[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.24.3″ background_color=”#000000″ custom_margin=”||||false|false” custom_padding=”3px||||false|false” global_colors_info=”{}”][et_pb_row admin_label=”row” _builder_version=”4.17.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”39px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/canicula.inbetweenartfilm.com\/wp-content\/uploads\/2022\/04\/finbaf-logo.png” title_text=”finbaf-logo” url=”http:\/\/inbetweenartfilm.com\/en” _builder_version=”4.17.1″ _module_preset=”default” width=”15%” width_tablet=”15%” width_phone=”40%” width_last_edited=”on|phone” max_width=”15%” max_width_tablet=”15%” max_width_phone=”100%” max_width_last_edited=”on|phone” custom_margin=”||151px||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.6″ _module_preset=”default” header_font=”Arial|700||on|||||” header_text_color=”#FFFFFF” header_font_size=”95px” custom_margin=”|0px||0px|false|true” custom_padding=”|0px||0px|false|true” header_font_size_tablet=”95px” header_font_size_phone=”45px” header_font_size_last_edited=”on|phone” locked=”off” global_colors_info=”{}”]<\/p>\n
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Canicula<\/em><\/p>\n 06.05–22.11.2026<\/p>\n An exhibition conceived and produced by Fondazione In Between Art Film with Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, Maya Watanabe<\/p>\n curated by Alessandro Rabottini and Leonardo Bigazzi<\/p>\n Scenography 2050+<\/p>\n Complesso dell’Ospedaletto Wednesday\u2013Monday, 10:00\u201318:00 (last entry at 17:15), free admission<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”index” module_id=”index” _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Introduction The Exhibition Ground Floor<\/a> One Two Three Four Five Six Seven Eight Scenography Public programme and guided tours<\/a><\/p>\n Fondazione In Between Art Film<\/a><\/p>\n Credits<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”Introduction” module_id=”Introduction” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Canicula<\/em> is the third and final chapter of the ‘Trilogy of Uncertainties,’ a series of exhibitions initiated by Fondazione In Between Art Film in 2022 at the Complesso dell’Ospedaletto in Venice. Over the course of six years, we have invited artists from various parts of the world to reflect on three different atmospheric metaphors that condition the act of seeing, out of a desire to explore the restlessness of the present day and to compose a polyphonic fresco on a time like ours, permeated as it is by uncertainty.<\/p>\n This trilogy has allowed us to manifest fully what is the Fondazione’s mission – to support artists and expand the culture of moving image – by producing a total of 24 video works commissioned from 29 international artists, and bringing their vital, probing visions to the attention of those visiting the Biennale Arte.<\/p>\n The Complesso dell’Ospedaletto and the city of Venice have provided the backdrop for this tale of light and sound, a stage set awash with shadows and reflections that has warmly welcomed and inspired us time and again.<\/p>\n The conclusion of the ‘Trilogy of Uncertainties,’ also marks a new beginning, in the hope that our commitment towards the circulation of moving images may continue to inspire artists and the public as they navigate a path through the complexities of the present moment.<\/p>\n Beatrice Bulgari next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”TheExhibition” module_id=”TheExhibition” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Canicula<\/em> brings to an end the ‘Trilogy of Uncertainties,’ a cycle of exhibitions exploring the status of moving images in contemporary art. Each chapter is inspired by a particular environmental condition in which sight is put to the test, thus completing a narrative arc that began with the ambiguous half-light of Penumbra<\/em> (2022), followed up by the disorienting fog of Nebula<\/em> (2024), before reaching the excess of light and heat that mark this year’s Canicula<\/em>.<\/p>\n The Latin term ‘canicula’ is used in certain parts of the world to denote the warmest days of summer and, for various ancient Mediterranean cultures, this period of the year signified either propitious abundance or catastrophic drought. The exhibition takes on the blinding light and torrid heat that characterise these ‘dog days’ as metaphors for our present, a historical moment saturated with extreme conditions and distortions.<\/p>\n Through eight video installations commissioned from ten international artists and produced by the Fondazione, Canicula<\/em> addresses multiple contemporary forms of overload and pressure, placing at the centre of the narrative the individual and collective responses to a cultural landscape consumed by technology, eroded by inequalities and polluted by propaganda, which seems to be moving ever-closer to a critical threshold. The works explore the psychological, political and social dimensions of an intolerable climate: scorching heat and blinding light are here interpreted not just as dangerous agents for bodies and for the environment, but also as the symbol of what is devouring social values and individual consciousnesses. Contributing to the image of imminent collapse that the exhibition summons up are the themes of information, control, war, science, consumption, the production of memory, and the administration of power and truth.<\/p>\n All of the works were conceived in close spatial and narrative relation to the surroundings of the Complesso dell’Ospedaletto and to the historical and existential implications that, for centuries, this former hospital and religious complex for the care of body and soul, has been emanating.<\/p>\n The scenography designed by the multidisciplinary 2050+ studio creates a route in which the spaces come across as isolated and protected, while the materials evoke the erosive action of mugginess and sunlight, as if in an effort to stem the destructive potential of these external agents.<\/p>\n Like Penumbra<\/em> and Nebula<\/em> before it, Canicula<\/em> questions the nature of vision, its limits and its poetic resources; the questions posed are inspired by an atmospheric condition that, once again, investigates the senses, undermining the reliability of sight and the interpretations of the real that it generates.<\/p>\n Alessandro Rabottini, artistic director, Fondazione In Between Art Film next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row disabled_on=”off|off|off” module_id=”1″ _builder_version=”4.27.6″ _module_preset=”default” width=”98%” max_width=”98%” custom_margin=”||||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/canicula.inbetweenartfilm.com\/wp-content\/uploads\/2026\/05\/canicula_map_1.png” title_text=”canicula_map_1″ show_bottom_space=”off” align=”center” disabled_on=”off|off|off” admin_label=”gfloor” module_id=”gfloor” _builder_version=”4.27.6″ _module_preset=”default” width=”100%” module_alignment=”center” custom_margin=”||||false|false” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/canicula.inbetweenartfilm.com\/wp-content\/uploads\/2026\/05\/canicula_map_2.png” title_text=”canicula_map_2″ show_bottom_space=”off” align=”center” disabled_on=”off|off|off” admin_label=”gfloor” module_id=”1floor” _builder_version=”4.27.6″ _module_preset=”default” width=”100%” module_alignment=”center” custom_margin=”||||false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”one” module_id=”one” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Janis Rafa Single-channel video installation, colour, 8.1 surround sound, 17’<\/p>\n The work explores the material and metaphorical architectures of the exploitation of both non-human and human bodies, and offers a meditation on the tension between life and death, survival and sacrifice. Set in a meat refrigeration facility, it encompasses the system of machinery and rooms used for transport, cut, package and storage, all immersed in a saturated artificial glow that heightens the uncanny atmosphere. A sequence of linked allegorical scenes, where actions settle into static or minimally choreographed tableaux, imply the violent oppression of the many by the few, whose level of awareness for their responsibilities remains ambiguous. In these spaces, trained bodies reveal themselves as contiguous with carcasses, the nourishing role of milk with depletion, and a feverish dance with slaughter, generating an overwhelmingly cumulative effect that seeks release. Visually, the work reframes a lineage that resonates with various iconographies of killing and sacrifice, but also with the visceral painterly languages of Chaïm Soutine and Francis Bacon, where flesh becomes a symbolic surface through which mortality, fragility and exposure are rendered visible, and yet the non-human body remains absent. The dense, low-frequency undercurrent of industrial noise is mixed with a disquieting lyrical chorus repeating pledges of subjugation, suggesting the convergence of love and extraction. The continuous long take gives way to a territory that reflects the structures of consciousness in which the visible and the repressed coexist. As such, fragments of bodies not only signal the industrial dismembering of lives and identities into commodities, but also mirror the psychological process of differentiation and exclusion that is required to support such an apparatus. Within this framework, sensations emerge as possible grounds for empathy across species boundaries, while the systems through which bodies are consumed, disciplined and sacrificed are rendered perceptible. The work engages with the cultural and economic institutions that sustain those structures, exposing how they are made to appear distant, normalised and ethically detached.<\/p>\n The work of Janis Rafa (1984, Greece) has been exhibited at Fondazione Merz, Salt, EMST – Museum of Contemporary Art, VOX – Centre de l’image contemporaine, M HKA, Turku Art Museum, Eye Filmmuseum, Biennale Arte 2022, Museu Tàpies, MAXXI.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”two” module_id=”two” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Yuyan Wang Single-channel video installation, colour, stereo sound, 14’ 50”<\/p>\n Composed entirely of footage found online, the work is a hypnotic and fragmented assemblage of different materials drawn from automated industrial processes, online tutorials for the repair of machines, and tech-based environments that connect and interact across platforms. It begins with a descent into an opaque, claustrophobic space packed with heavy machinery. Flashing light reveals them one fragment at a time, before dissolving back into the stream. The editing lingers on details, moving almost without orientation across surfaces, textures, residues, as if searching through a body whose structure never fully resolves. Industrial activity gradually takes centre stage: a profusion of slick, viscous compounds lubricate gears as they slide into each other, rotating and interlocking in erotically-charged, rhythmic sequences. At the end of a long tunnel, humanoid robotic figures suddenly appear. Their movements hover between learning and instinct, as their forms drift across shifting states, giving way to other mechanical bodies, toward a remote and weightless elsewhere. The soundtrack unfolds as a continuous, droning base, intermittently punctured by the first lines from DeBarge’s All This Love<\/em>, a song about the healing power of love, sung in a distorted, metallic voice. Here the lyrics surface and recede as a language of intimacy slowly settles in, becoming part of life, whether organic or mechanical. The title Boring Billion<\/em>, borrowed from Earth science (where it denotes a long interval of apparent geological stasis before the emergence of complex life), carries an ironic charge. Here, nothing is still. It is continuous emergence. No clear boundary holds, as machines are increasingly built to mirror living systems, and humans, in turn, adapt their behaviours, environments, and perceptions to mechanised logic. The work traces cycles of optimisation that spiral into overload and decay, while providing disquieting reflections on the over-saturation that drives our contemporary, algorithmically-anchored visual culture. At the same time, it points to the fragility of the technological infrastructures we rely on, exposing their inherent vulnerability.<\/p>\n The work of Yuyan Wang (1989, China) has been exhibited at Crac Alsace, Gwangju Biennale 2025, Berlin Biennale 2022, Tate, Centre Pompidou, Palais de Tokyo, UCCA, Douglas Hyde Gallery, IFFR, Doc Fortnight, CPH:DOX.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”three” module_id=”three” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Massimo D’Anolfi and Martina Parenti Three-channel video installation and live video shooting via thermal camera, colour and B\/W, Dolby Atmos sound, 68’<\/p>\n Anticipated by a corridor of blinding lights leading to a darkened space, the installation unfolds like a meditative, non-linear, cinematic encyclopaedia, and evokes the optical devices of pre-cinema. The three-channel video is composed of 24 sequences – in an homage to the 24 frames per second of pre-digital cinema – taken from the past 20 years of the film-makers’ documentary practice, which have seen them engage with different places, communities and archives. Similarly diverse are the temporalities that come together into the story, stretching back from the late 1800s to the present day. For example, footage shot in a Lakota community for their film Spira Mirabilis<\/em> (2016) sits alongside archival reels of the earliest uses of motion pictures for their Bestiaries, Herbaria, Lapidaries<\/em> (2024). This array of material is re-assembled so as to chart a metaphorical odyssey from destruction to renewal, disregard to protection. Over the course of a day, which feels as intense and emotional as a lifetime, we observe technology playing a pivotal, albeit ambiguous, role in the administration of death and life: we encounter scenes where ecosystems are violently transformed, landscapes are blown up to test weapons, and cities are carpet-bombed. These are followed by flowers in their symbiotic relationship with bees, a musician singing in a neonatal intensive care unit, and restorers working on ruined statues. With the critical-poetic approach that characterises D’Anolfi and Parenti’s experimental cinema, which is displayed here for the first time in an art context, the work also embarks on a wider reflection on the historical entanglement between technologies of vision and domination. This is reinforced by the thermal-imaging camera that captures, in real time, the viewers in the space. The work thus examines the creation, preservation and interpretation of memory in an effort to explore the impossible neutrality of the production of images and their mediation of history. It also reminds us, through the words of a sacred Lakota man in the 24th sequence of the work, that living is in itself a form of resistance against destruction.<\/p>\n The work of Massimo D’Anolfi and Martina Parenti (1974, Italy \/ 1972, Italy) has been exhibited at Berlinale, Biennale Cinema, Locarno Film Festival, Hot Docs, Montreal International Documentary Festival, IDFA, MoMA, Fondazione Prada, Centre d’Art Contemporain Genève.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”four” module_id=”four” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n P. Staff Site-specific single-channel video and light installation, colour, sound, infinite duration<\/p>\n \u201cTerminal lucidity\u201d is an expression used to describe an unexpected return of consciousness, mental clarity or memory shortly before death. Drawing from this physiological phenomenon and in dialogue with the previous function of the Complesso dell\u2019Ospedaletto as a care home, the work assembles visual, sonic and spatial elements into a single perceptual environment that extends to the adjacent monumental helicoidal staircase. The interplay of light and darkness, sounds and images is a conduit to explore perception as both medium and site, however immaterial and interior. Sequences of white silhouettes against highly saturated coloured backgrounds, chosen for their capacity to exhaust the eyes, get briefly wedged into the film\u2019s continuous darkness. When the latter reappears, so does the previous silhouette, this time only in our eyes, as an afterimage. Due to the involvement of different photoreceptors in our retinas, white forms persist more or less intact as ghostly presences but their backgrounds transform into vivid complementary hallucinations \u2013 red into cyan or yellow into violet \u2013 which do not correspond to what is on the screen. And yet, a new and inner only reality made of apparitions occurs. Here vision is transformed from passive observation into the active creation of images that pertain to dreams and fantasies. The soundtrack combines collaged sequences of varying musical compositions, from orchestral pieces, to handclaps and ambient sounds recorded in Venice, together with oneiric sections of muffled room tones and distant rings that participate in the work\u2019s dialectics of sensory exhaustion and relief. Situated between structural film and expanded cinema, this ambience was developed in collaboration with composer Lukas Frank and lighting designer Josephine Wang in response to the constant yet random algorithmic shuffling of the film\u2019s segments. The video installation suggests a liminal space between life and death, an uneasy world permeated by sensory deceptions. Here, the artist explores whether a film, let alone reality itself, can take place entirely within the space of optical illusion \u2013 in the eye of the viewer, once plunged into darkness.<\/p>\n The work of P. Staff (1987, United Kingdom) has been exhibited at Bonner Kunstverein, Serralves, Whitney Biennial 2024, Kunsthalle Basel, MOCA, Biennale Arte 2022, Institute of Contemporary Art \u2013 Shanghai, Serpentine Gallery, Chisenhale Gallery, New Museum.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”five” module_id=”five” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Lawrence Abu Hamdan Fifteen-channel video installation, colour and B\/W, stereo sound, 19’<\/p>\n During Serbia’s recent student movement, silent vigils have become an effective mode of resistance against the government. These acts of collective silence are held for 15 minutes: one minute for each person who died in the collapse of a railway station canopy in November 2024. On March 15, 2025, around 300,000 people participated in a silent vigil in Belgrade and, just as it was about to conclude, video recordings show the crowd suddenly dispersing as if fleeing from some invisible yet terrifying force. The following day, the inbox of Earshot – the audio research agency founded and directed by the artist – was flooded with requests from the victims to investigate the event. The team set to work reconstructing the “fugitive sound” at the centre of the attack: a sound whose presence was denied by Serbian and Russian authorities, undetectable to microphones, yet described with striking consistency across more than 3,000 written statements. After conducting 15 in-depth earwitness interviews, Earshot concluded that this was among the first documented uses of a sonic weapon known as an LRAD 450XL. Using this former concert room as a backdrop, the video installation stems from the experience of this emergent weaponry deployed against a peaceful civilian crowd. Across 15 screens, black-and-white intertitles display the verbal yet silent testimonies of the earwitnesses. Their recollections alternate with drone footage taken on the day capturing the run-up to the vigil, with people peacefully gathering along Kralja Milana Boulevard, and moments from the vigil itself, when thousands of flashlights were quietly held up in the darkness in memory of the victims. The only diegetic sound in the work is a one-second clip of the weapon as reconstructed by Earshot. The remainder of the audio is a score composed by James Hoff. In this way, the work follows the logic of a silent film, seeking to return the silence that the LRAD stole from the protestors. Through the fragmented yet coherent composition of this chorus of earwitnesses, the work reflects not only on a weapon designed to undermine solidarity and collectivity, but also on the power of silence as a means of resistance.<\/p>\n The work of Lawrence Abu Hamdan (1985, Jordan) has been exhibited at Munch Museum, Museum of Modern Art, Berlin Biennale 2022, Biennale Arte 2019, Sharjah Biennial 2019.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”six” module_id=”six” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Wang Tuo Double-channel video installation, colour, sound, 36’<\/p>\n Based on a novel written by the artist in 2022, the work is the first chapter of his ongoing trilogy “Critical Theory of Absence” concerning the tension between the individual experience of events and organised forms of political life. The narrative revolves around the fictional story of Qū (the Chinese word for “torso”), a disabled woman who is part of a left-wing collective of activists from China. In the aftermath of a guerrilla action in the city, the collective gathers at a safe house in an urban village where they sing, comfort one another, bandage wounds, debate, and debrief each other on ongoing actions. Suddenly, someone mentions Gōng (“limb”), a founder of the organisation who has disappeared for no apparent reason. Qū is preparing a performance piece based on the experience of her own body, and becomes increasingly interested in the legacy of Gōng, who she did not know but with whom she feels a strong connection, as if an invisible, transhistorical bond has been established between them. During studio rehearsals for the upcoming performance, Qū seeks creative inspiration through visual histories and documents relating to the representation of the body. In the organisation’s archives, she unexpectedly discovers Gōng’s old audio logs, which will prove instrumental in helping her become aware of the ideological contradictions within the organisation and in discovering the cover-up behind Gōng’s departure. Her performance, “The Experimental Paradigm of Ownership and Autonomy,” will serve as a manifesto for her intellectual awakening. The two-channel video installation is in dialogue with the past of this space, once used as the ancient hospital’s inpatient pharmacy, and with the present spatial design by 2050+ evoking an ambiguous state of demolition and construction. It combines the artist’s own video material with footage appropriated from the mass media, surveillance cameras and political propaganda. Here, the fragility of the human body becomes a metaphor for the heterogeneity of collective memory, while past, present and future are seen as being caught in a perennial cycle of control and amnesia, fabricated truths and omissions.<\/p>\n The work of Wang Tuo (1984, China) has been exhibited at K21, M+ Museum, National Museum of Modern and Contemporary Art – Seoul, Power Station of Art, OCAT, Incheon Art Platform, UCCA, Times Museum, Queens Museum, National Taiwan Museum of Fine Arts.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”seven” module_id=”seven” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Maya Watanabe Site specific single-channel video installation, colour, stereo sound, 20’<\/p>\n Over the past decades, the Arctic permafrost has lost one meter of ground each year. As it melts, it reveals bodies from the Pleistocene Epoch that appear frozen in time. Buried in ice for millennia, these remains have been prevented from decaying, sometimes with fur, skin, and internal organs intact. Jarkov is a remarkably well-preserved woolly mammoth who died 20,000 years ago. Upon discovery, he was extracted and relocated as a single, massive 23-ton block of frozen soil and surrounding sediments, with only two visible tusks protruding from it. Carved out of the permafrost in northern Siberia, a subterranean network of tunnels now holds Jarkov, where a constant temperature of –12°C stops him from thawing out. The film is shot within this underground space, where the camera moves unhurriedly, carefully panning its frozen passages together with the few visible patches of Jarkov and other mammoths’ remains, such as bones and molars, preserved there. The slow pace and macroscopic definition, however, do not ensure the legibility of the scene. Installed in a disquietingly tilted room so dark as to itself border on abstraction, the film enacts fragmented choreography of tight close-ups and environmental zoom-outs whereby images either emerge in crisp shapes or recede in a series of indistinct tactile textures – transparent and glass-like, opaque and metal-like, rugged and reef-like, hairy and weed-like. The low-frequency, almost telluric soundtrack, composed by Robin Rimbaud aka Scanner, relays this glacial, haunted space-time as if channelling ghostly presences from both the deep past and the near future, the disorienting effect heightened by the camera constantly rotating on itself. In this enigmatic atmosphere, caught between visibility and uncertainty, exposure and concealment, preservation and decomposition, bodies transform into landscapes, landscapes into bodies, and differences in scale between biological and geological life are blurred. Ultimately, the video installation creates an embodied experience of a space and a time that predate and exceed the human lifespan, situating the viewer before a scenario that resists cognitive grasp.<\/p>\n The work of Maya Watanabe (1983, Peru) has been exhibited at De Pont Museum, MAXXI, Sharjah Art Foundation, Palais de Tokyo, Kyoto Art Center, Fridericianum, Matadero, Mori Art Museum, MASP, videobrasil, Havana Biennial 2019.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”eight” module_id=”eight” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n Roman Khimei and Yarema Malashchuk Multi-channel video installation, colour, sound, variable duration<\/p>\n Set in a fictional future when Russia\u2019s current war against Ukraine is already over, the video installation unfolds as a sequence of four tableaux where elderly Russian soldiers variously regret, cover up or ignore their roles and responsibilities. Sometimes they engage with an invisible audience, other times with themselves, but also with the artists\u2019 voices who interview them off-camera. The soldiers\u2019 parts are performed by Ukrainian actors whose careers were built on playing characters from Russian literature and drama in the theatres of Soviet Ukraine. In this ambiguous mise-en-sc\u00e8ne, speech and silence follow shifting configurations, from forms of justification in which responsibility appears diffused and absorbed into the logic of a system, to moments where language falters or drifts into incoherence, where speech moves toward confession without reaching resolution, all the way to states suspended in the proximity of death, between unconsciousness and lucidity, which resist comprehension. The memory of the Complesso dell\u2019Ospedaletto as a former hospital and, later, a care home operates as a structuring presence for the work, the temporality of which folds into the accumulated histories of care and decline. The scale and intimacy of these scenes are enhanced by the dramatic spatial design of the walls and ceilings conceived by 2050+, which modifies the proportions of the rooms. Visually, the scenes draw on the religious iconography and painterly aesthetics of Italian and Northern Renaissance devotional panels \u2013 influences evident in the framing of bodies, the modulation of light and colour, and the construction of the image itself. The work approaches victimhood as a position defined by a demand for acknowledgment that remains unfulfilled, just as the end of violence and aggression feels like an ever-shifting horizon. Drifting between staging and testimony, propaganda and truth, collective history and personal memory, what emerges from this unreliable storytelling is a suspended field where the possibility of future repair remains uncertain and deferred, and the only certainty seems to be the banality of evil in the present.<\/p>\n The work of Roman Khimei and Yarema Malashchuk (1992, Ukraine; 1993, Ukraine) has been exhibited at TBA21, Kunstverein Hannover, Ljubljana Biennale of Graphic Arts, PinchukArtCentre\/Palazzo Contarini Polignac, Kunsthaus Hamburg, Hamburger Bahnhof, Albertinum, Haus der Kunst, Castello di Rivoli.<\/p>\n Additional credits next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”setdesign” module_id=”setdesign” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n As with Penumbra<\/em> and Nebula<\/em>, the exhibition design for Canicula<\/em>, conceived by 2050+, unfolds as part of the curatorial script rather than being a backdrop. Canicula<\/em> is the third chapter in an ongoing exploration into the design of moving images-based exhibitions as embodied experiences. Within this framework, the scenography operates as an extension of the films, translating their moods and rhythms into spatial form in dialogue with the artists and the architecture of the venue. The show unfolds as a material, climatic, and mental condition – a state of saturation and suspension generated by relentless heat and light: floors rise, ceilings descend, surfaces blister or soften as if fatigued by exposure. Artificial light punctuates the path, shifting from flare to near-darkness while dense hues of orange suggest a metaphorical heat permeating the spaces from outside. The exhibition design creates a sense of entropy, precarity, and vulnerability, reflecting instability as a breaking point between escape and withdrawal. Heat becomes a spatial presence, turning the exhibition into a site of tension between exposure and protection, inertia and intensity, where perception is blurred and matter breaks loose. The spaces respond to these conditions, activated through incision, wrapping, and distortion. Architectural proportions shift, while technical systems are exposed and repurposed as agents of the exhibition design, generating a space both being formed and on the verge of collapse.<\/p>\n 2050+ next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”publicprogram” module_id=”publicprogram” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.6″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n PUBLIC PROGRAMME<\/p>\n Canicula<\/em> will be accompanied by a cross-disciplinary public program curated by Bianca Stoppani, curator for the editorial and discursive programmes at the Fondazione, and organised in collaboration with Palazzo Grassi, Pinault Collection Venezia at the Teatrino di Palazzo Grassi on October 26\u201327, 2026. The public program will involve the artists featured in the exhibition and expand the conversations around their practices, via panels, screenings and performative contributions.<\/p>\n On this occasion, the Fondazione has also activated a number of educational partnerships with Italian universities, including the Department of the Arts, Alma Mater Studiorum, Universit\u00e0 di Bologna; the Department of Philosophy and Cultural Heritage, Universit\u00e0 Ca\u2019 Foscari Venezia; and the School for Curatorial Studies Venice, with the aim of offering formative experiences tailored to students from art history, film, curating, photography, and scenography schools.<\/p>\n For more information, visit www.inbetweenartfilm.com<\/a><\/p>\n GUIDED TOURS<\/p>\n The Foundation offers free guided tours of Canicula<\/em>. Every second and fourth Saturday of the month, at 10:00 and 16:00, the exhibition can be visited under the guidance of Oltreforma, a Venice-based collective operating in the field of art education. Dedicated to creating cultural experiences that are open, shared and accessible to all, Oltreforma explores the exhibition\u2019s themes by crossing boundaries between disciplines and looking in depth at the work of the artists. These sessions introduce visitors to the language of moving images and contemporary art through a lens that is both accessible and critically stimulating. The maximum capacity is 12 people. For reservations, write to: tour@inbetweenartfilm.com<\/a><\/p>\n next<\/a> | back to index<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”fondazione” module_id=”fondazione” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n The cultural programme of Fondazione In Between Art Film is focused on the role of contemporary moving images and on providing support to international artists, institutions, and research centres exploring the dialogue between different disciplines. The Fondazione investigates the boundaries of time-based media – film, video, performance and installation – by commissioning and producing new works, organising exhibitions and public programs, collaborating with international institutions, and producing editorial projects. The Fondazione drives forward and expands the work of the production company In Between Art Film, which from 2012 to 2019 supported video and film productions by international artists and directors.<\/p>\n Fondazione In Between Art Film next<\/a> | back to index<\/a>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=”credits” module_id=”credits” _builder_version=”4.17.0″ _module_preset=”default” custom_margin=”150px||150px||true|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.17.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.24.3″ _module_preset=”default” text_font=”Peso||||||||” text_text_color=”#ffffff” text_font_size=”20px” text_line_height=”1.1em” link_font=”||||on||||” link_text_color=”#FFFFFF” link_font_size=”20px” header_font=”Roboto||||||||” header_text_color=”#FFFFFF” header_3_font=”|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”25px” header_3_line_height=”2em” header_4_font=”Peso||||||||” header_4_text_color=”#bcbcbc” header_4_font_size=”20px” header_4_line_height=”1.1em” global_colors_info=”{}”]<\/p>\n CANICULA<\/p>\n 06.05–22.11 2026 An exhibition conceived and produced by with<\/p>\n Lawrence Abu Hamdan curated by Project manager Texts and public programme curated by Assistant curators Exhibition office Scenography Exhibition set-up Design Technology Display Lighting Graphic Lab Organisational office Education Legal advisor Fiscal advisor Institutional relationships with Soprintendenza and Comune di Venezia Press relations and communications Visual story-telling Thanks to EXHIBITION GUIDE Copy-editing and translations by All works commissioned and produced by Fondazione In Between Art Film Additional credits<\/p>\n Janis Rafa, Baby I’m Yours, Forever<\/em>, 2026. Co-produced by Onassis Culture and Heretic. Additional support from Mondriaan Fund. Courtesy Callirrhoë<\/p>\n Yuyan Wang, Boring Billion<\/em>, 2026. Co-produced by The Vega Foundation<\/p>\n Massimo D’Anolfi and Martina Parenti, 24 Landscapes + A Vision<\/em>, 2026. With special thanks to the archive of Eye Filmmuseum<\/p>\n P. Staff, Terminal Lucidity<\/em>, 2026. Co-produced by EMMA – Espoo Museum of Modern Art with the support of The Saastamoinen Foundation. Courtesy Commonwealth and Council, Galerie Sultana<\/p>\n Lawrence Abu Hamdan, 450XL: The Story of a Fugitive Sound<\/em>, 2026. Courtesy Maureen Paley, mor charpentier, Sfeir-Semler<\/p>\n Wang Tuo, The Experimental Paradigm of Ownership and Autonomy<\/em>, 2026. Co-produced by The Soil Collection and Blindspot Gallery. Courtesy Blindspot Gallery<\/p>\n Maya Watanabe, Jarkov<\/em>, 2026. Co-produced by Mori Art Museum. Additional support from Mondriaan Fund. Courtesy Livia Benavides Galería, tegenboschvanvreden<\/p>\n Roman Khimei and Yarema Malashchuk, Wishful Thinking<\/em>, 2026. Courtesy Galerie Poggi<\/p>\n PUBLIC PROGRAMME Educational partners Media partner
Barbaria de le Tole, 6691 Venezia<\/p>\nINDEX OF CONTENTS<\/h1>\n
Beatrice Bulgari<\/a><\/p>\n
Alessandro Rabottini, Leonardo Bigazzi<\/a><\/p>\n
First Floor<\/a><\/p>\n
Baby I’m Yours, Forever<\/i>, Janis Rafa<\/a><\/p>\n
Boring Billion<\/i>, Yuyan Wang<\/a><\/p>\n
24 Landscapes + A Vision<\/i>, Massimo D’Anolfi and Martina Parenti<\/a><\/p>\n
Terminal Lucidity<\/i>, P. Staff<\/a><\/p>\n
450XL: The Story of a Fugitive Sound<\/i>, Lawrence Abu Hamdan<\/a><\/p>\n
The Experimental Paradigm of Ownership and Autonomy<\/i>, Wang Tuo<\/a><\/p>\n
Jarkov<\/i>, Maya Watanabe<\/a><\/p>\n
Wishful Thinking<\/i>, Roman Khimei and Yarema Malashchuk<\/a><\/p>\n
2050+<\/a><\/p>\nIntroduction<\/h3>\n
President
Fondazione In Between Art Film<\/p>\nThe Exhibition<\/h3>\n
Leonardo Bigazzi, curator, Fondazione In Between Art Film<\/p>\nONE<\/h3>\n
Baby I’m Yours, Forever<\/em> (2026)<\/p>\n
Co-produced by Onassis Culture and Heretic. Additional support from Mondriaan Fund. Courtesy Callirrhoë<\/p>\nTWO<\/h3>\n
Boring Billion<\/em> (2026)<\/p>\n
Co-produced by The Vega Foundation<\/p>\nTHREE<\/h3>\n
24 Landscapes + A Vision<\/em> (2026)<\/p>\n
With special thanks to the archive of Eye Filmmuseum<\/p>\nFOUR<\/h3>\n
Terminal Lucidity<\/em> (2026)<\/p>\n
Co-produced by EMMA \u2013 Espoo Museum of Modern Art with the support of The Saastamoinen Foundation. Courtesy Commonwealth and Council, Galerie Sultana<\/p>\nFIVE<\/h3>\n
450XL: The Story of a Fugitive Sound<\/em> (2026)<\/p>\n
Courtesy Maureen Paley, mor charpentier, Sfeir-Semler<\/p>\nSIX<\/h3>\n
The Experimental Paradigm of Ownership and Autonomy<\/em> (2026)<\/p>\n
Co-produced by The Soil Collection and Blindspot Gallery. Courtesy Blindspot Gallery<\/p>\nSEVEN<\/h3>\n
Jarkov<\/em> (2026)<\/p>\n
Co-produced by Mori Art Museum. Additional support from Mondriaan Fund. Courtesy Livia Benavides Galería, tegenboschvanvreden<\/p>\nEIGHT<\/h3>\n
Wishful Thinking<\/em> (2026)<\/p>\n
Courtesy Galerie Poggi<\/p>\nScenography<\/h3>\n
Sara Barbini, Matteo Bozzi, Francesca Lantieri, Ippolito Pestellini Laparelli, Sofia Tapia Buchelli<\/p>\nPublic Programme and Guided Tours
<\/h3>\nFondazione In Between Art Film<\/h3>\n
President: Beatrice Bulgari
Artistic director: Alessandro Rabottini
Curators: Leonardo Bigazzi, Paola Ugolini
Project Manager: Alessia Carlino
Curator for the editorial and discursive programmes: Bianca Stoppani
Administrative office: Simona Iandoli
Collection manager: Chiara Nicolini<\/p>\nCredits<\/h3>\n
Complesso dell’Ospedaletto<\/p>\n
Fondazione In Between Art Film<\/p>\n
Massimo D’Anolfi and Martina Parenti
Roman Khimei and Yarema Malashchuk
Janis Rafa
P. Staff
Wang Tuo
Yuyan Wang
Maya Watanabe<\/p>\n
Alessandro Rabottini
Leonardo Bigazzi<\/p>\n
Alessia Carlino<\/p>\n
Bianca Stoppani<\/p>\n
Anna Castelli
Giovanni Giacomo Paolin
Livia Polacco<\/p>\n
Chiara Nicolini<\/p>\n
2050+
Sara Barbini, Matteo Bozzi, Francesca Lantieri, Ippolito Pestellini Laparelli, Sofia Tapia Buchelli<\/p>\n
Altofragile
Lapo Gavioli, Valentina Goretti, Giulia Mainetti, Francesco Rovaldi<\/p>\n
Lorenzo Mason Studio
Michele Bellinaso, Lorenzo Mason, Simone Spinazzè<\/p>\n
Giochi di Luce<\/p>\n
Definizioni<\/p>\n
Afs<\/p>\n
Colorzenith, Graphic Report<\/p>\n
Venews C563 Arts – Massimo Bran, Paola Marchetti
Ospedaletto Con\/temporaneo – Mariachiara Marzari
Fondazione In Between Art Film – Martina Di Bernardino, Simona Iandoli<\/p>\n
Oltreforma<\/p>\n
Angela Saltarelli<\/p>\n
Benigni&K<\/p>\n
Anfibio – arch. Piero Vespignani<\/p>\n
Lara Facco P&C – Lara Facco, Andrea Gardenghi, Giulia Maggi, Marianita Santarossa
Sam Talbot – Matthew Brown, Flora Guildford, Sam Talbot<\/p>\n
Giacomo Bianco<\/p>\n
arch. Don Gianmatteo Caputo, Delegato Patriarcale per i Beni Culturali e l’Edilizia di Culto, Curia Patriarcale di Venezia
I.P.A.V.
Luigi Polesel, President of I.P.A.V.
Laura De Rossi
Fondazione Venezia Servizi alla Persona
Claudio Beltrame, President of Fondazione Venezia Servizi alla Persona
Jessica Morosini, Director
Laura Marcomin, Edoardo Rizzi, Elisa Torri<\/p>\n
Synopses
Anna Castelli
Bianca Stoppani<\/p>\n
Traduzioni Liquide – Gordon Fisher
Claudia Cazzaniga<\/p>\n
All works courtesy of the artist, and Fondazione In Between Art Film<\/p>\n
Public programme organised in collaboration with
Palazzo Grassi, Pinault Collection Venezia
at the Teatrino di Palazzo Grassi
26–27.10.2026
curated by Bianca Stoppani
Coordination: Chiara Nicolini, Giovanni Giacomo Paolin<\/p>\n
Department of the Arts, Alma Mater Studiorum, Università di Bologna
Department of Philosophy and Cultural Heritage, Università Ca’ Foscari, Venice
School for Curatorial Studies, Venice<\/p>\n
Mousse<\/p>\n