Sunday, April 06, 2014

Venice: Le Stanze del Vetro – I Santillana exhibition



Venice: Le Stanze del Vetro – I Santillana exhibition. The superb exhibition, I Santillana, at Le Stanze del Vetro, until August 3, traces the double trajectory of artists Laura de Santillana and Alessandro Diaz de Santillana, brother and sister who are direct descendants of the legendary Venini dynasty.  The siblings live and work in Venice where both have been developing, since the end of the 1980s, a body of work, which has come to achieve international recognition.
Above. Laura de Santillana and Alessandro Diaz de Santillana are reflected in Alessandro’s wall sculpture Senza Titolo (MUDAC), 2011 – hand-blown and mirrored glass on plywood with silver leaf.
 Photograph by Fabio Zonta courtesy Le Stanze del Vetro
I Santillana. The exhibition brings together approximately 170 works including sculptures, artworks and glassware selected from a period of more than two years of meetings and conversations between Martin Bethenod and the siblings. The works on display investigate the diverse yet intertwined dialectic of the two artists, each following an autonomous artistic path but both relying on a common family heritage and biography.
Above.  Installation view room 5 in the foreground sculptures by Laura de Santillana and on the wall Alessandro Diaz de Santillana’s wall works.

 
Laura de Santillana – Senza Titolo (cristallo MoG) – 2009
Hand-blown and shaped glass with metal base



I Santillana – Press conference. Martin Bethenod, CEO of the Francois Pinault Foundation, Laura de Santillana, P. R. Elena Casadoro, Secretary General of the Giorgio Cini Foundation Pasquale Gagliardi and Alessandro Diaz de Santillana.

 Photograph by Fabio Zonta courtesy Le Stanze del Vetro

 
I Santillana.  The exhibition is organized around a central axis representing their shared memory. The galleries of Le Stanze del Vetro have been adapted in order to enable a comparison and an ongoing dialogue between the works of the two artists. The central corridor named La Rue serves as a meeting point between the worlds of Laura de Santillana and Alessandro Diaz de Santillana and creates a cross-play of connections and references, but also of disagreements, though never forced nor far-fetched but rather revealing of the formal similarities, the peculiarities and differences between the artistic works and creative processes of Laura and Alessandro.
Above. Alessandro Diaz de Santillana - Installation view of Room 7. Alessandro Diaz de Santillana - S5 – 2013. Hand-blown glass and slumped glass.  Patina. Marine plywood and black lacquer.

 
 Marie-Rose Kahane, Chairman of Pentagram Stiftung and Pasquale Gagliardi, Secretary General of the Giorgio Cini Foundation.





I Santillana – La Rue. Laura de Santillana – Mon Malheur, 2009. Cast glass with metallic textile. Mon Bonheur, 1998. Jasmin garland in plexi box.

 
I Santillana. Laura de Santillana places Grey CU, 2005, hand-blown and shaped glass on the table.


I Santillana – La Rue. Alessandro Diaz de Santillana – C.DI.S.XIII, 1993. Hand-blown and ground glass.


I Santillana – La Rue.  A portrait of Laura and Alessandro’s mother by Richard MeitnerAnna Venini, 2004. Hand-blown glass, flat glass, enamels, wood.

 
Photograph by Fabio Zonta courtesy Le Stanze del Vetro




I Santillana. Alessandro Diaz de Santillana - Installation view of Room 6. HG and HGS, 2011 series. In the center, Senza Titolo, 1996. Hand-blown and mirrored glass. Below - HGS 5, 2011. Hand-blown, slumped and mirrored glass on plywood.


 
Neo director of the Giorgio Cini Foundation’s Institute of Art History Luca Massimo Barbero and member of the Scientific Committee for the I Santillana exhibition has fun with the president of The Venice International Foundation Franca Coin.

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Saturday, April 05, 2014

Venice: Spazio Punch – Re-visioni exhibition




 
Venice: Spazio Punch – Re-visioni exhibition. At the Spazio Punch Giudecca, until April 29, the exhibition Re-visioni, shows the research work: The Project Inside Fashion, curated by Gabriele Monti, of the third year graduate students from the department of Fashion of Design and Multimedia Arts of the Universita IUAV di Venezia,  Re-visioni is an exhibition that aims to give the visitor a look at the study course of the students. The title alludes to the cerebral act of watching a second time with a different focus, to capture details escaped in the first vision.  The revision is intended as a central point of questioning the project that a student of fashion design faces during any workshop.
Above: A short section of the video by Gianmarco Barnes and a coat by Vivienne Westwood – N.inv. 3173 – first half of the ‘90s – collection Maria Luisa Frisa, Venezia.



IUAV’s Mario Lupano, professor and curator of the Re-visioni exhibition, Gabriele Monti and Maria Luisa Frisa, director of the Fashion of Design and Multimedia Arts course at the Universita IUAV di Venezia from whose collection of clothes the students did their research.


 
Re-visioni exhibition. Jean Paul Gaultier, Giorgio Armani, Romeo Gigli, Comme des Garçons, Emilio Pucci, Norma Kamali, Maison Martin Margiela, Claude Montana, Yohji Yamamoto, Moschino, Junya Watanabe, Vivienne Westwood, Prada are just some of the fashion designers, chosen from a selection of two hundred objects (clothes, shoes, accessories) from the collection of Maria Luisa Frisa. This is the first nucleus of a study collection available to the IUAV students for their research prjects.
Above. A toile taken from the collar of the Vivienne Westwood coat. 

 
La Biennale di Venezia’s Cristiana Costanzo.

 
Architects Mose Ricci and Francesco Garofalo.

 
Re-visioni exhibition. The items in a study collection can be studied up close, handled virtually dismantled. This modeling works backwards starting from the existent, and, is a basic excersize for students who want to tackle the discipline of fashion design. 
Above. The toile of the frill on the Giorgio Armani jacket and Giorgio Armani - N.inv. 3130 – Autumn/Winter 1998-1999 – collection Maria Luisa frisa, Venezia.

 
Blogger and IUAV professor Simone Sbarbati with fellow professors. Alessandra Vaccari and Anthony Knight.

 
Re-visioni exhibition.  The exhibition is completed by material which also belongs to the study collection; ephemeral objects, invitations to fashion events and performances, press releases, lookbooks, catalogs and material central to the work of a designer.
 
 
Young Venetian artists Fabio De Meo and Martina Bernardi. 

 
Spazio Punch’s Lucia veronesi, Saul Marcadent, Rita Erster and Augusto Maurandi.



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Monday, March 31, 2014

Venice: Palazzo Franchetti – Istituto Veneto di Scienze, Lettere ed Arti - Franco Fontana – Full Color exhibition

 Copyright Franco Fontana

Venice: Palazzo Franchetti – Istituto Veneto di Scienze, Lettere ed Arti - Franco Fontana – Full Color exhibition. Franco Fontana’s Full Color exhbition, until May 18, is his first major retrospective in Venice,  with more than 130 photographs, tells the story of this universally renowned photographer.  The exhibition at, and sponsored by and at the Istituto Veneto di Scienze, Lettere ed Arti at Palazzo Franchetti on the Grand Canal was curated by Denis Curti.  Bright colors, vibrant so as to appear unreal. Compositions punctuated by lines and planes overlapping geometries built on light.
Above. Franco Fontana - Los Angeles 2001.


Copyright Franco Fontana

Franco Fontana – Full Color. Hyperreal landscapes, more real than reality itself, surreal, suspended,  and often impossible. Deceptive proportions in which there is no room for man. Human figures revealed in the negative, sublimated into long shadows. Presence and absence simultaneously. Bodies as landscapes, hills and plains and contours anthropomorphic.These are the traits that lead immediately and unequivocally to the visual language of Franco Fontana.

Above. Franco Fontana – Puglia 1987.

 Copyright Franco Fontana

Franco Fontana – New York 1986


Franco Fontana 


Basilicata 1975 – Basilicata - 1978 – Cortina 1978

Puglia 1987 – Basilicata 1986 – White Sand, New Mexico 1983


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Wednesday, March 26, 2014

Venice: Spring at Palazzo Fortuny - Part I: Dora Maar - Ritsue Mishima - Barbara Paganin


Venice: Spring at Palazzo Fortuny.   The Spring at Palazzo Fortuny until July 14, brings together five exhibitions by talented women artists: Dora Maar’s Notwithstanding Picasso Ritsue Mishima’s Tras FormaBarbara Paganin’s Open Memory – Anne-Karin Furunes’s Shadows and The Amazons of Photography from the Collection of Mario Trevisan.





Venice: Spring at Palazzo Fortuny – Part I: Dora Maar – Notwithstanding Picasso.    Henrietta Theodora Markovitch better known as Dora Maar (1907-1997) was a beautiful French photographer, poet and painter of Croatian descent, best known for being a lover and muse of Pablo Picasso.

 Photo by Xavier Grandsart - courtesy Fortuny Museum

Dora Maar – Notwithstanding Picasso. A woman of rare beauty and enigmatic personality who had seduced Picasso, the leading painter of the century and, subsequently abandoned, had sunk into madness, living cut off from the world for the remaining fifty years of her life. “Sacrificed to the Minotaur”, “Segregated with her musty phantoms”, “Dora, painted tears” were some of the titles in the newspapers when her goods were cold at auction after her death.
Above. Man Ray - Portrait de Dora Maar (solarisation), 1936, silver bromide gelatin print.

photograph  and copyright by manfredi bellati


Dora Maar – Notwithstanding Picasso. Dora Maar was an extraordinary artist in her own right.  This exhibition aims to highlight her singular talent and is the first show to be dedicated to her photography in Italy. Thanks to loans from important museums and private collections, the exhibition, comprising over one hundred works, including some unpublished ones of great interest, examines her career and personality.
Above. Dora Maar – Vieille Femme et Enfant (dit Le Pisseur) – 1935c., vintage silver bromide gelatin print.



The Dora Maar exhibition is a project by, as well as, the layout of Daniela Ferretti.



Dora Maar – Notwithstanding Picasso. Dora had a multi-faceted personality as well as being a great photographer.
Above. Dora Maar – Homme sur un Trottoir, Trappe de Visite, 1935c. vintage silver gelatin print.



The curator of the exhibition Victoria Combalía, a scholar who has dedicated much time to studying Maar.




Dora Maar, by SIAE 2013 - photo credit:  photographic archives Museo Nacional Centro de Arte Reina Sofía, Madrid – courtesy Palazzo Fortuny




Dora Maar - Picasso Debout Travaillant à Guernica dans son Atelier des Grands-Augustins, 1937,silver gelatin print.





Dora Maar – Notwithstanding Picasso. Dora was certainly a complex and tormented woman as portrayed in Picasso’s pictures, but also acute, intelligent and politically involved.
Above. Pablo Picasso, Tete de Femme (Dora Maar), 1939, oil on canvas.

 
Spring at Palazzo Fortuny: Ritsue Mishima – Tras Forma. Artist Ritsue Mishima (1962) draws stimuli for her work from natural forms and reflections of light: her glass is transparent, colorless, and conveys a sense of purity and luminosity, capturing and expanding the light and colors its surroundings. This exhibition presents her latest creations, the result of a careful analysis of the modus operandi of Mariano Fortuny.
Above. Ritsue Mishima – Titano, 2013, glass.

 photograph  and copyright by manfredi bellati
 
Artist Mirco Marchelli


Ritsue Mishima – Tras Forma. The artist pays close attention to the space in which she places her works; the play of transparency and of reflections produces infinite visual variations for the subject. 
Above. Ketty Alvera with a sculpture by Ritsue Mishima.

 
Ritsue Mishima – Tras Forma. The thousand-year-old tradition of making glass in Venice, seen through the lens of Mishima’s Japanese culture, results in works forming a highly contemporary alphabet. 
Above. Ritsue Mishima – Melograni, 2013, glass.

  photograph  and copyright by manfredi bellati

Spring at Palazzo Fortuny: Barbara Paganin – Open Memory. Venetian artist Barbara Paganin’s exhibition presents jewels and stories that draw their inspiration from the emotions of their past.  Tangible elements of borrowed memories: 19th-century miniatures, porcelain animal, good-luck charms, depicting mice, hippopotamuses, rabbits, ivory elephants, a little compass, the queen from a chess set… This is the first time the artist has chosen to include “extraneous” elements and objets trouvés in her work. Her work begins with a search among the antiques shops of Venice to find these little objects, which one could imagine were once jealously guarded in some child’s “treasure casket”.
Above. Barbara Paganin and one of the 25 brooches from Open Memory display. 

 
Photograph by Alice Pavesi Fiori, courtesy Palazzo Fortuny

Barbara Paganin – Open Memory. This is the first time the artist has chosen to include “extraneous” elements and objets trouvés in her work. Her work begins with a search among the antiques shops of Venice to find these little objects, which one could imagine were once jealously guarded in some child’s “treasure casket”.
Above. Barbara Paganin - 
Open Memory n.24, 2011-2013.
photograph and copyright by manfredi bellati

Barbara Paganin – Open Memory. Every brooch tells a story, which can be imagined differently by every observer, adapting it to his own memory. There is no single key to interpret it, but instead a different one for every “reader” of this album of memories composed chapter by chapter. The twenty-five works are planned as a single corpus, on which Paganin has worked continuously over the past two years, and are designed to be displayed all together for the first time at Palazzo Fortuny.
Above. Barbara Paganin - 
Open Memory, 2011-2013.

 
Curator of the Open Memory exhibition Valeria Accornero.


 
 
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