Skip to content

Le Stanze del Vetro

☰
Search
  • About
  • Exhibitions
  • Education
  • Research
  • Video
  • Shop
  • Contact
  • Press
  • It
  • En
Education
Further information
Contact info
I am interested in*
Educational activities for families
Educational programs for schools
Talks and special programs
Guided Tours
Please add my email address to LE STANZE DEL VETRO Newsletter**
Submit Request
*Required field
**By subscribing to our Newsletter you indicate that you have read and understood our Terms and Conditions and that you agree to these Terms and Conditions.
Enter your details to access the Press Area
Do you have an account? Please enter the email address you provided and the password you received when you registered in order to download the press releases and images relating to the exhibitions and other projects of LE STANZE DEL VETRO.
Contact info
Head
Use
Please add my email address to LE STANZE DEL VETRO Newsletter**
Sign up
*Required field
By subscribing to our Newsletter you indicate that you have read and understood our Terms and Conditions and that you agree to these Terms and Conditions.
The material and images are intended for the exclusive use of the press, not for commercial purposes, in order to promote exhibitions and exhibitions of LE STANZE DEL VETRO. Images must be reproduced accompanied by the respective captions and, when indicated, by notice of copyright attribution. No image can be changed by the user or used for purposes other than those listed, prior written consent of LE STANZE DEL VETRO.
Do you already have an account?
Login

Type here

This site uses cookies in order to provide users with the best possible service.
In order to learn more or refuse the use of cookies please visit this page. By continuing to browse the site you authorize the use of cookies
Ok
LE STANZE DEL VETRO
Newsletter subscription
Contact info
I am interested in*
Press materials
Exhibitions and Events
Education
Submit Request
*Required field
By subscribing to our Newsletter you indicate that you have read and understood our Terms and Conditions and that you agree to these Terms and Conditions.

Privacy

 

Informativa circa il trattamento dei dati personali forniti dall’Utente del sito LE STANZE DEL VETRO

Titolare del trattamento:

Pentagram Stiftung, con sede in Hartbertstrasse 1, Chur 7001 (Svizzera) Rappresentante stabilito ex art. 5.2, d.lgs. n. 196/2003 e Responsabile del Trattamento: Servizi Fondazione Pentagram s.r.l.

Informativa resa all’interessato ai sensi dell’art. 13 del D.Lgs del 30 giugno 2003 n. 196

Ai sensi dell’art. 13 del D.Lgs del 30 giugno 2003 n. 196 (di seguito, il “D.Lgs. n. 196/2003”) – recante le disposizioni per la tutela delle persone e di altri soggetti rispetto al trattamento dei dati personali –

Pentagram Stiftung

in qualità di “titolare” del trattamento dei dati personali degli utenti (di seguito indicati anche come “Utenti del Sito” o “Utente del Sito”) del sito http://www.lestanzedelvetro.org (di seguito, detto anche il “Sito”) insieme a

Servizi Fondazione Pentagram s.r.l. Unipersonale

(di seguito la “Servizi Fondazione Pentagram”), in qualità di “Rappresentante stabilito ex art. 5.2, d.lgs. n. 196/2003” nonché di “Responsabile del Trattamento” dei medesimi dati, informano i propri Utenti di quanto segue.

0. Tutela dei dati personali

La Responsabile del trattamento Servizi Fondazione Pentagram raccoglierà e tratterà, anche per conto di Pentagram Stiftung, i dati personali di ciascun Utente nel rispetto del D.Lgs del 30 giugno 2003 n. 196, recante le disposizioni per la tutela delle persone e di altri soggetti rispetto al trattamento dei dati personali.

In particolare, i dati personali di ciascun Utente saranno trattati previa acquisizione del consenso espresso, per iscritto ove necessario, mediante la previa messa a disposizione della presente “informativa”, resa ai sensi dell’art. 13 del D.Lgs. del 30 giugno 2003 n. 196, e contenente, in particolare, l’indicazione dei Diritti dell’interessato

1. Fonte di acquisizione dei dati personali

1.1. Raccolta diretta

I dati personali (o alcuni dati qualificabili come “personali” ai sensi del D.Lgs. n. 196/2003) vengono acquisiti dalla Responsabile del trattamento, Servizi Fondazione Pentagram, direttamente dall’Utente:

(a) vuoi all’atto della sua registrazione al Sito e/o della sua navigazione nel Sito stesso;

(b) vuoi della sua richiesta di invio elettronico e/o cartaceo: di prodotti editoriali gratuiti, incluse newsletter periodiche, inviti a mostre ed eventi, programmi di seminari, convegni, lezioni, ecc.;

1.2. Raccolta tecnologica e rinvio alla “Cookies Policy”.

All’atto della registrazione al Sito e/o della navigazione nel Sito stesso, possono essere raccolti dati relativi alla dotazione tecnologica quali, a titolo esemplificativo, il sistema operativo utilizzato, l’Host ID e l’indirizzo IP, le pagine visitate (dati di navigazione). Cookies, web beacons e tecnologie affini, di cui questo sito fa uso, consentono inoltre di riconoscere:

l’IP;

il tipo di browser utilizzato;

il sistema operativo utilizzato;

il sito web da cui l’Utente proviene;

la data e l’ora della visita;

l’URL delle pagine consultate;

altri dati di navigazione, come ad esempio i downloading effettuati.

Nel rinviare per più specifiche informazioni e avvertimenti alla “Cookie Policy” relativa a questo Sito, sin da ora si avverte ciascun Utente che quasi tutti i browser oggi consentono di rimuovere e bloccare cookies e web-beacons. Se l’Utente rimuove o blocca i cookies dovrà reintrodurre ogni volta l’username e la password; e otterrà informazioni generiche e non mirate sui suoi specifici interessi, perdendo gran parte dei vantaggi del servizio offerto.

1.3. Raccolta dati da fonti di terzi. Possibile condivisione di dati personali con terze parti

La Responsabile del Trattamento e la stessa Titolare (anche per il tramite della prima) possono ricevere saltuariamente informazioni concernenti l’Interessato da altre fonti, come ad esempio controparti di contatti commerciali ovvero da imprese o fondazioni collegate, controllate, controllanti o soggette a comune controllo (anche estere), ovvero ancora da imprese acquisite o semplicemente convenzionate e/o da altri enti (come ad esempio: società lucrative, società cooperative società consortili, fondazioni e/o associazioni, anche estere; Enti pubblici, etc.) e può incrociare e integrare queste informazioni con le informazioni già disponibili.

Se l’Utente trasmette l’informazione di un terzo (o se una terza parte ci trasmette l’informazione in suo nome), richiediamo esplicitamente che chi trasmette l’informazione abbia ricevuto il consenso da chi la fornisce.

Alcuni contenuti del Sito possono inoltre essere offerti in condivisione con terze parti (c.d. “co-branded”). In questi casi, quando l’Utente trasmette, indica o comunque comunica le sue informazioni personali alla Pentagram Stiftung per il tramite di Servizi Fondazione Pentagram è bene che ricordi che queste ultime saranno rese disponibili, sia presso la Titolare, sia presso la Responsabile del Trattamento, sia presso le terze parti che offrono in condivisione con la Titolare i medesimi beni e/o servizi.

Inoltre, è possibile che Pentagram Stiftung e/o Servizi Fondazione Pentagram condividano con terze parti i dati personali raccolti tramite il canale internet ovvero presso il Bookshop de LE STANZE DEL VETRO per finalità di promozione e di informazione circa attività culturali e/o iniziative editoriali (come ad esempio: mostre, esposizioni, conference, concerti, seminari, lezioni, video-installazioni, film, documentari, presentazioni di artisti e di opere d’arte, di libri e/o cataloghi, ecc.) ideate, realizzate, prodotte, patrocinate e/o curate dal Titolare del trattamento e/o dal Responsabile del trattamento congiuntamente ovvero con la cooperazione di tali terze parti.

2. Finalità del trattamento dei dati personali

I dati personali vengono raccolti con lo scopo di gestire i servizi forniti all’utente mediante il Sito nonché allo scopo di sviluppare una comunicazione mirata con l’Utente mediante:

  • l’apertura e la reportistica degli account dell’Utente del Sito (anche in correlazione con l’account che risultasse eventualmente attivato presso il bookshop de LE STANZE DEL VETRO),
  • la pianificazione degli account dell’Utente del Sito (anche in correlazione con l’account che risultasse eventualmente attivato presso il bookshop de LE STANZE DEL VETRO),
  • la personalizzazione delle comunicazioni di attività culturali e dei contenuti di interesse per l’Utente (anche in correlazione con l’eventuale account che risultasse attivato presso il bookshop de LE STANZE DEL VETRO),
  • l’invio all’Utente di informazioni circa nuovi servizi culturali e ricreativi erogati dalla Titolare o da terze parti (anche in correlazione con l’eventuale account che risultasse attivato presso il bookshop de LE STANZE DEL VETRO),
  • l’invio all’Utente di informazioni e messaggi promozionali (sotto forma di newsletter elettronica e/o cartacea, di inviti, di brochure, di locandine e simili, diffusi sia in formato elettronico, sia in formato cartaceo) circa le attività culturali (eventi, mostre, seminari, convegni, lezioni, concerti, laboratori di approfondimento per bambini e adulti e attività connesse) prodotte e/o organizzate dalla Titolare ovvero dalla Responsabile del Trattamento con e/o da terze parti, le ricerche di mercato effettuate per conto della Titolare e/o della Responsabile e/o di terze parti (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali operazioni),
  • l’analisi delle modalità di utilizzo di servizi da parte dell’Utente (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali analisi),
  • il monitoraggio del servizio erogato per prevenire utilizzi non autorizzati dei contenuti e violazioni delle condizioni di servizio (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali monitoraggi),
  • la prevenzione di frodi e di attività illegali (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali operazioni di prevenzione).

3. Modalità di trattamento e ambito di comunicazione dei dati personali

Il trattamento avverrà mediante l’utilizzo di strumenti e procedure idonee a garantire la sicurezza e la riservatezza dei dati stessi e sarà effettuato con l’ausilio di mezzi elettronici e di Incaricati nel pieno rispetto di quanto previsto dalle Misure Minime di Sicurezza, siccome individuate nel Disciplinare tecnico in materia di misure minime di sicurezza – Allegato B del D.Lgs. n. 196/2003. I dati in questione saranno trattati da Servizi Fondazione Pentagram s.r.l., in qualità di Responsabile del Trattamento nonché di Rappresentante stabilito, designato ex art. 5.2, D.Lgs. n. 196/2003, e in particolare dagli Incaricati del trattamento.

4. Conferimento dei dati personali

4.1. Il conferimento dei dati personali è in ogni caso facoltativo e il loro mancato conferimento normalmente non pregiudica in alcun modo la navigazione nel Sito.

In relazione ai dati personali forniti direttamente dall’Utente si avverte tuttavia che il mancato conferimento dei dati contrassegnati come “obbligatori” nei moduli consegnati personalmente nel bookshop de LE STANZE DEL VETRO ovvero per l’accesso ad alcune sezioni del Sito o comunque per la fruizione di determinati servizi rende impossibile l’accesso e la fruizione e, conseguentemente, diviene impossibile per l’utente inviare richieste (informative o contrattuali) e fruire dei servizi erogati mediante il Sito. Al contrario, il mancato conferimento di dati ulteriori (non “obbligatori”) non ha alcuna conseguenza per l’Utente rispetto alla navigazione del Sito e/o ai servizi di informazioni periodiche (newsletter etc.) e/o agli altri servizi connessi.

4.2. In relazione ai dati raccolti con mezzi tecnologici, con riferimento ai cookies e agli altri web beacons (e fatto salvo il rinvio alla completa lettura della “Cookie Policy” del Sito), si ricorda che l’Utente può comunque decidere in ogni momento di non abilitare o disabilitare il loro uso mediante le opzioni fornite dal suo software di navigazione; il mancato conferimento dei dati acquisibili mediante l’uso di cookies e altri web beacons non ha alcuna conseguenza pregiudizievole per l’Utente rispetto alla navigazione del Sito, salvo che divenga impossibile registrarsi e/o accedere alle sezioni riservate del Sito, per le quali è necessario non disabilitare l’uso dei cookies o altri web beacons. Per quanto concerne, invece, i dati di navigazione acquisiti automaticamente dai sistemi informatici e dalle procedure software preposte al funzionamento di questo Sito nel corso del loro normale esercizio, nel caso in cui l’Utente non desideri conferire questi dati è tenuto a non navigare in questo Sito.

5. Comunicazione dei dati personali

5.1. Fermo quanto indicato nel precedente punto 1.3, e fermo restando le comunicazioni e le diffusioni effettuate in esecuzione di obblighi previsti dalla normativa nazionale e comunitaria, i dati personali, una volta raccolti dalla Titolare (e/o dalla Responsabile e/o terze parti) potranno essere comunicati alle seguenti categorie di soggetti:

  • nell’ambito delle proprie mansioni e/o dei rispettivi obiettivi e progetti, dipendenti e/o collaboratori di Pentagram Stiftung nonché di Servizi Fondazione Pentagram s.r.l.
  • nell’ambito delle proprie mansioni e/o dei rispettivi obiettivi e progetti, dipendenti e/o collaboratori di enti collegati, controllanti, controllati e/o soggetti a comune controllo di Pentagram Stiftung e/o di Servizi Fondazione Pentagram ovvero legati ai predetti enti da particolari vincoli contrattuali
  • fornitori, distributori e grossisti
  • Uffici della Pubblica Amministrazione, istituti di credito, compagnie e agenzie di assicurazioni, broker e mediatori assicurativi, società finanziarie, società di leasing, ecc.
  • società di consulenza informatica e simili
  • Uffici giudiziari, Uffici postali, spedizionari e corrieri per l’invio/ricezione di documentazione e/o altro materiale
  • persone, società, associazioni e/o studi professionali che prestano servizi o attività di assistenza e consulenza alla Titolare e/o alla Responsabile del Trattamento, con particolare, ma non esclusivo, riferimento alle questioni in materia promozionale, contabile, amministrativa, legale, del lavoro, tributaria e finanziaria.5.2. Salvo quanto previsto nel successivo punto 5.4, i dati non sono soggetti a diffusione.5.3. Salvo quanto già indicato nel precedente punto 1.3, Pentagram Stiftung, anche per il tramite di Servizi Fondazione Pentagram, potrà inoltre condividere o trasmettere i dati dell’Utente con/a terze parti affiliate (controparti di contratti commerciali, controparti convenzionate, imprese, fondazioni o associazioni controllate, controllanti, soggette a comune controllo etc.), vuoi alla Pentagram Stiftung, vuoi alla Servizi Fondazione Pentagram, a sostegno delle rispettive attività istituzionali, di marketing e di comunicazione nonché con i/ai fornitori di beni e/o servizi che agiscono ed utilizzino i dati per conto di Pentagram Stiftung e/o di Servizi Fondazione Pentagram.

    5.4 Inoltre si avverte che nelle aree wikis, forum, blogs, chat e altri ambienti di social network, le informazioni inviate dall’Utente sono diffuse a tutti i partecipanti.

6. Trasferimento dei dati personali

I dati personali possono essere trasferiti, sempre per le finalità di cui al punto 1, sia nell’ambito dei Paesi dell’Unione Europea che verso Paesi terzi nel rispetto degli artt. 42 e ss. del D.Lgs. n. 196/2003.

7. Diritti dell’interessato

Relativamente ai dati personali è nella Sua facoltà l’esercizio dei diritti di accesso previsti dall’art. 7 del D.Lgs. n. 196/2003:

“1. L’interessato ha diritto di ottenere la conferma dell’esistenza o meno di dati personali che lo riguardano, anche se non ancora registrati, e la loro comunicazione in forma intellegibile. 2. L’interessato ha diritto di ottenere l’indicazione: a) dell’origine dei dati personali; b) delle finalità e modalità del trattamento; c) della logica applicata in caso di trattamento effettuato con l’ausilio di strumenti elettronici; d) degli estremi identificativi del titolare, dei responsabili e del rappresentante designato ai sensi dell’articolo 5, comma 2; e) dei soggetti o delle categorie di soggetti ai quali i dati personali possono essere comunicati o che possono venirne a conoscenza in qualità di rappresentante designato nel territorio dello Stato, di responsabili o incaricati. 3. L’interessato ha diritto di ottenere: a) l’aggiornamento, la rettificazione ovvero, quando vi ha interesse, l’integrazione dei dati; b) la cancellazione, la trasformazione in forma anonima o il blocco dei dati trattati in violazione di legge, compresi quelli di cui non è necessaria la conservazione in relazione agli scopi per i quali i dati sono stati raccolti o successivamente trattati; c) l’attestazione che le operazioni di cui alle lettere a) e b) sono state portate a conoscenza, anche per quanto riguarda il loro contenuto, di coloro ai quali i dati sono stati comunicati o diffusi, eccettuato il caso in cui tale adempimento si rivela impossibile o comporta un impiego di mezzi manifestamente sproporzionato rispetto al diritto tutelato. 4. L’interessato ha diritto di opporsi, in tutto o in parte: a) per motivi legittimi al trattamento dei dati personali che lo riguardano, ancorché pertinenti allo scopo della raccolta; b) al trattamento di dati personali che lo riguardano a fini di invio di materiale pubblicitario o di vendita diretta o per il compimento di ricerche di mercato o di comunicazione commerciale.”

Titolare del trattamento dei dati personali

è Pentagram Stiftung, con sede in Chur, Hartbertstrasse 1, 7001 Svizzera, la quale al fine del trattamento dei dati personali in Italia elegge quale Rappresentante Stabilito ex art. 5.2 D.Lgs., n. 196/2003 e nomina quale Responsabile del Trattamento Servizi Fondazione Pentagram s.r.l. Unipersonale, cod. fisc./part. IVA 04128390277 con sede legale in Venezia, S. Croce n. 464, nella persona del suo Legale Rappresentante.

Esercizio dei diritti ex art. 7, D.Lgs. n. 196/2003:

per esercitare i diritti previsti dall’art. 7 del D.Lgs. n. 196/2003, ed indicati retro, al punto n. 7, l’Interessato dovrà indirizzare richiesta scritta a: Servizi Fondazione Pentagram s.r.l., presso la sede operativa in Venezia, Isola di San Giorgio Maggiore “Le Stanze del Vetro”; n. fax (+39) 041 041 5229138/e-mail: info@lestanzedelvetro.org

Dopo aver letto e preso conoscenza dei contenuti della “Informativa”, dichiaro di accettare il trattamento dei miei dati personali da parte di Servizi Fondazione Pentagram s.r.l. Unipersonale, in qualità di Responsabile del Trattamento nonché di Rappresentante stabilito designato da Pentagram Stiftung, ex art. 5.2 D.lgs. n. 196/2003; e, in particolare, di esprimere il consenso al loro trattamento nelle forme, con le modalità e per le finalità ivi indicate, avendo altresì piena consapevolezza dei diritti relativi riconosciuti in capo al sottoscritto dall’art. 7 D.lgs. n. 196/2003, in qualità di “Interessato”.

per esercitare i diritti previsti dall’art. 7 del D.Lgs. n. 196/2003, ed indicati retro, al punto n. 7, l’Interessato dovrà indirizzare richiesta scritta a: Servizi Fondazione Pentagram s.r.l., presso la sede operativa in Venezia, Isola di San Giorgio Maggiore 8 “Le Stanze del Vetro”; n. fax (+39) 041 5229138/e-mail: info@lestanzedelvetro.org

Dopo aver letto e preso conoscenza dei contenuti della “Informativa”, dichiaro di accettare il trattamento dei miei dati personali da parte di Servizi Fondazione Pentagram s.r.l. Unipersonale, in qualità di Responsabile del Trattamento nonché di Rappresentante stabilito designato da Pentagram Stiftung, ex art. 5.2 D.lgs. n. 196/2003; e, in particolare, di esprimere il consenso al loro trattamento nelle forme, con le modalità e per le finalità ivi indicate, avendo altresì piena consapevolezza dei diritti relativi riconosciuti in capo al sottoscritto dall’art. 7 D.lgs. n. 196/2003, in qualità di “Interessato”.

Disclaimer

Copyright

All text, graphics and software contained in this site are protected by laws pertaining copyright and intellectual property.

Every product or company mentioned in this site are trademarks of their respective owners or holders and may be protected by patent and / or copyright registered or granted by the authorities. Therefore, any materials can be downloaded or used only for personal use and not for commercial use, and nothing, not even partially, can be reproduced, modified or resold for commercial purposes.

Terms of Use

In no case should PENTAGRAM STIFTUNG/LE STANZE DEL VETRO be held liable for damages of any nature arising directly or indirectly from accessing this web site, from use of interactive tools, from the possibility or impossibility of accessing this web site, from using the news contained in this web site. Quotations are allowed only when for the record, only if accompanied by indication of the source “www.lestanzedelvetro.org” and its URL. PENTAGRAM STIFTUNG/LE STANZE DEL VETRO reserves the right to reproduce the texts in other publications.

PENTAGRAM STIFTUNG/LE STANZE DEL VETRO reserves the right to change the content of the site and legal information at any time and without notice.

Access to external sites through links

LE STANZE DEL VETRO should not be held responsible for other web sites that can be accessed through links within the www.lestanzedelvetro.it site. LE STANZE DEL VETRO should not be held responsible for any information obtained by accessing other web sites through hyperlink. Therefore, those web site owners should be held responsible for any contents of their own web sites.

Download

Every available item in the download section of this site – such as documentation, forms, softwares and so on, is free to download, according to the conditions set by the owner, unless otherwise indicated.

Privacy

 

Titolare del trattamento:

Pentagram Stiftung, con sede in Hartbertstrasse 1, Chur 7001 (Svizzera) Rappresentante stabilito ex art. 5.2, d.lgs. n. 196/2003 e Responsabile del Trattamento: Servizi Fondazione Pentagram s.r.l.

Informativa resa all’interessato ai sensi dell’art. 13 del D.Lgs del 30 giugno 2003 n. 196

Ai sensi dell’art. 13 del D.Lgs del 30 giugno 2003 n. 196 (di seguito, il “D.Lgs. n. 196/2003”) – recante le disposizioni per la tutela delle persone e di altri soggetti rispetto al trattamento dei dati personali – Pentagram Stiftung, in qualità di “titolare” del trattamento dei dati personali degli utenti (di seguito indicati anche come “Utenti del Sito” o “Utente del Sito”) del sito http://www.lestanzedelvetro.org (di seguito, detto anche il “Sito”) insieme a Servizi Fondazione Pentagram s.r.l. Unipersonale (di seguito la “Servizi Fondazione Pentagram”), in qualità di “Rappresentante stabilito ex art. 5.2, d.lgs. n. 196/2003” nonché di “Responsabile del Trattamento” dei medesimi dati, informano i propri Utenti di quanto segue.

0. Tutela dei dati personali

La Responsabile del trattamento Servizi Fondazione Pentagram raccoglierà e tratterà, anche per conto di Pentagram Stiftung, i dati personali di ciascun Utente nel rispetto del D.Lgs del 30 giugno 2003 n. 196, recante le disposizioni per la tutela delle persone e di altri soggetti rispetto al trattamento dei dati personali.

In particolare, i dati personali di ciascun Utente saranno trattati previa acquisizione del consenso espresso, per iscritto ove necessario, mediante la previa messa a disposizione della presente “informativa”, resa ai sensi dell’art. 13 del D.Lgs. del 30 giugno 2003 n. 196, e contenente, in particolare, l’indicazione dei “Diritti dell’interessato”

1. Fonte di acquisizione dei dati personali

1.1. Raccolta diretta

I dati personali (o alcuni dati qualificabili come “personali” ai sensi del D.Lgs. n. 196/2003) vengono acquisiti dalla Responsabile del trattamento, Servizi Fondazione Pentagram, direttamente dall’Utente:

(a) vuoi all’atto della sua registrazione al Sito e/o della sua navigazione nel Sito stesso;

(b) vuoi della sua richiesta di invio elettronico e/o cartaceo: di prodotti editoriali gratuiti, incluse newsletter periodiche, inviti a mostre ed eventi, programmi di seminari, convegni, lezioni, ecc.;

1.2. Raccolta tecnologica e rinvio alla “Cookies Policy”.

All’atto della registrazione al Sito e/o della navigazione nel Sito stesso, possono essere raccolti dati relativi alla dotazione tecnologica quali, a titolo esemplificativo, il sistema operativo utilizzato, l’Host ID e l’indirizzo IP, le pagine visitate (dati di navigazione). Cookies, web beacons e tecnologie affini, di cui questo sito fa uso, consentono inoltre di riconoscere:

l’IP;

il tipo di browser utilizzato;

il sistema operativo utilizzato;

il sito web da cui l’Utente proviene;

la data e l’ora della visita;

l’URL delle pagine consultate;

altre dati di navigazione, come ad esempio i downloading effettuati.

Nel rinviare per più specifiche informazioni e avvertimenti alla “Cookie Policy” relativa a questo Sito, sin da ora si avverte ciascun Utente che quasi tutti i browser oggi consentono di rimuovere e bloccare cookies e web-beacons. Se l’Utente rimuove o blocca i cookies dovrà reintrodurre ogni volta l’username e la password; e otterrà informazioni generiche e non mirate sui suoi specifici interessi, perdendo gran parte dei vantaggi del servizio offerto.

1.3. Raccolta dati da fonti di terzi. Possibile condivisione di dati personali con terze parti

La Responsabile del Trattamento e la stessa Titolare (anche per il tramite della prima) possono ricevere saltuariamente informazioni concernenti l’Interessato da altre fonti, come ad esempio controparti di contatti commerciali ovvero da imprese o fondazioni collegate, controllate, controllanti o soggette a comune controllo (anche estere), ovvero ancora da imprese acquisite o semplicemente convenzionate e/o da altri enti (come ad esempio: società lucrative, società cooperative società consortili, fondazioni e/o associazioni, anche estere; Enti pubblici, etc.) e può incrociare e integrare queste informazioni con le informazioni già disponibili.

Se l’Utente trasmette l’informazione di un terzo (o se una terza parte ci trasmette l’informazione in suo nome), richiediamo esplicitamente che chi trasmette l’informazione abbia ricevuto il consenso da chi la fornisce.

Alcuni contenuti del Sito possono inoltre essere offerti in condivisione con terze parti (c.d. “co-branded”). In questi casi, quando l’Utente trasmette, indica o comunque comunica le sue informazioni personali alla Pentagram Stiftung per il tramite di Servizi Fondazione Pentagram è bene che ricordi che queste ultime saranno rese disponibili, sia presso la Titolare, sia presso la Responsabile del Trattamento, sia presso le terze parti che offrono in condivisione con la Titolare i medesimi beni e/o servizi.

2. Finalità del trattamento dei dati personali

I dati personali vengono raccolti con lo scopo di gestire i servizi forniti all’utente mediante il Sito nonché allo scopo di sviluppare una comunicazione mirata con l’Utente mediante:

l’apertura e la reportistica degli account dell’Utente del Sito (anche in correlazione con l’account che risultasse eventualmente attivato presso il “bookshop” del Le Stanze del Vetro),

la pianificazione degli account dell’Utente del Sito (anche in correlazione con l’account che risultasse eventualmente attivato presso il “bookshop” de Le Stanze del Vetro),

la personalizzazione delle comunicazioni di attività culturali e dei contenuti di interesse per l’Utente (anche in correlazione con l’eventuale account che risultasse attivato presso il “bookshop” del Le Stanze del Vetro),

l’invio all’Utente di informazioni circa nuovi servizi culturali e ricreativi erogati dalla Titolare o da terze parti (anche in correlazione con l’eventuale account che risultasse attivato presso il “bookshop” de Le Stanze del Vetro),

l’invio all’Utente di informazioni e messaggi promozionali (sotto forma di newsletter elettronica e/o cartacea, di inviti, di brochure, di locandine e simili, diffusi sia in formato elettronico, sia in formato cartaceo) circa le attività culturali (eventi, mostre, seminari, convegni, lezioni, concerti, laboratori di approfondimento per bambini e adulti e attività connesse) prodotte e/o organizzate dalla Titolare ovvero dalla Responsabile del Trattamento con e/o da terze parti,

le ricerche di mercato effettuate per conto della Titolare e/o della Responsabile e/o di terze parti (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali operazioni),

l’analisi delle modalità di utilizzo di servizi da parte dell’Utente (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali analisi),

il monitoraggio del servizio erogato per prevenire utilizzi non autorizzati dei contenuti e violazioni delle condizioni di servizio (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali monitoraggi),

la prevenzione di frodi e di attività illegali (implicante la possibilità di comunicare i dati personali degli Interessati a terze parti incaricate di tali operazioni di prevenzione).

3. Modalità di trattamento e ambito di comunicazione dei dati personali

Il trattamento avverrà mediante l&utilizzo di strumenti e procedure idonee a garantire la sicurezza e la riservatezza dei dati stessi e sarà effettuato con l&ausilio di mezzi elettronici e di Incaricati nel pieno rispetto di quanto previsto dalle Misure Minime di Sicurezza, siccome individuate nel Disciplinare tecnico in materia di misure minime di sicurezza – Allegato B del D.Lgs. n. 196/2003. I dati in questione saranno trattati da Servizi Fondazione Pentagram s.r.l., in qualità di Responsabile del Trattamento nonché di Rappresentante stabilito, designato ex art. 5.2, D.Lgs. n. 196/2003, e in particolare dagli Incaricati del trattamento.

4. Conferimento dei dati personali

4.1. Il conferimento dei dati personali è in ogni caso facoltativo e il loro mancato conferimento normalmente non pregiudica in alcun modo la navigazione nel Sito.

In relazione ai dati personali forniti direttamente dall’Utente si avverte tuttavia che il mancato conferimento dei dati contrassegnati come “obbligatori” nei moduli consegnati personalmente nel Bookshop de Le Stanze del Vetro ovvero per l’accesso ad alcune sezioni del Sito o comunque per la fruizione di determinati servizi rende impossibile l’accesso e la fruizione e, conseguentemente, diviene impossibile per l’utente inviare richieste (informative o contrattuali) e fruire dei servizi erogati mediante il Sito. Al contrario, il mancato conferimento di dati ulteriori (non “obbligatori”) non ha alcuna conseguenza per l’Utente rispetto alla navigazione del Sito e/o ai servizi di informazioni periodiche (newsletter etc.) e/o agli altri servizi connessi.

4.2. In relazione ai dati raccolti con mezzi tecnologici, con riferimento ai cookies e agli altri web beacons (e fatto salvo il rinvio alla completa lettura della “Cookie Policy” del Sito), si ricorda che l’Utente può comunque decidere in ogni momento di non abilitare o disabilitare il loro uso mediante le opzioni fornite dal suo software di navigazione; il mancato conferimento dei dati acquisibili mediante l’uso di cookies e altri web beacons non ha alcuna conseguenza pregiudizievole per l’Utente rispetto alla navigazione del Sito, salvo che divenga impossibile registrarsi e/o accedere alle sezioni riservate del Sito, per le quali è necessario non disabilitare l’uso dei cookies o altri web beacons. Per quanto concerne, invece, i dati di navigazione acquisiti automaticamente dai sistemi informatici e dalle procedure software preposte al funzionamento di questo Sito nel corso del loro normale esercizio, nel caso in cui l’Utente non desideri conferire questi dati è tenuto a non navigare in questo Sito.

5. Comunicazione dei dati personali

5.1. Ferme restando le comunicazioni e le diffusioni effettuate in esecuzione di obblighi previsti dalla normativa nazionale e comunitaria, i dati personali, una volta raccolti dalla Titolare (e/o da terze parti) potranno essere comunicati alle seguenti categorie di soggetti:

nell’ambito delle proprie mansioni e/o dei rispettivi obiettivi e progetti, dipendenti e/o collaboratori di Pentagram Stiftung nonché di Servizi Fondazione Pentagram s.r.l.,

nell’ambito delle proprie mansioni e/o dei rispettivi obiettivi e progetti, dipendenti e/o collaboratori di enti collegati, controllanti, controllati e/o soggetti a comune controllo di Pentagram Stiftung e/o di Servizi Fondazione Pentagram ovvero legati ai predetti enti da particolari vincoli contrattuali,

fornitori, distributori e grossisti,

Uffici della Pubblica Amministrazione,

istituti di credito, compagnie e agenzie di assicurazioni, broker e mediatori assicurativi, società finanziarie, società di leasing, ecc.,

società di consulenza informatica e simili,

Uffici giudiziari,

Uffici postali, spedizionari e corrieri per l’invio/ricezione di documentazione e/o altro materiale,

persone, società, associazioni e/o studi professionali che prestano servizi o attività di assistenza e consulenza alla Titolare e/o alla Responsabile del Trattamento, con particolare, ma non esclusivo, riferimento alle questioni in materia promozionale, contabile, amministrativa, legale, del lavoro, tributaria e finanziaria.

5.2. I dati non sono soggetti a diffusione.

5.3. Con il consenso dell’Utente, Pentagram Stiftung, anche per il tramite di Servizi Fondazione Pentagram, potrà inoltre condividere o trasmettere i dati dell’Utente con/a terze parti affiliate (controparti di contratti commerciali, controparti convenzionate, imprese, fondazioni o associazioni controllate, controllanti, soggette a comune controllo etc.), vuoi alla Pentagram Stiftung, vuoi alla Servizi Fondazione Pentagram, a sostegno delle rispettive attività istituzionali, di marketing e di comunicazione nonché con i/ai fornitori di beni e/o servizi che agiscono ed utilizzino i dati per conto di Pentagram Stiftung e/o di Servizi Fondazione Pentagram.

5.4 Inoltre si avverte che nelle aree wikis, forum, blogs, chat e altri ambienti di social network, le informazioni inviate dall’Utente sono diffuse a tutti i partecipanti.

6. Trasferimento dei dati personali

I dati personali possono essere trasferiti, sempre per le finalità di cui al punto 1, sia nell’ambito dei Paesi dell’Unione Europea che verso Paesi terzi nel rispetto degli artt. 42 e ss. del D.Lgs. n. 196/2003.

7. Diritto dell’interessato

Relativamente ai dati personali è nella Sua facoltà l’esercizio dei diritti di accesso previsti dall’art. 7 del D.Lgs. n. 196/2003:

“1. L’interessato ha diritto di ottenere la conferma dell&esistenza o meno di dati personali che lo riguardano, anche se non ancora registrati, e la loro comunicazione in forma intellegibile. 2. L’interessato ha diritto di ottenere l’indicazione: a) dell’origine dei dati personali; b) delle finalità e modalità del trattamento; c) della logica applicata in caso di trattamento effettuato con l’ausilio di strumenti elettronici; d) degli estremi identificativi del titolare, dei responsabili e del rappresentante designato ai sensi dell’articolo 5, comma 2; e) dei soggetti o delle categorie di soggetti ai quali i dati personali possono essere comunicati o che possono venirne a conoscenza in qualità di rappresentante designato nel territorio dello Stato, di responsabili o incaricati. 3. L’interessato ha diritto di ottenere: a) l’aggiornamento, la rettificazione ovvero, quando vi ha interesse, l’integrazione dei dati; b) la cancellazione, la trasformazione in forma anonima o il blocco dei dati trattati in violazione di legge, compresi quelli di cui non è necessaria la conservazione in relazione agli scopi per i quali i dati sono stati raccolti o successivamente trattati; c) l’attestazione che le operazioni di cui alle lettere a) e b) sono state portate a conoscenza, anche per quanto riguarda il loro contenuto, di coloro ai quali i dati sono stati comunicati o diffusi, eccettuato il caso in cui tale adempimento si rivela impossibile o comporta un impiego di mezzi manifestamente sproporzionato rispetto al diritto tutelato. 4. L’interessato ha diritto di opporsi, in tutto o in parte: a) per motivi legittimi al trattamento dei dati personali che lo riguardano, ancorché pertinenti allo scopo della raccolta; b) al trattamento di dati personali che lo riguardano a fini di invio di materiale pubblicitario o di vendita diretta o per il compimento di ricerche di mercato o di comunicazione commerciale.”

Titolare del trattamento dei dati personali è Pentagram Stiftung, con sede in Chur, Hartbertstrasse 1, 7001 Svizzera, la quale al fine del trattamento dei dati personali in Italia elegge quale Rappresentante Stabilito ex art. 5.2 D.Lgs., n. 196/2003 e nomina quale Responsabile del Trattamento Servizi Fondazione Pentagram s.r.l. Unipersonale, cod. fisc./part. IVA 04128390277 con sede legale in Venezia, S. Croce n. 464, nella persona del suo Legale Rappresentante.

Esercizio dei diritti ex art. 7, D.Lgs. n. 196/2003: per esercitare i diritti previsti dall’art. 7 del D.Lgs. n. 196/2003, ed indicati retro, al punto n. 7, l’Interessato dovrà indirizzare richiesta scritta a: Servizi Fondazione Pentagram s.r.l., presso la sede operativa in Venezia, Isola di San Giorgio Maggiore 8 “Le Stanze del Vetro”; n. fax (+39) 041 041 5229138/e-mail: books@lestanzedelvetro.org

Dopo aver letto e preso conoscenza dei contenuti della “Informativa”, dichiaro di accettare il trattamento dei miei dati personali da parte di Servizi Fondazione Pentagram s.r.l. Unipersonale, in qualità di Responsabile del Trattamento nonché di Rappresentante stabilito designato da Pentagram Stiftung, ex art. 5.2 D.lgs. n. 196/2003; e, in particolare, di esprimere il consenso al loro trattamento nelle forme, con le modalità e per le finalità ivi indicate, avendo altresì piena consapevolezza dei diritti relativi riconosciuti in capo al sottoscritto dall’art. 7 D.lgs. n. 196/2003, in qualità di “Interessato”.

Cookie

Cookies

To make this site work properly, we sometimes place small data files called cookies on your device. Most big websites do this.

What are cookies?

A cookie is a small text file that a website saves on your computer or mobile device when you visit the site. It enables the website to remember your actions and preferences (such as login, language, font size and other display preferences) over a period of time, so you don&t have to keep re-entering them whenever you come back to the site or browse from one page to another.

How do we use cookies?

The purpose and nature of each cookie is explained below:

[FontSize]

Purpose: to record your display preferences, such as contrast colour settings or font size. These cookies are critical for the user experience and accessibility of the website*. This cookie is a session-based and first party cookie. It is controlled by the website: ec.europa.eu.

ReadSpeaker [ReadSpeakerHL/ReadSpeakerHLspeed/ReadSpeakerHLicon]

Purpose: To provide a “read text aloud” service and allow users to control the highlighting/setting options (speed of the reader, words or sentences only etc.)…. This cookie lasts four days before being erased automatically (permanent cookie based) and is controlled by ReadSpeaker.com (third-party cookie based).

[JSESSIONIDIPM – Survey reply confirmation]

Purpose: to record if you already replied to a survey pop-up asking if the content was helpful or not. (This is to ensure that you won&t be asked the same question repeatedly). This cookie is controlled by the website: ec.europa.eu and is session-based and first-party cookie.

[YSC/VISITOR_INFO1_LIVE – YouTube embedded videos]

Purpose: to collect anonymous statistics for videos embedded with YouTube and to assess the performances of the video embedded in our website. There are 2 different cookies involved, all third-party based. One is permanent (VISITOR_INFO1_LIVE) and one session-based (YSC). The cookies are controlled by YouTube (Third-party cookie).

[com.jeroenwijering.sol – Embeded videos]

Purpose: to gather statistics on videos other than YouTube videos embedded in our website .This flash cookie remembers the user&s preferences concerning the player such as volume, quality, etc.. This cookie is controlled by the website: ec.europa.eu and is session-based and first-party cookie.

[eu_cookie_consent – Cookie use agreement]

Purpose: to record whether or not you have agreed to our use of cookies on this site.

[PREF/khcookie/NID – Googlemap embedded]

Purpose: These cookies are used by Google to store user preferences and information when viewing pages with Google maps on them. There are 3 different cookies involved, all third-party based. Two are permanent and one is session-based.
Enabling these cookies is not strictly necessary for the website to work but it will provide you with a better browsing experience. You can delete or block these cookies, but if you do that some features of this site may not work as intended.
The cookie-related information is not used to identify you personally. These cookies are not used for any purpose other than those described here.

How to control cookies

You can control and/or delete cookies as you wish – for details, see AllAboutCookies.org. You can delete all cookies that are already on your computer and you can set most browsers to prevent them from being placed. If you do this, however, you may have to manually adjust some preferences every time you visit a site and some services and functionalities may not work.

You can easily accept or reject the cookies on this site by choosing one of the following links: I accept cookies / I refuse cookies.

The Glass Ark. Animals in the Pierre Rosenberg Collection

Curated by Giordana Naccari and Cristina Beltrami22 March — 25 July 2021

The next spring exhibition at will focus on the extraordinary glass animal collection of Pierre Rosenberg, former Director/President of the Louvre in Paris

The exhibition The Glass Ark. Animals in the Pierre Rosenberg Collection, curated by Giordana Naccari and Cristina Beltrami, will open on 22 March 2021 and retrace – in an original and fascinating way – the history of 20th-century Murano glass from an unusual angle: the glass animal.

The over 750 works of art – representing, among others, elephants, hippos, cats, giraffes, bears, parrots, fish, turtles, foxes and tiny, lamp-worked life-sized insects –  belong to the personal collection that Pierre Rosenberg, art historian and former Director/President of the Louvre in Paris, put together over thirty years.

Some of the most famous series will be on show, such as the pulegosi [bubble glass] pieces by Napoleone Martinuzzi, the birds by Tyra Lundgren and by Toni Zuccheri for the Venini glassworks. Alongside the Zebrati [zebra-striped] series by Barovier & Toso, the aquariums by Alfredo Barbini and the well-known examples by Seguso Vetri d’Arte, the exhibition will also feature a vast sample of animals made by lesser-known but equally interesting glassworks from the point of view of the technical and design experimentation of 20th-century Murano glass production. The exhibition will also showcase sculptures by living artists such as Cristiano Bianchin, Isabelle Poilprez, Maria Grazia Rosin and Giorgio Vigna that demonstrate the inexhaustible source of inspiration that the glass animal has to offer.

The exhibition set-up will be curated by Denise Carnini and Francesca Pedrotti, two young stage designers who will engage in setting up a glass zoo. The exhibition will also include an animated video by Giulia Savorani, visual artist and director who, starting from drawings on glass, has created a fairytale cartoon, based on an idea by Giordana Naccari for this occasion.

December 12, 2020
  • Donkey, Monkey, Cat, in zebrato [zebra striped] glass, Barovier & Toso, 1950s. Courtesy LE STANZE DEL VETRO
  • Butterflies by Bruno Amadi, 1980s. Courtesy LE STANZE DEL VETRO
  • Bears in lattimo glass [milk glass] with gold leaf, 1930s. Courtesy LE STANZE DEL VETRO
Images Gallery

Travelling Shows

Here you will find information about the travelling shows of LE STANZE DEL VETRO

 

June 24, 2020

Paolo Venini and His Furnace

Finnish Glass Museum, Riihimäki, Finland2 June 2020 – 31 December 2020

The exhibition features about 100 works in glass and some preparatory designs by Paolo Venini and some of the artists who collaborated with him in the period before and after World War II.

Paolo Venini (1895-1959) founded the V.S.M. Venini & C. glassworks together with Napoleone Martinuzzi and Francesco Zecchin in 1925: he later became Chairman of the company and worked tirelessly as guiding mentor and manager of the firm until his death.

The role of Paolo Venini and his extraordinary personality is at the centre of the exhibition, but, at the same time, it also features the creations of those who collaborated with him episodically between the Thirties and Fifties, called in by Venini or having arrived themselves due to their interest in the quality of his furnace’s work: Tyra Lundgren, Gio Ponti, Piero Fornasetti, Eugène Berman, Ken Scott, Charles Lin Tissot, Riccardo Licata, Massimo Vignelli, Tobia Scarpa, Grete Prytz.

 

Previously on view at:

 

VENINI. VENEDIGS GLANZ IN GLAS

Glasmuseum Frauenau, Germany

15 September 2019 – 14 March 2020

 

Venini & C. 1934-1959.

Le génie verrier à Murano

Vitromusée Romont, Switzerland

9 June – 11 November 2018

 

Paolo Venini and His Furnace

LE STANZE DEL VETRO, Venice

11 September 2016 – 8 January 2017

 

June 24, 2020
Images Gallery

Hiroshi Sugimoto, Glass Tea House Mondrian

Kyoto City KYOCERA Museum of Art, Japan26 May - 4 October 2020

The site-specific installation by Hiroshi Sugimoto, which was showcased in the gardens of LE STANZE DEL VETRO from 2014 to 2016, is now on show at the Kyoto City Museum of Art

 

The Hiroshi Sugimoto – Post Vitam exhibition is open to the public until 4 October, presenting for the first time at the Kyoto Museum of Art a large-scale installation of photographic works by the Japanese artist Hiroshi Sugimoto.

The “Glass Tea House Mondrian”, inspired by the Japanese tradition of the tea ceremony, is also exhibited. The work consists of two main elements: a glass cube, i.e. the tea house, and a surrounding garden.

 

Previously on view at:

Sugimoto Versailles. Surface de Révolution. The Glass Tea House Mondrian

Versailles, France

16 October 2018 – 17 February 2019

 

Glass Tea House Mondrian

LE STANZE DEL VETRO, Venice

6 June 2014 – 29 November 2016

 

May 26, 2020
Images Gallery

Vittorio Zecchin: Glass for Cappellin and Venini

Kunstsammlungen der Veste Coburg Museum, Germany15 May 2020 – 10 January 2021

The exhibition focuses on Vittorio Zecchin’s extremely refined glass production, that was preeminent in the Murano of his time.

 

For those who missed the exhibition at LE STANZE DEL VETRO in 2017, Vittorio Zecchin: Glass for Cappellin and Venini is now open at the Kunstsammlungen der Veste Coburg Museum in Germany.

It will be possible to enjoy about 90 ethereal hand-blown glass works designed by Zecchin in the 1920s, when he was appointed Artistic Director first at the V.S.M. Cappellin Venini & Co. glassware company and then at the M.V.M. Cappellin & Co.

Zecchin’s glass production was preeminent in the Murano of his time, both for its classical proportions and rigorous shapes, as well as for its remarkable colours, mostly delicate but at times intense and bright shades of yellow, green, blue and amethyst.

 

Previously on view at:

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

LE STANZE DEL VETRO

11 September 2017 – 7 January 2018

 

Upcoming:

Vittorio Zecchin- Glas für Cappellin und Venini

LWL-INDUSTRIEMUSEUM WESTFÄLISCHES LANDESMUSEUM FÜR INDUSTRIEKULTUR GLASHÜTTE GERNHEIM, Germany

15 February 2021 – 15 August 2021

May 15, 2020
Images Gallery

Venice and American Studio Glass

Closed to the public6 September 2020 — 10 January 2021

In compliance with the Government Decree signed on 3 December 2020, our exhibition space is closed to the public.

“VENICE AND AMERICAN STUDIO GLASS” VIRTUAL TOUR – PART 1

 

“VENICE AND AMERICAN STUDIO GLASS” VIRTUAL TOUR – PART 2

 

Gathering 155 outstanding glass vessels, sculptures and installations created by 60 American and Venetian artists, this exhibition ‘Venice and American Studio Glass’, curated by Tina Oldknow and William Warmus, former curators of modern and contemporary glass at The Corning Museum of Glass in New York, is the first to closely examine the influences of traditional Venetian glass-working techniques, as well as the Venetian aesthetic, on American Studio Glass made from the 1960s to the present.

On show in the Carnelutti Hall of the Fondazione Giorgio Cini there is the monumental installation by Dale Chihuly, Laguna Murano Chandelier, created in 1996 on Murano with the Venetian masters Lino Tagliapietra and Pino Signoretto. The chandelier is made up of five components and incorporates sculptural elements evoking the Venetian lagoon.

‘Venice and American Studio Glass’ demonstrates the powerful, enduring and versatile legacy of Venetian glassmaking in America by exploring the impact of Venice on contemporary American art in glass.

LE STANZE DEL VETRO is both a cultural project and an exhibition space on the Island of San Giorgio Maggiore and it is dedicated to the study and the exhibition of modern and contemporary forms of the glass art.

Two exhibitions are staged each year: one in the spring, dedicated to the use of glass in 20th and 21st century Art and Design, and the second in the autumn, dedicated to the talented people who designed objects for the Venini glassware company in the 20th century.

Free entrance to LE STANZE DEL VETRO and guided tours, educational workshops and special events for families are scheduled for each exhibition.

 

List of artists:

Tina Aufiero, Philip Baldwin, Monica Guggisberg, Alfredo Barbini, Fulvio Bianconi, Martin Blank, Sonja Blomdahl, Nancy Callan, James Carpenter, Dale Chihuly, Deborah Czeresko, Dan Dailey, Laura Donefer, Jeff Mack, Fritz Dreisbach, Claire Falkenstein, Katherine Gray, William Gudenrath, Kim Harty, Richard Jolley, John Kiley, Beth Lipman, Marvin Lipofsky, Harvey K. Littleton, Flora C. Mace, Joey Kirkpatrick, Dante Marioni, Richard Marquis, Napoleone Martinuzzi, Josiah McElheny, James Mongrain, Benjamin P. Moore, William Morris, Andy Paiko, Marc Petrovic, Stephen Rolfe Powell, Kait Rhoads, Alexander Rosenberg, Richard Royal, Ginny Ruffner, Charles Savoie, Italo Scanga, Carlo Scarpa, David Schnuckel, Michael Schunke, Archimede Seguso, Pino Signoretto, Preston Singletary, Raven Skyriver, Thomas Stearns, Ethan Stern, Boyd Sugiki, Lino Tagliapietra, Mark Tobey, Norwood Viviano, Karen Willenbrink-Johnsen, Robert Willson, Fred Wilson, Mark Zirpel, Toots Zynsky

 

View the catalogue

November 28, 2019
  • Installation view, ph. Enrico Fiorese
  • Installation view, ph. Enrico Fiorese
Images Gallery

Carlo Scarpa. Glass and Drawings. 1925-1931

Museo di Castelvecchio, Verona, Italy23 November 2019 - 8 March 2020

The exhibition highlighted the importance of the M.V.M. Cappellin glassworks between the 1920s and 1930s, thanks also to the contribution made by the young Venetian architect Carlo Scarpa.

The exhibition traced the overall history of the glassworks, but focused in particular on the period 1925-1931, when the young Carlo Scarpa joined the firm and started there his long and revolutionary glass design career. The glassworks was described as the best over the years of its activity, on a par with V.S.M. Venini & C., with which it ideally contended, achieving a production of exceptional quality, both in the glass techniques used (from transparent glass to the extraordinary opaque glass) and the design of the objects, distinguished by an elegant modernity.

Scarpa collaborated with the glassworks until it closed down for bankruptcy at the beginning of 1932, due in part to the unfavourable economic situation following the American crash of 1929.

The exhibition illustrated the richness of the Scarpa glass production, thanks to constant research into the glass material and form, resulting in works of exceptional quality, often with quite novel results.

 

Previously on view at:

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa 1925-1931
LE STANZE DEL VETRO
10 September 2018 – 6 January 2019

November 23, 2019
Images Gallery

Toni Zuccheri and Tapio Wirkkala

Research of the documents and glass workscurated by Marino Barovier, autumn 2021

The 2021 autumn exhibition at LE STANZE DEL VETRO will be dedicated to Tapio Wirkkala and Toni Zuccheri: in preparation for the exhibition and the accompanying catalogues, we are carrying out an in-depth research of the documents and glassworks.

The 2021 autumn exhibition at LE STANZE DEL VETRO will be dedicated to the the artist-architect Toni Zuccheri and the Finnish designer Tapio Wirkkala, who worked with the Venini company starting from the middle of the ‘60s.

In preparation for the exhibition on Toni Zuccheri and Tapio Wirkkala , curated by Marino Barovier, and the accompanying catalogues, we are carrying out an in-depth research of documents and glassworks. We would be very grateful if you could notify us about any historical photos, drawings, original documents and glass objects that could be relevant.

Contacts: consulting@barovier.it, +39 041 5236748

October 30, 2019
Images Gallery

Thomas Stearns at Venini

Curated by Marino Barovier9 September 2019 – 5 January 2020

The aim of the autumn exhibition of LE STANZE DEL VETRO is to emphasize the importance of the association of Thomas Stearns with the Venini glassworks in the early 1960s

‘Thomas Stearns at Venini’, curated by Marino Barovier, is the next LE STANZE DEL VETRO autumn exhibition open to the public on the island of San Giorgio Maggiore, from 9 September 2019 to 5 January 2020.

The American artist worked at the Venini glassworks in the early 1960s and, following an initial period during which he became familiar with Murano techniques, he started to create some very original and unusual works in the context of local production.

So came into existence a small series of glass pieces, designed as sculptures, recognizable  because of their asymmetric and organic shapes and unusual glass techniques, rooted in the material of glass itself and with singular colour combinations.

For the 31st Biennale in 1962 the Venini company exhibited, together with the glass pieces of Tobia Scarpa, also six pieces by the American artist, and these were rewarded with the accolades of the adjudication panel. His pieces, Il cappello del Doge, Facciate di Venezia, are well-known. The gold medal was in fact proposed for them; this, however, could only be awarded to an Italian artist.

The exhibition will also underline the interest that Stearns took in cold-finishing techniques and in lighting, enhancing both artistic expression and technical research.

 

View the catalogue

June 5, 2019
  • Thomas Stearns at Venini, installation view, ph. Enrico Fiorese
  • Thomas Stearns at Venini, installation view, ph. Enrico Fiorese
Images Gallery

Maurice Marinot.
The Glass, 1911-1934

Curated by Jean-Luc Olivié and Cristina Beltrami25 March — 28 July 2019

The spring exhibition at LE STANZE DEL VETRO is dedicated to the great French artist who paved the way to much contemporary glassmaking

The spring exhibition at LE STANZE DEL VETRO, ‘Maurice Marinot. The Glass, 1911-1934′, the first international tribute to this great glass craftsman, will be open from 25 March to 28 July 2019.

The exhibition highlights the incredible originality of the French glassmaker-artist with more than 200 works and numerous preparatory drawings, from his first enamelled works to glass pieces personally blown and shaped with extraordinary skill and endless inventive capacity.

The exhibition ‘Maurice Marinot. The Glass, 1911-1934′ recounts the fundamental role of Marinot in the history of modern and contemporary glass, yet to be thoroughly acknowledged by the public.

LE STANZE DEL VETRO is both a cultural project and an exhibition space on the Island of San Giorgio Maggiore and it is dedicated to the study and the exhibition of modern and contemporary forms of the glass art.

Two exhibitions are staged each year: one in the spring, dedicated to the use of glass in 20th and 21st century Art and Design, and the second in the autumn, dedicated to the talented people who designed objects for the Venini glassware company in the 20th century.

Free entrance to LE STANZE DEL VETRO and guided tours, educational workshops and special events for families are scheduled for each exhibition.

 

View the catalogue

December 20, 2018
  • Flat flask, flames, 1930. Acid-etched transparent glass with hot-shaped red and black inclusions between layers. H 13 cm © RMAH, Brussels. Donation from Florence Marinot
  • Flask, Spring, 1920. Paris, © Eric Emo / Petit Palais / Roger-Viollet
  • Flat flask, 1925. Transparent glass with bubbles and hot-shaped blue inclusions between layers. H 19.5 cm © MAD, Paris / Jean Tholance. Bequest from Louis and Alice Barthou
Images Gallery

Qwalala

By Pae White12 May 2017 – 30 November 2019

The exhibition of the monumental sculpture by the American artist Pae White is open to the public in the gardens outside LE STANZE DEL VETRO

Qwalala is the second temporary installation (after the Glass Tea House Mondrian by Hiroshi Sugimoto) to be commissioned by LE STANZE DEL VETRO.

The work by American artist Pae White, exhibited in the gardens outside LE STANZE DEL VETRO, consists of a curved wall 65 metres long and 2.4 metres high, made from thousands of glass bricks crafted by hand in the Veneto Region.

The title of the installation, Qwalala, is a term coined by the Native American Pomo tribe and refers to the snaking course of the Gualala river in northern California, which the work is intended to recall, both in its structure and its layout.

About half of the bricks are in transparent glass, while the others are a whirl of twenty-six different colours: from a distance these bricks create an abstract, pictorial motif, while closer up they reveal a myriad of detail. The layout and the colour combination were chosen by the artist from the thousands of random possibilities generated by a computer using software produced especially for the project.

Apparently simple in form, the wall explores the limits of glass as a construction material and documents Pae White’s interest in combining common materials and technologies, traditional craft and advanced engineering, and in using the manufacturing industry to challenge the limits of each of these. The result may be interpreted as sculpture that evokes architecture and, vice versa, architecture that evokes sculpture.

The project is accompanied by a book published by Verlag der Buchhandlung Walther Koenig.

November 30, 2018
Images Gallery

The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa 1925-1931

Curated by Marino Barovier10 September 2018 — 6 January 2019

The autumn exhibition at LE STANZE DEL VETRO will highlight the importance of the M.V.M. Cappellin glassworks between the 1920s and 1930s, thanks also to the contribution made by the young Venetian architect Carlo Scarpa.

‘The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa 1925-1931′, curated by Marino Barovier and dedicated to the glassworks run by Giacomo Cappellin between 1925 and 1931, is the next autumn exhibition at LE STANZE DEL VETRO, open to the public on the island of San Giorgio Maggiore from 10 September 2018 to 6 January 2019.

The exhibition will trace the overall history of the glassworks for the first time, but will focus in particular on the period 1925-1931, when the young Carlo Scarpa joined the firm and started there his long and revolutionary glass design career. The glassworks was described as the best over the years of its activity, on a par with V.S.M. Venini & C., with which it ideally contended, achieving a production of exceptional quality, both in the glass techniques used (from transparent glass to the extraordinary opaque glass) and the design of the objects, distinguished by an elegant modernity.

Starting from 1926, Giacomo Cappellin was accompanied in his work by the young Venetian architect Carlo Scarpa, who worked with the company until 1931. Although in some cases Scarpa acted as interpreter of Cappellin himself, he gradually took on a certain independence in the design of the models, which were distinguished mainly by the use of geometrical forms.

The exhibition will illustrate the richness of the glass production, which always presented new series of glass pieces thanks to constant research into the glass material and form, resulting in works of exceptional quality, at times with quite new results.

 

View the catalogue

August 22, 2018
  • Vase in red 'pasta vitrea' and small perfume bottle in yellow 'pasta vitrea', 1929-30. Ph. Enrico Fiorese
  • Vase in red 'pasta vitrea' and bowl in yellow and red 'pasta vitrea', c. 1930. Ph. Enrico Fiorese
Images Gallery

A Furnace in Marseille. Cirva

Curated by Isabelle Reiher and Chiara Bertola9 April – 29 July 2018

The spring exhibition at LE STANZE DEL VETRO is dedicated to Cirva – Centre International de Recherche sur le Verre et les Arts Plastiques

The spring exhibition at LE STANZE DEL VETRO, “A Furnace in Marseille. Cirva – Centre international de recherche sur le verre et les arts plastiques” will run until 29 July 2018. The exhibition is at two venues, LE STANZE DEL VETRO and the Fondazione Querini Stampalia (until 24 June 2018), with a total of 17 artists exhibiting. Curated by Isabelle Reiher, Director of the Cirva in Marseille, and Chiara Bertola, Curator of Contemporary Art at the Querini Stampalia, the project concentrates on a selection of works in an attempt to highlight the salient creative moments of artists and designers who have been in residence at the Cirva over the past thirty years.

This is how Larry Bell, Pierre Charpin, Lieven De Boeck, Erik Dietman, Thomas Kovachevich, Giuseppe Penone, Jana Sterbak, Martin Szekely, Robert Wilson and Terry Winters find a space dedicated to their world: in each gallery of the exhibition there is an underlying detail on how the research and the exercise of each artist in the Marseille workshop have been fundamental to their work.

LE STANZE DEL VETRO is both a cultural project and an exhibition space on the Island of San Giorgio Maggiore and it is dedicated to the study and the exhibition of modern and contemporary forms of the glass art.

Two exhibitions are staged each year: one in the spring, dedicated to the use of glass in 20th and 21st century Art and Design, and the second in the autumn, dedicated to the talented people who designed objects for the Venini glassware company in the 20th century.

Free entrance to LE STANZE DEL VETRO and guided tours, educational workshops and special events for families are scheduled for each exhibition.

 

View the catalogue of the exhibition

May 4, 2018
  • Ph. Enrico Fiorese
  • Ph. Enrico Fiorese
  • Lieven De Boeck, "Mikado LBD Modulor", installation view, ph. Enrico Fiorese
Images Gallery

Vittorio Zecchin: Transparent Glass for Cappellin and Venini

Curated by Marino Barovier11 September 2017 – 7 January 2018

The next autumn exhibition at LE STANZE DEL VETRO will be dedicated to the Muranese artist Vittorio Zecchin. On show will be the transparent blown glass works he designed for Cappellin and Venini from 1921 to 1926

The exhibition “Vittorio Zecchin: Transparent Glass for Cappellin and Venini”, curated by Marino Barovier, will focus on the transparent glass works designed by the artist during the 1920s for the V.S.M. Cappellin Venini & C. company and later for the M.V.M. Cappellin & C.

Born in Murano, Zecchin (1878-1947) studied at the Accademia di Belle Arti in Venice and was especially interested in the artistic trends of the time, in particular in the central European avant-garde movements. He was an important figure in the artistic circle centered around Ca’ Pesaro and the exhibitions organized there: he developed an interest in applied arts, ranging from embroidery to tapestry and especially glass, which became a passion of his.

The glass production designed by Zecchin gained momentum starting in 1921, when he became artistic director of the V.S.M. Cappellin Venini & C. glassware company, founded by Giacomo Cappellin and Paolo Venini, soon to become a reference point both in Italy and internationally.

Generally speaking, the Cappellin-Venini production differred from the Murano glass production of the time, which was characterized by extreme virtuosity. The Cappellin-Venini glass works featured classical proportions together with extremely essential shapes.

The closing of the Cappellin Venini company in 1925 did not put an end to Zecchin’s glass production. He continued to design new items until 1926 for the new M.V.M. Cappellin & C. company, which Giacomo Cappellin established after he parted with Paolo Venini.

For the entire duration of the exhibition, we will offer free guided tours without need for booking every Saturday and Sunday: at 12 noon in English and at 3pm in Italian. For further information

 

View the catalogue

June 12, 2017
Images Gallery

Ettore Sottsass: The Glass

Curated by Luca Massimo Barbero10 April — 30 July 2017

On the occasion of the 100th anniversary of the birth of Italian architect Ettore Sottsass, the forthcoming exhibition of LE STANZE DEL VETRO will celebrate his glass and crystal production with 200 works on display – mostly from the Ernest Mourmans collection – many of which on show for the first time.

For the 100th anniversary of the birth of Ettore Sottsass (1917 – 2007) LE STANZE DEL VETRO will celebrate his glass production with the exhibition “Ettore Sottsass: The Glass”, curated by Luca Massimo Barbero, Director of the Institute of Art History of Fondazione Giorgio Cini. Featuring 200 works – mostly from the Ernest Mourmans collection – many of which on show for the first time, it will be the first exhibition dedicated entirely to the Italian architect’s glass and crystal production. The exhibition set-up design is by Annabelle Selldorf Studio. “Ettore Sottsass: The Glass” will run on the Island of San Giorgio Maggiore, in Venice, from 10th April to 30th July 2017. The show will be complemented by a catalogue raisonné, published by Skira.

‘Sottsass’s glass pieces are complex organisms, designed as if they were characters’ says Luca Massimo Barbero, the curator of the exhibition. ‘The artist-architect breaks through the technical boundaries of the objects using materials such as glass, plastic and polycarbonates and brings them to life. They are beings made of many elements that create a lively yet imaginary world. “Ettore Sottsass: The Glass” is an exhibition that brings Murano glass into the present with a vitality that projects it into the future.’

 

View the catalogue

March 23, 2017

The Glass of the Architects. Vienna 1900–1937

At the MAK Vienna18 January – 16 April 2017

A cooperation between the MAK and LE STANZE DEL VETRO

The exhibition “The Glass of the Architects. Vienna 1900–1937″ focuses on a fascinating chapter of Austrian handicraft: designs by young architects exercised an epochal influence on the development of art glass in Viennese Modernism. After its successful showing at LE STANZE DEL VETRO in Venice in 2016, this impressive exhibition will be presented in the MAK at the beginning of 2017. The exhibition with its 300 pieces of glassware—curated by Rainald Franz (Curator, MAK Glass and Ceramics Collection) and realized in cooperation with LE STANZE DEL VETRO—offers for the first time a comprehensive overview of the period from the final decades of the Austro-Hungarian Monarchy up until the end of the First Republic.

 

Previously on view at:

The Glass of the Architects. Vienna 1900-1937

LE STANZE DEL VETRO

18 April – 31 July 2016

 

Glass of the Architects: Vienna, 1900–1937

Corning Museum of Glass

23 June 2018 – 6 January 2019

December 5, 2016
Images Gallery

Glass Tea House Mondrian

by Hiroshi Sugimoto6 June 2014 - 29 November 2016

The “Glass Tea House Mondrian” is a new initiative of LE STANZE DEL VETRO, broadening its horizons, and involving internationally-renowned artists to plan and design a site-specific architectural pavilion.

The “Glass Tea House Mondrian” by Hiroshi Sugimoto is inspired by pre-modern abstraction, as perfected by Sen no Rikyû, in the Japanese tradition of the tea ceremony. “I decided that a Japanese transliteration of the name ‘Mondrian’ would be an ideal name. I combined three characters — 聞鳥庵 – that betoken ‘a modest house where one can hear the birds sing.’ I like to think that this tea house was designed by Mondrian after he heard Sen no Rikyû speaking to him through the singing of the birds”, says artist Hiroshi Sugimoto.

The pavilion consists of two main elements, an open-air landscape courtyard and an enclosed glass cube. The landscape courtyard (40m long and 12.5m wide) follows a path along a reflecting pool leading the visitor to a glass cube (2.5mx2.5m). Inspired by the Ise-shrine, the exterior fence around the pavilion is made entirely of cedar wood and realised through the contribution of Sumitomo Forestry Co. Ltd. Hiroshi Sugimoto and Sumitomo Forestry chose the cedar wood from the Tohoku region, which is committed to helping reconstruct areas that were devastated by the 2011 Tohoku earthquake and tsunami.

At the centre of the landscape courtyard, the long reflecting pool, made of glass mosaics, represents the other main feature of the installation; it leads the visitor to the key area of the pavilion – the glass tea house. The reflecting pool was made possible thanks to the collaboration with Fondazione Bisazza. Technical know-how and artisan traditions are combined in the construction of the glass cube and wooden elements, bringing together history and modernity, craftsmanship and technology. The glass cube is made by the Asahi Building-Wall Co. Ltd, a leading company in the production of architectural glass structures and engineering solutions for glass facades and structural building elements.

The tea utensils used in the tea ceremony were designed by Hiroshi Sugimoto and produced by craftsmen in Kyoto. For this occasion Hiroshi Sugimoto designed a limited-edition glass tea bowl which was produced at Simone Cenedese’s furnace in Murano. The glass tea bowl is for sale at the bookshop of LE STANZE DEL VETRO. The “Glass Tea House Mondrian” is an innovative project that provides a space in which to experience architecture, where the pavilion itself becomes the exhibition, an innovative example in which the artist freely suggests a theme and a project, allowing experimentation with the setting, shapes, building techniques and innovative materials.

 

Open every day except on Wednesdays, 10.00 am – 4.30 pm, until its closure, scheduled on the 29th November 2016.

 

View the catalogue

  • Hiroshi Sugimoto. Glass Tea House Mondrian © Hiroshi Sugimoto + New Material Research Laboratory. Courtesy: LE STANZE DEL VETRO. Photo: Enrico Fiorese
  • Hiroshi Sugimoto. Glass Tea House Mondrian © Hiroshi Sugimoto + New Material Research Laboratory. Courtesy: LE STANZE DEL VETRO. Photo: Enrico Fiorese
  • Hiroshi Sugimoto. Glass Tea House Mondrian © Hiroshi Sugimoto + New Material Research Laboratory. Courtesy: LE STANZE DEL VETRO. Photo: Enrico Fiorese
  • Hiroshi Sugimoto. Glass Tea House Mondrian © Hiroshi Sugimoto + New Material Research Laboratory. Courtesy: LE STANZE DEL VETRO. Photo: Enrico Fiorese
Images Gallery

Paolo Venini and His Furnace

Curated by Marino Barovier11 September 2016 - 8 January 2017

The autumn exhibition will be dedicated to Paolo Venini, an enlightened and creative entrepreneur. Exhibiting 300 works that recount his creative vision as well as of those artists who collaborated with him over the years such as Gio Ponti, Riccardo Licata, Ken Scott, Massimo Vignelli and Tobia Scarpa

Milanese by birth and Muranese by choice, Paolo Venini (1895-1959) was a great protagonist of twentieth century glass, and made a decisive contribution to keeping it alive with his enthusiastic works over the course of forty years. In his important role as a cultured, enlightened and creative entrepreneur, Paolo Venini will be the focus of the autumn exhibition at LE STANZE DEL VETRO: “Paolo Venini and His Furnace”, curated by Marino Barovier, will run on the Island of San Giorgio Maggiore from 11th September 2016 to 8th January 2017. Through 300 works the exhibition will feature the creations of Paolo Venini and some of the artists who collaborated with him in the period following World War II.

Paolo Venini founded the V.S.M. Venini & C. glassworks together with Napoleone Martinuzzi and Francesco Zecchin in 1925. He later became Chairman of the company and worked tirelessly as guiding mentor and manager of the firm until his death in 1959. In the course of forty years of business he collaborated with great artists such as the sculptor Napoleone Martinuzzi, the architects Tomaso Buzzi and Carlo Scarpa, and the designer Fulvio Bianconi to whom LE STANZE DEL VETRO have already dedicated solo exhibitions.

The role of Paolo Venini and his extraordinary personality will be at the centre of the exhibition Paolo Venini and his Furnace, but, at the same time, it will also feature the creations of those who collaborated with him episodically between the thirties and fifties, called in by Venini or having arrived themselves due to their interest in the quality of his furnace’s work: Tyra Lundgren, Gio Ponti, Piero Fornasetti, Eugène Berman, Ken Scott, Charles Lin Tissot, Riccardo Licata, Massimo Vignelli, Tobia Scarpa, Grete Prytz.

On occasion of the show “Paolo Venini and His Furnace”, a catalogue will be published, edited by Skira for LE STANZE DEL VETRO, curated by Marino Barovier and Carla Sonego.

 

View the catalogue

  • Transparent 'murrine' glass plates, 1957 ca.
  • Checkered 'murrine' glass vases and bowl, 1953
Images Gallery

The Glass of the Architects. Vienna 1900-1937

Curated by Rainald Franz, Glass and Ceramics Collection, MAK Vienna18 April 2016 - 31 July 2016

The exhibition will feature glass works by the main protagonists of the Viennese Modernism: Josef Hoffmann, Koloman Moser, Joseph Maria Olbrich, Leopold Bauer, Otto Prutscher, Oskar Strnad, Oswald Haerdtland Adolf Loos.

With over 300 works, mostly from the collection of the MAK – Austrian Museum of Applied Arts / Contemporary Art in Vienna and from private collections, the exhibition “The Glass of the Architects. Vienna 1900-1937″, curated by Rainald Franz, will run from April 18th to July 31st, 2016 on the Island of San Giorgio Maggiore, in Venice.

The exhibition will focus on the birth of the art of modern glassmaking in Austria between 1900 and 1937, a very lively period spanning the years between the last decades of the Austro-Hungarian Empire and the First Republic.

It will be the second exhibition organized by LE STANZE DEL VETRO – after the “Glass from Finland in the Bischofberger Collection” show – focussing on the international developments of glass in the 20th century. LE STANZE DEL VETRO is a long-term joint initiative of Fondazione Giorgio Cini and Pentagram Stiftung devoted to studying the art of glassmaking in the 20th and 21st centuries.

 

View the catalogue

  • The Glass of the Architects. Vienna 1900-1937 – Installation View – Ph Enrico Fiorese – Courtesy LE STANZE DEL VETRO
  • The Glass of the Architects. Vienna 1900-1937 – Installation View – Ph Enrico Fiorese – Courtesy LE STANZE DEL VETRO
Images Gallery

Fulvio Bianconi at Venini

Curated by Marino Barovier13 September 2015 — 10 January 2016

An innovative graphic designer, illustrator and caricaturist, Fulvio Bianconi was one of the most prolific artists to work in collaboration with the Venini glassware company – especially during the Fifties  – designing pieces that would become true icons of Murano artistic glassmaking

 The exhibition “Fulvio Bianconi at Venini”, curated by Marino Barovier, will open to the public on the Island of San Giorgio Maggiore on September 13th, 2015 and will run until January 10th, 2016. It is the fourth exhibition dedicated to the history of the Venini glassware company, organized by LE STANZE DEL VETRO, a long-term cultural initiative launched by Fondazione Giorgio Cini and Pentagram Stiftung devoted to the study and the promotion of the art of glassmaking in the 20th and 21st centuries.

With over 300 works, the exhibition “Fulvio Bianconi at Venini” aims to give a comprehensive description of the fruitful and long-lasting collaboration between the artist and the famous Murano glassware company. Fulvio Bianconi (Padua, 1915 – Milan, 1996) arrived in Murano in 1946 to design perfume bottles for the company Giviemme. He then began his collaboration with the Venini glassware company, which would continue until the mid-Fifties and episodically during the Sixties, and then again between the end of the Eighties and the early Nineties. During all these years Bianconi and Paolo Venini established a fruitful relationship, based on mutual respect and enthusiasm, which led Bianconi to have a strong influence on the production of the glassware company. Bianconi focussed on pieces with sophisticated shapes, characterized by strong colours, designing striking works, some of which sum up the enthusiasm of the “fabulous” Fifties, and later became true icons of Murano glassmaking.

Thanks to the unprecedented documentation from the Venini Archive and to the collaboration with private collectors, as well as with Italian and foreign museums, the exhibition “Fulvio Bianconi at Venini” features the complete glass production designed by Bianconi for the Venini glassware company. Many of these works were acclaimed at the Venice Biennale and at the Milan Triennale, as well as at other travelling exhibitions in Europe and the USA during the Fifties, and reveal Bianconi’s extraordinary curiosity and innovative skills, his interest in the use of strong colours as well as his ironic and playful creative nature.

 

View the catalogue

  • Zebra with monkey in opaque polychrome glass, 1948-49
  • Fazzoletto (handkerchief) vases in cased glass, 1949-50
  • Vases a macchie (with patches) in transparent glass with polychrome decorations, 1950
  • Vases a macchie (with patches) in transparent glass with polychrome decorations, 1950
  • African Women in black glass and glass with polychrome murrine (hot-worked mosaic), 1954
  • Scots vase with twisted polychrome bands crossed by pagliesco (straw-coloured) and red horizontal bands, 1954-57
  • Nudes in coloured transparent glass, c. 1950
  • Vases with polychrome applied tesserae, 1950
Images Gallery

Glass from Finland
in the Bischofberger Collection

Curated by Kaisa Koivisto and Pekka Korvenmaa13 April 2015 — 2 August 2015

Over 300 works from the Bischofberger collection celebrate the beauty of artistic glass in an exhibition featuring masterpieces by the most important Finnish designers of the 20th century.

The exhibition “Glass from Finland in the Bischofberger Collection”, curated by Kaisa Koivisto, curator at The Finnish Glass Museum, Riihimäki, and Pekka Korvenmaa, professor at Aalto University School of Arts, Design and Architecture (Finland), will open to the public on the Island of San Giorgio Maggiore in Venice on April 13th, 2015. This important exhibition features the best of Finnish and international design thanks to the unprecedented loan of over 300 glass works from the Bischofberger private collection. The beauty of artistic glass features masterpieces by the foremost 20th century Finnish designers: Aino and Alvar Aalto, Arttu Brummer, Kaj Franck, Göran Hongell,  Gunnel Nyman, Timo Sarpaneva, Oiva Toikka and Tapio Wirkkala.

The exhibition will offer the public a special opportunity to view some very rare objects, often unique or early production pieces, which Bruno and Christina Bischofberger have collected with passion and insight over the past forty years. In the early Twenties, Finland used design as its manifesto, in an attempt to establish its autonomy and its cultural sovereignty. Some of the country’s greatest designers began to use glass to create works of art that blended tradition and experimentation.

After 1932, Finnish glass became known worldwide and served to reveal the skills and creative talent of those who would soon be regarded as the visionary geniuses of Scandinavian design – i.e. Arttu Brummer, Gunnel Nyman, Göran Hongell and Aino and Alvar Aalto. In the early Fifties, through the new spirit of optimism and international influences, designers and artists became more daring, and with their work laid to the foundations of what would become known as “the golden age of Finnish glass”.

In order to meet the functional and psychological demands of its users, designers started producing objects and works of art that were both aesthetically sophisticated and mainly referred to nature through the free use of organic shapes and curves. Along with internationally acclaimed designers such as Alvar Aalto, other artists became the new stars of Scandinavian design, such as Kaj Franck, Gunnel Nyman, as well as Tapio Wirkkala, who is considered to be the symbol of the international success of post-war Finnish design.

During the Sixties and Seventies, colour and energy became the main focus of Finnish design; the glass works became colourful and were given elaborate shapes. Oiva Toikka designed glass birds, which became Iittala’s iconic trademark. Through his irreverent approach to the glass medium and tradition, Toikka represents the connection between the golden era of the Fabulous Fifties and a more contemporary design.

This rich collection, curated by Kaisa Koivisto and Pekka Korvenmaa for LE STANZE DEL VETRO brings to the public the greatest examples of a century-long glass production, with all its declinations and variations: shapes and objects that have rewritten the history of both Scandinavian and international design. To quote the motto of Iittala: “The shape that moves. And the movement never stops”.

 

View the catalogue

  • Gunnel Nyman. Pärlbandet (String of Pearls). Vase, 1947. Nuutajärvi. Bischofberger Collection, Switzerland. Photo: Rauno Träskelin
  • Timo Sarpaneva. Kajakki (Kayak). Bowl, 1953. Iittala. Bischofberger Collection, Switzerland. Photo: Rauno Träskelin
  • Alvar Aalto. Aalto-kukka (Aalto Flower). Plate, bowls and vase, 1939. Karhula. Bischofberger Collection, Switzerland. Photo: Rauno Träskelin
  • Arttu Brummer. Finlandia. Vase, 1945. Riihimäki. Bischofberger Collection, Switzerland. Photo: Rauno Träskelin
  • Oiva Took. Pampulavaasi (Pompom Vase). Vase, 1968. Nuutajärvi, unique. Bischofberger Collection, Switzerland. Photo: Rauno Träskelin
Images Gallery

Laura de Santillana and Alessandro Diaz de Santillana

Yorkshire Sculpture Park, Wakefield, England2 May 2015 - 6 September 2015

Yorkshire Sculpture Park (YSP) presents an exhibition of elegant sculptural forms and colourful glass paintings by internationally renowned artists, Laura de Santillana and Alessandro Diaz de Santillana, in YSP’s refurbished 18th century Chapel.

The Venice-based siblings are descendants of the Venini glassware dynasty, established by Paolo Venini on the island of Murano in 1921. Laura and Alessandro learned and honed their skills at Venini during their early careers, and they have each gone on to develop distinctive practices that break with exacting technical traditions and geographical confines.

Despite the correlation in the direction of their journeys and a shared basic material, Laura and Alessandro’s visual vocabulary and techniques are radically different. Experimentation, risk-taking and innovation drive their work, fed by widespread travel and collaborations with glassmaking experts across the world. Collapsing the typical blown cylinder, folding it in on itself, is a technique often employed by Laura de Santillana to produce slab-like forms that are, in a sense, envelopes forever sealed by the glassmaking process. The artist refers to them as ‘glass books’, and they retain a powerful sense of seeming to contain knowledge held in suspension. In the Chapel, the artist shows a library of these forms, to which she returns habitually, in specially made bookshelves. Colour is fundamental to Laura’s work, from subtle, misty opaque white and blue forms through to her strikingly intense yellow uranium glass pieces made in the Czech Republic, which have the luminous quality of neon.

Laura’s Blue Notebooks were inspired by Franz Kafka’s blue octavo notebooks – eight diaries used by the writer between 1917 and 1919; as well as being smaller in size than his usual quarto notebooks, they are more lyrical, comprising a collection of aphorisms and fragments. When light penetrates the glass books they appear to glow darkly with deep blues, merging into green towards the edge. Within each book, powders and pigments are added to the open form whilst still pliable, creating shadows. Alessandro’s passion and inspiration is water, which translates to the incredible treatment of the surface in his works, many of which have a strong, painterly quality. The YSP exhibition includes a series of wall and floor works by the artist with a complex, dark black yet mirrored patina, recalling the sense of looking into deep, reflecting pools. Using a technique applied for centuries in the production of handmade windows, a blown cylinder of glass is heated and cut, falling flat under its own weight. At this point, when the glass is typically flattened completely to remove imperfections, Alessandro works with the surface to add folds and subtle undulations. The resulting pieces have an evasive, ephemeral and fluid quality, neither mirror nor image. Unlike Laura’s more solid pieces, Alessandro works with glass that is only millimetres thick.

Peter Murray, YSP’s founding and executive director, says: “Alessandro Diaz de Santillana and Laura de Santillana are siblings who have been creating impressive works of art for decades. Separately, they have fine-tuned shared experiences into different and distinctive visual languages. What they have in common is a shared passion for glass: the tradition, the craft and the endless possibilities of creating works of art from the magical and unpredictable qualities of this medium.” The exhibition is a joint initiative of LE STANZE DEL VETRO, Fondazione Giorgio Cini and Pentagram Stiftung, Venice.

 

View the catalogue

 

Previously on view at:

I Santillana

Austrian Museum of Applied Arts / Contemporary Art (MAK)

19 November 2014 — 29 March 2015

 

I Santillana. Works by Laura de Santillana and Alessandro Diaz de Santillana

LE STANZE DEL VETRO

6 April — 3 August 2014

  • Laura de Santillana, Untitled, 2015 © the artists and YSP. Photo © Jonty Wilde
  • Laura de Santillana, Alabaster d, 2013, blown shaped and compressed glass on steel base, Liquid Black (Purple), 2011, blown shaped and compressed glass on steel base © the artists and YSP. Photo © Jonty Wilde
  • Alessandro Diaz de Santillana, HS–YSP, 2011–15, © the artists and YSP. Photo © Jonty Wilde
  • Installation view, Laura de Santillana and Alessandro Diaz de Santillana at YSP 2015 (3) © the artists and YSP. Photo © Jonty Wilde
  • Alessandro Diaz de Santillana, HSYSP, 2015, N34, 2014 and A5, 2015, © the artists and YSP. Photo © Alessandro Diaz de Santillana
Images Gallery

I Santillana

By invitation of the MAK19th November 2014 — 29th March 2015

In collaboration with the Permanent Collection Vienna 1900 at the Austrian Museum of Applied Arts / Contemporary Art (MAK), LE STANZE DEL VETRO and the Fondazione Giorgio Cini present, for the first time ever in Austria, an insight into the fascinating glass works of the Santillana siblings.

Laura de Santillana and Alessandro Diaz de Santillana have chosen glass as their medium, and their work is consciously aligned with contemporary art practices. Their fascinating works can be seen in the exhibition I Santillana, which is being presented in Vienna’s MAK by LE STANZE DEL VETRO and the Fondazione Giorgio Cini, Venice. Based on the exhibition “I Santillana – Works by Laura de Santillana and Alessandro Diaz de Santillana“, conceived by Martin Bethenod, and shown at the LE STANZE DEL VETRO, this exhibition at the MAK offers the very first insight into the works of the Santillana siblings ever presented in Austria.

Laura de Santillana and Alessandro Diaz de Santillana epitomize the ideal synthesis of a perfect understanding for the craft, extensive knowledge of the material, and free artistic form-finding. They are the grandchildren of Paolo Venini, founder of the Venini glass company, which was established in 1921 on the island of Murano; the siblings were raised in one of the most significant glassmaking families in Venice. They both worked as designers in the family business, which was run by their father Ludovico Diaz de Santillana from 1959. After Venini had to be sold, they founded the company EOS together with their father in 1986.

From 1993, after selling EOS, they turned their attention away from functional objects and devoted themselves exclusively to art. They understand glass as an autonomous material of artistic expression, which—like other materials—can serve as form-finding. Both have individually evolved their works beyond the glass blowing workshop to reach new dimensions in important centre of artistic glassmaking: in the USA and Venice, and recently also in the Czech Republic and France. They are represented by various galleries; their works have been shown in group and solo exhibitions, including the Venice International Art Biennale – and can be found in the collections of the world’s most prominent museums.

Freestanding, space-taking sculptures and anthropomorphic forms dominate Laura de Santillana’s work presented at the MAK. A large steel table with a group of abstract glass Buddha heads stands alongside a white bookcase holding 40 “books” made of glass. Just like a library, there is a synopsis of the numerous colors and surface textures developed by the artist under identical production conditions in a series over the last 15 years. Also on display are Laura’s voluminous slabs, which have a powerful physicality suggesting that the space which is enclosed has the potential to be crushed.

The wall objects by Alessandro Diaz de Santillana shown at the MAK reflect the history of hand blown window glass and the effect of ancient, “blind” mirrors. Paintings of black mirror glass reduce a subject to diverse shades of black and grey, conveying the impression that they are part of a larger aesthetic dialogue. By experimenting with glass as a medium, the artist tests its limits: undefined forms behind reflective glass are reminiscent of the light and dark areas on celluloid film and of the magical effect of images appearing on photographic paper the moment it is submerged in liquid chemicals in a darkroom.

Alessandro’s wall objects enter into a spatial dialogue with Laura’s sculptures. A series of videos in the exhibition shows visitors how the glass works are made by the maestro and his assistants in the glass furnace. This facilitates an understanding of the creative process and the manner in which the artists push the boundaries of material and craft in the name of artistic expression.

It is no coincidence that “I Santillana” is being displayed in the MAK Permanent Contemporary Art Collection in close vicinity to the MAK Permanent Collection Vienna 1900. “In dialogue with the MAK Permanent Collection Vienna 1900, the works of Laura de Santillana and Alessandro Diaz de Santillana are given a separate, new meaning. One can’t help but see the huge influence that Viennese modernism—particularly Josef Hoffmann—had on the work of Carlo Scarpa. Between 1932 and 1947, Scarpa designed glass works for Paolo Venini. The way the Santillanas evolved into autonomous artists has many parallels with the artistic design of everyday objects in Vienna around 1900. At that time, artists and architects transformed everyday objects into radically modern forms. In the case of the glass designs by Koloman Moser and Josef Hoffmann, for example, artistic design prevailed over the demands of usability. “Viewed in this light, the works by the Santillana siblings recall the positions of Viennese modernism,” explains Rainald Franz, MAK Curator of the Glass and Ceramics Collection, who  conceived the exhibition at the MAK.

The work of Fondazione Cini and Pentagram Stiftung in the conservation, archiving, and digitalization of the Venetian glassmakers’ archives as well as the globally renowned exhibitions at LE STANZE DEL VETRO, find their counterpart in the exploration of the Wiener Werkstätte legacy at the MAK. Press photos of the exhibition as well as the biographies of Laura de Santillana and Alessandro Diaz de Santillana are available to download at MAK.at/presse. The exhibition opening took place during the VIENNA ART WEEK 2014.

 

Previously on view at:

I Santillana. Works by Laura de Santillana and Alessandro Diaz de Santillana
LE STANZE DEL VETRO
6 April — 3 August 2014

  • Installation view, 2014-2015. MAK Permanent Collection Contemporary Art. MAK – Austrian Museum of Applied Arts / Contemporary Art © the artists. Photo © Alessandro Diaz de Santillana
  • Installation view, 2014-2015. MAK Permanent Collection Contemporary Art. MAK – Austrian Museum of Applied Arts / Contemporary Art © the artists. Photo © Alessandro Diaz de Santillana
  • Installation view, 2014-2015. MAK Permanent Collection Contemporary Art. MAK – Austrian Museum of Applied Arts / Contemporary Art © the artists. Photo © Alessandro Diaz de Santillana
  • Installation view, 2014-2015. MAK Permanent Collection Contemporary Art. MAK – Austrian Museum of Applied Arts / Contemporary Art © the artists. Photo © Alessandro Diaz de Santillana
  • Installation view, 2014-2015. MAK Permanent Collection Contemporary Art. MAK – Austrian Museum of Applied Arts / Contemporary Art © the artists. Photo © Alessandro Diaz de Santillana
  • Installation view, 2014-2015. MAK Permanent Collection Contemporary Art. MAK – Austrian Museum of Applied Arts / Contemporary Art © the artists. Photo © Alessandro Diaz de Santillana
Images Gallery

Tomaso Buzzi at Venini

Curated by Marino Barovier14th September 2014 — 11th January 2015

The exhibition retraces the brief but fruitful collaboration between Tomaso Buzzi and the Venini glassware company, through a selection of 200 works celebrating the Italian taste of the Thirties, archival drawings and an unprecedented collection of original projects.

Between 1932 and 1933 the Milanese architect Tomaso Buzzi began a fruitful collaboration with the Venini glassware company, which would continue, albeit episodically, in later years. The architect’s creative contribution was evident both in the glass forms and in their innovative manufacturing technique. When Buzzi arrived at the Venini company in Murano, in 1932, he brought with him a remarkable cultural baggage and a thorough knowledge of ancient art, particularly the Etruscan period, where he looked for inspiration with the aim of creating new and original artefacts.

This was achieved through the experimentation with a new glass material, “vetro incamiciato”, with several layers of colour and gold leaf. This technique radically changed the appearance of the glass produced at Venini, contributing to the drive for the innovation of the Murano-based glassware company, and re-asserting its vocation for producing elegant and refined glass. The exhibition “Tomaso Buzzi at Venini”, curated by Marino Barovier, retraces this brief but fruitful collaboration, documented through the selected works (approximately 200), original drawings preserved in the Venini archive, and a previously never displayed collection of drawings preserved at the Scarzuola in Montegabbione (near Terni).

On the occasion of the exhibition, Skira will publish the first complete “catalogue raisonné” of Tomaso Buzzi’s work in glass, edited by Marino Barovier with Carla Sonego. Furthermore, for this third exhibition dedicated to the Venini glassware company, film director Gian Luigi Calderone has made a documentary film entitled “Tomaso Buzzi. Memories of my Guardian Angel”, which tells the story of the Milanese architect through the unpublished notes for his autobiography, narrated from the point of view of his “guardian angel”.

 

View the catalogue

  • Tomaso Buzzi. Vase with two mouths in cased alba glass consisting of different coloured layers with applied gold leaf, 1932-33
  • Tomaso Buzzi. Large laguna glass vases consisting of different coloured layers with applied gold leaf, 1932-33
  • Tomaso Buzzi. ‘Coppa delle mani’ (Bowl of the Hands) in laguna glass consisting of different coloured layers with applied gold leaf, 1932-33
  • Tomaso Buzzi. Alga glass and alba glass vases consisting of different coloured layers with applied gold leaf and inverted truncated cone-shaped neck. Bowl in laguna glass consisting of different coloured layers with applied gold leaf, 1932-33
  • Tomaso Buzzi, Incamiciati, installation view. Photo: Enrico Fiorese. Courtesy: LE STANZE DEL VETRO
  • Tomaso Buzzi, Incamiciati, installation view. Photo: Enrico Fiorese. Courtesy: LE STANZE DEL VETRO
  • Tomaso Buzzi. Bowl in laguna glass consisting of different coloured layers with applied gold leaf, 1932-33
  • Tomaso Buzzi. Ovoid vase in turquoise cased glass with small flared foot and mouth in black glass. Fruit bowl in turquoise cased glass with truncated cone-shaped foot in black glass, 1932
  • Tomaso Buzzi. ‘Boccia dei cavallini marini’ (Vase of the Sea-Horses) in alga glass with applied gold leaf. Vase in alba glass consisting of different coloured layers with applied gold leaf, 1932-33
Images Gallery

I Santillana

Works by Laura de Santillana and Alessandro Diaz de Santillana6th April 2014 – 3rd August 2014

The exhibition “I Santillana — Works by Laura de Santillana and Alessandro Diaz de Santillana” experiments with a new narrative model: a dialogue and confrontation between the different poetics of two artists. The novelty, in this specific case, is that the artists in question are also brother and sister.

The “I Santillana” exhibition explores the world of Laura de Santillana and Alessandro Diaz de Santillana, siblings and descendants of a legendary glassmaking dynasty, through their father, Ludovico Diaz de Santillana, and their grandfather, Paolo Venini. The exhibition brings together approximately 170 works including sculptures, artworks and glassware selected from a period of more than two years of meetings and conversations between Martin Bethenod and the Santillana siblings. The works on display investigate the diverse yet intertwined dialectic of the two artists, each following an autonomous artistic path but both relying on a common family heritage and biography. The exhibition is organised around a central axis representing their shared memory. The gallery space of LE STANZE DEL VETRO has been especially adapted in order to enable a comparison and an ongoing dialogue between the two artists& works.

The central corridor will serve as a meeting point between the worlds of Laura de Santillana and Alessandro Diaz de Santillana and create a cross-play of connections and references but also of disagreements, though never forced nor far-fetched but rather revealing of the formal similarities, the peculiarities and differences between the artistic works and creative processes of Laura and Alessandro. Divided into eight rooms – which make up LE STANZE DEL VETRO, the “I Santillana” exhibition features sculptures and glass works by the two artists ranging from the Eighties to the present, along with a body of new works specially designed and manufactured for this show.

 

View the catalogue

  • Laura de Santillana. 1999-2011 © the artist. Photo © Fabio Zonta
  • Laura de Santillana. Tavolo e teste, 2009-2013 © the artist. Photo © Fabio Zonta. Alessandro Diaz de Santillana. On the wall. Dittico, 2013. N7 (on the right). R2 (on the left) © the artist. Photo © Fabio Zonta
  • Alessandro Diaz de Santillana (from left to right). HGS7, 2011. HGS 6, 2011. HGS1, 2011. HGS 3, 2011. HG 1, 2011. HGS 2, 2011. HGS 5, 2011. Untitled, 1996 © the artist. Photo © Fabio Zonta
  • Alessandro Diaz de Santillana (from left to right). S5, 2013. S4, 2013. S6, 2014. S3, 90,5 x 83 x 4,1 cm. S2, 2013. S1, 2013 © the artist. Photo © Fabio Zonta
Images Gallery

Venetian Glass by Carlo Scarpa

The Venini Company, 1932-19475th November 2013 – 2nd March 2014

Following its great success with both audiences and critics, the exhibition “Carlo Scarpa. Venini 1932 – 1947”, curated by Marino Barovier, is being relocated to the Metropolitan Museum of Art in New York with the new title “Venetian Glass by Carlo Scarpa: The Venini Company, 1932 – 1947”.

“Venetian Glass by Carlo Scarpa: The Venini Company, 1932 – 1947” is the first exhibition organised at the Metropolitan Museum of Art in New York which is entirely dedicated to glass and is being organised by Nicholas Cullinan, a curator from the Department of Modern and Contemporary Art, together with the assistance of Mary Clare McKinley. In keeping with the original format, the exhibition “Venetian Glass by Carlo Scarpa: The Venini Company, 1932 – 1947” at the Metropolitan Museum of Art is set out chronologically, thus periodically dividing the various technical methods utilized and the glass compositions (from “sommersi” glass to the “murrine romane”, proceeding to “corrosi” and to glass “a pennellate”).

The exhibition’s itinerary commences in 1932, the year in which Carlo Scarpa began his collaboration with Venini after being appointed as artistic director, and concludes in 1947, the year in which he decided to return to his principal passion: architecture. The exhibition retraces 15 years of history at the famous Murano glass company, for which Carlo Scarpa designed a considerable number of works, also contributing to the invention of some new techniques and glass types that are still being used by the Venini company today.

During this period, Scarpa carried out experiments that included researching colour, light and materials and combining them with form and secret techniques used by the Murano masters; an approach that revolutionised the Venini company’s method of design, thus rendering the Murano glass company famous all over the world.

The installation of the exhibition “Venetian Glass by Carlo Scarpa: The Venini Company, 1932 – 1947” at the Metropolitan Museum of Art in New York was accomplished with the invaluable collaboration of Venetian craftsmen: in particular, Augusto Capovilla and the company Ott Art&s Maurizio Torcellan and Giacomo Andrea Doria. The Capovilla carpentry workshop, established by Augusto Capovilla in 1890, had historically collaborated with Carlo Scarpa for his most important events in Venice, which included his contributions at the Museo Correr, the Gallerie dell’Accademia, the Venice Biennale and the Fondazione Querini Stampalia. The Venetian company Ott Art continues its work with the Metropolitan Museum of Art after having launched their collaboration with LE STANZE DEL VETRO, for which they assume responsibility for the installation, shipping and insurance of artworks and the associated management of technical and logistical aspects. Similar to the exhibition installed at LE STANZE DEL VETRO in Venice last August, the Metropolitan Museum of Art has also decided to collaborate with these Venetian organisations to ensure a perfect continuity of the world and creative model of Carlo Scarpa, and most importantly of Venice.

 

Previously on view at:

Carlo Scarpa. Venini 1932 — 1947

LE STANZE DEL VETRO

29 August 2012 – 6 January 2013

  • Carlo Scarpa, Incisi, installation view. The Metropolitan Museum of Art, New York
  • Carlo Scarpa, A bollicine, installation view. The Metropolitan Museum of Art, New York
  • Carlo Scarpa, A bollicine, installation view. The Metropolitan Museum of Art, New York
  • Carlo Scarpa, Incamiciati “Cinesi”, installation view. The Metropolitan Museum of Art, New York
  • Entrance to the exhibition, 2013-2014. Courtesy The Metropolitan Museum of Art, New York
Images Gallery

Napoleone Martinuzzi.Venini 1925 — 1931

Curated by Marino Barovier8 September 2013 — 6 January 2014

This is the second exhibition dedicated to the history of the Venini glassware company and shows about 200 works, covering the most significant glass production that the ingenious sculptor Napoleone Murano designed for the Murano glassware company Venini.

The exhibition “Napoleone Martinuzzi. Venini 1925 — 1931”, curated by Marino Barovier, opens to the public on the island of San Giorgio Maggiore in Venice on September 8th, 2013. It is the second exhibition dedicated to the history of the Venini glassware company. As in the case of the exhibition “Carlo Scarpa. Venini 1932 — 1947” which opened on the Island of San Giorgio last August and will open at the Metropolitan Museum of Contemporary Art in New York next November (November 5th, 2013 — March 2nd, 2014) – this exhibition, dedicated to Napoleone Martinuzzi, is made possible thanks to thorough research by Marino Barovier and a group of scholars into the history of the Murano glass-making company and the important designers who contributed to making it world renowned.

Through their analysis and cross-checking of various documentary sources (photos, catalogues, furnace drawings) and their comparison with the real objects provided by museums, public and private institutions, Italian and foreign collectors, a comprehensive review was made of the glass objects designed by Napoleone Martinuzzi between 1925 and 1931, when he was the Art Director of Venini. During his collaboration with Paolo Venini, Martinuzzi designed beautiful objects with shapes inspired by classical design, while using innovative techniques and glass paste.

The exhibition “Napoleone Martinuzzi. Venini 1925 — 1931” traces his whole production chronologically: from elegant transparent blown glass to works with an unprecedented opaque texture, from the experimentations with “pulegoso” glass (a semi-opaque or translucent glass with a rough surface due to tiny bubbles that form by using special ingredients) to pieces with intense and compact colours. There are about 200 works on display, covering the most significant glass production of the ingenious sculptor from Murano. Many of these works were presented at the Venice Biennale between 1926 and 1930, and at the great exhibitions of decorative arts, in particular the Biennale and the Triennale in Monza. The year 1930 was an important one in the history of Venini: thanks to Martinuzzi’s talent, Venini&s production was noted for the singular richness of the works shown at these great exhibitions. The classical transparent glass pieces were presented, along with a collection of “pulegoso” glass with an archaic flavor, including striking aquariums together with the brightly coloured “velato” vases, and the cacti together with a colourful bestiary.

The exhibition also delves into the bond between Martinuzzi and the poet Gabriele D’Annunzio, who commissioned the Murano artist to make not only sculptures but works of glass too. To illustrate this particular bond and the artistic vision shared by these two personalities, the exhibition also contains a recreation by the set designer Pierluigi Pizzi of one of the rooms of the Vittoriale, with some of the most important works that Martinuzzi designed for the poet: the bright pumpkin made of “incamiciato” glass (where the glass is covered by a second thin layer of different coloured glass) which Martinuzzi designed upon specific request by the poet for his residence, the vase with large ribbed handles, the large basket with fruit, the transparent blue glass cup and the elephant made of red vitreous paste. Each of these objects is unique.

 

View the catalogue

  • Vases in red cased glass, green bubble glass, blue clear glass and succulent plant in blue bubble glass, Napoleone Martinuzzi for V.S.M.Venini & C., 1925-1930
  • Napoleone Martinuzzi, Lighting, Animals, installation view. Photo: Ettore Bellini. Courtesy: LE STANZE DEL VETRO
  • Elements of centrepiece in mixed glass and lattimo glass, Napoleone Martinuzzi for V.S.M.Venini & C., around 1930.
  • Aquarium in clear smoke-grey glass containing a blossomed branch in malachite glass, Napoleone Martinuzzi for V.S.M. Venini & C., around 1930
  • Napoleone Martinuzzi, Pulegosi, installation view. Photo: Ettore Bellini. Courtesy: LE STANZE DEL VETRO
  • Vases in cased glass and in mixed glass, Napoleone Martinuzzi for V.S.M. Venini & C., around 1930
  • Succulent plant in green bubble glass and in red blue cased glass, Napoleone Martinuzzi for V.S.M. Venini & C., 1929-1930
  • Vase and bowls in green and uncolored bubble glass, Napoleone Martinuzzi for V.S.M. Venini & C 1928-1930
  • Lizard in red glass paste and bird on a branch in green glass paste, Napoleone Martinuzzi for V.S.M.Venini & C., around 1930
Images Gallery

Fragile?

Curated by Mario Codognato8th April 2013 - 28th July 2013

The exhibition displays the creations of some of the most interesting artists of our time, who used glass with diverse and contrasting intentions: Marcel Duchamp, Joseph Beuys, Gilbert & George, Ai Weiwei, Rachel Whiteread, Carsten Nicolai and many more.

On April 8th, 2013, “Fragile?”, an exhibition curated by Mario Codognato, opens to the public on the island of San Giorgio Maggiore in Venice. The exhibition features 28 works of art by internationally renowned artists. In the context of Venetian glassmaking and its peculiar craft connotations, “Fragile?” aims at taking a different yet equally important aspect into account, namely the use of glass as a found object, with specific metaphorical and linguistic features.

Instead of the precise traits of manufactured artworks, other aspects are sought, such as symbolic transparency, fragility and resistance, imprecision and smoothness, along with the construction of elements that draw inspiration from reality and contemporary artistic language. “In the 21st century, because of the historical avant-garde movements, visual arts cease to be a sole mimesis of reality through painting and sculpture – states curator Mario Codognato – by using objects and materials taken from the real world and industrial production, a new metaphoric, yet tautologically concrete, dimension is born. Glass, thanks to its widespread use in architecture and its double nature of transparent medium and at the same time barrier, becomes a new linguistic tool through which to create images.”

“Fragile?” displays the creations of some of the most interesting artists of our time, who used glass with diverse and contrasting intentions: from the provoking gesture of Marcel Duchamp of shutting the air of Paris in a transparent ampoule, to the tragic lyricism of Joseph Beuys’ glass fragments as a witness to the ferociousness of earthquakes, from the transformation of industrial objects into poetical individualities by Luciano Fabro, to the ironic explosion of car windscreens in Pipilotti Rist’s video. Seen as a whole, the works and artists exhibited in “Fragile?” translate the infinite potentialities of glass into unprecedented dialectics, which inevitably have to do with our daily existence as a constitutive element of contemporary artistic language.

“Fragile?” features works by: Marcel Duchamp, Joseph Beuys, Mario Merz, Gerhard Richter, Giovanni Anselmo, Jannis Kounellis, Luciano Fabro, Barry le Va, Michael Craig-Martin, Keith Sonnier, Lawrence Weiner, David Hammons, Gilbert & George, Joseph Kosuth, Giuseppe Penone, Mona Hatoum, David Batchelor, Ai Weiwei, Pipilotti Rist, Rachel Whiteread, Carsten Nicolai, Damien Hirst, Monica Bonvicini, Ceal Floyer, Cyril de Commarque, Matias Feldbakken, Walead Beshty, Claire Fontaine.

 

View the catalogue

  • Installation view, Cyril de Commarque (left), Mona Hatoum (right). Photo: Matteo De Fina. Courtesy: LE STANZE DEL VETRO
  • Installation view, Marcel Duchamp (left), Ai Weiwei (right). Photo: Matteo De Fina. Courtesy: LE STANZE DEL VETRO
  • Installation view, Pipilotti Rist. Photo: Matteo De Fina. Courtesy: LE STANZE DEL VETRO
  • Installation view, David Hammons. Photo: Matteo De Fina. Courtesy: LE STANZE DEL VETRO
Images Gallery

Carlo Scarpa. Venini 1932 — 1947

Curated by Marino Barovier29th August 2012 - 6th January 2013

The exhibition reconstructs Carlo Scarpa’s creative development as artistic director of the Venini Glassworks from 1932 to 1947. It is organised around a selection of over 300 works. Some works are shown for the first time and many are from major international public and private collections.

The works displayed in “Carlo Scarpa. Venini 1932 – 1947” are divided into approximately 30 types that vary according to technique and glass textures. The material on show also includes prototypes, one-offs, original drawings and designs, as well as period photographs and archive documents.

The exhibition explores the significance and importance of Carlo Scarpa’s glass designs in his overall work. During his Murano period, Scarpa further developed his interests in experimentation and craftsmanship and the show thus provides a unique opportunity to compare his work as a glass and furniture designer with his architectural work. In 1932, Carlo Scarpa began working with the Venini Glassworks. He was to design some remarkable glass items for the company up until 1947. His work involved continuous research into materials, colours and techniques, which he adopted in a personal way to reinterpret old traditions, together with the master glassblowers, to invent new working techniques.

In the early years he designed a series of glass items called “a bollicine” (bubbles), “a mezza filigrana” (half-filigree) – and “sommersi” (overlaid); the latter series was shown at the Venice Biennale in 1934. In the Biennale and the 6th Milan Triennial in 1936 some elegant “lattimi” (milk-white) and “murrine romane” (“Roman” murrines), created in collaboration with Paolo Venini, were shown with some typically rough “corrosi” (acid-etched) works. At the 1938 Biennale, Scarpa diversified his exhibited pieces by showing both vases and everyday objects. Meanwhile, the Venini showroom displayed objects described as being “a puntini” (dotted), “a fasce” (with bands) and “rigati” (striped). They paved the way to the colourful “tessuto” (woven) series shown at the next Biennale.

The year 1940 was a significant one for the Murano glassworks: at the Milan and Venice exhibitions the company showed a representative collection of glass objects designed by Scarpa. Some only had a limited production, due to both technical difficulties and high costs. This was the case with the works “laccati neri e rossi” (black and red lacquered) and “granulari” (granulated) and “incise” (incised). Other works, however, such as “cinesi” (Chinese), which echoed forms of Eastern porcelain, or “battuti” (hand-ground) and “tessuto” (woven) series, were produced in larger numbers. Of the 1940 works, the series of “murrine opache” (opaque murrines), with their milled and polished surfaces, stood out for their refined textures. The 1942 Biennale was the last one in which Scarpa took part as a glass designer. After the Second World War, Carlo Scarpa ended his collaboration with Venini to become a full-time architect.

 

View the catalogue

  • Carlo Scarpa, Murrine romane, installation view. Photo: Ettore Bellini. Courtesy: LE STANZE DEL VETRO
  • Carlo Scarpa, A puntini e A strisce, installation view. Photo: Ettore Bellini. Courtesy: LE STANZE DEL VETRO
  • Carlo Scarpa, A bollicine, installation view. Photo: Ettore Bellini. Courtesy: LE STANZE DEL VETRO
  • Carlo Scarpa, Rigati e Tessuti, installation view. Photo: Ettore Bellini. Courtesy: LE STANZE DEL VETRO
Images Gallery
Past
On View
Upcoming
Travelling Shows
Select Year
2012
2013
2014
2015
2016
2017
2018
2019
2020
© 2015 PENTAGRAM STIFTUNG / LE STANZE DEL VETRO/ Isola di San Giorgio Maggiore Venezia / CF: 94080940276 — Privacy — Disclaimer
© 2015 SERVIZI FONDAZIONE PENTAGRAM srl / Bookshop de LE STANZE DEL VETRO/ Isola di San Giorgio Maggiore Venezia / P.IVA 04128390277. — Privacy — Disclaimer