1111Biennale 2017: the Venice Pavillion presents Luxus, art between jewels, glass and craftamanship
"A story that wants to excite emotions in visitors and be the representation of Venetian creative power." With this intent, Stefano Zecchi, professor of aesthetics, revisited the tradition of the Venice Pavilion at the Gardens of the Biennale. Designed in 1932 by Brenno del Giudice to accommodate those that were once improperly defined as minor arts, has now become a luxury temple: Luxus is in fact the title chosen for this space that opens to contemporary art where young artists make are depositary of Venetian companies's excellence.
A manifestation of motivated pride, shared by Venice Mayor Luigi Brugnaro. Glass and jewels had, at one time, the exclusive and are present on this occasion. Glasses: those of the young Abate Zanetti school beside historical names such as Barovier & Toso while the field, with Crystalexe, also extends to architecture. Saffron glass and pottery glasses to taste the exclusive Venissa white wine. The jewels: a top piece such as Nardi's Moretto or the romantic ones of Roberto Coin, along with Zaramella's silver.
Luxury has many declinations in a city like Venice, open from centuries to oriental contamination. They are the damsels of Rubelli or Bevilacqua or the valuable vitreous stones of Orsoni. The laces of Jesurum or the eighteenth-century ceramics Cozzi, reinvented by Antonio Tognana. Not to mention the famous Venetian wedges, immortalized by Carpaccio, which now become real sculptures thanks to René Caovilla. And in the homeland of Aldo Manuzio the refined editions of Antiga could not be missing. The ancient silk road is scented with the essence of "The Merchant of Venice". Nothing is overlooked, beginning with the pavement laid by Itlas in beech wood, from the Old Wood of the Remo of the Serenissima.
Finally, art tout court: the master of analogue photography Maurizio Galimberti, Cesare Cicardini's videos and the installation "L'art de vivre" by Marco Nereo Rutelli. The honor of the brand, the reworking of an ancient Byzantine capital, belongs to the youngest "Tajapera" class, 1992, which remained in business, heir to a long family tradition.