A fai­ry­ta­le ci­ty

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Two mas­si­ve hands, 9 me­tres hi­gh, ri­se from the Grand Canal and sup­port the Ca' Sa­gre­do Ho­tel. The­se are the weeks when Venice, mo­re than any other ti­me of the year, re­sem­bles so­me­thing out of a fai­ry­ta­le. Ti­tled ‘Sup­port', this mo­nu­men­tal sculp­tu­re by re­no­w­ned ar­ti­st Lo­ren­zo Quinn was built for the 2017 Venice Art Bien­na­le. The ar­ti­st's aim is to fo­cus on the ima­ge of hands as a means of ei­ther sup­port or de­struc­tion. His art­work con­veys a de­si­re to sup­port this Ve­ne­tian buil­ding, whi­le si­mul­ta­neou­sly sup­por­ting Venice and the world; all of whi­ch are su­b­jec­ted to po­wer­ful cli­ma­te chan­ges and the de­struc­tion wrought by man­kind. The ar­ti­st ba­sed the hands on tho­se of his son An­tho­ny, and, by doing so, Lo­ren­zo's aim was to con­vey a mes­sa­ge of ho­pe. For him the hands re­pre­sent an ap­peal to fu­tu­re ge­ne­ra­tions to re­spond to the need to ma­ke si­gni­fi­cant chan­ges in the world. This work was warm­ly re­cei­ved by Ve­ne­tians and tou­rists ali­ke and al­so, as no­ted by Lo­ren­zo Quinn du­ring its inau­gu­ra­tion, by the La­goon's gon­do­liers, who are no­to­riou­sly cri­ti­cal about any form of in­no­va­tion in the ci­ty. The be­st way to ad­mi­re this sculp­tu­re is from a boat on the Grand Canal or on the op­po­si­te bank, in the Rial­to mar­ket area. (R.B.)

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