Em­ma La­vigne /

Di­rec­tor of Centre Pom­pi­dou-Metz and Cu­ra­tor of the French Pa­vi­lion

L'officiel Art - - Venise Seen By... -

I was ten. I spent a me­mo­rable day there with my Ita­lian fa­mi­ly. I as­so­ciate Ve­nice with su­per­na­tu­ral light, the kind of ef­fect per­va­ding The Last Sup­per by Tin­to­ret­to, pain­ted in 1592, which you can see in the San Giorgio Mag­giore church. The lamp above the Apostles illu­mi­na­ting the room is sus­pen­ded as if in le­vi­ta­tion. An emo­tion which I al­so felt in front of Jo­seph Ko­suth's words in yel­low neon lights, The Lan­guage of Equi­li­brium, on the walls of the mo­nas­te­ry on the is­land of San Laz­za­ro de­gli Ar­me­ni for the 2007 Bien­nale, and in front of the gol­den shafts of shim­me­ring light of the Ttéia by Ly­gia Pape for the 2009 edi­tion, di­rec­ted by Da­niel Birn­baum. The Gar­den of Di­sor­der Ok­wui En­we­zor's am­bi­tious and ra­di­cal­ly dif­ferent project, the high­light of which will be The Gar­den of Di­sor­der. It re­vi­sits the tra­di­tio­nal ve­nue of the Giar­di­ni – foun­ded by Na­po­leon – and the va­rious na­tio­nal pa­vi­lions to be found there, in an at­tempt to reap­praise the cur­rent geo­po­li­ti­cal cli­mate.

The Da­nish Pa­vi­lion Danh Vo's project for the Da­nish pa­vi­lion, which echoes Slip of the Tongue – the ex­hi­bi­tion he is cu­ra­ting for the Pi­nault Col­lec­tion at the Pun­ta della Do­ga­na. This pro­mises to be a subtle blend of works by ar­tists such as Nai­ry Bagh­ra­mian, Nan­cy Spero, Pe­trit Ha­li­laj, Pe­ter Hu­jar, Fe­lix Gon­za­lez-Torres, Ali­na Sza­pocz­ni­kow, wi­thout eclip­sing his own work, so tin­ted with his own his­to­ry.

“Rê­vo­lu­tions” by Cé­leste Bour­sier-Mou­ge­not It's the out­come of an ex­pe­ri­men­tal si­tua­tion. To use the words of John Cage “it's an ac­tion the out­come of which is not fo­re­seen”. He makes use of the French pa­vi­lion which evokes the 'fol­lies' to be found in the Ro­man­tic parks of the 18th cen­tu­ry. It be­comes the scene of an ap­pa­ri­tion and turns in­to an ex­pe­ri­men­tal eco­sys­tem re­sul­ting in a state of na­ture ne­ver seen be­fore. Un­der the high glass roof and along the tree-li­ned paths Bour­sier-Mou­ge­not creates a ma­gi­cal cho­reo­gra­phy for three trees which move slow­ly ac­cor­ding to their me­ta­bo­lism, the va­ria­tions of the flow of their sap, or their reac­tion when pas­sing from shade in­to light. These chi­me­ras, half­way bet­ween na­ture and ma­chine, are the fruit of an ani­mist vi­sion of the trees, which turns them in­to 'transHumUs', gif­ted with a will of their own and sud­den­ly brea­king free from their roots. The chal­lenge for the ar­tist is to take hold of the sys­tems control­ling li­ving beings and their mo­ve­ments so as to com­pose a poe­tic work in which a sen­si­tive hu­man being can es­cape in­to areas of free­dom and un­con­ven­tio­nal beau­ty. The Zat­tere A stroll on the Zat­tere along the Giu­dec­ca ca­nal is what makes me feel at home in Ve­nice. I love to feel the sea breeze with the mu­sic of the Ve­ne­tian com­po­ser Lui­gi No­no in my ears. His Frag­mente-Stille, an Dio­ti­ma fits in so well with the si­lence, the at­mos­phere and the light shim­me­ring on the la­goon. You can eat on the ter­race of Trat­to­ria Al­ta­nel­la, one of No­no's fa­vou­rite haunts.

Trat­to­ria Al­ta­nel­la Giu­dec­ca, 268 Tel 041-522 7780

Ve­ne­tian Gar­dens The gar­den of the Peg­gy Gug­gen­heim mu­seum in the Pa­laz­zo Ve­nier dei Leo­ni – so-cal­led be­cause a lion was sup­po­sed­ly ca­ged up there; the Giar­di­ni where the air is filled with the fra­grance of lime-blos­som and jas­mine; the gar­den in the Pa­laz­zo Sa­ran­zo Cap­pel­lo – where there used to be an open-air theatre; the most mo­ving is Al­ma Mal­her's gar­den, just a stone's th­row from the Church of the Fra­ri. I love ex­plo­ring this oa­sis of gree­ne­ry with its ma­gno­lia and olive trees which she des­cri­bed as 'a true pa­ra­dise'. The gar­den is ad­ja­cent to the house she “crea­ted from no­thing” and where she lived with Os­kar Ko­ko­sch­ka, then with her last hus­band Franz Wer­fel. Now it's a sty­lish B&B.

Oltre il Giar­di­no San Po­lo 2542 Fon­da­men­ta Con­ta­ri­ni Tel 041-275 0015 ol­treil­giar­di­no-ve­ne­zia.com La Scuo­la de­gli Schia­von­ni Vit­tore Car­pac­cio's work re­mains so in­cre­di­bly po­wer­ful, es­pe­cial­ly the cycle of pain­tings com­mis­sio­ned in 1502 and hou­sed in the Scuo­la de­gli Schia­von­ni. The Vi­sion of Saint Au­gus­tine is a mas­ter­piece. Car­pac­cio de­picts the stu­dio of a true hu­ma­nist with a pas­sion for rea­ding, as­tro­no­my, sculp­ture and mu­sic. I like to stop, lin­ger and contem­plate it. It seems so fresh and contem­po­ra­ry al­though it was pain­ted more than 5 cen­tu­ries ago.

Scuo­la di San Giorgio de­gli Schia­vo­ni Cas­tel­lo

Newspapers in French

Newspapers from France

© PressReader. All rights reserved.