Thursday, April 28, 2022

Collateral Event - Biennale Arte 2022 - Palazzo Vendramin Grimani - Bosco Sodi - What Goes Around Comes Around - Party Photos

  Collateral Event - La Biennale di Venezia - Biennale Arte 2022
 Fondazione dell' Albero d'Oro - Palazzo Vendramin Grimani 
Bosco Sodi - What Goes Around Comes Around 
Party Photos
In the recently restored Palazzo Vendramin Grimani on the Canal Grande the Fondazione dell'Albero d'Oro presented a new project - curated by Daniela Ferretti and Dakin Hart - entitled - Bosco Sodi at Palazzo Vendramin Grimani - What Goes Around Comes Around - until November 27.   Mexican artist Bosco Sodi created the paintings and sculptures during a period of residency on site in the palazzo in Venice this Spring.
“controlled chaos.
something that is completely unrepeatable.”

Bosco Sodi - 1970 - is celebrated internationally for his use of raw, natural materials in large-scale textured paintings and sculpture that brim with emotive power. The essential simplicity of his materials and the vivid pigments he sources from around the globe are the focus of his process-based exploration of the creative gesture. Sodi has described his creative process as a “controlled chaos” that makes “something that is completely unrepeatable.” 
Bosco Sodi

The ground floor of the palazzo was transformed into Bosco Sodi's  studio during his residency this spring.  There, the artist realized some works for the exhibition, drawing on Venice’s unique history as a dynamic hub for cultural and commercial exchanges between Europe, Asia, and the rest of the world.
The Ground Floor 
"‘revenge’ of all that is raw, unprocessed." 
In the installation for Palazzo Vendramin Grimani, visitors can witness an abrupt reversal of that ancient flow of trade between Europe and the Americas. The opulent interiors of merchant houses like Palazzo Vendramin Grimani preserve the memory of what was, historically, a one-way flow of materials. Sodi’s temporary occupation of the palazzo’s walls and floors with works closely linked to the material instinct that produces them lead to a sort of ‘revenge’ of all that is raw, unprocessed
Daniela Ferretti


On the piano nobile, the rough, intensely coloured surfaces that are typical of Bosco Sodi form a contrast with the monumental spaces of the drawing room and the side rooms, with the colours of their plasterwork and tapestries, with the textures of the Venetian terrazzo floors, with the reflections of mirrors clouded by time, with the ceilings decorated with neoclassical frescoes, thick wooden beams or eighteenth-century stuccoes, and with the shimmering light streaming through the windows overlooking the Canal Grande.
The Piano Nobile 
Gilles Etrillard and Beatrice de Reynies
copyright and photograph - Manfredi Bellati


The careful selection and use of precious pigments is one of the characteristics of Sodi’s art: some of them have a rich historical background. 


Before the invention of synthetic pigments, the colour obtained from cochineal was the international standard for red. The luxurious red fabrics that dot Titian’s canvases are, quite literally, appropriations from the Americas. Cochineal, which is still produced in Oaxaca - Mexico - has recently seen an increase in demand, thanks to the growing demand for natural pigments.
The Piano Nobile

Mattia Berto and Roberto Piffer


In addition, in parallel with the installation of the works made on site, Sodi  placed 195 small clay spheres on the floor of the exhibition spaces, moulded from the soil of Oaxaca and baked there in an improvised oven on the beach. The figure corresponds to the current number of nation-states on Earth. Each visitor is invited to move one of the miniature globes during their visit. In this way the installation will change a little every day and the different locations of the globes will be periodically photographed in order to document the evolution of the work. At the end of the exhibition, residents of the city of Venice who visit the space will be able to take a sphere with them, thus completing a new, though still largely enigmatic, circuit of exchange.

Bosco Sodi, Roberto Cicutto and Daniela Ferretti
Axel Vervoordt
Ketty, Margherita and Isabella Alvera
Olga Spanio di Spilimbergo and Giovanna Carrer
Antonio Riello, Patricia Schmeilder and Shay Frisch
Marco Loredan and Pierre Higonnet

 Fondazione dell' Albero d'Oro - Palazzo Vendramin Grimani 
Bosco Sodi - What Goes Around Comes Around   
Maria Grazia Rosin, Giovanni Rubin de Cervin Albrizzi
Sigrid de Montrond
Marco Arosio

Florian Trampler and Greg Trautmann
Bosco, Mariana and Alvero Sodi
copyright - photograph - Andrea Avezzu - courtesy - Fondazione dell'Albero d'Oro

Bosco Sodi on site at Palazzo Vendramin Grimani 
Related Post

Palazzo Vendramin Grimani - Fondazione dell’Albero d’Oro







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Wednesday, April 27, 2022

La Biennale di Venezia - Biennale Arte 2022 - Golden Lions - Lifetime Achievement Awards - Katharina Fritsch + Cecilia Vicuna

Golden Lions 
Lifetime Achievement Awards - Biennale Arte 2022 
Katharina Fritsch + Cecilia Vicuna
Upon recommendation of the curator, Cecilia Alemani of the 59 International Art Exhibition of La Biennale di Venezia - entitled - The Milk of Dreams - until November 27 - the German artist Katharina Fritsch and the Chilean artist Cecilia Vicuna are the recipients of the Golden Lions for Lifetime Achievement.
Katharina Fritsch - Elefant - Elephant - 1987 
"I feel very honoured and thankful about this prize."
 Katharina Fritsch
1956 - Essen Germany - Lives - Wuppertal + Dusseldorf - Germany
“The first time I saw one of Katharina Fritsch’s works in person was actually in Venice, at the first Biennale I ever attended, the 1999 edition curated by Harald Szeemann. The massive piece filling the main room at the Central Pavilion was titled Rattenkonig, the Rat King, a disquieting sculpture in which a group of giant rodents is crouched in a circle with their tails knotted together, like some strange magic ritual. Every time I’ve encountered one of Fritsch’s sculptures in the years since, I’ve felt the same sense of awe and dizzying attraction. Fritsch’s contribution to the field of contemporary art, especially sculpture, has been incomparable. She creates figurative works that are both hyperrealistic and fanciful: copies of objects, animals, and people, faithfully rendered in every detail, but transformed into uncanny apparitions. Fritsch often alters the scale of her subjects, shrinking them down or vastly enlarging them, and coating them in disorienting solid colours: it feels like one is looking at monuments from an alien civilisation, or artefacts on display in a strange posthuman museum.” writes Cecilia Alemani.


We are Breaking our ship sinking Venice and other lands.
Fraga, is the root of 'fragile' and 'failure':
our failure to care for earth. 
Nau Fraga journeys to the memory of the lagoon,
its grasses and the stories held by the cords twined by its first peoples.
May the rustle of its twigs move our hearts
to care for Her, our Earth ship.
Cecilia Vicuna 
Curator Cecilia Alemani writes: Cecilia Vicuna is an artist and a poet, and has devoted years of invaluable effort to preserving the work of many Latin American writers, translating and editing anthologies of poetry that might otherwise have been lost. Vicuna is also an activist who has long fought for the rights of Indigenous peoples in Chile and the rest of Latin America. In the visual arts, her work has ranged from painting, to performance, all the way to complex assemblages. Her artistic language is built around a deep fascination with indigenous traditions and non-Western epistemologies. For decades, Vicuna has travelled her own path, doggedly, humbly, and meticulously, anticipating many recent ecological and feminist debates and envisioning new personal and collective mythologies. Many of her installations are made with found objects or scrap materials, woven into delicate compositions where microscopic and monumental seem to find a fragile equilibrium: a precarious art that is both intimate and powerful. 
Cecilia Vicuna - NAUfraga - site-specific - installation 2022 
a work dedicated to the Venice Lagoon
 Nau Fraga, from navis - ship + frangere - to break

She Illuminates what is.
The eye is zero sex and emptiness
are the hole in the wheel that spins the world.
One could think that it is the "eye of instinct" 
that open when we allow ourselves to be carried
away by a form of knowledge that is richer 
and deeper than rationality.  It could be that 
the eyes are hidden in the hair, waiting "to see."
Cecilia Vicuna - Bogota - 1977
 Cecilia Vicuna - Leoparda de Ojitos - 1976
"It is a great honor and a joy for me to receive the Golden Lion Award - at a time when humanity is trying to keep peace and justice against all odds. I believe our art and consciousness can play a role in the urgent need to move away from violence and destruction, to save our environment from impeding collapse. Venice is particularly meaningful to me. Some of my paternal ancestors came to Chile from Northern Italy in the 19th century, so I learned to love its history and art as a child. My grandparents would be honored to know of the Award. My maternal line is indigenous, so I am very proud to be part of the Biennale Arte curated by Cecilia Alemani, that highlights “artists imagining a posthuman condition challenging the presumed Western condition using the white man as a measure of all things.“  I am joined by an extraordinary set of artists sharing in the spirit of “The Milk of Dreams” we badly need to find a new way of being in this Earth.​"
Cecilia Vicuna
1948 - Santiago - Chile - Lives - New york City - USA 
I dreamt I had to eat evil doers, digest them,
and defecate them for my shit to fertilize
the land, so a new civilization can be born.
Cecilia Vicuna
Cecilia Vicuna - The Comegente - The People Eater - 2019
after the lost original of 1971



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