1 1 1 1 The Boat is Leaking, The Captain Lied at the Prada Foundation The most revolutionary exhibition under way in Venice is the result of the synergy of three differently creative people: the artist Thomas Demand, the set and costume designer Anna Viebrock and the director and writer Alexander Kluge, captained – never as in this case does the nautical metaphor work – by Udo Kittelmann, director of the Nationalgalerie of Berlin and curator of The boat is leaking. The captain lied. There is a fifth element on the list of agents that make this exhibition so special, the extraordinary setting of Palazzo Corner della Regina, the Venetian premises of the Fondazione Prada, which, never like on this occasion, interacts with the artificial environments created by the three, in a play of illusions and visual short circuits. The project is a group contribution in which different expressive media – cinema, installation, photography, set design – converge to transform the eighteenth-century interiors into a kind of place of thought, materialisation of the emotional precariousness of existence. The exhibition takes its cue from an error, or rather a misunderstanding. Thomas Demand was struck by Giorni ultimi!, the extraordinary masterpiece by Angelo Morbelli (1853-1919), and sent his associates a postcard of the painting convinced that it described the alienation of some retired seamen. The painting is actually part of a series of pictures that the Divisionist formula for keeping together this complex exhibition operation. The boat is leaking. The captain lied. is a title that, through the metaphor of emergency, literally stages metaphysical interiors, artificial exteriors, shorts with wrong-footing dialogues in a disorienting continuum. The three artists, of different backgrounds, expressive methods and generations, knew one another but had never had the chance to work together and in such a symbiotic way in the construction of a visual and emotional tumult. A horizon of tragedy that cites an equally inspiring mas - ter of the genre, William Shakespeare, who in Julius Caesar writes ‘Why, now, blow wind, swell billow and swim bark! The storm is up, and all is on the hazard’. That same sense of disorientation the visitor may feel among the illusory spaces of an exhibition whose installations are all one with the palazzo, and that nevertheless is the right interpreta - tion for the exhibition itself, its correct perception, because there is no set pathway, in the exhibition as in life. Retourner à l’historique Infos
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