In Venice, since the 1980’s, the conspicuous arrival of two archetypical figures of immigration in Italy has been registered: “vu cumprà” (men selling small paraphernalia on the streets in order to get by, usually coming from Sub-Saharan Africa) and “badanti” (Care attendants, people who take care of (...)

Designed by Mario Botta, one of today’s most acclaimed architects, the new congress centre included within the perimeter of the old Querini Stampalia Palace served as a pretext for a public reflection on Venice’s destiny on the occasion of its inauguration. Since the Sixties (“Il problema di (...)

Coordinated by the regional committee, the exhibition is one of the initiatives promoted and sponsored by Regione Veneto to celebrate Palladio’s 500th Anniversary. Organized in collaboration with Marciana Library, the exhibition gives an account of Palladio’s activities in Venice by looking at (...)

Right from Zattere, in “his” Venice, Emilio Vedova watched the “burci” (typical Venetian transportation boat) leave, loaded with his twenty-year-old’s dreams. Those same “burci” he then drew, when they floated along the “Canale delle Navi”, a liquid road between the stones of Zattere and Giudecca. He (...)

“La lunga attesa dell’angelo” (the long wait of the angel) is Melania G. Mazzucco’s latest novel; it tells about the last part of Jacopo Robusti’s life, also known as great Venetian painter Tintoretto. Exitus: two frames define this crucial moment, first the fever begins and then it leads fast to (...)

A special installation curated by Philip Rylands in the permanent gallery of museum focused on the Futurist Masterpieces of the Gianni Matteoli Collection, with additional paintings, sculptures and works on paper from the Peggy Guggenheim Collection and other privat collections. Masterpieces of (...)

Shot at the beginning of the Fifties in Palazzo Pisani, a life size-picture portrays Carlo Cardazzo with his arms leaned over Marino Marini’s sculpture of a small horse. “Cavallino”, small horse in Italian, will be the real tutelary deity of most of the dealer’s undertakings in contemporary art. (...)

Collectioners, aristocratic bibliophiles and the exquisite elite of the beau-monde were enthusiast about him. They loved his inventiveness and the ability to create subtle moods and style. Afterwards it was oblivion, for a very long time. George Barbier (1882 – 1932) was an illustrator, costume (...)