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10:23 a.m.

02/09/19 - There is no definition of what art means. It is clear though that art is what the artist makes. The piece created by the artist demands an emotional response that generates a dialogue between us (viewers) and the artwork. It must moves us even though we may not necessarily know the purpose of what we are seeing.

Dysfunctional is an exhibition at the Galleria Giorgio Franchetti alla Ca’D’Oro in Venice and wants us to rethink the limits of what art is. With the spotlight on the permeable limits between art and function, here the functionality of art consists in turning the visitors in users or consumers of the pieces.

The rooms that house the exhibition belong to the palazzo of Baron Franchetti, turned into a museum with the Renaissance paintings and sculptures of this private collection.

Dysfunctional displays Contemporary pieces, blending them with those of the past. For example, the luminous shapes of Stuart Haygarth’s object (UK, 1966) mix with the heads of the angels surrounding the Virgin.

Dysfunctional, Galleria Giorgio Franchetti alla Ca’D’Oro, Venice.

Tide Colour, by Stuart Haygarth (2005)

Materials: found plastic objects, lights.

The highlight of the permanent collection is the painting of Saint Sebastian, by Andrea Mantegna (Italy, 1931-1506). It’s placed on an altar since the original plan was to turn that room into a chapel. Such architectonic structure isolates Saint Sebastian from the rest of the artworks, enhancing its importance. Before it, Lonneke Gordijn (Netherlands, 1980) presents Fragile Future, an object made with LED lights that wants to connect with the painting, building a bridge between the moment in which mankind gets to know Nature and today, in which Nature has been displaced by technology.

Fragile Future, by Lonneke Gorijn (2005)

Materials: bronze structure, lights.

Citylight, by Frederick Molenschot (2019)

Materials: bronze, lights.

Behind: Figura allegorica, b Girolamo Macchietti

In front of Girolamo Macchietti’ Figura Allegorica (Italy, 1535 – 1592), the huge chandelier by Molenschot (Netherlands, 1981) creates a connection with the coins in the painting. However, the sculpture refers to the flashes that blind us while driving at night.

On the terrace of the gallery, a marble sculpture faces a series of soap bubble. This is something we have already seen before, being the most renowned one Soap Bubbles by Jean Siméon Chardin. In this case, the artifact is created from a symbolic image: the briefness of a lasting object.