European Cultural Centre

At the heart of the , Alf Setzer, John Petschinger, and Vanesa Wallet Hardi invite viewers on a journey of contemplation and self-exploration✨ Through their works, they each explore the boundaries between the material and the metaphysical, inviting us to reflect on existence, perception, and inner emotions. Although their methods and mediums differ, they share a commitment to pushing the viewer beyond the surface, into a realm where the visible and invisible converge.

Wallet Hardi’s installation “Colourcode” brings the personal to the forefront, translating her inner world into a harmonious dialogue of colours and textures. Her small paintings come together to form a symbolic colour code, representing the transference of her physical and spiritual energy into the material realm. Through simplicity and reduction, she captures powerful experiences of reality, while her exploration of borders and edges hints at the constant cycle of destruction and creation.
setzer's “Cube and Sphere” embodies the tension between the infinite and the earthly. His sculpture, a delicate interplay of cube and sphere, light and glass, symbolises the eternal versus the finite. Setzer invites us into a reflective space where the material world and transcendence collide.
petschinger delves into the mystery of colour with his “Color Panels”, exploring the endless possibilities that arise from a simple combination of primary colours. His works evoke deep emotional responses, revealing how each colour can stir feelings unique to each viewer. Petschinger’s panels are not merely visual experiences but meditations on the creative process, urging viewers to explore their emotional connections with colour and form.

Forwart Gallery’s “A Material Symphony for a Changing World”, now on display at Palazzo Mora, delves into the intricate connection between humanity and the environment✨
Based in Antwerp, Forwart Gallery is renowned for presenting contemporary mixed-media art, with each artist bringing their own distinctive techniques to shape the gallery's diverse and dynamic exhibitions.
Set against the awe-inspiring yet vulnerable backdrop of Venice, the exhibition mirrors the city's blend of beauty and fragility. Forwart Gallery’s proposal centres on the delicate state of nature and the vital role we all play in its preservation. Using a wide array of materials, the exhibition invites viewers to contemplate our interdependence with the environment while encouraging urgent action in the face of climate change.
The featured artists use their chosen mediums to weave a narrative around the vulnerability and resilience of our world. Whether through recycled materials, hyper-realistic glass sculptures, or finely crafted ceramics, each artist offers a unique perspective on the relationship between art and nature. Every piece stands as a testament to the exquisite beauty of our evolving ecosystem, emphasising the collective responsibility we share to safeguard it.

This thoughtful fusion of artistic craftsmanship and environmental awareness is brought to life by five outstanding artists: Guy Leclef, Dylan Martinez, Jeanne Opgenhaffen, Corine van Voorbergen, and Nicko.

In “A Material Symphony for a Changing World”, Forwart Gallery issues a compelling call to pause, reflect, and engage with the profound connection between art and the natural world.

Exploring the realms of nautical and cosmic imagery, this year’s at Palazzo Bembo showcases the thought-provoking works of the duo Concept2048 and Corrina Sephora✨ Both artists delve into the interconnectedness of humanity and nature, prompting viewers to reflect on our place in the universe.

Concept2048, comprised of Ekaterina Perekopskaya and Rostyslav Brenych, employs a conceptual approach to challenge viewers with open-ended questions. Their project “Whisper of the Sea” interweaves fictional mythology with pressing global issues, aiming to inspire proactive change for sustainable development. By exploring the mythical AquaSouls—beings that embody the wisdom of the ages—they invite us to consider the vital relationship between humanity and nature. Their art serves as a powerful reminder of the harmony we must restore to avoid further disconnection from the natural world.

Corrina Sephora Mensoff’s multimedia artistry invites us to navigate the liminal spaces between water and air. In her piece “Dwelling in a Sea of Time and Space”, she masterfully merges ancient and contemporary technologies, using objects that reference blacksmithing to symbolise life's journey. Her work, such as the Aviron-oar, draws inspiration from ceremonial staffs, representing a connection to both the sky and water. Through her sculptures, Corrina steers us through uncharted territories, reminding us of our historical ties and the importance of understanding our environment.

We recently had the pleasure of interviewing Virginia Bradley, an acclaimed contemporary abstract painter based in Great Barrington, Massachusetts, who is currently exhibiting at Personal Structures – Beyond Boundaries✨ Renowned for her captivating exploration of alchemy and the performative nature of painting, Bradley’s work is deeply influenced by environmental issues, particularly climate change.

In our conversation, we delved into her Corallium Series, now showcased at Palazzo Bembo, which reflects an intimate connection with nature and her sensitivity to the natural world. With global exhibitions and numerous fellowships to her name, Bradley continues to be a significant voice in abstract art.

Don’t miss the full article👉https://personalstructures.com/stories/a-conversation-with-virginia-bradley-alchemy-climate-change/

Virginia Bradley Art

At – Beyond Boundaries, Elka Leonard presents her evocative new triptych, “Beyond the Masks: An Inner Escape”✨ Set against the backdrop of a Venetian theatre, the work invites us to reflect on self-representation and the complexity of human relationships.

In “Part 1 - The Social Ballet”, Leonard explores a "theatre where everyone must play their role" (Shakespeare), with social masks suppressing individuality, turning the protagonists into automatons. Yet, as the door opens, the question arises: can we live differently?

“Part 2 - Night Shards” shifts to a moment of solitude, where the individual self awakens. Detached from the weight of societal roles, the heroine ascends into the clouds, embracing intuition and inspiration. She returns to earth with a newfound freedom, choosing who she becomes, unbound by external judgement.

Finally, in ”Part 3 - The Metamorphoses of the Self”, Leonard portrays the heroine's belief in a fragile, dreamlike world where all facets of existence come alive. Strengthened by her inner resolve, she stands ready to face life's challenges, just as ropes secure a bridge against powerful waves.

This powerful triptych invites viewers to embark on their own journey of self-discovery and transformation. Don't miss it at Palazzo Mora in Venice!

Discover Georges Bergès Gallery at !✨ Situated in NYC’s iconic SoHo and Berlin’s creative heart, the gallery brings together visionary living artists from across the globe. This year, at the prestigious Palazzo Bembo in Venice, the gallery presents “Impermanence”, featuring two exceptional artists: Laddie John Dill and Susan Swartz.

Susan Swartz captivates with her vibrant, layered abstract paintings inspired by the beauty of nature and spirituality. Her work, exhibited in museums and collections worldwide, offers a striking reflection of the landscapes that inspire her, painted from studios in Park City, Utah and Martha’s Vineyard.

Laddie John Dill, a key figure in the California Light and Space movement, is celebrated for his innovative use of light and materials such as glass, sand, and aluminum. His renowned “Light Traps” and “Light Sentences” explore the profound relationship between light, geometry, and the viewer’s perception of space.

Georges Bergès Gallery

At , Jeremy Chen and Sabine Pierick bring unique and compelling reflections on climate change through their distinct artistic approaches. Both artists grapple with themes of environmental fragility and human responsibility, yet their methods of expression and materials differ greatly.

The installation “ELEMENTARY: 666 - 108/17 - CO2Z” by Sabine Pierick, tackles the global climate emergency with an industrial, yet elemental, perspective. Pierick uses copper, coal, and water - materials that are both symbolic and literal in their connection to climate discourse. Her work is a fusion of art and science, with copper representing both the malleability of human effort and the responsibility of nations to achieve climate goals. The spiral structure of “CO2-Z”, crafted from a 15-metre copper pipe, serves as a harsh critique of the global community’s inaction. The installation symbolises the fragile balance between the earth's resources and the human race's relentless consumption. Pierick’s use of the chemical periodic table highlights the elemental forces at play, while her stark message about greenwashing warns of the dangers of superficial climate solutions.

Jeremy Chen’s “A Trap for Greta”, is a powerful, site-specific installation at the Marinaressa Gardens. Made from salvaged oak bricola logs from the Venetian lagoon, the work mirrors the fragility of Venice itself—an iconic city on the brink of environmental collapse. The structure is trapped in a metaphorical and literal sense: during the performance, a massive block of ice is suspended on a spring, rising as it melts, symbolising the helplessness we often feel in the face of climate disaster. Chen’s interactions with the sculpture add a performative layer, as his body heat accelerates the ice's disappearance, underscoring how human actions directly affect environmental degradation. The sculpture’s unyielding paralysis, despite appearing mobile, is a poignant reminder of our collective inertia in addressing climate change.

Francisco Souto’s latest work, “On Beauty and Displacement II”, transcends boundaries with stunning photo-real coloured-pencil drawings that speak to the resilience and perseverance of the human spirit. Through intricate depictions of dead birds, discarded clothes, and fading flowers, Souto sheds light on the often overlooked stories of those navigating difficult realities. Each piece invites us to reflect on empathy and the human condition, offering a powerful and poignant connection to contemporary struggles.

Don’t miss this opportunity to experience Francisco's thought-provoking art, on display at Palazzo Mora, during ✨

Want to discover more about and the organisation behind this amazing biennial exhibition? Take a look at this short documentary, where Sara Danieli, Head of Art, takes us on this incredible journey➡️ https://youtu.be/c6hQnentN7o?si=PxvE2CHGUzA-PglE

🎥 Becattini

Personal Structures 2024 | Short Documentary Explore the vision behind and the organisation of this renowned biennial exhibition. In this short documentary, Sara Danieli, Head of Art...

Organised by the European Cultural Centre, the second edition of “Personal Structures | Public Screenings” returns to Venice on 27th September 2024🎥 The engaging cinema-inspired event will take place at Palazzo Michiel del Brusà from 2 pm to 8 pm.
Indulge in popcorn and beverages while watching a selection of short-films and films centred around the intertwining subjects of individual, cultural identity, environment, and artificial intelligence, topics that emerged from this year’s edition of Personal Structures - Beyond Boundaries.
We look forward to seeing you there✨
Discover the full programme here👉https://personalstructures.com/events/public-screenings/

Micky H Hoogendijk Gabriel Schmitz Virginia Bradley Art RIT College of Art and Design

At , two insightful architectural projects explore the intersections of time, memory, and human impact on built environments✨ These works question the evolution of architectural forms and their place in history while offering new ways to perceive and interact with space. Through digital reconstructions, deconstruction, and reinterpretation, the artists show how architecture serves as both a witness to and participant in the passage of time, holding memories, histories, and futures within its walls.

Brian J. Mac’s “UNTITLED” series confronts destruction as a core element of architectural creativity. Drawing on examples from architectural history, Mac explores the cyclical nature of creation and decay. His installation deconstructs a plexiglass frame filled with 27 architectural models, symbolising the creative process over his career. The models, once integral to future designs, now exist as relics of past iterations. This poignant reflection on progress evokes images of Indigenous burial practices, funeral pyres, and columbariums, where the remains of the past are preserved but also distant. Mac's work prompts us to consider the role of destruction in shaping the future, reminding us that progress often comes with loss.


Zayed University’s Limass Design Research Unit, led by Lina Ahmad and Marco Sosa, focuses on Bait Al Qubaisi, a family house in Al Ain, UAE. Their installation uses 3D scanning and virtual modelling to bring this 20th-century structure back to life, highlighting its evolution through time. Despite being surrounded by modernity, the house stands as a frozen testament to the nation’s shift from nomadic life to urbanisation. The team captures the house’s layered history, where memories and traces of the past mingle with the silence of abandonment. Their work emphasises the fragile balance between historical preservation and the inevitable passage of time, inviting viewers to reflect on the physical remnants of heritage in an increasingly digital age.
.ahamd

At Personal Structures – Beyond Boundaries, three artists explore nature through distinct yet interconnected perspectives, showcasing how the natural world shapes and inspires human creativity✨ These artists invite us to rethink our relationship with nature, presenting it as both collaborator and creator. From precise architectural forms to organic transformations, they reveal the profound connection between human life and the natural world.

Alois Lindenbauer’s “Nature Art” draws directly from the environment. Using wood and stone, he collaborates with nature to form sculptures that celebrate its raw beauty. His approach lets natural forces, like wind and weather, interact with his materials, transforming them over time. His work reflects the interconnectedness of life, nature, and art, inviting viewers to experience the quiet power of natural processes and the abundance that nature offers.

Sara Pathirane takes a more organic approach, letting nature itself become an active participant in her work. In “Hyacinth Cracks”, a silk painting is placed within a Costa Rican ecosystem, where wind, rain, and insects gradually reshape the artwork. The piece reflects how human creations are fragile in the face of nature’s unstoppable processes, highlighting the beauty of transformation as natural forces and living creatures co-create something new.

Christina Dimitri Battikha and Maria Gabriela Carucci's work, advised by Cristina Parreño Alonso, brings a technical approach to the natural environment, transforming elements like volcanic ash and salt into architectural explorations. She investigates how these materials, driven by the forces of tectonic plates, shape landscapes and human interactions, connecting the micro and macro scales of the natural world. Her meticulous process reveals the temporal and climatic forces at play in reshaping our planet, drawing parallels between human activity and geological phenomena.

Representation of marine environments serves as a common thread connecting the work of two artists at : Mizuho Nishioka and Laura Larocca. While Nishioka uses digital methods to capture the fluidity and unpredictability of the sea, Larocca employs an analog technique to investigate the physical remnants of marine life, merging scientific inquiry with artistic expression✨

Laura Larocca delves into her surroundings by exploring beaches and collecting remains of sea sponges, which she analyses as indicators of environmental change. Her project "Absorption" and the painting "1.190 gr." transform these collected materials into artwork, emphasizing the environmental crisis. By using paint to explore the sponges' absorbent properties, Larocca reveals how these sensitive bioindicators capture the conditions of their habitat, creating a tactile, physical connection between art and science. Her meticulous process, combining observation, measurement, and creative interpretation, opens new perspectives on the fragile relationship between nature and human activity.

Mizuho Nishioka, on the other hand, focuses on the dynamic interplay between natural and technological systems in her digital work "Movement_17: Tasman Sea." Nishioka questions the authenticity and authority of traditional representation by releasing recording devices into the environment, allowing them to capture the sea's movements on their own terms. This work challenges the static nature of photography by embracing unpredictability and interconnectedness, blurring the lines between subject and observer. Nishioka's art navigates the tension between order and chaos, highlighting the paradoxes and complexities inherent in our attempts to understand and define the natural world.

At , two unique projects stand out, both deeply connected to Venice yet exploring the city in contrasting ways. On one hand, Professors Christopher Sperandio, from Rice University, and Sergio Soave, form Ohio State University, through the project "Wallpaper for Many" take us back in time to celebrate Venice’s illustrious printmaking traditions. On the other, Cameron Bishop and David Cross of Deakin University’s "Venetian Bind" project propel us into the future, examining the city's precarious relationship with water and climate change. Together, these works navigate Venice’s storied past and uncertain future, merging education, art, and activism in a city that has always thrived on reinvention✨

In "Wallpaper for Many", Sperandio and Soave, alongside students and artists, pay homage to Venice’s printmaking heritage. Drawing from 15th-century engravers like Marchio and Giovanni Battista Sessa, they use the contemporary Risograph technique to blend traditional and modern patterns. The installation reflects Venice's historical spirit, turning print into a medium for public engagement, reminiscent of broadsheets in a town square. It invites viewers to explore this rich tapestry in person and online, challenging the elitism often associated with art.


"Venetian Bind", by Bishop and Cross, tackles Venice’s deep connection and struggle with water. This year-long project involves 26 artists responding to the city’s ongoing battle with rising tides and climate change. Through interactive workshops and site-specific interventions, the artists explore Venice as a paradox—both a sinking relic and a model for sustainable living. Their work reflects the city's current challenges, capturing its dynamic essence and resilience in the face of environmental change.

Join us in celebrating 20 years of the Miami New Media Festival, the multimedia platform sponsored by Arts Connection - a journey of innovation and creativity, from video art and digital media to augmented reality and beyond✨ As a platform that champions diversity, inclusivity, and global dialogue, MNMF continues to amplify the voices of underrepresented artists and address critical issues, as highlighted in this edition of .

This year's special edition echoes the Biennale's theme, “Foreigners Everywhere” through a diverse range of video artworks. It includes works by Alydia Weber, Carola Bravo, Carolina Camelo Jiménez, Claudia Robles, Cheryl Maeder, Consuelo Méndez, David Fernández Rocha and Francis Muñoz, David Palacios, Obi Waegbe, Terso Gundu, Gastón Ugalde, Jesús Hernández Güero, Kiyo Gutiérrez, Leo Núñez, Matteo Campulla, Muu Blanco, Nayarí Castillo, Nela Ochoa, Raúl Rodriguez (RARO), Rolando Peña, Sandra Vivas and Santiago Carlini. Also presents as a special guest the Food of War collective (integrated by Hernán Barros, Omar Castañeda and Andreina Fuentes Angarita) with the proposal Journey of Labels, a project that aims to humanize the often -marginalized figure of the migrant and invites viewers to examine their own beliefs and entrenched realities.

At the intersection of architecture and art, Nina Freedman and Kii challenge how we perceive and interact with our built environments✨ Through innovative materials and spatial design, they invite us to rethink ideas of home, community, and dialogue within our surroundings.

Nina Freedman’s "Face-ade: The Human Landscape" turns a house facade into a space for connection and reflection. Using bio-based resin embedded with hair waste from New York City salons — representing a mix of genders, ages, races, textures, and colours — she creates a translucent wall symbolizing unity and tolerance. Visitors on opposite sides can rotate the wall's components, catching glimpses of each other and the neighbourhood, prompting questions like "Who are our neighbours?" and "Who lives beyond these walls?" Set in the historic Palazzo Mora, the installation explores light's interaction with the material, revealing skin tones throughout the day and suggesting a shared human landscape. It invites us to look beyond divisions and connect across differences, redefining home as an inclusive space.

Kii, a collaboration between Japanese architects Satoshi Arai and Kei Nakatomi, highlights the potential of discarded materials. They collect offcuts from a construction site and transform them into new, expressive forms. Placing these beautiful pieces on the ground like a collage, they bring new value to the historic spaces of Venice, merging its past with contemporary sensibilities. Their work inspires us to see beauty and meaning in what is often overlooked, offering a fresh view on the spaces we inhabit and the materials we use.

Discover these thought-provoking pieces at !

In the historic venue of Palazzo Mora, Soledad Lowe and Patrizia Casagranda take on the challenge of recycling, each crafting a unique narrative from discarded materials✨ Soledad’s crystalline sculptures, made from coastal debris and everyday rubbish, question our impact on the planet and imagine what could emerge from the ashes. Meanwhile, Patrizia repurposes transport boxes and tarps, blending vibrant pigments and pointillist techniques to communicate messages of humanism and unity.

In her installation, “Aftermath”, Soledad Lowe uses discarded materials—from coastal foraging finds to everyday rubbish—to create 130 Obelisk Crystals that evoke the ethereal beauty of a crystal cave. Each piece serves as a stark reminder of humanity's impact on Earth. Through layers of environmentally friendly epoxy and natural pigments, her work illuminates questions about regeneration and rebirth. What will emerge from our waste? In “Humanitas”, Soledad explores the clash between human invention and the natural world. Her triptych of totemic sculptures blends discarded electronics, animal bones, and everyday objects into gilded totems, evoking timelessness and wonder while reflecting on our desire to control and consume.
Soledad Lowe Jewelry

Patrizia Casagranda takes a different approach by using recycled materials like transport boxes, cupboards, and truck tarpaulins to create her works. Her compositions, inspired by the techniques of pointillism, reveal their true forms from a distance. Patrizia draws from a rich palette of 17th-century pigments to give her art a unique luminosity while conveying universal themes of peace, love, and humanism. Her recent series, “Fighting for Change” and “Dots for Change”, embodies her belief in the equal values shared by all world religions, challenging us to reflect on our shared humanity.
Patrizia Casagranda

Artists Per Lunde Jørgensen, Gail Olding, and Tone Fink offer three unique perspectives on the humble chair in the Venetian venues of ✨ Each artist transforms this everyday object into a powerful symbol of human experience, using it as a vehicle to explore themes of presence and absence, memory and reality, and the tension between structure and fluidity. Through their diverse interpretations, the chair becomes more than just a place to sit, it becomes a narrative of our lives and the spaces we inhabit.

Per Lunde Jørgensen introduces us to Review, where discarded furniture and user reviews merge to question consumption and memory. Fabric from used office chairs forms the base of his artworks, stretched flat onto canvases that reflect a quest for surface simplicity. The scuffs and stains left by previous owners on the fabric suggest an absent presence, a haunting reminder of forgotten lives. His embroidered text works, sourced from reviews of public places, blur the lines between past and present, turning subjective assessments into a commentary on contemporary experience.

Gail Olding delves into the fragile dance between innocence and experience in Long Way Down. Her extended chair and table evoke a spiral through time, offering a nostalgic exploration of childhood memory and adult disillusionment. The precariously elevated chair hints at the instability of ambition, while the table and chair, frozen in a silent conversation, invite the viewer to confront their own childhood memories. Olding’s work is a powerful reminder of the duality within us all, the boundless imagination of childhood and the stark realities of adulthood.
Olding

Tone Fink offers a tactile experience with Fünferbandegestühl, a set of concrete seating objects that challenge traditional notions of art. Designed to be both seen and felt, these pieces can be arranged and rearranged, forming a fluid, wavy line or fragmented shapes. Fink's approach transforms paint into a sculptural medium, inviting interaction with his art. His work is rooted in drawing, using colour and form not just to be seen, but to be touched and experienced, blurring the boundary between the visual and the physical.fink

As we step into September, we’re delighted to unveil a lineup of exciting news and events at Personal Structures - Beyond Boundaries✨ Enjoy a schedule packed with engaging talks, workshops and events, starting with the second edition of our Public Screenings at Palazzo Michiel! Learn more here👉https://personalstructures.com/events/

At , artists Clare McCracken, Pia Johnson, and Sonal Ambani explore the complexities of gender inequality through their powerful and thought-provoking works✨ Each artist offers a unique perspective, highlighting the multifaceted nature of this ongoing issue and prompting audiences to reflect on the intergenerational, cultural, and economic aspects of gender disparity.

Clare McCracken and Pia Johnson combine their innovative approaches to challenge historical narratives shaped by gender, race, and culture. In their joint project, “Performing Selves Across Histories”, Clare’s work follows her voyage from Australia to China aboard a container ship, reflecting on the largely untold stories of women seafarers. Meanwhile, Pia’s photographic series critiques Melbourne’s colonial past, reclaiming space within the city’s imperial architecture. Both works make visible the roles of women across time and space, asserting their presence in global and local histories.

Sonal Ambani’s installation, “Slings & Arrows of Outrageous Fortune”, addresses the persistent gender pay gap and its impact on society. Her stainless steel bull, adorned with world currencies, symbolizes the male-dominated economic structures that perpetuate inequality. Red arrows pierce the bull, representing the progress made towards gender equality and the resilience of women challenging the status quo. The piece serves as a powerful reminder of the ongoing fight for a future where gender no longer determines economic value or opportunity.

Sonal Ambani