Beautiful Water Bones by Loris Cecchini ~ Venice

Waterbones

by Loris Cecchini

Venice Biennale 2017

at the Fondaco die Tedeschi 

During the Venice Biennale there are art installations all over Venice. You just can't see everything. You'd have to spend a month! So, sometimes you have to go off of a photo and other times you just happen upon a space that has a sign out front and pop in for a look. In this case it was the former.

I'd seen an intriguing photo advertising this site specific installation by Italian artist Loris Cecchini and curated by Hervé Mikaeloff. It was made from thousands of movable thin steel modules. "A nod to algorithms found in nature and industrial design materials." 

To me it felt like being in some kind of space age organism ... 

"The title, “Waterbones,” underlines the morphological lightness and freeness and appears as a biological metaphor: The cells open and bloom, releasing molecular components in interaction with the space, developing autonomous and self-sufficient ways."

~Loris Cecchini

The shapes and materials were reflective and beautiful! Though they were not moving, they seemed to dance through space. I wish I could have laid on the floor under them and listened to Bach. They felt somehow musical to me. 

It's funny because I read the following quote after writing the above.

"The installation is composed of eight thousand identical elements in shiny steel linked together. The structure is continually varying thanks to the element’s hookup system. The particularity stands in the geometry of each element and in the fact that they are internally empty: This creates a great lightness in the overall structure that gives me the possibility to expand and contract the form in an organic way, almost as if it were becoming a biological element. The final result is a great “dancing” form in the space that is offered in continuity with the architectural structure."

~Loris Cecchini

As modern as the space looks, the actual building opened in 1228 and is a historic building right on the Grand Canal in Venice. It was rebuilt after a fire in the 1500s in the Italian Renaissance style. It's right near the Rialto Bridge and used to be the headquarters and restricted living quarters of Venice's German merchants.

In the 20th century it was used by Venice for the "Poste Italiane" and in 2008 it was bought by the Benetton Group. Rem Koolhaas was hired to incorporate a huge shopping area inside. There were a lot of beautiful things but I was on an art mission and didn't stop to shop!

“I have devised my creative language around the ideas of the object, the model and architecture. Often the work refers in different ways to the idea of inhabiting space. Currently, I am exploring the space of sculpture and of the environmental installation according to a notion of the parcelization of material, almost a sort of molecular deflagration of sculpture, in which scientific phenomenology becomes an intimate structure and go-between for vision ..."

~Loris Cecchini

View from the roof of the Fondaco dei Tedeschi

I love how seeing various kinds of artists broaden you perspective of what art can be and also how it  impacts your immediate mood or state of mind. This experience has happened to me over and over visiting many art exhibitions. On this occasion, I did leave with a sense of lightness and a burst of positive energy that still took me by surprise!

For more of the interview with Loris Cecchini click here

More Links

Loris Cecchini (official site more works and a slide show)

Fondaco Rooftop Terrace

Duty Free Venice/Fondaco dei Tedeschi

Venice Biennale

Ciao Tutti!

Blessings and light!

Mark Bradford: Tomorrow is Another Day - 2017 Venice Biennale

I go through the arc of a relationship with every single painting that I do. 
Mark Bradford

Barren, 2017

Exterior installation of American Pavilion 

gravel, trash, paper cups, broken hoses

American Pavilion
MARK  BRADFORD
TOMORROW IS ANOTHER DAY
Venice Biennale 
2017

Ever since I'd seen an old PBS Art 21, about artist Ann Hamilton, I'd wanted to go to the Venice Biennale. She was the artist who did the 1999 American Pavilion and my parents had seen her installation that year. The artist chosen for the 2017 American Pavilion was artist Mark Bradford. 

Check out how cool his work and medium are in this video.

It was incredible. 

Mark Bradford was born November, 1961 in Los Angeles, California. I'd seen his work at the Broad Museum downtown and was very excited to see his pavilion that year!

Here he his talking about the installation and his philanthropic work in Venice.

Art is everywhere, in Venice, during the Biennale. It all began in 1895 and it was founded by the Venetian City Council. It is held in odd-numbered years.

The formal exhibiting happens at the the Giardini. It is a huge park or garden where there is an enormous exhibition hall and 30 smaller national pavilions. The 30 permanent national pavilions are owned by the participating country and managed by their ministries of culture and if you didn't end up in one of those, your country might be exhibiting at another venue somewhere around Venice. 

As I said, art is everywhere!

Spoiled Foot, 2016

The entrance room of the American Pavilion of 2017 was filled with this enormous installation piece that pushed you to the outer edges of the room to get by it. It had Mark Bradford's trademark layering and textures. It would be difficult to describe it so I'm glad I photographed it. It was a metaphor for people being "pushed to the margins" (you physically were pushed) and for "centralized social power." 

I'm kind of an insecure artist.
I hop from piece to piece. 
I always think my life depends on every painting. 
Every painting is my first painting. 
~Mark Bradford

Medusa, 2016

Acrylic, paint paper, rope, caulk ... 

Medusa, as told by Ovid, was a beautiful and powerful woman raped by Poseidon in Athena's temple. Athena was pissed and transformed her lovely locks into serpents and gave her a face that would turn men to stone looking upon her.

This piece made me sad for Medusa.

I looked her dead in the eye
And I knew her
~Mark Bradford's poem of Medusa 

Pavilion Rotunda

Oracle, 2017

Site-specific

skeins of sleached and black paper

About this piece he said it was "a site between cave and altar, between nature and culture, where oracles would deliver profound truth and predictions."

I just follow the things I'm interested in. 
That's always guided me. 
If I'm interested in something, that's where I go. 
Mark Bradford

I wish you could see the following two works in person. They represented the "beauty and fragility of nature" and they were stunning. 

The layers of color and texture were absolutely transporting. There was so much depth. I think that's why I love Rothko, as well. You feel like you can fall into the layers and let them take you on a journey somewhere else. I'm not great with talking about art in a way a historian or gallery person would talk about it, but I know what I love when I see it. And this ... I loved!

Go Tell it on the Mountain, 2016

My art practice is very detail-, labor- intensive 

and I think that that's a way of slowing myself down 

so that I can hear myself think. 

That quieter voice has sometimes 

the more interesting idea, 

if I can get to it.

~Mark Bradford

Tomorrow Is Another Day

mixed media on canvas

Below is a detail of the piece above. If I'd had a chair and endless amounts of time I could have stared at it for hours. The commercial paper used was bleached, soaked and then molded by the artist.

I've always been inspired by small details that make me wander. 
My mother would ask me, 'What are you looking at so intensely?' 
I would answer, 'Everything and nothing.' 
She really supported my wanderings, 
called me Marco Polo. 
~Mark Bradford

From Artnet.news

"...In Venice, as an adjunct to his pavilion, he has pledged to provide funding over six years for Rio Terà dei Pensieri, a local prison cooperative that teaches practical job skills to inmates. Consider it site-specific social work. For him, art is “not just what happens in the hermetically sealed studio, and it’s not what happens in the communities—it’s something in between.”

"When I say the artist is a citizen, I have interest in politics and communities, but it’s still under the umbrella of being an artist,” Bradford said at the opening ceremony for his pavilion. Over the years, he has used his clout as a market star to support numerous social causes in his hometown of Los Angeles, focusing this work through his nonprofit organization Art + Practice. He has sold artworks at auction to raise the hundreds of thousands of dollars to fund these projects." 

Here's a 60 Minutes interview about the chance meeting between Bradford and Anderson Cooper. 

I just like artist-driven projects, 
but for artists themselves: 
artist spaces, artist mentor programs, 
and artists buying buildings and making lofts. 
Doing whatever we can do. 
Because at the end of the day, 
I really think that we as a community only have each other. 
~Mark Bradford

The Biennale was so inspiring and completely varied. Each pavilion was another creative adventure to behold! I'll share more of the artists but I plan to alternate with other posts, as well. Venice, Padua, Verona, Hawaii and then ... my recent walk through Italy on the Via di Francesco. 

Blessings and light!