Tuesday, September 18, 2018

Venice - The Venice Glass Week 2018 – Festival – Highlights

 The Venice Glass Week
9-16 September 2018

In it’s second year The Venice Glass Week is an international festival dedicated to the art of glass, with a particular focus on that of Murano. The festival involves many of the major institutions in Venice, Murano and Mestre, with the aim of revitalizing and sustaining one of the city’s most important artistic and creative activities.
Above. Centrotavola Veneziano – Judi Harvest for The Gritti Palace.

Judi Harvest - Centrotavola Veneziano
The Gritti Palace Venice

Centrotavola Veneziano is a completely handmade Murano glass sculpture celebrating the fruits, vegetables and flowers indigenous to the Venetian Lagoon and the Veneto, conceived and executed by artist Judi Harvest. With a long history of creating works in Murano glass and exhibitions in Venice and around the world, Judi is very proud to work with The Gritti Palace, A Luxury Collection Hotel on this new creation which will be permanently displayed in The Gritti Epicurean School. This sculpture was inspired by the Honey Garden in Murano on Sacca Serenella that she planted in 2013 for the factory where she has worked for the past 30 years and the 8 healthy Honeybee colonies she installed and cares for at the factory. With the help of the Honeybees, she has bottled the first Murano Honey, which was served at the event.

Judi Harvest and Paolo Lorenzoni

“In the 19th century, elaborate, festive centerpieces were seen by the aristocracy as a celebration of beauty and wealth.  Embodying this sense of allure, Harvest’s Centrotavola Veneziano for The Gritti Palace is a masterful homage to the history of Murano glass and the ancient form’s namesake island.”
Barbara Rose

Judi Harvest - Centrotavola Veneziano - 2018
Watercolor on paper with frame

The Party

Watercolors of vegetables from the Venetian Lagoon hang on the walls of The Gritti Epicurean School where the party was held.

Giorgio Giuman

Judi Harvest – Pomegranate – 2018
Harvest - Murano Honey

The Party 
Alessandra Morgagni, Carla Plessi and Barbara Rose


Giorgio Vigna - Acque
Palazzo Fortuny

The installation Acque, exhibited on the piano nobile of Palazzo Fortuny, was created by Giorgio Vigna from works produced between 2013 and 2015. Acque is part of a research project with which the artist explores the possibilities of glass in relation between fire and water. With this work he transforms simple copper containers into signs with a mystical value. The first works in this research were exhibited at Palazzo Fortuny in 2010 on the occasion of his solo exhibition.

Giorgio Vigna

Giorgio Vigna - Acque


Ronan and Erwan Bouroullec – Alcova
Giorgio Mastinu Fine Art Gallery

The Alcova collection is a series of coloured cast glass geometrical shapes that are organically composed. We approached this project in a brutal and primary way, working with the thickness of the material and letting the process guide us, seeking to preserve all the magic of the ballet of molten glass manipulated by master glassmakers.”
Ronan and Erwan Bouroullec

Ronan Bouroullec – Some Drawings
Smiljan Radic - sculpture - Ronan Bouroullec - drawing collage
Enzo Mari - Zigurrat

Ronan Bouroullec – Some Drawings
Giorgio Mastinu Fine Art Gallery

The Giorgio Mastinu Fine Art Gallery, during The Venice Glass Week, also displayed Some Drawings by Ronan Bouroullec.

Giorgio Mastinu


Gaby Wagner – Glass Installation
Palwer Gallery
The Palwer Gallery presented designer and photographer Gaby Wagner’s Glass Installation.  Gaby Wagner entered the glass world in 2000 after a collaboration with Laura de Santillana. Fascinated by glass as a material, she immediately understood its potential and realized some objects with master glass blower Aureliano Toso on Murano. Her glass stones are round and flat shapes, as if they were worn from water and are enlivened by the use of gold leaf.  She looks at the ancient as an inexhaustible source of inspiration.
Gaby Wagner

Gaby Wagner – Glass Installation
Gold Flame - Green

Alessandro Palwer
Gaby Wagner - Glass Installation

Alice Diaz de Santillana – Think Ephemeral
Chiarastella Cattana

Experiments in glass, archetypes and prototypes, small fragile spaces of shelter; seed and shells; Alice Diaz de Santillana’s glass allows us to discreetly enter her practice.  These new glass objects are among her first experiments connecting and explaining many stories.


“Think Ephemeral represents the fusion of my creative and technical experience in the world of Haute Couture and the influence of my family’s long term involvement with the artistic tradition of Murano glass—my great-grandfather was Paolo Venini. These two artistic ingredients have been the primary influences on the progression of my own aesthetic trajectory. I conceived this project to create a dialog between the disparate worlds of fashion and glass. Designed as a limited series of “Portable Art” that combines traditional Muranese glassblowing techniques with textiles and metals, the pieces also incorporate art with practical applications. They may vary in usage and can be carried to any occasion as a clutch, used as a jewelry box or simply as a cherished decoration, always with the purpose of adding a refined and unique atmosphere.”
Alice Diaz de Santillana


 Alice Diaz de Santillana – Think Ephemeral
Chiarastella Cattana

Chiarastella Cattana

Marta Sforni – Light Touch
Hugues Le Gallais – Ca del Duca
Galleria Riccardo Crespi

The works of Marta Sforni are intrinsically linked to the city of Venice, which the artist defines as her “muse”.  In fact, it is in the Venetian scenario that all the key concepts of her painting unfold: transparency and light, fragility and beauty, memory and identity, decoration and voluptuousness, enigma and symbol, escape and emptiness.

Marta Sforni - Hungry Ghost
oil on Linen
In the works on display, starting from a careful analysis of styles and values of an era dear to the artist, back at the time of her architectural studies in Venice, the eighteenth century, Marta Sforni unceasingly explores all forms and variations of glass as a universal symbol, through painting.

Candelabra and mirror constitute the focus of Forni’s painting as her physical subject, but these object simultaneously serve as vehicles – as a material-ephemeral pretext to not only illuminate but also expose indescribable vitality.  The objects themselves simply offer an occasion to confront the basic requirements of painting anew in every picture – a vivid balancing act of light and shadows, of forms and formlessness, of appearance and disappearance, a balancing act which obeys the autonomous limitations of force and dimension, and which goes beyond actual reality.”
Thomas Groetz

Marta Sforni – Largo
oil on linen

Riccardo Crespi


Cristiano Bianchin – Figures
Gallerie dell’ Accademia

On the occasion of The Venice Glass Week 2018, the Gallerie dell’Accademia, in collaboration with Caterina Tognon Vetro Contemporaneo, presented a selection of glass sculptures by Cristiano Bianchin (Venice, 1963). For the second time, the Gallerie dell’Accademia take part in the international kermesse dedicated to glass, exposing an artist who, since 1992, has almost exclusively worked on the creation of art in this material and has worked with great continuity and dedication in the furnaces of Murano: the Anfora furnace, led by Renzo Ferro with the master glassworker Andrea Zilio and master cold worker Giacomo Barbini, have become his artistic residence.
Cristiano Bianchin – Raccoglitore di Pensieri – Urna – 2001


Cristiano Bianchin and Caterina Tognon

Cristiano Bianchin – Figures

In the apse of the former gothic church of Santa Maria della Carita, one of the most magical and evocative places of the museum, are presented six sculptures from Cristiano Bianchin’s series Crisalidi.  The sinuous and elegant anthropomorphic glass works bring to mind figures of saints that emerge from the wood panels painted almost six hundred years ago in Jacopo Bellini’s atelier, very likely in collaboration with his sons Giovanni and Gentile. The Crisalidi series, produced in Murano in the early 2000s, are intended by Bianchin as contemporary idols that recall the typical hieratic shapes of ancient statuary. For the artist, black opaque glass, which is rarely used in glass art, symbolizes purity, order and sensuality.

Cristiano Bianchin – Riposapesi – 2001-2004

Cristiano Bianchin responds to the whiteness of Antonio Canova’s plaster casts, which populate the Palladian hall, with the vibrancy of Murano glass colors. As early as 1995 the Venetian artist had created a connection with the great master of Neoclassicism in the Gipsoteca of Possagno: today, more than twenty years later, Bianchin reflects once again on the relation between his artwork and Canova’s plaster casts. 

Galleria Alessandro Zoppi – Parecio
Curator - Umberto Branchini

Parecio, table settings, is the title of Galleria Alessandro Zoppi's proposition for the 2018 edition of The Venice Glass Week. An art merchant and Venetian glass expert, Alessandro Zoppi opened his first gallery in Calle Larga XXII Marzo in 1992, where he dealt in 18th century glassware - chalices, vases, mirrors and chandeliers - the most influential names in modern Venetian glass, such as Alfredo Barbini, Vittorio Zecchin, Tomaso Buzzi, Dino Martens, Napoleone Martinuzzi, Archimede Seguso, Carlo Scarpa. As of last December the gallery has moved to Campo S. Maurizio, in a larger space better suited to host small themed exhibitions.

Alessandro Zoppi

Galleria Alessandro Zoppi – Parecio

Parecio offers a full panorama of Venetian glass tableware. Plates, carafes, goblets, ampoules, cake-stands and more are arranged to create a historic banquet of sorts: commencing in the 18th century, weaving its way through the rare examples of the 1800s and the masters of the 20th century, culminating in an object specially designed by interior designer Umberto Branchini for The Venice Glass Week. The exhibition thus presents itself as a journey into the creativity and ingenuity of Muranese glass production, highlighting the evolution of taste for the dining table's visual elements over a period of more than 300 years.

Galleria Alessandro Zoppi – Parecio


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