Bosco Sodi a Palazzo Vendramin Grimani. What Goes Around Comes Around

Exposición / Fondazione dell'Albero d'Oro Palazzo Vendramin Grimani / San Polo, 2033 / Venice, Veneto, Italia
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Cuándo:
23 abr de 2022 - 27 nov de 2022

Inauguración:
20 feb de 2022 / 17 a 20 h.

Comisariada por:
Dakin Hart, Daniela Ferretti

Organizada por:
Fondazione dell'Albero d'Oro Palazzo Vendramin Grimani

Artistas participantes:
Bosco Sodi

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Etiquetas
Escultura  Escultura en Veneto  Pintura  Pintura en Veneto 

       

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Descripción de la Exposición

On the occasion of the Art Biennale 2022, Fondazione dell’Albero d’Oro will present a new project by Mexican artist Bosco Sodi at Palazzo Vendramin Grimani, located on the Grand Canal in the center of Venice, Italy from 23 April until 27 November 2022. Curated by Daniela Ferretti and Dakin Hart, the solo exhibition dedicated to Sodi’s painting and sculpture titled Bosco Sodi a Palazzo Vendramin Grimani What Goes Around Comes Around will be preceded by a period of residency by the artist on site at the palazzo. Sodi will be based in Venice between February and March, working on site in the palazzo’s ground floor space which has been partially transformed into a studio. There, the artist will realize some works for the exhibition, drawing on Venice’s unique history as a dynamic hub for cultural and commercial exchanges between Europe, Asia, and the rest of the world. Bosco Sodi (b. 1970) is celebrated internationally for his use of raw, natural materials in large-scale textured paintings and sculpture that brim with emotive power. The essential simplicity of his materials and the vivid pigments he sources from around the globe are the focus of his process-based exploration of the creative gesture. Sodi has described his creative process as a “controlled chaos” that makes “something that is completely unrepeatable.” The careful selection and use of precious pigments is one of the characteristic of Sodi’s art: some of them have a rich historical background. Among those, the pigment derived from cochineal is a fitting example. Before the invention of synthetic pigments, the colour obtained from cochineal was the international standard for red. The luxurious red fabrics that dot Titian’s canvases are, quite literally, appropriations from the Americas. Cochineal, which is still produced in Oaxaca (Mexico), has recently seen an increase in demand, thanks to the growing demand for natural pigments. In the installation for palazzo Vendramin Grimani, visitors will witness an abrupt reversal of that ancient flow of trade between Europe and the Americas. The opulent interiors of merchant houses like palazzo Vendramin Grimani preserve the memory of what was, historically, a one-way flow of materials. Sodi’s temporary occupation of the palazzo’s walls and floors with works closely linked to the material instinct that produces them will lead to a sort of ‘revenge’ of all that is raw, unprocessed. The phases of the project On the ground floor of the building, the artist will set up his studio from 28 February to 7 March 2022, to produce paintings on site using his usual technique of depositing layers of a mixture of wood dust, cellulose pulp, glue and pigment on canvas. The canvases will then be left to rest on the ground floor, exposed to the atmosphere of the lagoon for a few weeks. The works will then be moved to the first floor to be exhibited in the imposing rooms of the piano nobile. The rough, intensely coloured surfaces that are typical of Bosco Sodi will thus form a contrast with the monumental spaces of the drawing room and the side rooms, with the colours of their plasterwork and tapestries, with the textures of the Venetian terrazzo floors, with the reflections of mirrors clouded by time, with the ceilings decorated with neoclassical frescoes, thick wooden beams or eighteenth-century stuccoes, and with the shimmering light streaming through the windows overlooking the Grand Canal. In addition, in parallel with the installation of the works made on site, Sodi will place 195 small clay spheres on the floor of the exhibition spaces, moulded from the soil of Oaxaca and baked there in an improvised oven on the beach. The figure corresponds to the current number of nation-states on Earth. Each visitor will be invited to move one of the miniature globes during his or her visit. In this way the installation will change a little every day and the different locations of the globes will be periodically photographed in order to document the evolution of the work. At the end of the exhibition, residents of the city of Venice who visit the space will be able to take a sphere with them, thus completing a new, though still largely enigmatic, circuit of exchange. The exhibition will be documented by a catalogue printed for the occasion. Bosco Sodi His solo exhibitions have been hosted by numerous international galleries. His works are to be found in leading public and private collections, including: Nasher Sculpture Center (Dallas), Walker Art Center (Minneapolis), The Phillips Collection (Washington D.C), Harvard Art Museums (Boston), JUMEX Collection (Mexico), Museum Voorlinden (Netherlands), Vitra Museum (Switzerland), Contemporary Art Foundation (Japan), Museum of Contemporary Art (Belgium), The National Gallery of Victoria (Australia) and the De la Cruz Collection (Puerto Rico). Among the most significant exhibitions are: La fuerza del destino, Dallas Museum of Art, Dallas (2021); Ergo Sum, Centro de Arte Contemporáneo, Malaga, (2020); Topographies, Mexican Cultural Institute, Washington D.C. (2019); Del Fuego, Museum of Visual Arts (MAVI), Santiago de Chile (2018); Por los siglos de los siglos, Museo Nacional de Arte, Mexico City (2017); ELEMENTAL, Museo Anahuacalli, Mexico City (2017); Museum of Stones, The Noguchi Museum, New York (2015); Croacia, Institut Valencià d’Art Modern (IVAM), Valencia (2013); and Pangea, Bronx Museum, New York (2010). Sodi has also established the Fundación Casa Wabi, an art centre in Oaxaca (Mexico) dedicated to the promotion and exchange of ideas between international artists and different disciplines. Designed by Japanese architect Tadao Ando, the foundation also focuses on developing opportunities for local communities through art education. Palazzo Vendramin Grimani Palazzo Vendramin Grimani in Venice, the former home of Doge Pietro Grimani in the eighteenth century, is a a splendid example of early Renaissance style located in the district of San Polo and overlooking the Grand Canal, halfway between the Rialto Bridge and the volta de Canal (the meandering curve towards the Accademia bridge). Palazzo Vendramin Grimani is springing back to life thanks to the Fondazione dell’Albero d’Oro, the non-profit cultural institution founded in 2019 by a group of French and Venetian entrepreneurs and professionals who are passionate about culture in all its forms and have strong links with Venice. The building was acquired and restored thanks to the intervention of a private fund in order to return it to its centuries-old vocation as a place of culture. By presenting and confronting past and present artistic expressions, Palazzo Vendramin Grimani becomes a new place of transmission, artistic and cultural exchange open to the world based in Venice. Daniela Ferretti Daniela Ferretti, an architect specialised in the field of exhibition planning, has curated more than 250 exhibitions for public and private institutions since 1977, both in Venice and elsewhere, working with some of the leading Italian and foreign critics and art historians. Among the institutions with which she has collaborated are: the Venice Biennale, the Scuderie del Quirinale and the Galleria Borghese in Rome, the CCCB in Barcelona, the Hayward Gallery in London, the Reina Sofia in Madrid, the Haus der Kunst in Munich, the Pushkin Museum in Moscow, the Musée d’Orsay in Paris and Palazzo Grassi in Venice. In addition to planning exhibitions, her professional experience extends to the curatorship and global organisation of exhibitions. She was in charge of the Ufficio Allestimenti of the Assessorato alla Cultura of the city of Venice, and in 1996 became coordinator of the Servizio Mostre ed Allestimenti Espositivi at the Direzione dei Civici Musei Veneziani. From 2007 to 2019 she was director of the Museo Fortuny. In 2008 she joined the Board of Directors of the Fondation Maeght in St Paul de Vence, and since 2019 has been on the Board of Directors of the Fondazione dell’Albero d’Oro. Head of the Exhibitions Office of the Department of Culture at the City of Venice, in 1996 she became coordinator of the Exhibitions and Exhibition layouts Service at the Directorate of the Civici Musei Veneziani. From 2007 to 2019 she directed the Museo Fortuny. In 2008 she joined the Board of Directors of the Maeght Foundation in St. Paul de Vence, and since 2019 has been on the Board of Directors of the Fondazione dell’Albero d’Oro.. Among the most recent exhibitions she has worked on as curator: Fondazione Maeght. Un atelier a cielo aperto (2021, Pinacoteca Agnelli, Turin); The Vittorio Cini Collection (2021, Hotel de Caumont, Aix en Provence); at Palazzo Fortuny the cycle of exhibitions in collaboration with Axel Vervoordt and others: Intuition (2017), Proportio (2015), Tápies. Lo sguardo dell’artista (2013); TRA. Edge of becoming (2011); In-finitum (2009); Artempo. When time becomes art (2007). Also, in the same museum: I Fortuny. Una storia di famiglia (2019); Futuruins (2018-2019); La Stanza di Zurigo. Omaggio a Zoran Music (2018); Henriette Fortuny. Ritratto di una musa (2015). Dakin Hart Dakin Hart is Senior Curator at the Isamu Noguchi Foundation and Garden Museum (Long Island City, New York), where he oversees the museum’s exhibitions, collection, general catalogue, archives, and programming of all public initiatives. He also works as an independent curator and essayist. His recent exhibitions and publications include: “What did Noguchi mean by ‘Space’?” in Isamu Noguchi (catalogue essay, Barbican Centre, London, UK / Ludwig Museum, Cologne, Germany / Zentrum Paul Klee, Bern, Switzerland, 2021); Objects of Common Interest: hard, soft, and all lit up with nowhere to go (The Noguchi Museum, 2021); Noguchi’s Memorials to the Atomic Dead (The Noguchi Museum, 2021); Noguchi: Useless Architecture (The Noguchi Museum, 2021); “Jeanne Reynal and Isamu Noguchi: What Collaboration Looks Like” for Mosaic is Light: Work by Jeanne Reynal, 1940–1970 (catalogue essay, Eric Firestone Gallery, 2021); Koho Yamamoto: Under a Dark Moon (The Noguchi Museum, 2021); Christian Boltanski, Animitas (The Noguchi Museum, 2021); Futura Akari (The Noguchi Museum, 2021); “An annotated account, in Noguchi’s Words, of how Akari became his archetypal work,” in Isamu Noguchi: Ways of Discovery (catalogue essay, Tokyo Metropolitan Art Museum, 2021); Bosco Sodi: Perfect Bodies (Red Hook, Brooklyn, 2020–21); Lawrence Weiner: South of the Border (Casa Wabi, Puerto Escondido, Mexico, 2020); Bosco Sodi, Somos el Jardín, el Jardín es Nosotros (Jardín Etnobotánico de Oaxaca, Oaxaca, Mexico, 2020); Noguchi: Body-Space Devices (The Noguchi Museum, 2019); Akari: Sculpture by other means (The Noguchi Museum, 2018-19); Isamu Noguchi Archaic/Modern (Smithsonian American Art Museum, exhibition and catalogue, 2016-17); Self-interned, 1942: Noguchi in Poston War Relocation Center (The Noguchi Museum, 2017-18); Tom Sachs: Tea Ceremony (travelling, 2016-17) and Tom Sachs: Tea Manual (catalogue, 2016); Bosco Sodi: Elemental (exhibition at the Museo Anahuacalli, Mexico City, 2017) and “Bosco Sodi and his clay cubes” in Bosco Sodi: Clay Cubes (Hatje Cantz, 2017); “Noguchi a la Brancusi” for Impasse Ronsin (Paul Kasmin Gallery, exhibition and catalogue, 2016-17); Museum of Stones (2015-16, exhibition and catalogue); Isamu Noguchi at the Brooklyn Botanic Garden (2015).

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