Blinded by the Light Art of Venice: Other Exhibitions

Besides the official Venice Biennale pavilions, there are loads of other high and low rank exhibitions to see as well. It's nice to see the old and middle aged masters, but it's even more fun to stumble upon exhibitions of talented young artists, unable to advertise with larger than life ads along the canal. The latter did not include that much of light art this year, so not many mentions here, but take my word!

Dysfunctional in Ca d'Oro was a quite interesting hybrid of art and design. Light was present in many forms, mostly as lanterns and reflections. The interactive mirrors of Audience by Random International followed the visitor, who all of a sudden found herself to be pretty much in the center of everything. In addition to that, most beautiful reflections when Sun is shining. The oil-like colourful reflections of the venetian windows on the surface of the glass bubbles, called Moments of Happiness, by Verhoeven twins, are just perfect excuse to post photos of the said, quite cliché, windows. Because it's art, you know.

Visiting palazzo Fortuny is one of my musts in Venice. Not only for the usually interesting exhibitions there, but also for Mario Fortuny. When discussing mr. Fortuny with two friends of mine, I first mentioned that he was a big shot in the history of lighting design, then a couture interested friend added that he also invented bias-cut and the third friend asked if he was the same guy who designed the pattern of their couch pillows. Well, yes he was. Quite a multi talent man.

One of the most famous of his inventions (at least among the three people in the world interested in the history of lighting design) is the dome theatre with almost a realistic sky, pictured above. Also, the downstairs gate to canal usually is involved with some kind of lightish art. Now on display there was Fuori Tempo, a simple colour field work with gels by Francesco Candeloro.

Reagents in Complesso Ospedaletto displays some neon art by Arthur Duff. There's always room for one more work with neon letters, but the staircase of Ospedaletto really makes the visit worth while.

According to my social media flow, Yannis Kounellis seemed to be one of the hits of this year. I have to say I quite liked the exhibition, but more from an art history perspective than my own personal liking. The insta friendly golden wall was quite impressive, but the flame series was more of interest for me. First I though the propane tanks were purely conceptual, but then the guards announced that they were to be set ablaze in a moment and I felt so privileged to see that. Such a joy to see thematic, not just decorative use of light.

The Personal Structures series of exhibitions in palazzos Bembo and Mora and outside in Giardini della Marinaressa was probably my favourite. Loads of different techniques and styles, even more rooms to endlessly follow each other and some works interesting also light wise. For example Footprints, the light tube work by Wild Flag Studios animates the tubes according to current immigration data. Already the second example of political light art here. 

I think Daniel Pesta's Top Secret Chain also quite falls into this category, with its shady bunch of important men alighting their hands and stomping the fire out in turns, quite ritually. Kouji Ohno's Quantum Fluctuation was pretty interesting, but then I read the info plate and the work was spoiled by way, way too much and too detailed information. You just don't start with science lecture, add all kinds of philosophies, throw in some human existence and end up by describing what can be plainly seen. You just don't.

In Punta della dogana's Luogo e Segni exhibition, light was present in more conceptual forms. The dead-yellow greenhouse lights of Mesk-ellil by Hicham Berrada emphasised the artificial effect of light rather than its beauty while Roni Horn's huge, visually intriguing glass objects of Well and Truly changed elementally according to the position of Sun. Yes, I waited quite long a time to be sure. Then there was the chandelier We Are In Yucatan And Every Unpredicted Thing by Cerith Wyn Evans, a big name in light art. I enjoy a low hanging, abundant, Murano-style chandelier as much as the next guy, but the artistic idea of this piece escaped me. Maybe it's because I've seen approximately gazillion flickering bulbs before, with or without a chandelier. 

See also:
Blinded by the Light Art of Venice: Biennale area
Blinded by the Light Art of Venice: Other National Pavilions