural relationship between Europe and Japan. Homo Faber Event 2022 honours the official recognition that Japan gives to its finest masters, designated as keepers of important intangible cultural properties. Visitors can admire the exceptional objects handcrafted by 12 National Living Treasures – exquisite porcelain, a lacquered harp, hand-dyed kimonos and much more. An evocative photography exhibition by Rinko Kawauchi transports visitors behind the scenes into the secret ateliers of these prized master artisans.

The event offers the public a rare opportunity to explore San Giorgio Maggiore island and the magnificent structures of the Fondazione Giorgio Cini in an exhibition that covers nearly 4,000 square metres. Rooms such as the Longhena Library and Gandini swimming pool, usually closed to the public, will open especially on the occasion of the event, transformed into scenes where craft takes centre stage and visitors can partake in the experience.

Beyond the walls of Fondazione Giorgio Cini, the Homo Faber in Città project allows visitors to experience secret Venice, exploring the craftsmanship hidden between the city’s canals through exclusive visits to Venetian artisans’ workshops and ateliers, museums, shops and more. Using the app or website, visitors will be able to create bespoke self-guided craft tours and experience the city in a completely new way.

Key facts and figures

15 exhibitions
22 curators and designers
12 Japanese National Living Treasures
A showcase of over 400 unique objects
Crafted by over 350 designers and artisans
From over 30 countries
Over 60 immersive experiences

List of curators and designers

Jean Blanchaert – Gallerist (Belgium, Italy)
Frédéric Bodet – Curator and porcelain specialist (France)
Stefano Boeri – Architect, urban planner and chairman of the Triennale Milano (Italy)
David Caméo – Museum director and porcelain expert (France)
Judith Clark – Fashion exhibition designer and curator (UK)
Fondazione Cologni dei Mestieri d’Arte (Italy)
De Castelli – Furniture manufacturer (Italy)
Michele De Lucchi – Architect (Italy)
Naoto Fukasawa – Designer (Japan)
Sebastian Herkner – Designer (Germany)
Rinko Kawauchi – Photographer (Japan)
Simon Kidston – Vintage car broker, expert and collector (UK)
Nicolas Le Moigne – Head of the Master of Advanced Studies in Design for Luxury & Craftsmanship, ECAL/University of Art and Design Lausanne, (Switzerland)
Tapiwa Matsinde – Curator (UK, Zimbabwe)
Stefano Micelli, Professor, Ca’ Foscari University (Italy)
Michelangelo Foundation for Creativity and Craftsmanship (Switzerland)
Panerai – Watch manufacturer (Italy)
Alessandro Pedron – Architect and professor (Italy)
Sylvain Roca – Interior designer and scenographer (France)
Tokugo Uchida – Museum director (Japan)
Venini – Glass manufacturer (Italy)
Robert Wilson – Director and visual artist (US)
Zanellato/Bortotto – Design studio (Italy)
The general curator of Homo Faber Event is Alberto Cavalli, Executive Director of the Michelangelo Foundation for Creativity and Craftsmanship.

The exhibitions

The Ateliers of Wonders
Curated by Rinko Kawauchi
The stunning photographs, exhibited in the Renaissance-style Cypress Cloister, give visitors a close-up look at the workshops of the National Living Treasures of Japan whose work is presented in the 12 Stone Garden exhibition. The award-winning photographer captures the artisans as they create precious objects using centuries-old techniques, expressing tradition at the cutting edge.

12 Stone Garden
Curated by Naoto Fukasawa and Tokugo Uchida
On display are objects by 12 Japanese National Living Treasures, master artisans whose mastery of traditional skills makes them a valued part of the country’s cultural heritage. Among the exquisite works are kimonos, an urushi lacquered harp and a bamboo flower basket. All the objects are displayed on 12 stone-shaped blocks designed by Naoto Fukasawa.

Masterful Gestures
Curated by the Michelangelo Foundation for Creativity and Craftsmanship.
In the magnificent surroundings of the Cenacolo Vestibule, talented craftspeople from France and the United Kingdom work in front of visitors, demonstrating their skills and dexterity and how time-honoured techniques can imbue the present with everlasting beauty. The artisans include four duos drawn from France’s Maîtres d’Art-Élèves programme, presented by the Institut National des Métiers d’Art with the support of the Fondation Bettencourt Schueller; and four talented individuals selected by the Queen Elizabeth Scholarship Trust (QEST), a charity of the Royal Warrant Holders Association, which supports the training and education of talented and aspiring craftspeople in the United Kingdom. The structures are made by the Italian manufacturer De Castelli.

Italy and Japan: Marvellous Liaisons
Curated by Fondazione Cologni dei Mestieri d’Arte
In homage to the cultural exchange between Italy and Japan, which has always found a fertile breeding ground in Venice, this room invites visitors to delve into a dialogue between the finest Italian craftsmanship and the Japanese culture. On display, a selection of objects handcrafted by Italian master artisans, many designated as “MAM”, the Italian equivalent of National Living Treasures, and inspired by Japanese decorative motifs, techniques, materials and formal approaches.

Mechanical Marvels
Curated by Nicolas Le Moigne. Co-curated by Simon Kidston
Discover the creative results of a vibrant collaboration between Association Mec-Art (Pour la Mécanique d’Art) and ECAL/University of Art and Design Lausanne. Five interactive installations based on mechanical know-how, designed by the students of the Master of Advanced Studies in Design for Luxury & Craftsmanship, illustrate the different local traditions recently acknowledged by UNESCO and associated with the Swiss town of Sainte-Croix.

Magnae Chartae
Curated by Michele De Lucchi and his studio AMDL CIRCLE
A homage to paper crafting – its relevance, its diversity and the human hands integral to the creative processes. An imaginative array of paper artworks reveals the beauty, creativity and cultural significance of paper craftsmanship. Visitors can witness the skill and artistry of artisans at work in the room, marvel at the immersive installations and allow themselves to discover the joys of writing with a fountain pen, crafted on site by Montblanc artisans.

Porcelain Virtuosity
Curated by David Caméo and Frédéric Bodet
A celebration of contemporary porcelain craftsmanship across Europe and Japan, with work by master ceramicists including Katsuyo Aoki (Japan), Tamsin van Essen (UK) and Ruth Gurvich (France), along with pieces from porcelain manufacturers Meissen, Sèvres, Nymphenburg and Bernardaud.

Pattern of Crafts
Curated by Sebastian Herkner
The award-winning German designer invites artisans and ateliers to interpret the geometric pattern on the square in front of the Basilica of San Giorgio in marble, mosaic, wood marquetry, textiles and other techniques. Their fine work reflects the designer’s signature style while showcasing the unmatched contributions of master artisans to the world of interiors.

Tracing Venice
Curated by De Castelli and Zanellato/Bortotto
A site-specific installation composed of works made of a mosaic of different metals with special finishes, which are a tribute to Venice and to the precious mosaic floors of St. Mark’s Basilica. Zanellato/Bortotto’s research is interpreted by De Castelli to tell the centuries-long story of a city exposed to the elements. These works represent the patient and incessant work carried out over time on the decorations of St. Mark and are an authentic and sincere tribute to the lagoon city, describing its fragility but also its resilience in resisting the erosive force of the sea.

Blossoming Beauty
Curated by the Michelangelo Foundation for Creativity and Craftsmanship
In an enchanted fairy tale flower garden envisioned by interior designer and scenographer Sylvain Roca, the Venetian glass manufacturer Venini crafts a collection of glass vases in collaboration with renowned flower designers. They will also design bespoke bouquets to complement these exquisite vases, animated by the idea that “blossoming” is the manifestation of creativity and savoir-faire.

Next of Europe
Curated by Jean Blanchaert and Stefano Boeri
A cabinet of curiosities will showcase an impressive selection of functional and decorative objects crafted by master artisans who embody the finest European craftsmanship, many of whom are dedicated to passing on their savoir-faire to the next generation or who represent the young generation themselves. Visitors can catch a glimpse of European “living treasures” working in the room, a rare opportunity to witness first-hand how these masters create objects of such fine craftsmanship.

The Artisan: a crafted tea room
Curated by Tapiwa Matsinde
Enter an enchanted oasis: bridging the functionality of a tea room with the creativity of a bohemian interior, the space is furnished with iconic pieces by artisans, designers and artists from all over the world, to create a sense of wonder through everyday gestures like sitting, relaxing, and enjoying a cup of tea.

WAITING with peace and darkness
Curated by Robert Wilson
The iconic American director and visual artist shines a light on the Japanese inspiration behind his theatrical productions, notably Puccini’s Madama Butterfly. This evocative exhibition will allow visitors to be immersed in Wilson’s staging genius, as he transforms the former Gandini 1960s swimming pool into a dramatic theatrical stage with his signature use of lighting, sound, costumes, artworks, videos, props and furniture, created in collaboration with master artisans using time-honoured techniques. Featuring video portraits of Japanese choreographer Suzushi Hanayagi.

Details: Genealogies of Ornament
Curated by Judith Clark
Witness the transformative power of craftsmanship in this multi-layered exhibition designed by Clark with Sam Collins, which showcases 15 luxury maisons dedicated to making the finest watches, tailoring, kimonos, jewellery, and more. Precious objects cluster around a demarcated route and act as mini “constellations” that change their pattern depending on where the visitor is standing. Along the route artisans sit “finishing” the objects on display, both true (they are the master artisans from the 15 participating maisons) and performative. Beautifully crafted wall panels and bespoke tiled floors reflect the heritage of each craft and its tools. 

Eilean
Curated by Panerai
Welcome aboard Eilean: step onto a legendary 1936 yacht expertly restored by Italian master artisans. Moored in the Venetian waters off San Giorgio Maggiore island, this beautiful Bermudan ketch, whose name means “Little Island” in Gaelic, was built by boat builders in Scotland. Admire the beauty of her design, the quality of her materials and discover the meticulous craftsmanship of the Italian master artisans who brought her back to life.

Entrance

Homo Faber takes place on the Island of San Giorgio Maggiore, in the heart of the Venetian lagoon, just five minutes by vaporetto from Piazza San Marco. All useful information here → www.homofaber.com/it/practical-information

Open 10am to 7pm daily from 10 April – 1 May. Buy your tickets on www.homofaber.com/it/tickets, limited tickets available on site.

To access the exhibition spaces it is mandatory to wear a surgical mask, in addition it is necessary to show the reinforced green pass, i.e. a green pass generated following vaccination or recovery.

It is possible to admire “in person” the monumental installation by the American artist on show on the Island of San Giorgio Maggiore, whereas the main part of the Venice and American Studio Glassexhibition is accessible online thanks to the virtual tour and the guided tours.

LE STANZE DEL VETRO is partially reopening to the public! From Tuesday 2 February until 12 March 2021 you can visit the monumental installation Laguna Murano Chandelier by Dale Chihuly (from Monday to Friday, 10 am – 6 pm) on show in the Carnelutti Hall of the Fondazione Giorgio Cini and a key feature of the Venice and American Studio Glassexhibition.

The chandelier, produced in 1996 in Murano by Dale Chihuly together with the glass masters Lino Tagliapietra and Pino Signoretto, incorporates sculptural elements which evoke the Venice lagoon, such as a crab, a jellyfish, a starfish, an eel, an octopus, a pufferfish, sharks, a mermaid and the god of the sea, Neptune, in addition to the explosion of amber-coloured tendril-like candelabra that make up the entire volume. The chandelier is composed of five enormous components, two hanging from the ceiling and three floor-mounted on fixed armatures.

Furthermore, thanks to the 1998 film Chihuly Over Venice, visitors can see Dale Chihuly working alongside the Venetian masters to create the splendid sculpture on display.

You can visit online the exhibition Venice and American Studio Glass through the 3D virtual tour and find out more about the extraordinary works of American and Venetian artists, comfortably from home. You can also take part in the free virtual guided visits.

Palazzo Grassi presents ‘Henri Cartier-Bresson. Le Grand Jeu’, co-organised with the Bibliothèque nationale de France and in partnership with the Fondation Henri Cartier-Bresson.

Based on a project conceived and coordinated by Matthieu Humery, the exhibition looks at how the work of Henri Cartier-Bresson (1908 – 2004) is viewed by five different curators, focusing particularly on the ‘Master Collection’, a selection of 385 images that the artist himself chose in the early 1970s, upon the request of his friends and collectors Jean and Dominique de Menil, as the most significant of his work. Today there are five copies of this extraordinary set.

Photographer Annie Leibovitz, film director Wim Wenders, writer Javier Cercas, the General Conservator and Director of the Prints and Photography Department of the Bibliothèque nationale de France, Sylvie Aubenas, and collector François Pinault have been invited to select fifty works each from the original ‘Master Collection’.

Through their selection, each curator shares his or her vision of this major artist’s photography and work. The scope of this unique project is thus to renew and enrich our view on Henri Cartier-Bresson’s work through the respective ones of five personalities.

In the Renaissance era, Conegliano was the protagonist of a process of architectural and urban renewal that reflected the favorable social and economic conditions of the territory, which, subjected to the dominion of the Serenissima, had long enjoyed the advantages brought by the long Venetian pax which had favored trade and agricultural rents. During this period there were many new buildings built in the Contrada Granda which had developed at the foot of the castle and numerous were the fresco interventions carried out in civil and religious buildings that transformed the city into a true Urbs picta. Despite the damage caused by time, atmospheric agents and wars, there are still numerous testimonies of Renaissance frescoes in the city that we will try to make you discover along this itinerary that begins on the top of the hill overlooking the city. Inside the Civic Museum housed in the Guard Tower, some detached frescoes are exhibited, of which, in this itinerary, we only point out those from the historic center of Conegliano. On the ground floor, in the Vazzoler Room, a fresco from the destroyed church of Sant’Antonio Abate di Conegliano which stood near the current Piazza Duca d’Aosta is exhibited, divided into seven panels. Painted around 1514 by Giovanni de Sacchis known as Pordenone (Pordenone c. 1483 – Ferrara 1539), it depicts the Madonna and Child (later made), Santa Caterina and Santo Agostiniano, Santa Maria Maddalena and San Tommaso Becket. On the upper floors are visible: – Dario da Treviso, Madonna Enthroned with Child, second half of the 15th century. The fresco comes from a wall of the landing that connected the new Palazzo Montalban, in via XX Settembre in Conegliano with the women’s gallery of the Oratory of the Madonna della Salute. – Venetian painter of the first half of the fifteenth century, Madonna with Child between angels and devotee. Originally the fresco was located in a house now destroyed located on the left of the Cathedral of Conegliano; it was part of the hospice for pilgrims built by the Confraternity of the Battuti.

In the square of the Castle there is the church of Sant’Orsola which preserves traces of the frescoes of what, until 1757, was the Collegiate Church of San Leonardo. Indeed, among the surviving images, the saint of Limoges is recognizable. Let’s now go down from the hill through the suggestive Calle Madonna della Neve.
Where once there was the Porta della Castagnera, the church of the Madonna della Neve was built which gives the street its name. Inside you can admire a fresco painted in two different moments: in the center there is the Madonna del latte whose realization – datable shortly after the mid-fifteenth century – has been attributed to Giovanni Antonio da Meschio, while the musician angels and those who they hold the thurible and spacecraft were added in the sixteenth century by the painter from Conegliano Francesco Beccaruzzi. At the end of the calle, turn right into via Edmondo De Amicis. At number 3, in what is now a private home, there was the ancient headquarters of the Confraternity of the Blessed Conception. In what used to be the meeting room, there are frescoes depicting San Rocco, a holy bishop, the Virgin with the Child, Sant’Anna, San Sebastiano and San Francesco presenting the church; these were probably made at the beginning of the sixteenth century by Francesco Pagani, known as from Milan. A little further on, on the right, there is the staircase that leads to the former Convent of San Francesco. During the restorations carried out in the early 2000s, decorative frescoed elements came to light both in the walls of the sixteenth-century cloister and in the rooms used by the Inquisition Court. In addition, in the room used as a guesthouse, you can admire a plump San Francesco who welcomes visitors with open arms; finally, in the adjoining room, a fragment of a fresco has reappeared depicting St. Bonaventure of Bagnoregio, considered one of the most important biographers of St. Francis of Assisi.

Now let’s go down the ladder that leads us to via Beccaruzzi, named after the Renaissance painter who lived here in the house now home to the Conegliano Alpini.
Arriving at the square, turn left into via Cima which overlooks one of the first frescoed houses in Conegliano. You can recognize it on your right from the “regalzier”, the decorative red brick element that began to be used in the Venetian territory from the second half of the fourteenth century. However, the layout of the building and the phytomorphic plant elements that decorate the band under the roof lead us to date the fresco to the 15th century.

We continue to walk along the street that in the Late Middle Ages was inhabited by families belonging to the small bourgeoisie: artisans, traders, … After passing Casa Cima where the famous Renaissance painter Giovanni Battista Cima lived (Conegliano, 1459/1460 – around 1517), the whose family produced fabrics, let’s stop in front of the house on our left which has traces of frescoes on the facade. The restorations carried out a few years ago, in fact, brought to light – under different layers of plaster – phytomorphic elements arranged in a lozenge and, in the upper part, a coat of arms in the center of which a “Roman” is depicted, the unit of weight used in the steelyard, the balance whose functioning is based on the principle of levers, probable allusion to the profession exercised by the inhabitants of the house.

At the end of the street, at the corner with Via Accademia, we meet Casa Sbarra, probably built in two phases from the end of the 15th century. Its facade was once completely covered with frescoes of which those protected by the projection of the roof are still clearly legible. The author could be that Dario da Treviso (around 1420 – Conegliano, before 1498), of which our territory retains many evidences. The decorative band of the attic, however, could be of another hand, identified by some as Girolamo Pennacchi (see Giuliano Martin, Conegliano frescoed, Vianello Libri, 1989).In the Sottoportico you can admire a Sacred Conversation and a Crucifixion, the attribution of which is still being discussed.
Now let’s go down to via XX Settembre, the ancient Contrada Granda, and turn right: the second building we will find is the medieval Casa Biffis: of the frescoes that originally decorated the entire facade, today only the band under the cornice that presents elements taken from the classical repertoire.

A little further on, the current city cathedral overlooks the street; the original church and the meeting room above it were however built by the Confraternita dei Battuti in the 14th century.
Many frescoed works have been preserved in this complex: from the decorative elements of the late fifteenth century present in the aisles to the images of San Lorenzo and Santo Stefano painted on the pillars inside the church, from the lunette depicting the Virgin among the Beaten above the entrance door to the decorative elements in the porch. However, there are two cycles of greatest value, both created to decorate the overlying Sala dei Battuti:
– The façade represents the largest wall fresco in the whole of Veneto. Painted at the end of the 16th century by Ludovico Toeput known as Pozzoserrato, a Flemish painter who after having worked in Venice with Tintoretto and having stayed in Rome, settled in the Treviso area where he created important works of art. On this facade, above the Sibyls and the Prophets painted in the sails between the arches, he creates scenes from biblical episodes, in the center of which he places the representation of the Beaten who, invoking the Virgin, save a ship at the mercy of the storm, a clear allusion to heresies that undermined the very existence of the Church at that time.
– The interior of the room was instead frescoed by Francesco da Milano with a cycle depicting the story of Christ, from his birth to the Last Judgment. The demolition of a wall necessary to expand the environment required the subsequent intervention of Pozzoserrato, who created the scenes of the Creation of the World, Creation of Adam and Eve and Original Sin, while the work of collaborators The Annunciation, the Visitation and The Nativity painted on the shorter side of the room.

A little further on, still on via XX Settembre, but on the other side of the street, stands Palazzo Graziani, now Bidasio Zoppas, whose recent restoration has brought to light the frescoes with decorative elements, a pastoral scene and a female figure in the background red made between the end of the 15th and the beginning of the 16th century.
Now retracing our steps, at the corner with Piazzetta XVIII July 1866, we will be able to admire Casa Dalla Balla now Piutti decorated with sixteenth-century frescoes depicting decorative elements and characters with caricatured features.
After passing Piazza Cima and the side Via Sbarra – overlooked by the former fire brigade building, whose fifteenth-century wall decorations were to refine what was originally the ancient municipal building – we will find ourselves surrounded by frescoed houses: on our left Palazzo Grimani Vettori which shows off the cardinal’s galero and the coat of arms of the Grimani family in the upper part, while in the lower bands polychrome and monochrome scenes have recently re-emerged including the She-wolf with Romulus and Remus, an appropriate subject for this important Venetian family that had vast properties and political connections in Rome; to our right instead is Casa Colussi, former seat of the Knights of the Podestà, which still has important traces of the fresco decoration that once covered the facade with allegorical scenes, floral compartments and festoons. Recent restorations have brought to light frescoes also in the interiors. Under the portico you can admire a fresco with an unusual iconography: on the same large marble throne with Renaissance-style decorative elements sit a severe Virgin and Child on the right and the Eternal Father holding the crucifix on the left. A little further on we find Palazzo Sarcinelli on the left, which has sixteenth-century frescoes in the entrance hall, counter-façade and noble floor, some of which attributed to Riccardo Peruccolo (Zoppè, between 1515 and 1520 – Conegliano, 1568), an unfortunate local artist condemned to to be burned at the stake because considered a heretic. On the opposite side of the street there are other buildings decorated with frescoes, witnesses of the ancient Urbs picta; in fact the images of a young woman reading, of a knight and of Adam and Eve are still clearly visible. A little further on, on the left side of the street is the ancient Monte di Pietà, frescoed in 1525 by Ludovico Fiumicelli (1500 ca – 1582) with the Pietà and Angels regulating the instruments of the passion. The road – and our itinerary – closes with Porta Monticano or del Leone, so named for the image frescoed by Pordenone in the niche batti ponte.

“Real Bodies Human Art Exhibition” waits for you at Palazzo Zaguri in Venice: a unique exhibition that leads you to discover all the aspects of the human body. As a 3D anatomy atlas, the exposure is realized with real bodies and human finds preserved through plastination – a particular conservation technique.

Inside the noble Palazzo Zaguri, the visitors can observe the plastinated body of a Murano glass master working in front of a typical furnace, and the first plastinated gondolier placed on a real gondola. Everyone will be able to observe the movements of the muscles implied in the classic Venetian rowing technique. These new human anatomical findings have been realized, in over 3 years of work, as a tribute to Venice.

The exhibition director, Venice Exhibition, divided the show into several sections – each one dedicated to a particular apparatus. From the skeleton to the muscles and nerves; from the cardiovascular system to the respiratory, digestive, reproductive, urinary tract, up to the sectional anatomy with a view to the future of biomedicine and biomechanics.

“Today more than yesterday, you can understand that Real Bodies is not just a media event but a scientific exhibition accessible to anyone” continues the curator of the exhibition Dr. Antonello Cirnelli – forensic pathologist, specialist in legal and insurance medicine, consultant and expert of the Court of Venice – “Who thinks that the Hippocratic assumption” Observatio et Ratio “(first Observation and then Reasoning) is no longer alive, will reconsider it. In fact, understanding the diseases and their dynamics is a battle that necessarily involves everyone“.

Real Bodies Human Art Exhibition offers the direct and conscious vision of the human body and gives to the children and adults a real capacity for “observation and reasoning“.

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Opening days

Everyday from 10am to 7pm (last entrance at 6pm)

The exhibition “Burri, la pittura irriducibile presenza” will be open to the public until July 28, 2019 on the San Giorgio Maggiore island. This important project was specifically designed for Venice, and traces the most significant phases of the master’s career through many of his most important masterpieces.

Through 50 unique pieces, mainly from several italian and international museums, the Burri Foundation and prestigious private collections, it will be possible to admire the rares Catrami (1969) and the latest monumental Cellotex (1994). In 1983, 18 works from his Sestante cycle were the protagonists of the exhibition inside the evocative building Ex Cantieri Navali of the Giudecca island, and marked the beginning of a strong bond between the artist and the city of Venice.

The exhibition – curated by Bruno Corà, President of the Burri Foundation, and organized by the Giorgio Cini and the Burri Foundations in collaboration with Tornabuoni Art and Paola Sapone MCIA – offers the unique opportunity to experience an unpublished selection of Burri’s works to the visitors.

Catrami (1948), and Muffe (1948), presented in close comparison with the iconic Sacchi (1949-1950), Gobbi (1950), the enchanting Combustioni (1953), Legni (1955), Ferri (1958), the deformed Plastiche (1960), and the extraordinary evolution of Cretti (1970), one of the Burri’s most famous research topics The visit ends with the great Cellotex, made until the mid-nineties.

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Opening Hours

Everyday from 11 am to 7 pm (except Wednesday)

Free entrance

During the XXIX Biennale di Venezia of 1958, Osvaldo Licini (1894 – 1958), an artist from the Italian region called Marche, was awarded the Grand Prize for painting, a tribute to one of the most original personalities of the Italian art scene, during the first half of the twentieth century. 60 years after that prestigious award and his death, the museum recalls the great master
with a retrospective exhibition, curated by Luca Massimo Barbero, open until January 14, 2019.

The exhibition

11 exhibition halls, over 100 works, retrace the disruptive and tormented artistic life of Licini, whose career was characterized by moments of crisis and apparently sudden stylistic changes.

The show opens with his young paintings, those that reproduce those landscapes of Marche region that Licini never broke away from, especially pictorially.  They became the subject of his first figurative phase of the 20s, to which belong works like Paesaggio con l’uomo -1926- (Montefalcone) and Paesaggio marchigiano -1928- (Il trogolo). These same views are also
the backdrop to the subsequent transition from realism to the abstraction of the early 30s, as can already be seen in Paesaggio Fantastico -1927- (Il Capro).

Then comes the non-figurative phase of the 30s, years of the unavoidable involvement of the artist in the activities of the Galleria “Il Milione” , where Licini’s abstract language is atypical, attentive to geometry, a geometry imbued with lyricism, evident in works like Castello in aria -1933/1936, or Obelisco -1932-.

His career and the great masterpieces of maturity dedicated to the themes of Flying Dutch, the Amalassunta and the Rebel Angel, all subjects present in the Venetian exhibition, are in “bilico” between the two poles of abstraction and figuration: in fact, in “bilico” means an unstable balance and it is the title and the subject of various works of Licini of the 30s. However, the most iconic works by Licini, presented as a group at the Biennale di Venezia in 1950, are those dedicated to the subject
of Amalassunta.

The wide selection of paintings of Amalassunta, offered along the exhibition path, proposes the many facets of Licini’s personality, from the lyrical and contemplative side to the more ironic and irreverent one.

In his works, realized since the end of the 40s, converge themes, styles and the unresolved trial of painting, which makes Licini as a great protagonist of Italian and international modernism, all confirmed by the award conferred to him a few months before his death during the Biennale di Venezia on 1958.

More info

Opening hours: every day, except on Tuesday and December 25th,
from 10 am to 6 pm
Phone number: 0412405422
Everyday at 3.30 pm, free guided tours are offered at the exhibition, upon purchase of the
entrance ticket to the museum

Until January 6, 2019, the exhibition dedicated to the 500th anniversary of the birth of Jacopo Tintoretto will be open at Scuola Grande di San Marco to celebrate his memory with a presentation that exalts the relationship between art, faith, and medicine.

The history

Jacopo and Domenico Tintoretto lived in a city in constant turmoil, Venice.

Venice was the publishing capital of Europe and a city able to promote both the knowledge of the ancients and the spread of the most modern scientific achievements. Some of the most famous doctors and surgeons of the time were enrolled in the Scuola Grande di San Marco, where they practiced medicine for free. Born as a confraternity where the soul of the “fradei” was purified by the wounds inflicted by the scourge, the Scuola was transformed into a place of care, combining the spiritual comfort with health care for the neediest people.

To inspire the activities of the Scuola were the miracles of their patron saint, San Marco, whose deeds were immortalized by Jacopo and Domenico Tintoretto in a great pictorial cycle of which remain today in the Scuola only the canvases for the chapel. Placing the study of the body at the base of their art, the two Tintoretto succeeded in reshaping the figure of the Evangelist, exalting the perfection of the forms as a mirror of his prodigious healing abilities.

The exhibition

Place of care, devotion, and artistic avant-garde: art, faith, and medicine interweave each other inside of the Scuola Grande di San Marco and this is what the exhibition examines. Divided into 7 sections, the exposure looks into the relationships between devotional activities, medical practices, anatomical studies and representations of the human body, focusing on a unique variety of works of art, including paintings, drawings, miniated manuscripts, illustrated volumes, engravings, printing matrices, and surgical instruments.

More info

Opening hours:

From Tuesday to Saturday and the first Sunday of the month

From 9.30 am to 5.30 pm

Full price ticket: € 5

Reduced price (under 18 and over 70): € 3

Free: Venetian residents, guides entered in the Register of the Veneto Region, patients admitted to the Civil Hospital and employees and non-employees of the Civil Hospital.

There’s no better way to celebrate the 500th anniversary of Jacopo Tintoretto’s birth, the famous Venetian painter, with an extraordinary exhibition, organized in collaboration with the Fondazione Musei Civici di Venezia and the Washington National Gallery of Art.

From 7th September 2018 to 6 January 2019 inside the Doge’s Palace the exhibition will be set to celebrate one of the greatest characters in the Italian and International history of art, with a journey through the Doge’s apartment, curated by Robert Echols and Frederick Ilchman, under the scientific direction of Gabriella Belli.

Here, you’ll have the chance to see 50 paintings and 20 draws autographed by Tintoretto, which were lended by the biggest and most important museums in the world, together with the famous cycles that Tintoretto painted at the Doge’s Palace from 1564 to 1592, still in the same place as they were at that time.

The exhibition will deeply describe Jacopo Tintoretto’s visionary idea of painting completely out of the box. He was the one who challenged the traditional painting of another great Venetian painter, Tiziano, introducing new iconographies and techniques, that marked a strong change of direction in the Venetian painting of 1500.

A lot of pieces come from both Italian and international museums, from London (National Gallery, the Royal Collection, the Victoria and Albert’s Museum, and the Courtauld Gallery), from Paris, Gent, Lion, Dresden, Otterlo, Page, Rotterdam.

Among the loans, five works from the Museo Prado of Madrid stand out – including Joseph and the wife of Putifarre (about 1555), Judith and Holofernes (1552-1555) and The Abduction of Helen (1578-1579), which is three meters long.

Susanna and the Elders of 1555-1556 will come from the Kunsthistorisches Museum in Vienna and the Portrait of Giovanni Mocenigo (around 1580) from the Staatliche Museum in Berlin.

Either the United States wanted to be part of this huge celebration, sending Jacopo’s artworks from Chicago, New York, Philadelphia, and Washington.

The exhibition journey starts and ends with two emblematic self-portraits, that Jacopo’s made at the beginning and at the end of his carrier, respectively landed by the Philadelphia Museum of Art and the Louvre Museum.

MORE INFO

Opening Times

From 8.30 am to 7.00 pm (last access at 6.00 pm

From November 1st to March 31st: from 8.30 am to 5.30 pm (last access at 4.30 pm).

Tickets: 13€ per person.

On Jun 30, at the second floor of Palazzo Contarini, the exhibition called “The faces of Venetian pietas” promoted by Ire Venezia was inaugurated with the intent to give visitors the opportunity to gain an interesting insight into the three famous “pious places” of the city: the Ospedaletto dei Derelitti in SS. Giovanni e Paolo, the Penitenti in San Giobbe and the Zitelle in Giudecca.

The portraits of founders, governors, presidents, and benefactors of the three ancient Venetian institutions are the symbol of a group of people who changed the welfare system in Venice, offering a place to stay and an education to those people from the lowest classes.

You’ll see also some paintings from Giovanni Antonio Pellegrini, Nicola Grassi, Alessandro Lunghi, Carlo Ceresa, and many others.

The exhibition will stay open until December 1, every day from 10 am to 6 pm.

A new exhibition has come to Venice. Sixteen projects, selected by Renzo Piano, tell the story of architecture.

The thread between them is water. Until Novembre 25, at Magazzini del Sale in Venice, you can visit “Progetti d’Acqua” (Water projects).

This exhibition was organized by Emilio and Anna Vedova’s Foundation, officiated by Alfredo Bianchini and curated by Fabrizio Gazzari in occasion of the tenth anniversary of the works inside the Magazzini del Sale, which had started right after Emilio Vedova’s death.

The artworks, created in different places and times (from 1960 to 2017), want to show the singularity of every project and their ability to adapt to the context, respecting the historical, cultural and environmental differences.

Thanks to a great job of staging, projected and realized by Studio Azzurro, through several projections on 8 big and transparent screens, held by robotized shuttles. These shuttles have been designed by Renzo Piano, in order to make the Emilio Vedova’s huge canvas moving.

Visitors can go through a visual ambient that always moves, where designs, projects, images, and videos interchange continuously, accompanied by a sort of auditory ambient, created by Tommaso Leddi. It will be a real journey among Renzo Piano’s architecture.

Starting in Venice, this journey will continue in Athens, Oslo, London, Genoa, Paris, New York and in the end, it will come back to Venice, at Fondazione Vedova.

Info:

Open from 10.30 am to 6 pm (last entrance allowed at 5.30 pm)

Closed on Monday and Tuesday

Tickets: 8€, reduced 4€ or 6€

The first museum dedicated to Giacomo Casanova.

Palazzo Pesaro Papafava will be the place where you can immerse yourself into the real story of Casanova’s life, living in first person his world, during his time. You’ll have the chance to move around the rooms of Palazzo Pesaro Papafava (Calle de la Racchetta 3764, Cannaregio), a typical Venetian palace of the XIV century, living an incredible experience, discovering the atmosphere and the way of living of the famous Venetian womanizer.

Because of his life full of experiences and adventures, Casanova is famous all around the world, especially because of his several relationships and his charm. But Casanova was also a great writer who left a lot of works and books.

Casanova Museum & Experience is an exhibition that wants to go over the usual view of Casanova, telling his story through his fragilities and weaknesses, featured by loneliness and insecurity. Traditional dress, objects, documents and much more will guide you in the discovery of the real life and person of Giacomo Casanova.

Mixing virtual experience with suggestive spaces, you’ll live a moving and touching hour, inside the building.

You’ll be able to visit 6 areas, where you’ll meet Giacomo’s family, find out more about his trips around Europe and his passion for writing and creating poems.

Casanova was also a diplomatic and a secret agent for the Serenissima Republic, but he never gave up in the research of the real love.

Info and tickets

Opening: from Monday to Sunday, 10 am – 8 pm

Full ticket, 13 euros, reduced ticket, 7 euros.

Have you ever thought about immersing yourself in Van Gogh’s world and artworks?

On June 2, at Palazzo Giustinian Facciano, the great multimedia exhibition, dedicated to the Dutch re-haired artist. For the first time in Venice “La vita e le opere di Van Gogh “ – Van Gogh’s life and works of art – will be presented by Multimedia Experience in an extraordinary exhibition until September 30.

The interest about Van Gogh’s life and his masterpieces is increasing year by year, in spite of the number of exhibitions that already exists. In this case, the soundtrack that accompanies the tour inside the palace is really evocative and touching, thanks to the talent of Marcello Cesena, who created it.

The soundtrack is scattered by a brand-new Dolby Surround installation and the 700 images that are shown during the exhibition are extremely moving, as well as the 3D reconstructions.

You’ll become part of Van Gogh’s artworks, by standing or lying down on the floor. You’ll also be involved in the discovering of the artist’s thoughts and worries, which had determined his way of painting.

The itinerary lasts about an hour and we are sure you’ll enjoy it.

Info

Openings:

• from Monday to Thursday and Sunday, 10 am – 9 pm
• On Friday and Saturday, 10 am to 10.30 pm

Last entrance will be half an hour before closing.

Tickest: 15 euros for a regular one and 12 euros for a reduced one.

From August 26, 2017 to January 7, 2018 Peggy Guggenheim Collection presents the dossier exhibition PICASSO, at the exhibition spaces of Project Rooms.

Through a unique and fine selection of artworks (3 paintings and 10 draws made by Pablo Picasso from February 1987 and December of the same year) Barbero tries to show the artist’s work under a new light. The main objective is highlighting Picasso’s relationship with the Mediterranean Sea, which had an important role in his artistic career. From his roots in Spain to his life in France.

The exhibit was born thanks to the collaboration with the Musée Picasso, in Paris and it winds around one masterpiece that Peggy Guggenheim herself loved so much: Picasso’s On the Beach (La Baignade). Nowadays this painting belongs to the Venetian museum. The exhibition is part of the triennale Picasso-Méditerranée program, promoted by the Musée National Picasso-Paris, which includes seminars, publications, studies and exhibitions. More than sixty institutions have cooperating in organizing a series of exhibitions about Picasso’s “obstinate Mediterranean” artwork, in order to celebrate his art and his relationship with the Mediterranean culture.

Everyone was waiting for Intuition, the exhibition organized by Vervoordt Foundation, which will be hosted at Palazzo Fortuna till November 26.

Intuition opens its doors in the same period of the Venice Biennale 2017. This exhibition wants to show how intuition always influences art as in different corners of the world as in cultures and generations.

The exhibition has been curated by Daniela Ferretti and Axel Vervoordt, and the co-curator is Dario Dalla Lana.

In order to realize this amazing exhibit, ancient objects and works of art have been collected and put together with modern and contemporary pieces of art. All these masterpieces are tied to the concept of intuition, dream, paranormal fantasy, meditation, creative power, telepathy and inspiration.

Intuition is the last one of a series of exhibitions which have had a great success of public and critics, such as Artetempo (2007), In-finitum (2009), TRA (2001 and Proportio (2015).

Intuition derives from Latin (intueor) and refers to an uninexplicable form of knowledge, which reveals itself through sudden flashes, images, sounds and experiences.

Intuition is the capability of a human being to learn things without any evidence or reasoning. It’s a feeling which guides you to a certain point, without knowing why.

From Saturday , May 13, to Sunday, November 26 2017, the doors of the Biennale reopened to public. This is the 57th edition of this super famous International Art Exhibition.

The exhibition, titled VIVA ARTE VIVA, will be curated by Christine Macel and organized by La Biennale di Venezia chaired by Paolo Baratta.

85 countries are participating to the the exhibition, which takes place at the Arsenale, at the Pavilion of the Giardini and in the historical center of Venice.

Cecilia Alenami will curate the Italian Pavilion, hosted at the Tese delle Vergini in the Arsenale.

The 57th Biennale of Venice offers an exhibition itinerary that goes through 9 chapters or families of artists, with two introductory universes at the Central Pavilion of Giardini and the other seven at the Arsenale and the Giardino delle Vergini.

The artists involved in the exhibition are 120, coming from 51 different countries.

The Collateral Events are a lot and scattered all around the island.

The 9 Trans-pavilions of the International Art Exhibition

The Exhibition follows a line, a sequence of pavilions or rooms which lead the spectator through an experience, a sort of trip, from the inner reality to the infinite.

Each one of the nine chapters or families of artists represents a Pavilion or a Trans- Pavilion. The number of the Biennale Pavilions has never stopped growing since the 90s.

1. Pavilion of artists and books
2. Pavilion of Joys and Fears
3. The Pavilion of the Common
4. The Pavilion of the Earth
5. The Pavilion of Traditions
6. The Pavilion of the Shamans
7. The Dionysian Pavilion
8. The Paviliion of Colours
9. Pavilion of time and infinity

Biennale 2017 opening hours

10am – 6pm

10am – 8pm at the Arsenale, friday and sunday till September 30.

Monday closed (except for Monday, May 15, August 14, September 4, October 30 and November 20).

Ticket offices:

Giardini – Opening times 10 am – 5:30 pm

Arsenale (Campo della Tana) – Opening times 10 am – 5:30 pm

Tickets

Full 48h € 30

Full Regular ticket € 25

48h for students and/or under 26  € 22

(valid for 48 hours from first validation, closing days excluded)

You can book your ticket in advance through the Biennale official website.

When fashion meets Venice there’s only one word that you can use: Venice Fashion Night 2016.

Get ready to be surrounded by the Made in Veneto creativity with fashion shows and extraordinary performances that involve designer and emerging artists. Hotels and Venitian art galleries give some space to the independent art. Streets will be under spotlights.

The real new is that the Venice Fashion Night 2016 lasts a week, not just a night! From the 22nd to the 29th of October you will have the chance to meet a new concept of art. Venice will be to be the city of talents.

We can summarize the Venice Fashion Night 2016 in 3 main moments:

• a tour around the places where the Venetian creativity becomes real, in Venice and in the Veneto region. Ateliers, abs and factories will be open to public for the occasion to show their abilities and experience.
• a digital storytelling made by the Instagrammers who partecipate to the event, recording and posting photos and video of parties, fashion shows and photo shootings.
• a totality of events, performances, exhibitions and more that will end the Venice Fashion Night 2016 on October, 29th

The main purpose of the Venice Fashion Night 2016 is celebrating the Made in Italy with their fundamental representatives: creatives, artists, designers, textile manufacturing companies.

All events are free and open to public.

Venice Fashion Night 2016 is an event organized by VeneziadaVivere.com, Venezia Unica and the municipality of Venice.

Cover photo credit: VeneziadaVivere

Peggy Guggenheim’s life and style celebrated in an exhibition at Ikona Gallery in Venice

Until 27 November 2016, in the 500th anniversary year of the Ghetto of Venice, the historic Ikona Gallery in the Campo del Ghetto Novo 2909, will host the exhibition Peggy Guggenheim in Photographs, curated by Živa Kraus and organized by Peggy Guggenheim Collection and Ikona Gallery.

It’s a great chance to reflect on life and history of Peggy – the greatest patron of 20th century western art – through a small but precious series of pictures: a selection of approximately 20 images, both from the archives of the Peggy Guggenheim Collection and from private collections, will render homage to this great patroness, a key figure in 20th century western art.

Peggy was rarely the subject of painted portraits, but was frequently captured in photographs. Among the celebrated photographers who portrayed the American patron there are Berenice Abbott, Man Ray, Roloff Beny, Gianni Berengo Gardin, Gisèle Freund, Constantin Brâncuși and Marcel Duchamp, all friends whose art she was to promote.

Taken in a long period of time, these photos show us the change in taste, fashion and style – and about the eccentric art collector, her professional path developed through decades.

Zaha Hadid’s career is celebrated in Venice during Architecture Biennale 2016

In celebration of Zaha Hadid’s career in architecture and design, the 15th century Palazzo Franchetti on the Canal Grande will host a great retrospective exhibition of her work. Hadid – an icon of neo-futurism – was the first woman who received the prestigious Pritzker Prize: after four decades devoted to architecture, she died on 31 March 2016 of heart attack.

The exhibition – realized by the Fondazione Berengo and coinciding with this year’s Venice Architectural Biennale – showcases many of the paintings, drawings and models of Hadid’s huge repertoire: through her designs – built, under-construction, in development and unrealised – the exhibition displays the pioneering research that defines Zaha Hadid Architects’ work.

Three projects representing milestones in Zaha Hadid’s career will be presented in their own room. Beginning with the Vitra Fire Station (completed 1993) in Weil am Rhein, Germany, Zaha Hadid’s first completed project and followed by the Rosenthal Center for Contemporary Art in Cincinnati (completed 2003), which contributed to Zaha Hadid being awarded the Pritzker Prize in 2004. Concluding the room’s projects is the MAXXI Museum of 21st Century Arts in Rome (completed 2009).

Helene Binet‘s photographs, capturing the integrity and materiality of Hadid’s projects, will also be showcased in their own room. All of Zaha Hadid Architects works in progress will be exhibited, including projects to be completed in the coming year, as The Port House in Antwerp, The King Abdullah Petroleum Studies and Research Centre (KAPSARC) in Riyadh, and the Mathematics Gallery at London’s Science Museum. Also included in the exhibition are models, relief studies and visualisations of a residential building on the High Line in New York that will complete in early 2017.

Precious pictures of Frida Kahlo, taken by Leo Matiz, on display for the first time at the Ar33 Studio of Venice.

From 18th June to 18th August 2016, the Ar33 Studio of Venice, close to Piazza San Marco, will host an extraordinary and unique exhibition: 30 unedited pictures of Frida Kahlo taken by one of the greatest photographers of the XX century, Leo Matiz.

Frida Kahlo, whose life began and ended in Mexico City, is world-renowned as an icon of contemporary art (and of Magic realism indeed), well-known for her sensitive and enigmatic self-portraits and universally celebrated for her great depiction of the female world. Last but not least, she is a powerful symbol of strength and resistance to physical and mental pain.

Leo Matiz, Colombian photographer and artist, who had Venetian origins, met Frida in the 1940s: the result of their friendship is a series of pictures, taken both in black and white and in colours, in which the Mexican painter is portrayed in the quiet and intimate atmosphere of her private life.
These images, captured during a particularly scandalous period of her life, reveal Frida’s quiet attitude in front of the camera. The photos by Leo Matiz correspond to Frida’s artistic and personal maturity and to the acceptance of her physical fragilities and her husband’s (Diego Rivera) evidence of infidelity.

In 1998, Leo Matiz reminded of the first time he met Frida and Diego: “I met up with Diego Rivera several times and it’s curious how many things we now know about Frida Kahlo, were unknown to the people at that time. To me, she had a quite sad life. Diego had a strong personality and Frida was a fragile woman condemned to disability for the whole life. She was full of corsets and similar objects. Actually, she was invalid and her suffering was evident. She used art to release herself”.

The exhibition, organized by the Ar33 Studio of Venice and Leo Matiz Foundation, will give us the opportunity to look inside an extraordinary moment of both Leo and Frida’s lives. In the studio we can also admire photographic works of Arsen Revazov, the owner of this incredible studio gallery in the heart of Venice.

Opening hours
Everyday from 10:30 am to 07:30 pm

Over 300 glass works by the main architects of the Viennese Modernism on display in Venice at Fondazione Giorgio Cini

From April 18th to July 31th, the exhibition The Glass of the Architects. Vienna 1900-1937, curated by Rainald Franz and organized by LE STANZE DEL VETRO, will run on the Island of San Giorgio Maggiore, in Venice, with over 300 glass masterpieces of Modernism, mostly from the collection of the MAK – Austrian Museum of Applied Arts / Contemporary Art in Vienna. Some names of the protagonists: Josef Hoffmann, Koloman Moser, Joseph Maria Olbrich, Leopold Bauer, Otto Prutscher, Oskar Strnad, Oswald Haerdtland Adolf Loos.

The exhibition will focus on the birth of the art of modern glassmaking in Austria between 1900 and 1937 – a very lively period spanning the years between the last decades of the Austro-Hungarian Empire and the First Republic – and on how much young architects had influence on the development of glass art in Vienna.

At the beginning of the twentieth century, a decisive impulse and inspiration was brought to architecture and applied arts to stimulate creativity, research and innovative technologies in central Europe: a group of young architects and designers, scholars of Otto Wagner, chose glass as the Modernist material to work with.

The aim of the exhibition, with a set-up which includes drawings and photos, is to show some key aspects of this period, including the Viennese Secession’s experimentation with new lines of research and styles in the arts and architecture, and the relationship between design, craftsmanship and production.

Opening: 10.00 am – 7.00 pm, closed on Wednesdays
Free entry

How to reach the Island of San Giorgio Maggiore:
Actv line 2 departing from San Zaccaria, 3 minutes; from Ferrovia or Piazzale Roma, 45 minutes

Imagine: the Italian avant-garde of the 1960s at Peggy Guggenheim Collection.

From 23 April to 19 September 2016 the Peggy Guggenheim Collection will host Imagine. New Imagery in Italian Art 1960-1969, curated by Luca Massimo Barbero: this temporary exhibition shows a fresh perspective and a refined approach on European post war art in the Italian avant-garde in the 1960s, focusing on the origin of a new sense of image.

In Italy during the 1960s, at the height of the economic boom, artistic experimentation flourished at an unprecedented pace and intensity. The aim was to create a new vocabulary of signs and images capable of interpreting the vitality of contemporary culture and society.
This exhibition draws on the richness of Italian art production in those years: the leading theme is how the figured image served to construct a new language of representation in a little known phase of Italian art history.

The exhibition, in a tightly curated sequence of galleries, lays out the multiple lines of research of several of Italian artists who reconstituted a new world of images and narrative. On display there are works by artists such as Franco Angeli, Mario Ceroli, Domenico Gnoli, Giosetta Fioroni, Tano Festa, Fabio Mauri, Francesco lo Savio, Michelangelo Pistoletto, Mario Schifano, Giulio Paolini, Jannis Kounellis, Pino Pascali – some of them members of the Scuola di Piazza del Popolo, an important avant-garde movement based in Rome. An intense sequence of emblematic works captures the vitality of that brief period of time, a mere nine years, and uncovers, by diversity and assonance, in an unceasing process of exchange and dialogue, that melting-pot of visual art, in a process which gave rise to the schools and movements of future avant-gardes.

Opening: 10 AM – 18 PM, everyday except Tuesday

Ticket: €15
Students under 26 yrs.: €9 (with current student ID)

Palazzo Grassi and Punta della Dogana reopen with the long-awaited couple of exhibitions: Sigmar Polke and Accrochage.

Contemporary art is always on scene in Venice, especially in the two historical palaces, Palazzo Grassi and Punta della Dogana, owned by the Pinault Foundation. Until November 2016 it is worthwhile visiting the couple of exhibition set up in the charming venue of these two huge exhibition halls: Sigmar Polke and Accrochage.

SIGMAR POLKE – PALAZZO GRASSI

Palazzo Grassi in Venice will host a retrospective on life and works of Sigmar Polke, German painter and photographer, well-known for his experimentation in painting with chemical reactions: curated by Elena Geuna and Guy Tosatto, it marks the 75th anniversary of the artist’s birth.
On display there are 90 brilliant works, including Athanor, his project for the German Pavilion of Art Biennale 1986, in which the artist developed techniques and motifs that would become central during his life.
The exhibition follows a reverse chronological order and opens in the monumental atrium of Palazzo Grassi with Axial Age, the artist’s last important pictorial cycle, created between 2005 and 2007. The 90 works surveys the eclectic production of the artist from the 2000s to the 1960s, celebrating his long career. His work intertwines the alchemical and the political, the abstract and the figurative, past and present.

ACCROCHAGE – PUNTA DELLA DOGANA

In the meantime of the one at Palazzo Grassi, another big exhibition – curated by Caroline Bourgeois at Punta della Dogana – will show 80 works never been shown before from the Pinault Foundation: Accrochage underlines the artist’s search and creative process, not the work’s aesthetic, focusing on how rather than why these works were created.
The selection reflects the Pinault Collection as a whole and brings together established and up-and-coming artists: Sol LeWitt, Prabhavathi Meppayil, Philippe Parreno, Cerith Wyn Evans, Pierre Huyghe, Nina Canell, Pier Paolo Calzolari and the italian Arte povera.
A living performance created by Tino Sehgal – Ann Lee – is also displayed until the end of May: it sees an ethereal little girl recite a script describing her transition from manga character and interacting with visitors.

Opening: 10 AM – 7 PM. Closed on Tuesdays.

Ticket: €15
Ticket valid for both exhibitions: €20

Masterpieces from the Vittorio Cini Collection shown off in his house of San Vio: Palazzo Cini Gallery.

From 8 April 2016, Palazzo Cini Gallery of Venice reopenes the doors to visitors with a great exhibition that shows off the art collection of the leading 20th-century Italian collector: the industrialist and philanthropist Vittorio Cini (1885– 1977). The second floor of the museum house will host the exhibition Rediscovered Masterpieces from the Vittorio Cini collection, conceived as a temporary extension of the permanent collections of the Gallery: on display paintings from Venetian artists, some of which are shown off for the first time.

More than 30 masterpieces can be admired until 15 November 2016: unique pieces of art from Guglielmo Veneziano, Stefano di Sant’Agnese, Michele Giambono, Nicolò Di Pietro, Carlo Crivelli with its amazing Madonna Speyer, Jacopo Bellini, Bartolomeo Montagna, Cima da Conegliano, Andrea da Murano and Giovanni Mansueti.

The magnificent beauty of Renaissance is represented by valuable works of Tiziano, as the San Giorgio painting, Lorenzo Lotto, Bernardo Licinio, Benedetto Diana, Giovanni Cariani.
From the 18th century we can admire great painters of veduta from the classic Venetian school: Giambattista Tiepolo, Canaletto and the two brothers Francesco and Gianantonio Guardi – founders of the Venetian academy in 1756.

Three drawing album are exceptionally displayed: the series known as Fasti veneziani, a collection of 58 papers illustrating events of Venice history.

The whole Palazzo Cini at San Vio is worth visiting once in lifetime. It was chosen to host the finest items from his immense collection, which had reached qualitative standards that very few similar Italian collections could rival: paintings, sculptures, glass works, porcelain, small bronzes, rugs and mirrors.

Opening
11 am – 7 pm (ticket office closes at 6:15 pm)
closed on Tuesdays

Tickets: € 10

A thrilling exhibition in Venice celebrates one of the greatest fashion photographer of all time: Helmut Newton.

From 7 April 2016, nearly 200 pictures, both black and white and color, shooted by the German-Australian photographer Helmut Newton, are displayed in the unique venue of La Casa dei Tre Oci, an art house in Venice, in Giudecca island.
Considered an undisputed icon of fashion photography, Helmut Newton is the star attraction of this precious exhibition – wanted by the widow of the great photographer, Alice Spring – that shows off pictures from White Women, Sleepless Nights and Big Nudes: three famous collections released in the end of Seventies, conceived and developed by Newton himself and nowadays considered legendary books.

White women section collects 84 photos from the eponymous book of 1976 and they introduce the concept of nude and eroticism in fashion. They are purely female nude portraits – which remained his essential charachteristic and deeply influenced other photographers and filmmakers.

Sleepless nights section takes over the book in 1978 and exhibits 69 photographs that have been published in fashion magazines – Vogue, Vanity Fair, Marie Claire and Elle above all. The female nude is still dominant, but fashion is almost an excuse to tell something more personal: the concept of fashion photography is related to crime scenes.

The last section is named after the 1981 book Big nudes, in which 41 shots in black and white become giant portraits: a new dimension for human portraits that became really popular thanks to Newton’s work.

Opening: everyday, except Tuesday, from 10.00 to 19.00

Tickets: € 12 (full prize) – € 10 (students under 26) – € 8 (groups)

How to reach La Casa dei Tre Oci: line 2, from Zattere to Zitelle boat stop.

The Gallerie dell’Accademia of Venice are dedicating an exhibition to the most famous printer in the world: Aldo Manuzio.

Until 19 June 2016, the exhibition Aldo Manuzio. Il rinascimento di Venezia at the Gallerie dell’Accademia of Venice, will show an unrepeatable period in the history of European and Western culture – Renaissance – and it will particularly present the story of the man who invented the concept of modern book and of publishing: Aldo Manuzio.

Together with Manuzio’s most famous illustrated books, an itinerary of paintings and sculptures from Renaissance is presented for the occasion: masterpieces by Giorgione, Carpaccio, Bellini, Tiziano, Lorenzo Lotto and Pietro Lombardo – some of them on loan from the great museums of Europe and US.
An important part of the exhibition is dedicated to the intense relationship that tied Aldo Manuzio to the culture of northern Europe and to Erasmus of Rotterdam: he thought that having his works printed by Manuzio was of fundamental importance for the circulation of his thinking throughout Europe.

Between 1495 and 1515 Aldo Manuzio printed in Venice a hundred-odd editions of a unique beauty, which actually created the modern book and publisher – and invented the reading public. Manuzio managed to conceive of and achieve his extraordinary programme of making the great classics available to scholars and writers for the first time: those of Greek culture, and then collecting the writings in Latin along with those of the new Italian literature. He has been careful both in the format and the typefaces, rediscovering beauty in the ‘divine’ proportions of the classical world.

Masterpieces of painting and sculpture created in this same period and with the same achievement of rediscovery of classical culture will enter into dialogue with the most beautiful books in the world in this amazing exhibition – which is a rare opportunity, not to be missed.

Opening time

Monday: 8.15 am – 2.00 pm (last entry at 13:15 pm)
From Tuesday to Sunday: 8.15 am to 7.15 pm (last entry at 6:30 pm)

Tickets

Gallerie dell’Accademia + Palazzo Grimani + exhibition: € 15

Murano Glass Museum of Venice hosts an exhibition concerning the evolution of sociable drinking.

The Museo del Vetro di Murano is the prestigious venue of a new exhibition devoted to glass and graphic design: Glass art for the aperitif. The evolution of sociable drinking. Stories of glass and paper, a project sponsored by the Italian Ministry of Foreign Affairs and in cohoperation with M.A.X. Museum of Chiasso, in Switzerland. The exhibition, opened until May 29th, 2016, focuses on the important role played by social drinking through the history of advertising graphics.

A precious visual heritage is exhibited: flyers, posters, playbills, placards, menus, calendars, advertising graphics, metal and ceramic signs, logos, as well as designer objects such as tables and chairs. And, of course, items used in drinking aperitifs: designer glasses with various logos, coasters, ice buckets and soda siphons. The purpose is to enlight the various transformations of the modes of social drinking, from the Belle Époque to the Deco period and the post-war recovery of the dolce vita to the contemporary happy hour. The drinking toast as well is a sign of conviviality: the exhibition emphasises not only the passion for aperitifs and the sharing of a moment with a social relevance, but also a cultural phenomenon that has its roots in civil life.

The exhibition will also give an outline of a true history of communication by major companies, such as Branca, Campari, Carpano, Cinzano, Cynar, Zucca and Martini, as well as the Ticinese Franzini and Galli, which entrusted their image to distinguished artists, including Marcello Dudovich, Leonetto Cappiello, Fortunato Depero, Adolf Hohenstein, Franz Laskoff, Mario Gros, Achille Luciano Mauzan, Leopoldo Metlicovitz, Plinio Codognato, Marcello Nizzoli, Lora Lamm and Armando Testa.

Opening hours: 10 am – 5 pm, last admission at 4 pm.
From April 1st: 10 am – 6 pm, last admission at 5 pm.

Tickets: full price €10, reductions available for students, children or groups.

The Canova collection in the renewed section of Museo Correr from 21st November, 2015

From 21st November, 2015, the Canova collection of Museo Correr, in Venice, has returned to its original neoclassical setting, thanks to the precious work of a small task force of restorers and artisans.
This museological project – called Sublime Canova – was born in 2012 from an idea of Gabriella Belli, director of the Fondazione Musei Civici di Venezia, and Andrea Bellieni, manager of the Museo Correr – while the set-up has been created by Daniela Ferretti, art director of the Fondazione.

In comparison to the museum’s general themes, the Canova section appeared only to have a weak connection: the plan for the renewed Canova section concerned the display of the words in accordance with a flexible order that places a chronological overview above a simply typological one. The aim was to highlight Canova’s creative processes, from idea to finished work, passing through the stages of drawing, sketch, model and life-size model – and to the part of the collection that was still in the museum storage.
The whole Canova section is now revalued in its amazing complexity, toghether with the strong connection between the artist – Antonio Canova (Possagno, 1757 – Venice, 1822) – and Venice.

ROOMS
The Ballroom hosts the largest and most demanding sculptures (Apollo and Daphne, Daedalus and Icarus, Perseus), which require the space to enable an an observer to walk around them. In the room 4, the Canova cabinet has re-assembled and most of the large bas-relief plaster works are displayed here, together with the drawings and sketches; in the room 5, the display will be of some minor sculptures and prints.

TICKETS
San Marco Square Museum Ticket: full price 18 €, reduced 12 €
Family and school offers available.

OPENING HOURS
from April 1st to October 31st 10 am – 7 pm (ticket office 10 am – 6 pm)
from November 1st to March 31st 10 am – 5 pm (ticket office 10 am – 4 pm)

Current exhibition of Peggy Guggenheim Collection in Venice celebrates Postwar era through new perspectives

Postwar era: a recent history. Homages to Jack Tworkov and Claire Falkenstein. This is the curious title of the new exhibition hosted by Peggy Guggenheim Collection, one of the most well-known and prestigious museums of Venice.
Opened until april 4, 2016 and curated by Luca Massimo Barbero, the exhibition offers an original perspective about postwar American and European art until 1979, the year of Peggy Guggenheim death.

Peggy has been a woman of remarkable artistic sensibility: in the brilliant narrative of Postwar era we can admire more than seventy paintings and sculptures, some of them never exhibited, both from her personal collection and from donations to the Foundation after her death. On display artists as Vedova, Ciussi, De Kooning, Afro, Santomaso and the sculptor Basaldella, all influenced by American Abstract Expressionism.

Postwar era also allows us to step into the work of two artists in the Foundation’s collection: Jack Tworkow (1900-1982), a Polish-born American Abstract Expressionism painter, and Claire Falkenstein (1908-1997), who designed the water-side gates of Guggenheim Collection, Peggy’s former home, located on the Grand Canal.

Ticket: full price € 15, discounts for students and senior visitors, free for children under 10 yrs

Arts and Trades are the protagonists of the Venice Carnival 2016, titled this year “CREATUM: an idea for a new start, a rebirth of Venice’s ancient origins.”

Heart of Venice Carnival 2016 will be St.Mark’s Square, where mask makers, weavers, tailors and glass-makers will relive in their 18th century Venetian workshops. From January the 30 to February the 9th the square will be transformed into a great crafts’ laboratory. An extraordinary village, the Creatum, designed by Massimo Checchetto scenografo of Teatro La Fenice, will become a stage where Venice will show her skills in gondolas and oars’ construction, masks and customs’ production, all accompanied by music and acting made by Gran Teatro La Fenice and Teatro Stabile del Veneto. All activities will be amplified on a big screen set up in the Square.

A bridge for a stage and a Ferris wheel for the Angel’s arrival will complete the set of a fairy-tale, where much-awaited traditional engagements come to life: the Festa delle Marie, historical parade of the 12 girls in magnificent Renaissance costumes; Sunday 31st January, the Flight of the Angel from St. Mark’s Bell tower, performed by Irene Rizzi, (2015 “Maria” Carnival winner).

Together with the mainland, where the Carnival will spread, and celebrations become a showcase exhibiting long traditions of Venetian life, even Calli and Campi in Venice will become places for musical and theatrical events.

These events will be backed up by evening and nocturnal events at the Arsenale, like the open-air urban costume performances, the sumptuous King’s Banquet (“Banchetto del Re”) – the official Carnival “gala dinner”, together with “The Club” and the Dance Machine where guests will be taken back to times echoing the pomp and splendour of the Venetian Republic, the centre of civilization.

On the occasion of Milano Expo 2015, Venice presents the pavilion Acquae Venezia 2015 collateral to the Universal Exposition.

The pavilion Acquae Venezia 2015 will be inaugurated on May 3rd 2015. The collateral event of Milano Expo 2015 dedicated to water themes will take place in a new building built in Marghera – Venice and designed by the archistar Michele De Lucchi. Among all the events already scheduled for the exhibition in Venice we mention “The Immersive Tunnel” that will give the chance to climb down the depths of the ocean with the “Lift of the Abyss”, to become a meteorology expert and make your weather prediction in the “Climate Theatre”, and to discover sea flavours in the “Water Food World”.

Aquae Venezia 2015 is sponsored by Expo 2015 which has conferred on the initiative the status of “Collateral” in virtue of the theme of Water, completely coherent with the theme of Expo: “Feeding the Planet, Energy for Life”.

Acquae, with his pavilion that extends for 50.000 mq, will propose a thick programme including exhibitions, experiential activities and conferences, tasting itineraries and spectacular events address to the public, but also international events dedicated to companies and the research world. For six months (from May to October) there will be a rich programme of exhibitions, activities, conferences, B2B business area, workshops and matchmakings in which the theme of water will be treated through different points of view: from environment to work, from industry to agriculture, passing through feeding, health and wellness and leisure.

WORK AT SEAWORLD AND ALTABIRRA
Among other events presented: “Work at Seaworld – International exhibition dedicated to maritime economy and Blue Economy” and “AltaBirra – Exhibition dedicated to beer with high creative level” of Officina Comunicazione & Eventi. One of the most awaited attractions is the “Lift of the Abyss”. Thanks to this experience you may perceive to climb down the Mariana Trench admiring the fauna of the sea of different depths. Moreover, there will be a space for drinks, including wines, spirits, teas and infusions and lastly, there will be an area dedicated to meteorology and environment.

THE INTERNATIONAL FOOD EXPERIENCE AREA
Among the permanent sections there is also The International Food Experience Area, realized in collaboration with ELIOR. The area is dedicated to food, offering a boutique of taste and several rest areas dedicated mainly to worldwide culinary traditions related to fish dishes. Cooking classes and cooking shows are also expected.

THE LEONARDO’S PARK
The section “The Leonardo’s Park” completes the project. It is a thematic park, located outside the pavilion, where children and adults will have the opportunity to learn scientific aspects related to water in a pleasant, dynamic and interactive way.

CONFERENCES
There will be three main moments. “Water and Life”, organized by Umberto Veronesi Foundation with the scientific coordination of Chiara Tonelli, a series of scientific conferences dedicated to wellness and health.

The convention promoted by UN-WWAP World Water Assessment Programme (UNESCO) to talk about the “Water for a Sustainable World” presented for the firs time in New York on March 20th 2015.

“Water Planet”, by eAmbiente and with the scientific coordination of Gabriella Chiellino, a series of three B2B and B2C exhibitions dedicated to reclamation systems, irrigation, the fight against desertification, recycling of polluted areas.

TICKETS FOT ACQUAE VENICE 2015: 22€ at the ticket office or 20€ online.

The masterpieces of Henri Rousseau in a unique exhibition held in the Doge’s Palace of Venice until July 5th 2015.

From March 6th 2015 Venice enriches its cultural activities with the special exhibition Henri Rousseau – Archaic candour held in the fascinating Doge’s Apartments of the Doge’s Palace. The exhibition boasts the special collaboration of the Musée d’Orsay and the Musée de l’Orangerie in Paris and the patronage of the Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna.

In Italy it is an extraordinary event that give the chance to admire some of the most famous works of the French painter through eight thematic sections. Hard to classify, Rousseu is certainly a central figure in the figurative art between the end of the 19th century and the revolutionary period of the avant-garde movements, famous for his dreamlike atmospheres, his forests and enchanted landscapes.

The exhibition boasts masterpieces like the famous “Self-portrait” (1889-90) that the artist considered the first “portrait-landscape” in the history of art, “The poultry yard” (1896-98), bought by Kandinsky and showed in the first Blaue Reiter exhibition in Munich, “War or the ride of discord” (1894), painted by Rousseau with that innocent eye that Ardengo Soffici, a great adimirer, defined as childlike innocence. That “archaic candour” also emerges in the paintings dedicated to wild nature and in his famous jungle scenes, of which six works are on display.

The exhibition Henri Rousseau – Archaic candour doesn’t mean to be another celebration of the French painter’s naïveté but rather the presentation of a long series of studies started more than three years ago. The project has given Rousseau’s work the right critical and historical light: the artist was a kind of referee for some of the greatest artists of the historical avant-garde movements, for intellectuals like Apollinaire and Jarry, for great collectors like Wilhelm Uhde and Paul Guillaume, and for many painters who preceded and and went beyond the Cubism and Futurism experiences, from Cézanne to Gauguin, from Redon to Seurat, from Morandi to Carrà, from Frida Kahlo to Diego Rivera and not to mention Kandinskij and Picasso.  All of these artists will be present in the show with works that establish a coherent dialogue with those painted by Le Douanier in his short but intense creative period from 1884 to 1910.

Opening Times

From 9 a.m. to 7 p.m. (from Sunday to Thursday)
From 9 a.m. to 8 p.m. (from Friday to Saturday)

Full price € 13,00

 On November 2nd 2014, in Venice all the state museums will open their doors for free to the public.

The Decree of the new Minister of Culture in Italy states that the first Sunday of the month is free and unrestricted the entry to all the public museums and the archaeological sites will be visited for free. More than 430 museums, monuments and archaeological sites throughout Italy will open their doors for free to the public, welcoming locals and tourists for a day dedicated to the discovery of the national cultural heritage.

On Sunday, November 2, 2014 in Venice all the state places of culture will then be opened without any charge.

Only the State Museums of Venice will be opened for free. Admission is free to the Museum of Palazzo Grimani, where is also hosted an extraordinary exhibition which sees for the first time exposed to the public the entire corpus of Polychrome Woodcuts of one of the most well-known Japanese artists, Utagawa Hiroshige.

Entrance free even at the National Archaeological Museum in St. Mark’s Square and the Rooms of the Biblioteca Marciana, included in the integrated path of “The Museums of St. Mark’s Square,” with the normal opening hours: 10:00 to 17:00 (last admission at 16:15)

Will also have free admittance the Museum of Oriental Art and the Galleria Giorgio Franchetti, which presents the exhibition DIVINE. Splendors of scene: about 350 pieces of jewelry from the Fantasy Collection by Patrizia Sandretto Re Rebaudengo.

It’s part of the State Museums also the National Museum of Villa Pisani in Stra, an amazing villa just outside Venice that deserves a throughout visit.

The Gaze of Ivan Glazunov at Querini Stampalia in Venice, Italy. 

From the 15th of October until the 11th of January 2015 the Querini Stampalia Foundation in Venice will host the exhibition of the painter Ivan Glazunov; this display was born thanks to the personal collections of the painter itself and to all its researches.

The painter was often associated with the traditions of the European schools of Painting, and the aim of this particular exhibition is to make people aware of the serious loss of traditions that has its roots in the Russian and European culture.

A particularity of “The Gaze of Ivan Glazunov” is the location: Querini Stampalia Foundation of Venice had been chosen for its familiar stamp, which perfectly fits to a project based on memories.

The exhibition is composed of different pieces of art, all belonging to different branches of art: paintings, old Russian costumes of exceptional workmanship, precious objects of popular art belonging to the private collection of the artist and antiquities. To the peculiarity of the objects exhibited is added a unique expository style, attended by Silvia Burini and Giuseppe Barbieri responsible of the Centre for Russian Arts Studies of the University of Venice, which involves not only the use of art pieces but also of multimedia devices.

The exposure counts also on a video installation displaying shootings of the North part of Russia (the region of Archangel’sk) made from the artist and its wife and director Julija Glazunova; the suggestive soundtrack of the video was realized with the collaboration of Andrej Kotov, choirmaster of the ensemble “Sirin” (http://sirin.svyatovo.com).

The inauguration will be characterized by this famous ensemble making live concerts in the rooms in which the exposition is taking place.

Informations:

Open to the public: Tuesday to Sunday from 10-18.

Closed on Mondays

Admission: Free

Catalogue: Terra Ferma.

A display of photographs by Lynn Davis, still considered one of the foremost photographers on the American scene, is on show at the National Archaeological Museum of Venice, St. Mark’s Square, until January 13th 2013. The exhibition presents us with one of her most amazing collection of images, all centred on the theme of man’s sacred places: monumental tombs in the middle of the desert, temples
rising like stalagmites out of the plain, sacred figures emerging from mountainsides.

Lynn Davis was a pupil of the legendary photographer, Berenice Abbott, and a friend of Robert Mapplethorpe, the “maudit” photographer on the New York stage during the 1980s. Davis endeavours to seek out “timeless” places in her work: locations which now, as in the past, communicate a sense of the absolute to us human beings.

The exhibition at the Archaeological Museum has an added significance: the photographs do not only interact with the viewer, but also with the actual exhibits on display in the museum, which also in an ideal sense form part of Lynn Davis’ research.

From now until February 17th 2013, the Correr Museum is hosting an exhibition dedicated to the work of Francesco Guardi. The show provides a complete overview of the various phases of Guardi’s eclectic artistic output, from his early figurative works through the famous interiors to the evocative views of Venice and the whimsical fantasies of his middle and later years.

A collection of over seventy paintings and about fifty drawings demonstrate the intimate, understated character of this work: characteristic of an artist who only history has recognized as one main exponents of 18th century Venetian art. Indeed, after his death in Venice in 1793, Francesco Guardi sank into oblivion. It was only thanks to a famous exhibition at the Palazzo Grassi in 1965, that he came to be re-evaluated and appreciated by both critics and the viewing public.

The exhibition opens with two paintings portraying the artist himself: one by Giuseppe Bertini shows Guardi selling his paintings in St. Mark’s Square; the other is by Pietro Longhi. They indicate the lack of information and documentation that survives in relation to an artist who certainly did not enjoy during his lifetime the fame that he has achieved today.

This extraordinary exhibition includes a unique selection of works from some of the world’s most prestigious institutions, including the Brera Art Gallery, London’s National Gallery and the Metropolitan Museum of Art in New York: six of which are being shown in Italy for the first time.

The American painter Tom Parish has come back to Venice, as part of his continuous peregrination between the real city and the one depicted on canvas. In one of the rooms of Venice’s Museo Diocesano – Sant’Apollonia, from September 14th 2012, he presents his second Italian exhibition Canti Silenziosi di Venezia /Silent Songs of Venice, selected recent works on a well-established theme in which – it’s fair (altro…)

An extraordinary exhibition with more than seventy garments from the world’s most famous collections, fashion houses and costume designers is open at the Palazzo Mocenigo Museum in Venice until 6 January 2013. Textures of fashion – Women and style at the Venice Film Festival is an event offered by the Study Centre for the History of Textiles and Costumes in Venice. This is a unique opportunity to admire the costumes of great films shot in the lagoon city compared with the current fashion which
has been inspired by these films and these suggestions and by the precious items conserved (altro…)

Gallerie dell’Accademia

Until 2 December 2012, as part of an ad hoc exhibition (The Titian never seen. The flight into Egypt and great Venetian painting), at the Gallerie dell’Accademia, visitors can admire see the outstanding work conserved for centuries overseas in which Titian first discovers nature: “The Flight into Egypt” of 1507. It took 12 years of accurate restoration by the Hermitage to bring back the colours, the light, the details, the revolutionary force of this work, carried out for Andrea Loredan and his new palace on the Grand Canal, Ca’ Vendramin Calergi, which now houses the Casino.

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FREE ENTRY
The Carlo Scarpa. Venini 1932-1947 exhibition opens on Wednesday 29 August on the island of San Giorgio on the occasion of the 13th International Exhibition of Architecture of Venice. Through more than 300 works, the exhibition, organised by Marino Barovier, offers the opportunity to trace the creative itinerary of the Venetian architect (altro…)

Until 30 September 2012

The NEOREALIST ECHOES IN POST-WAR ITALIAN PHOTOGRAPHY exhibition opened in July in the enchanting setting of Palazzo Grimani in Venice’s Campo Santa Maria Formosa. It offers a selection of 63 images from the Historical Archives of the La Gondola Photographic Club, which received an important recognition in 2010: the Special Superintendence for the Historical, Artistic and Ethno-anthropological Heritage of Venice declared the 5316 photographs preserved in the Archives of the famous Venetian Club of exceptional historical and artistic interest. La Gondola was founded as an association
in 1948 and has seen photographers of the stature of Gianni Berengo Gardin, Fulvio Roiter, (altro…)

Until 25 November 2012

The picturesque Palazzo Ca ‘Corner della Regina, headquarters of the Prada Foundation on the Grand Canal in Venice, is once again open to the public thanks to “The small Utopia. Ars Multiplicata“, an exhibition prepared by Germano Celant.

(altro…)

The American, Michael Mann, director, screenwriter, producer and one of the most influential and representative figures in contemporary American cinema – will be chairing the jury at the 69th Venice International Film Festival (29 August – 8 September 2012),

Michael Mann is famous for having created some of the most successful (altro…)

23 June 2012 is the Night of Art in Venice when thanks to Art Night 2012, conceived and coordinated by Venice’s Ca’Foscari University in conjunction with the city municipality, more than 80 venues, including Art Galleries, Museums, Foundations, Buildings, Italian and foreign Universities and Libraries will remain (altro…)

From July 22nd to October 14th 2012

After achieving great success in Switzerland and Rome, the “Tiepolo Nero” exhibition is coming to Venice, specifically to the halls of the Ca’Rezzonico, the Museum of Eighteenth Century Venice. It offers a unique opportunity to admire all the graphic works by Giambattista Tiepolo (1696-1770) together, and, for the first time, the plates belonging to the (altro…)

18 May / 30 August 2012
The Doge’s Palace, Sala dello Scrutinio, Venice

In tribute to the America’s Cup, the qualifying races for which were organised in Venice, the prestigious collection of portolans and nautical charts from the Correr Museum will be on display at the Doge’s Palace, including more than fifty extremely rare examples of nautical cartography dating from the 14th to the 18th century. Original instruments, once (altro…)

Palazzo Grassi – François Pinault’s Foundation
from 15 April to 15 July 2012

A real model lounges in a sparsely decorated room as part of Urs Fischer’s “Madame Fisscher“, a monograph exhibition at the Palazzo Grassi in Venice, Italy  until 15 July 2012. Fischer is the first living artist to have a solo exhibition at the billionaire art collector François Pinault’s Palace on the Grand Canal.

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Until 20 May 2012
Torre Massimiliana, Sant’Erasmo Island

Open until 20 May 2012 in the Torre Massimiliana of Sant’Erasmo, a lush and seldom visited island of the Venetian Lagoon, is the graphicnovel.it exhibition, which is the hub of a little-known form of art in Italy, despite there being many authors born in Italy who have gained international recognition, particularly in France. The Graphic Novel is the artistic and literary movement which (altro…)

From 6 April to 8 July 2012
Palazzo Franchetti

From 6 April 2012, at the “PICASSO and VOLLARD. The genius and the art dealer” exhibition, for the first time in Italy, you’ll be able to admire, in the wonderful rooms of the Palazzo Franchetti on the Grand Canal, the 150 works that illustrate in depth the long and thwarted ties between the art dealer Ambroise Vollard and he who would become the greatest artist of the twentieth (altro…)

From 30 March to 15 June 2012
Casa dei tre Oci – Giudecca Island

From 30 March to 15 June 2012, in the enchanting setting of the CASA DEI TRE OCI – International Photography Centre, on Giudecca Island, you’ll be able to admire 140 photographs by Elliott Erwitt, which are among the most famous and prominent of his entire career.

As a member since 1953 of the Magnum Agency, founded at the end of the Second World War by a group of photographers including Henri Cartier- (altro…)

From March 31st to July 8th 2012
Ca’Pesaro, International Gallery of Modern Art 

On the occasion of the major Gustav Klimt in the mark of Hoffmann and the Secession exhibition celebrating in Italy the 150th anniversary of Gustav Klimt’s birth and held at the Museo Correr, the International Gallery of Modern Art Ca’ Pesaro will be presenting an exhibition dedicated to the influence of the great painting on Italian art in the early 20th century, culminating (altro…)

Our Magazine VISIT VENICE – Spring 2012 is on line!!

Everything happens in Venice (Exhibition, Feast, Regatta) during spring 2012 in a practical magazine.

You can download or print our Magazine.

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Correr Museum
From 24 March to 8 July 2012

On the 150th anniversary of the birth of Gustav Klimt, and a century after his acclaimed participation in the Venice Biennale (1910), the Viennese artist returns to the lagoon as the protagonist of an extraordinary exhibition, which will be held in the display rooms of the Correr Museum from the 24th March to the 8th July 2012. The exhibition is the result of a joint production of the Foundation of Civic Museums of Venice and the Belvedere Museum in Vienna, in collaboration with ORE Cultura – Gruppo 24 ORE and the Arthemisia Group. (altro…)

24 February – 6 May 2012
The Doge’s Palace

The first dossier exhibition at the Palazzo Ducale, opening on the 24th February 2012, will be dedicated to Celebrations at the Doge’s Palace: on show will be the valuable prints drawn by Canaletto and engraved by Giambattista Brustolon, works which are well-known even to the general public and which were mostly set in the Doge’s Palace itself. The subjects of the prints can (altro…)

From 10 March to 25 June 2012
Fortuny Palace

A wonderful exhibition dedicated to Diana Vreeland, fashion icon, famous fashion editor of Harper’s Bazaar, editor in chief of Vogue and special consultant for the Costume Institute of the Metropolitan Museum of Art in New York, will be opened on the 10th March 2012 at Palazzo Fortuny in Venice .

The first individual exhibition dedicated to the extraordinary and complex figure of Diana Vreeland (Paris, 1903- New York, 1989) will (altro…)

February 2nd to 26th, 2012
Palazzetto Tito

A collection of creative reworkings of legendary Moleskine notebooks by artists, architects, designers, illustrators and writers active on the international scene can be seen at Palazzetto Tito of Venice until February 26, 2012.

The Show MyDetour – Travel Notebooks is part of an international Moleskin project dedicated to young artists, students, the creative community and everyone who loves to paint, illustrate, write and create freely in their notebooks.

(altro…)

Ca’ Pesaro – International Gallery of Modern Art
December 17th 2011 – March 11th 2012

A major retrospective was inaugurated on Saturday, December 17th, in Venice, at the Museum of Ca’ Pesaro, aimed at discovering, tracing back and documenting, through more than two hundred works – including paintings, drawings, watercolours and etchings – the creative career of Gennaro Favai (Venice 1879-1958), a Venetian artist who succeeded (altro…)

From November 24th 2011 to February 26th 2012
Academy Galleries

The exhibition “A Tribute to Lorenzo Lotto. Paintings from the Hermitage at the Academy Galleries” was opened in November 24th 2011 in Venice. It was made possible by the exceptional loan granted by the Museum of St. Petersburg to the Venetian galleries of two paintings rarely – if ever – seen before in Italy, namely: “the Portrait of Spouses” and the “Madonna delle Grazie“.

(altro…)

From January 2012

The Bevilacqua – La Masa Foundation is planning for 2012 an intense calendar of very interesting exhibition events.

It will start on February 2nd 2012, with two exhibitions: the one to be opened at the Gallery in St. Mark’s Square, a collective end-of-stay exhibition of the young artists currently assignees of studies; and the other, to be presented in Palazzetto Tito, a collection of (altro…)

From November 16th 2011
Cini Foundation

On November 16th 2011, at the Giorgio Cini Foundation on the Island of San Giorgio (Venice), at 11.30 am, the new ELONORA DUSE ROOM was officially presented to the public, a new permanent space dedicated to the memory of the great Italian actress.

The project stems from the desire to turning the Eleonora Duse Archives of the Giorgio Cini Foundation into a “place” open to the public (altro…)

From December 17th 2011 to April 1st 2012
Venetian Institute of Sciences, Letters and Arts, Palazzo Franchetti

At Palazzo Franchetti, the seat of the Venetian Institute of Sciences, Letters and Arts of Venice, an exhibition entitled “Photography in Japan (1860-1910) is being held since Saturday, December 17th 2011. Masterpieces”. It is the first retrospective ever organized in Italy dedicated to the great Japanese and European (altro…)

Until 30th April 2012
Murano Island, Venice

On 9th December 2011, on the Island of Murano, in the Museum of Glass, the exhibition “1861-2011: UN’ISOLA, UN’ARTE, UN MUSEO” [one island, one art, one museum] was inaugurated. It is a great retrospective exhibition on the art of glass-making, which allows visitors to learn about the history and life of this Venetian island, famous all over the world for its glass works of art. In 1861 an archive that held information on the long history of glass making in Murano was created. The (altro…)

Until 1st January 2012
Peggy Guggenheim Collection

Until 1st January 2012 the Peggy Guggenheim Collection in Venice is the venue of the third edition of Massimo Barbero’s curated project “Themes&Variations”. It will be held in the halls of the Gallery dedicated to temporary exhibitions. The masterpieces of the museum are thematically and scientifically compared to pieces of art created by more modern artists from other collections. The aim is to guide visitors and help them fully understand the work of the (altro…)