“Into the Labyrinth” Venetian architectures at Fondazione Querini Stampalia

Inspired by novelist Jorge Luis Borges’s statement that the maze, “is a building built to confuse people,” De Cal has created an interior environment of metal armatures, audio recordings and photography. Designed by Melissa Siben, the exhibit is a modern 3-dimensional representation of the labyrinthic structure of the city of Venice.

 

"Into the Labyrinth" at Fondazione Querini Stampalia © Riccardo De Cal

“Into the Labyrinth” at Fondazione Querini Stampalia © Riccardo De Cal

 

Riccardo De Cal presents his  exhibit  “Into the Labyrinth”  from June  17- August 21, 2016 at Fondazione Querini Stampalia in Venice, Italy. The exhibit will include 20  photographs,  the  majority  selected  from  De  Cal’s  new  publication, Dream  of Venice Architecture. Inspired by novelist Jorge Luis Borges’s statement that the maze, “is  a building built to confuse people,” De Cal has created an interior environment of metal armatures, audio recordings and photography. Designed by Melissa Siben, the exhibit is a modern 3-dimensional representation of the labyrinthic structure of the city of Venice. (more…)

“Giulio Romano’s I Modi and the ‘Modi’ of Carlo Scarpa and Álvaro Siza” at Fondazione Querini Stampalia

The body’s relationship with architecture and the complex phenomenon of corporality have always played an important role in the history of European culture. The exhibition, curated by Francesco Dal Co, director of Casabella and BigMat International Architecture Award member of the jury, aims to investigate this aspect of architecture: the link between the depiction of the body and eroticism.

 

Carlo Scarpa, La nuova Sfinge, Collezione privata © Fondazione Querini Stampalia

Carlo Scarpa, La nuova Sfinge, Collezione privata © Fondazione Querini Stampalia

 

The direct reference is to the classical tradition and Vitruvius, the ancient Roman architect and inventor of this juxtaposition which has enjoyed such success in the history of art. In De Architectura he compares the human body to a construction, and from this comparison he makes a series of affirmations which over time have facilitated the understanding of terms such as proportion, symmetry and harmony.


 

Practical information

“Giulio Romano’s I Modi and the ‘Modi’ of Carlo Scarpa and Álvaro Siza”
 March 11– May 15,  2016
Fondazione Querini Stampalia
Santa Maria Formosa
Castello 5252, Venice
Italy

 


Inspired by Vitruvian thought, many great architects, particularly those more gifted in the art of drawing, have experienced the moment in which the pleasure of depicting the human anatomy takes on an erotic value. A drawing, the first appearance of the process which attributes a form to the substance, can indicate the establishment of a sensual relationship between the architect’s hand, the graphic support and the tools used. (more…)

Landscapes of air: a conversation between Yona Friedman, Luigi Ghirri and Jean-Baptiste Decavèle

Querini Stampalia Foundation in Venice invite the Friedman/Decavèle duo to readress the Vigne Museum from Ghirri’s perspective: “a frame that allows to find the museum works among buildings and squares, glimpses of towns and countryside, identifying them in the folds of history”.

 

Paesaggi d'aria (2015), photo: Luigi Ghirri © Fondazione Querini Stampalia

Cittanova di Modena. Paesaggi d’aria (2015), photo: Luigi Ghirri © Fondazione Querini Stampalia

 

The Querini Stampalia Foundation in Venice has recently inaugurated the exhibition “Paesaggi d’aria“, both a conversation and photography display between Luigi Ghirri, the famous Italian photgrapher, Yona Friedman, architect and critic, and Jean-Baptiste Decavèle, French artist and photographer.

Both Friedman and Decavèle had previously worked together on many occasions, and the interaction between photographer Luigi Ghirri and the Friedman/Decavèle duo occurs in a common context of many art studies after the Second World War: the need is to demolish a perception of works and places structured by means of frames, showcases, pedestals and architectures, and to subvert the distinction between the object and its containers, the building and the environment. (more…)