The images of an empty and ghostly Venice, of a theatrical and surreal beauty, however unprecedented and even enviable, have brought a sense of desolation to most. Now Venice is reviving. With the opening of the Biennale, art and architecture lovers flock, but also families, friends and city lovers when they are not attacked by tourists. Places steeped in history, literature and enigmatic charm that escape stereotypes.
We have chosen two special cultural spaces, housed in prestigious buildings overlooking the Grand Canal and the Giudecca Canal. The Fondaco dei Tedeschi and the Casa dei Tre Oci house different installations, monumental or intimate, but both bring the lagoon city back to the center. To the delight of all.
When the curtain opens what will we see?This is the question that visitors ask themselves when they enter the Fondaco dei Tedeschi. Until November 21st, in fact, Second Act, the majestic site-specific installation by Maarten Baas, conceived with the scenographer Theun Mosk, which permeates, with its theatrical, enveloping stage presence, the entire premises of the Fondaco, from the fourth slowly, to the court up to the water gate.
On stage four long curtains that conceal a representation whose plot is unknown. The visitor thus becomes a spectator, a participant in an experience with an uncertain ending, just like the one experienced during the pandemic: When the curtain opens, what will we see? they ask themselves.
Always inspired by the theater that finds a particular echo in Venice, Baas and Mosk have imagined an installation for the Fondaco's waterfront, consisting of twenty screens arranged at a 45-degree angle. On each of them scroll the titles of all the works canceled or postponed in the world during the period of closure of the theaters. “The deleted works, like raindrops fallen from the sky, give an idea of the quantity of everything that did not happen during the year” Baas points out. Finally, the pavilion on the fourth floor hosts Sweepers, elements of the Real-Time Clocks series, declined in the form of mantel clocks.
Fluid and changing labyrinth
The Casa dei Tre Oci, until June 27, 2021, houses an intimate, liquid, changeable Dedalo (Daedalus). The exhibition of the photographer Veronica Gaido focuses on the narration of the Sanlorenzo shipyards, interpreted as a labyrinth, intertwined with that of an impalpable but dense, dotted and dynamic Venice, with an ethereal, diaphanous but distinctive light, as if defined by vibrant and al at the same time precise brushstrokes of watercolors.
An emotional – aquatic – journey summarized in 76 shots that transfigures the most stereotyped vision in favor of an outcome that invites a fluid, personal, free imagination. Denis Curti, “Veronica gives us the opportunity to find that experiential dimension that rarely belongs to photographs, because they are too descriptive and often destined to recite the fragmented syntheses of reality”.
“The paths between the scaffolding, the silhouettes of our factories, the piers, the scaffolding, the cranes, all transfigured, also thanks to the skilful use of drones, in this dreamlike dimension that seems to travel on an unprecedented Z axis instead of the canonical X and Y, best tell us about the complexity of our shipyard” comments Sergio Buttiglieri, style director of Sanlorenzo. “A photograph, that of Veronica, which relates well to our densely liquid time, paraphrasing the thought of the philosopher and sociologist Zygmunt Bauman, a famous observer of postmodernity and its fleeting mutations”.