Venice’s crowded corridors will be teeming more than ever as design and art-hungry crowds descend on the lagoon city for the biggest event on its cultural calendar. The 58th Venice Biennale (11 May – 24 November) is well underway, with Ralph Rugoff taking the curatorial reins of central exhibition ‘May You Live In Interesting Times’ at the Arsenale and Giardini. There’s plenty of action spilling over into Venice’s labyrinthine waterways, from inventive installations and soaring sculptures, to monastic manuscripts and a design collection inspired by the city’s high tide. Here’s the Wallpaper* pick of the must-see national pavilions and exhibitions...
48 War Movies (still), 2019, by Christian Marclay, a single-channel video installation displayed at the Arsenale. As its title suggests, the work comprises 48 simultaneously-playing films about war layered on top of each other, so that only their outer edges are visible. © The artist. Courtesy of White Cube and Paula Cooper Gallery
All work, 2019, by Danh Vō, mixed media, installation view at the Arsenale. The Vietnamese-born Danish artist’s eclectic coterie of collaborators for his Biennale project includes his boyfriend, nephew, father, and former professor. Photography: Andrea Avezzù. Courtesy of La Biennale di Venezia
The New Life, 2018, by Anthea Hamilton, installation view at the Arsenale. Photography: Andrea Avezzù. Courtesy of La Biennale di Venezia
From left, White Dickinson THE CAREER OF FLOWERS DIFFERS FROM OURS ONLY IN INAUDIBLENESS, 2006, by Roni Horn; “Untitled” (Blood), 1992, and “Untitled” (7 Days of Bloodworks), 1991, both by Felix Gonzalez Torres, installation view at Punta della Dogana. © Palazzo Grassi. Photography: Delfino Sisto Legnani e Marco Cappelletti. Courtesy of the artists, Hauser & Wirth, and Pinault Collection
Preview performance of Melissa McGill’s Red Regatta on 11 May in front of the Associazone Vela al Terzo on the North Lagoon at Fondamente Nove. The New York-based artist has commandeered a fleet of traditional vela al terzo sailboats (and willing participants) for an unprecedented series of large-scale choreographed regattas. ‘Against the contrasting sky and sea, the reds reference the forces of life and passion, of alarm and urgency, and Venice itself,’ explains the artist, ‘from its bricks and terra cotta rooftops, to its flag and history of trade in red pigment, to paintings by Titian, Tintoretto, and other Venetian masters.’ Unfolding throughout the Biennale, additional performances will take place on 30 June, 1 September and 15 September. Photography: Matteo De Fina
Betty Boop, 2019, by Joana Vasconcelos, stainless steel pans and lids, concrete, installation view at San Clemente Palace Kempinski. The Portuguese artist is stepping out in Venice with an exhibition of new and recent works spread across the Palace Kempinski gardens on the Isola di San Clemente
I’ll Be Your Mirror #1, 2018, by Joana Vasconcelos, bronze, mirrors. Viewers are invited to look through the Gulliver-like mask, from the inside or the outside, without ever losing sight of one’s own image. Photography: Luis Vasconcelos. © Unidade Infinita Projectos
‘Our Time for a Future Caring’ at the India Pavilion forms part of the country’s ongoing celebration of 150 years since the birth of Mahatma Gandhi. Several intergenerational artists delve into his philosophies here, including 19th and 20th-century artist Nandalal Bose, a pioneer of modern Indian art; Rummana Hussain, the late Sahmant Collective participant; and multi-disciplinary artist Jitish Kallat. All of the artists either reflect on key moments in Gandhi’s life or provide conceptual investigations into his beliefs, extending to broader notions of agency, action and freedom.
German artist Georg Baselitz is the first living artist to exhibit at the Gallerie dell’Accademia outside of its pre-18th century collection. Curated by Kosme de Barañano, ‘Baselitz – Academy’ puts the artist’s work in dialogue with the Italian art historical tradition and the institution’s legacy. Seven rooms are dedicated to Baselitz, encompassing his Pontormo-inspired drawings, ‘upside-down’ portraits and large-scale nudes, some of which have been brought together for the first time. ‘Baselitz has often visited Italy and has kept a studio in the country for quite some time,’ states de Barañano, ‘and the exhibition will reflect how Italy has impacted his work over the years.’
It’d be wise to keep your wits about you in the Italian Pavilion, with plenty of Biennale visitors vexed by the maze-like scenography. The pavilion’s title, ‘Neither Nor: The Challenge to the Labyrinth’, was inspired Italo Calvino’s 1962 essay for Il menabò magazine. He wrote the article in an attempt to help his readers cope with the increasingly modern world, offering them an important instrument with which to draw a sort of Ariadne’s thread that might lead to a way out, or to the entrance of another maze of paths. Photography: Delfino Sisto Legnani and Marco Cappelletti. Courtesy of DGAAP-MiBAC
Curated by Milovan Farronato and supported by Gucci, the Italian Pavilion includes works by artists Enrico David, Chiara Fumai and Liliana Moro. Photography: Delfino Sisto Legnani and Marco Cappelletti. Courtesy of DGAAP-MiBAC
Lithuania’s Brechtian beach opera won the coveted Golden Lion for best national pavilion at this year’s Venice Biennale. Conceived by artists artists Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelytė and specially adapted for the Venice Biennale, Sun & Sea (Marina) will be the first version of this piece in English, presented as a durational performance (the original version was produced by Neon Realism). The installation sees the Marinare Militare complex near the Arsenale transformed into a tableau vivant, complete with operatic sunbathers on the artificially lit beach warbling songs about pressing ecological issues. Photography: Andrej Vasilenko
‘I want to reach eternity with my images,’ says artist Brigitte Niedermair, who is putting fashion in focus for her Venice retrospective at the Museum of Palazzo Mocenigo. The exhibition ‘Brigitte Niedermair: Me and Fashion 1996-2018’ showcases more than 30 images and still lifes dedicated to fashion, which interplay with the majestic 17th and 18th century decoration of the museum’s first floor rooms. Read more here.
Ghana’s much-anticipated pavilion – its first at the Venice Biennale – features a stellar line-up of the country’s art stars, including El Anatsui, Ibrahim Mahama, Felicia Abban, Lynette Yiadom-Boakye, John Akomfrah, and Selasi Awusi Sosu. David Adjaye loaned his architectural expertise, creating a series of elliptically-shaped interconnected spaces plastered with locally-sourced soil from Ghana. The pavilion, which can be found in the Artiglierie of the historic Arsenale, recognises the country’s history, independence and global presence today. Read more here. Pictured, A Straight Line Through the Carcass of History 1649, 2016–19, by Ibrahim Mahama. Courtesy of the artist and White Cube. Photography: David Levene
The US State Department was uncharacteristically late in announcing its artist for the Venice Biennale, leading to speculation that something Trumpian may well be afoot. Nevertheless, sculptor Martin Puryear this week unveiled his exhibition ‘Liberty/Libertà’ for the US Pavilion, a continuation of his career-long meditation on liberty and its complexities in society today. Left, A Column for Sally Hemings, 2019, and Cloister-Redoubt or Cloistered Doubt?, 2019, by Martin Puryear. Photography: Joshua White – JWPictures.com
Big Phrygian, 2010-14, by Martin Puryear, installation view at the US Pavilion. Photography: Joshua White – JWPictures.com
Irish artist Eva Rothschild is thinking big for her nation’s pavilion in the Arsenale’s Artiglierie. Curated by Mary Cremin, The Shrinking Universe comprises four monumental works that continues Rothschild’s ongoing investigation into sculptural presence. In Drift (2019), a wall of cast concrete blocks rendered in the artist’s characteristic geometric forms hold court with Spektor (2019), a cast bronze of towering head-like forms presiding over the pavilion. Elsewhere, visitors are invited to get hands on with Amphi (2019), a graffitied series of cast polystyrene blocks they may climb and sit on. Read more here. Photography: Robert Glowacki
The first international retrospective of artist Yun Hyong-keun since his death in 2007 has opened within the grand confines of Palazzo Fortuny, presented in tandem by Korea’s National Museum of Modern and Contemporary (MMCA) and Civic Museums of Venice (MUVE). Yun was central to the dansaekhwa movement: a monochromatic style of painting that emerged in his native Korea during the 1960s and 70s.
Curated by the MMCA’s Kim Inhye, the survey puts over 60 works from his career into startling new perspective. Yun’s dark and deeply stirring paintings echo the many traumas he endured in life, from the Korean War and Japanese colonial rule, to a near-death encounter at the hands of a firing squad.
Fondazione Prada is paying tribute to the late artist Jannis Kounellis, who died in 2017, at its Venetian outpost in the historic 18th-century palazzo of Ca’ Corner della Regina. The major retrospective, has curated by Germano Celant and developed in collaboration with Archivio Kounellis, traces his practice from 1959 onwards. Pictured from left, Senza titolo, 1962-63; Senza titolo, 1968; and Senza titolo, 1966. Photography: Agostino Osio - Alto Piano. Courtesy of Fondazione Prada
The artist’s early works (pictured), originally presented in the early 1960s, explore urban language. Kounellis would reproduce text and signs from streets in Rome, later transferring black letters, arrows and numbers onto white canvases and other surfaces. From left, Senza titolo, 1965; Senza titolo, 1967; and Senza titolo, 1960; and Senza titolo, 1964. Photography: Agostino Osio - Alto Piano. Courtesy of Fondazione Prada
Kounellis was partial to the medium of gold, here used in an installation that serves as a self-portrait of the artist. Pictured, Untitled (Tragedia civile), 1975 goldleaf-coated wall, coat rack, coat, hat, lamp. Photography: Agostino Osio - Alto Piano. Courtesy of Fondazione Prada
In ‘Elsewhen’ at Espace Louis Vuitton Venezia, French artist Philippe Parreno presents an immersive installation where past memories come together in ‘a disruptive temporality’. A grand luminous marquee with shifting louvres causes light to appear and disappear, its movements controlled by a unique digital programme based on Parreno’s interest in the activity of living microorganisms. The disorientating effect is only further enhanced by a phosphorescent yellow wallpaper, adorned with black irises. Photography: Andrea Rossetti
Carpenters Workshop has brought 14 of its designers including Nacho Carbonell and Mathieu Lehanneur to Galleria Giorgio Franchetti alla Ca’ d’Oro, a palazzo with a big presence on the Grand Canal. All the new works were created in response to either Venice or the decorative space itself. Pictured, ‘Alaska Alaska’, by Virgil Abloh. Read more here and here.
Edmund de Waal unveiled his ‘most significant sculpture to date’: a pavilion housing 2,000 books by exiled writers that forms one half of two exhibitions the artist and author is presenting in the Jewish Ghetto’s Ateneo Veneto. Meanwhile, at the Canton Scuola – a 16th-century synagogue in the Ghetto Nuovo – de Waal has installed ten new works around its storied spaces, paying homage to the area’s literary and musical heritage through porcelain, marble and gold. Read more here.
Phi, an arts and culture organisation based in Montreal, is exploring the intersection of art and technology through the lens of two female artists, Marina Abramović and Renata Morales. The latter is displaying a sprawing multimedia installation at Ca’Rezzonico Gallery (next to the Ca’Rezzonico Museum). Spanning two of its galleries with ceramic sculptures of female figures, chimeric beasts and more, Invasor (pictured) is set against a backdrop of found objects and debris transported from from José Noé Suro’s ceramics studio, Cerámica Suro in Guadalajara, Mexico where Morales has been fabricating her works.
The Mexican artist’s dystopian installation of 70 used tyres painted in glossy candy hues and vast self-portraits printed on distressed textiles seeks to challenge visitors’ perceptions of texture, touch and beauty. Pictured, Invasor, 2019, by Renata Morales, installation view at Ca’ Rezzonico Gallery
Also presented by Phi, Marina Abramović’s virtual reality work Rising invites viewers to make contact with her digital avatar before unfolding a dramatic glacial scene where they will be confronted headfirst with the realities of climate change. Pictured, still from Rising, 2017, by Marina Abramović. Courtesy of Acute Art
Swiss-Icelandic provocateur Christoph Büchl’s Venice project Barca Nostra is making waves at the Arsenale. Seen here at the NATO base in Melilli, Sicily, this fishing vessel – intended to accommodate a crew of 15 – was carrying hundreds of migrants when it collided with Portuguese freighter in the Mediterranean on 18 April 2015. Only 28 on board survived, with upwards of 700 people presumed missing. The boat was recovered by the Italian government at enourmous expense, now finding its way to Venice – an apt destination, in the ‘city believed to have been founded by fleeing refugees’. Photography: © BARCA NOSTRA
Joan Jonas, too, was preoccupied with climate concerns. The American performance artist inaugurated the revitalised San Lorenzo church with a multimedia installation, a culmination of three years of research in aquariums worldwide and a residency with Alligator Head Foundation off the coast of Jamaica. Following its closure for over a century, the church has become the permanent home for the newly minted Ocean Space, an interdisciplinary arts centre with a focus on marine conservation spearheaded by TBA21-Academy. Read more here.
Commissioned by Scotland + Venice, Charlotte Prodger’s new work (pictured, still from SaF05, 2019) at the Arsenale Docks builds upon the artist’s continuing exploration of ‘queer wilderness’. It is the last in a trilogy of videos that began with Stoneymollan Trail (2015) followed by BRIDGIT (2016), for which she was awarded the 2018 Turner Prize.
Not one to shy away from colour, Icelandic artist Hrafnhildur Arnardóttir (also known as Shoplifter) has transformed a Giudecca warehouse into an immersive kaleidoscopic cave using her signature material: synthetic hair. Photography: Ugo Carmeni. © The artist
Arnardóttir’s Chromo Sapiens comprises three distinct sections: Primal Opus, a dark passage of volcanic earth tones; Astral Gloria (pictured), a chromatic cathedral of sorts; and the palette-cleansing Opium Natura, which tempers the installation’s wild palette with shimmering whites and soothing pastels. Photography: Ugo Carmeni. © The artist
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Punta della Dogana
View Google Maps‘Luogo e Segni’ brings together over 100 works by 36 artists in an evocative survey presented by the Pinault Collection, and curated by Mouna Mekouar and Martin Bethenod, director of Punta della Dogana. The exhibition takes its name from the painting Luogo e Segni by Carol Rama (included in the show), an artist who was overlooked in her time. Highlights include Alessandro Piangiamore’s serene paintings, and Roni Horn’s metal and cast-glass vessels (pictured), both of which resonate with the lagoon city outside.
Until 15 December; Punta della Donna, Dorsoduro, 2 -
French Pavilion
View Google MapsIt’s been just over a decade since a female artist (the great Sophie Calle in 2007) was chosen to represent France solo at the Venice Biennale – not that gender has had any bearing on the remarkable trajectory of Turner Prize winner Laure Prouvost’s career. A fictional film tracing a ‘joyous saga’ between Paris and Venice forms the cornerstone of her French Pavilion project, Deep See Blue Surrounding You/Vois Ce Bleu Profond Te Fondre, which was developed under the watchful eye of curator Martha Kirszenbaum.
11 May – 24 November; Giardini della Biennale, Calle Giazzo -
Narine Arakelian: The Pharos Flower
View Google MapsVisitors to the Palazzo Contarini del Bovolo will see its famed 15th-century spiral staircase in a whole new light. Armenian artist Narine Arakelian is reimagining the historic venue as a multi-hued lighthouse for the headline act of her nation’s pavilion, creating a striking installation that will be visible across the Venetian skyline. The exhibition continues inside the palazzo with the artist’s Murano glass works and coloured fabrics. Arakelian is set to bare all for a performance piece, shedding pieces of her costume until nothing is left.
11 May – 24 November; Palazzo Contarini del Bovolo, Corte Contarina, del Bovolo 4303 -
Njideka Akunyili Crosby: The Beautyful Ones
View Google MapsLos Angeles-based artist Njideka Akunyili Crosby is taking a nostalgic trip at Victoria Miro Venice, with a solo exhibition of recent portraits of Nigerian youth that includes members of her own family. Having lived in Nigeria until the age of 16, the artist is uniquely positioned to explore the complexities of a modern diasporic experience. Her densely layered figurative compositions are worth a closer look, revealing photographic images from sources including Nigerian politics and pop culture that have been applied using a labour-intensive acetone transfer technique. Pictured, detail of The Beautyful Ones, Series #7, 2018.
8 May – 14 July; Victoria Miro Venice, Il Capricorno, San Marco 1994 -
Politics of Dialogue: The Merry-Go-Round
View Google MapsLebanese artist Nadim Karam is debuting a large-scale kinetic sculpture on the waterfront in the Marinaressa Gardens – part of the group exhibition ‘Personal Structures’, hosted by the European Cultural Centre. A group of elongated gold-painted figures rendered in megaphone-like forms will engage in an ultimately futile discussion, literally going round and round in circles. Karam’s installation reflects on the political impasses dominating the global discourse, such as Brexit, explaining that ‘democracies are losing themselves in dialogue’.
11 May – 24 November; Giardini Marinaressa, Riva dei Sette Martiri -
Irish Pavilion
View Google MapsIrish sculptor Eva Rothschild is thinking big for her nation’s pavilion with The Shrinking Universe, an immersive environment that invites visitors to be both viewer and participant. The ‘sculpturally excessive’ experience will address environmental and political concerns, reflecting the current global climate of uncertainty. London studio A Practice for Everyday Life has been tasked with creating the pavilion’s identity, including the requisite tote bag. Pictured, Border, 2018. Read more in Wallpaper’s June 2019 issue, on newsstands from 9 May.
11 May – 24 November; Arsenale, Campiello Tana 2169 -
Georg Baselitz: Baselitz – Academy
View Google MapsA major retrospective of Georg Baselitz at Gallerie dell’Accademia marks the first time a living artist will exhibit at the centuries-old Venice institution. Curated by Kosme de Barañano, the survey pulls into focus the relationship between the artist’s oeuvre and Italian art history, recalling a particularly pivotal moment early in his career when he became preoccupied with Renaissance art during a residency in Florence. Seven rooms are dedicated to Baselitz’s paintings, drawings, prints, and sculptures and divided into themed sections, including his ‘upside-down’ portraits and large-scale nudes. Pictured, detail of Großer Kopf (Large Head), 1966.
8 May – 8 September; Gallerie dell’Accademia, Campo della Carita 1050 -
Ghana Pavilion
View Google MapsThe western African nation is stepping into the international spotlight with its first-ever pavilion at the Venice Biennale, designed by none other than one of its most celebrated exports: architect Sir David Adjaye. Each artist will exhibit in elliptically-shaped interconnected spaces, which will be plastered with locally-sourced earth from classical structures in Ghana. Located in the Artiglierie of the historic Arsenale, the Ghanian pavilion will feature large-scale installations by El Anatsui and Ibrahim Mahama; representation and portraiture by photographer Felicia Abban and painter Lynette Yiadom-Boakye; a three-channel film projection by John Akomfrah; and a video sculpture by Selasi Awusi Sosu. Pictured, Non Orientable Paradise Lost, 1667, 2017, by Ibrahim Mahama.
11 May – 24 November; Arsenale, Campiello Tana 2169 -
Brigitte Niedermair: Me and Fashion
View Google MapsArtist and stalwart Wallpaper* contributor Brigitte Niedermair is taking up residence in the former private apartments of Venice’s storied Mocenigo family, where 30 images spanning two decades of her career will be in dialogue with the venue’s 17th and 18th-century architecture. Curated by Charlotte Cotton and under the scientific direction of Gabriella Belli, ‘Me and Fashion’ will reflect on themes of identity, gender and art history. Niedermair, who works with a 4x5 large-format camera, most recently turned her lens on Albrech Dürer-inspired pleats and drapes for our March 2019 issue.
9 May – 24 November; Museo di Palazzo Mocenigo, San Croce 1992 -
Glasstress
View Google MapsA former glass furnace on the island of Murano is setting the scene for the sixth edition of Adriano Bengo’s collateral event Glasstress. Vik Muniz will step into the curator’s seat for one part of the show, calling on artists like Ai Weiwei, Tony Cragg and Xavier Veilhan to explore ‘how glass redefines our perception of space’. In a second section, curated by Belgian artist Koen Vanmechelen, highlights from the past ten years will also go on display. A special new project by Robert Wilson will additionally feature as part of the glass art exhibition.
9 May – 24 November; Fondazione Berengo, Campiello Della Pescheria, Murano -
Ocean Space
View Google MapsA multimedia installation by Joan Jonas inaugurates a new ‘embassy for the oceans’ in the a revitalised 9th-century Venetian church largely closed to the public for more than a century. Curated by Stefanie Hessler, the American artist’s Moving Off the Land II – bringing together drawings, sculpture, video and sound works – is the culmination of three years of research in aquariums worldwide and a residency off the coast of Jamaica. The interdisciplinary arts centre Ocean Space was initiated by the eco-minded TBA21-Academy, which seeks to foster a greater understanding of our oceans through the lens of art.
Until 29 September; Church of San Lorenzo, Castello 5069, Campo San Lorenzo -
Sean Scully: Human
View Google MapsVenice is certainly not short of exquisite churches, though the Andrea Palladio-designed San Giorgio Maggiore arguably trumps most. Painter and printmaker Sean Scully will transform every inch of the 16th-century High Renaissance church with new paintings and drawings, alongside his first Madonna and Child, and tallest sculpture to date, and a vellum tome of watercolour works inspired by historic examples from library of the Benedictine monks who run the abbey. The garden’s and adjoining buildings will house everything from painted triptychs and ‘soulscapes’ to a room devoted to the soft syllables of Scully’s pastels on paper. Pictured, Wall 3, 2017. Read more about Scully’s exhibition ‘Human’ here.
11 May – 13 October; Church of San Giorgio Maggiore -
Scotland + Venice
View Google MapsFresh off her Turner Prize win, Glasgow-based artist Charlotte Prodger will debut a new single-channel video that expands on her continuing exploration of ‘queer wilderness’. The artist, who was raised in rural Aberdeenshire, explains ‘the productive crux’ of her new video work is the inherent link between landscape and queerness. Commissioned by Scotland + Venice – a partnership between Creative Scotland, British Council Scotland and the National Galleries of Scotland – the exhibition will be held at a former shipyard in Capello, adjacent to the official Venice Biennale venues.
11 May – 24 November; Arsenale Docks, San Pietro di Castello 40 -
Giudecca Art District
View Google MapsTouted as Venice’s answer to London’s Shoreditch, the island of Giudecca is host to forward-thinking galleries, artisans’ studios and ateliers, art-led restaurants and hip hotels. Giudecca will assume the mantle of the city’s first official permanent art quarter, launching during the vernissage in May. The newly christened Giudecca Art District encompasses 11 art galleries (in addition to the national pavilions of Iceland, Estonia and Nigeria during the 58th Venice Biennale), with over 60 artists due to take part in 20 inaugurating exhibitions. Read more about Giudecca Art District here.
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Luc Tuymans: La Pelle
View Google MapsStep off a vaporetto and it won’t take you long to spot Luc Tuymans’ first intervention at Palazzo Grassi: a vast mosaic installation (his first) in the atrium, based on a painting the artist made in 1986, which in turn was inspired by the sketches of Holocaust survivor Alfred Kantor. A sombre reflection on history’s darkest chapters, the Belgian artist’s retrospective spans more than 80 paintings from 1986 to present day, covering everything from fascism to folly. Read our exhibition review of ‘La Pelle’ here.
Until 6 January 2020; Palazzo Grassi, Campo San Samuele 3231 -
Edmund de Waal: psalm
View Google MapsBritish ceramicist and author Edmund de Waal will be the first contemporary artist to create a major work for the 500-year-old Venetica Ghetto, where he will present a two-part exhibition based on the Psalms – ‘the poetry of exile’. Over at Scuola Canton (a historic synagogue in the Ghetto Nuovo), new installations of porcelain, marble and gold will pay homage to the area’s rich literary and musical heritage. Elsewhere, de Waal is erecting a porcelain-covered pavilion (pictured) within the Aula Magna room of the 15th-century Ateneo Veneto that will house some 2,000 books by exiled writers, from Ovid to the present day.
8 May – 29 September; Scuola Canton, Calle Orto 1191, and Ateneo Veneto, Campo San Fantin 1897, Venetian Ghetto -
Carpenters Workshop Gallery
View Google MapsWhen does design become art? That’s the far-reaching question posed by Carpenters Workshop Gallery in ‘DYSFUNCTIONAL’ – an immersive exhibition of collectible design at Galleria Giorgio Franchetti alla Ca’ d’Oro, presented in partnership with Lombard Odier. The 15th-century palazzo and its noteworthy collection of Italian masters will form a dialogue with site-specific works by the likes of Studio Drift, Maarten Baas, Nacho Carbonell, Rick Owens and Michèle Lamy, Mathieu Lehanneur, Random International and more. Virgil Abloh marks his return to Venice with his first-ever functional sculpture collection, inspired by the lagoon city and its acqua alta (‘high tide’). Pictured, work in progress at Frederik Molenschot’s studio.
8 May – 24 November; Galleria Giorgio Franchetti alla Ca’ d’Oro, Calle Ca’ d’Oro 3934