Glasstress. White Light / White Heat
from 31 May 2013 to 23 June 2013
Venezia
Glasstress. White Light / White Heat
During the world’s most important art festival, Venice is shining the spotlight on the multifaceted work of Aldo Mondino, who – to coincide with the 55th International Art Biennale – is presenting his solo exhibition Ottomané in the evocative former pharmacy housing the Berengo Collection, and is also taking part in the group exhibition Glasstress at Palazzo Cavalli-Franchetti, the Scuola Grande Confraternita di San Teodoro and the Berengo Centre.
Aldo Mondino is renowned for his penchant for the marvellous, for an art that is sensual and cultured, always surprising and full of dramatic twists. This fascination with refinement is reflected in the exhibition both through his jewellery – masterpieces of goldsmithing crafted in Valenza to his designs and under his supervision – and through the work Jongler, a perfect synthesis of Murano glass and bronze, created by Berengo Fine Art, which evokes the Orient through its technical perfection and the interplay of materials.
There are traces and scents of the East in his carpets, painted or created using grains, seeds and coffee; as well as in Dumauntai, a ceramic sculpture depicting a pair of Siamese twins whose title in Piedmontese means ‘let’s call it a day’: an irony, certainly not politically correct, to describe the two solemn female faces with Oriental features and hairstyles in perfect Thai style.
Aldo Mondino captured the Eastern spirit of refinement in form and material, the sensuality of lines and colour, and the interplay of movement with his famous “turcate”, in which he often superimposed decorative elements alongside the gestural quality of the painting that accompanies the dance of the dervishes.
Here we encounter another important characteristic of his work: the elevation of decoration, mosaics, ceramics and glass to the status of Art. Already in the famous Iznik series, not only was the Byzantine and later Turkish city of Nicaea—the site of two highly significant councils—evoked, but the famous Ottoman majolica was also depicted.
It is within this conceptual framework that Mondino’s participation in the group exhibition Glasstress —a collateral event of the Biennale now in its third edition—takes place. The aim of the exhibition is to reveal how contemporary artists use glass as an exceptional medium of expression. For a long time, particularly in Venice and Murano, glass was associated merely with decoration, and its use in the creation of works by great artists was underestimated.
At Glasstress, Mondino is represented by the sculpture Angurie senza fine, a cultured and, as always, ironic reference to Bracusi’s famous “Endless Column”, created in Murano in 2003.
Alongside him, among others: Ron Arad, Tony Cragg, Cai Guo-Qiang, Mona Hatoum, Joseph Kosuth, Mimmo Paladino, Tony Oursler, Joana Vasconcelos, Zhan Wang.
Venice
Palazzo Cavalli-Franchetti, Scuola Grande Confraternita di San Teodoro, Berengo Centre
Aldo Mondino is renowned for his penchant for the marvellous, for an art that is sensual and cultured, always surprising and full of dramatic twists. This fascination with refinement is reflected in the exhibition both through his jewellery – masterpieces of goldsmithing crafted in Valenza to his designs and under his supervision – and through the work Jongler, a perfect synthesis of Murano glass and bronze, created by Berengo Fine Art, which evokes the Orient through its technical perfection and the interplay of materials.
There are traces and scents of the East in his carpets, painted or created using grains, seeds and coffee; as well as in Dumauntai, a ceramic sculpture depicting a pair of Siamese twins whose title in Piedmontese means ‘let’s call it a day’: an irony, certainly not politically correct, to describe the two solemn female faces with Oriental features and hairstyles in perfect Thai style.
Aldo Mondino captured the Eastern spirit of refinement in form and material, the sensuality of lines and colour, and the interplay of movement with his famous “turcate”, in which he often superimposed decorative elements alongside the gestural quality of the painting that accompanies the dance of the dervishes.
Here we encounter another important characteristic of his work: the elevation of decoration, mosaics, ceramics and glass to the status of Art. Already in the famous Iznik series, not only was the Byzantine and later Turkish city of Nicaea—the site of two highly significant councils—evoked, but the famous Ottoman majolica was also depicted.
It is within this conceptual framework that Mondino’s participation in the group exhibition Glasstress —a collateral event of the Biennale now in its third edition—takes place. The aim of the exhibition is to reveal how contemporary artists use glass as an exceptional medium of expression. For a long time, particularly in Venice and Murano, glass was associated merely with decoration, and its use in the creation of works by great artists was underestimated.
At Glasstress, Mondino is represented by the sculpture Angurie senza fine, a cultured and, as always, ironic reference to Bracusi’s famous “Endless Column”, created in Murano in 2003.
Alongside him, among others: Ron Arad, Tony Cragg, Cai Guo-Qiang, Mona Hatoum, Joseph Kosuth, Mimmo Paladino, Tony Oursler, Joana Vasconcelos, Zhan Wang.
Venice
Palazzo Cavalli-Franchetti, Scuola Grande Confraternita di San Teodoro, Berengo Centre
Glasstress. White Light / White Heat
Opere correlate
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