FONDAZIONE IN BETWEEN ART FILM

 

Nebula

17.04–24.11 2024

An exhibition conceived and produced by Fondazione In Between Art Film with Basel Abbas and Ruanne Abou-Rahme, Giorgio Andreotta Calò, Saodat Ismailova, Cinthia Marcelle and Tiago Mata Machado, Diego Marcon, Basir Mahmood, Ari Benjamin Meyers, and Christian Nyampeta

curated by Alessandro Rabottini e Leonardo Bigazzi

Complesso dell’Ospedaletto
Barbaria de le Tole, 6691 Venice

Nebula is open every day, except on Tuesdays, from 10am–6pm (last admission at 5:15pm), with free entry

Introduction

Nebula is the second exhibition that Fondazione In Between Art Film has staged at the Complesso dell’Ospedaletto in Venice. As was the case for the Penumbra exhibition in 2022, once again for Nebula the history of this place and the stories that it summons up have given us the opportunity to establish a dialogue with ten international artists, from whom we commissioned eight video installations that are being displayed in an array of different spaces, from the church of Santa Maria dei Derelitti and the Scala del Sardi to the Sala della Musica and the decommissioned rooms of the modern care home.

This exhibition confirms the Foundation’s mission to support artists and the increasingly central role that moving images play in the art and culture of our time. We are returning to Venice on the occasion of the Biennale Arte 2024 to offer to both the city and the international audience eight new, site-specific works commissioned and produced over the course of the past two years for this architectural space dense with layers of history.

Nebula is an orchestration of images and sounds in the space, an encapsulation of the indeterminacy that makes our time so opaque and hard to navigate. The works of the artists accompany us on this journey, endeavoring to illuminate the blurred edges of these rooms and, indeed, of our lives.

Beatrice Bulgari, President
Fondazione In Between Art Film

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nebula

Nebula (Latin for “cloud” or “fog”) is the second chapter in a series of exhibitions that explore the current state of moving images in the field of contemporary art, while also probing the unstable borderline between seeing and understanding, between what we perceive and what we believe.

The exhibition deploys the image of fog as a metaphor for myriad different forms of disorientation, as a phenomenon that shifts from being atmospheric to become inner and collective—a mist that pervades not only the visual field but an entire epoch. At the heart of Nebula lies the desire to conduct a poetic investigation into a paradox: can a partial or obfuscated vision generate new meanings? Can uncertainty open up new spaces of mutual understanding?

In the wake of the experience of Penumbra in 2022, Nebula brings together eight site-specific video installations commissioned and produced by Fondazione In Between Art Film, all suffused with the formal and narrative evocations inherent in the phenomenon of fog. Despite its impalpable essence, fog conditions our movements to such an extent that we are almost paralyzed, distorting our perception of distance and forcing us to sharpen other senses in order to get our bearings.

The works touch upon a range of themes: the vastness of the landscape as the site of either loss or salvation; the architecture of memory, and the labyrinth of consciousness; music and voice as conduits of reclamation. They explore further forms of fragmentation: the reverberation of History within individual lives; the tension between being and disappearing, and between living together and estrangement; and the impact of economic and political forces on the environment and on people’s lives.

As well as providing the spatial context that the artworks inhabit, the Complesso dell’Ospedaletto is also the symbolic sounding board for the stories they tell. The exhibition layout is punctuated by the architectural interventions created by the interdisciplinary studio 2050+, with passages that manifest the concept of nebulosity through materials and surfaces that absorb or amplify sound and light. The entire Complesso dell’Ospedaletto is turned into a form of sensory architecture, a porous and tactile space in which stories, images and voices extend beyond the confining dimensions of the rooms.

The works expand the notions of film and video, taking on sculptural forms, using sound and light to redefine space, calling into question the frontality and centrality of the screen and thematically leveraging the position of the viewer. Through a reflection on how time-based media fill the exhibition space, augmenting both its perception and meanings, Nebula poses a question concerning the very act of seeing: Does it make us witnesses to reality or participants in a mirage?

Alessandro Rabottini and Leonardo Bigazzi, curators of the exhibition

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ONE

Basir Mahmood
Brown Bodies in an Open Landscape are Often Migrating, 2024

Three-channel site-specific video installation, color, 5.1 sound, 25′

Through the prism of cinema, the work traces the journeys of undocumented migrants across vast lands, exploring distance as a condition of diasporic lives just as it is a position intrinsic to the act of filming. The artist invited a crew from the cinema industry of his native Lahore—also known as Lollywood—to script and direct a series of sequences, the narrative of which would be loosely based on videos found online. Recorded by migrants as they travel from South Asia to Europe, such videos give insight into the harshness of their peregrinations—which often last for years and sometimes do not reach the intended destination—as well as offering practical pieces of advice to those who have yet to depart. The artist edited the remade footage into poetic sequences where, however, only the conditions of their assembly are visible. Screenshots of the original videos appear occasionally on the script sheets, while excerpts are played on the crew members’ phones. Rather than attempting to represent the migrants’ experiences, the artist evokes them through the exhaustion of the crew under the scorching sun, the difficulties faced by the cameramen in locating the actors lost in the barren landscape, and the exaggerated gestures of the directors as they coordinate the filming from afar. The work was conceived in spatial and symbolic dialogue with the church of Santa Maria dei Derelitti: the dramatically foreshortened framing is inspired by that of the altarpieces surrounding the installation, and the day-to-night unfolding of the film reverberates with the lighting of the church. Entirely created in a recording studio, the soundscape amplifies the divergence between what we see and what we hear, between the near and the far. It is an integral part of an investigation that looks for moments of truth in the mise-en-scène, for facts within fiction. The work considers the landscape thematically, as a physical and existential space through which to navigate in search of salvation, while underlining the distance between the image as testimony and the image as product, between those who experience dislocation and those who are spectators to it.

The work of Basir Mahmood (1985, Pakistan/Netherlands) has been exhibited at Stedelijk Museum, Palais de Tokyo, Queensland Art Gallery, M HKA – Museum of Contemporary Art Antwerp, Lahore Biennale 2020, Karachi Biennale 2019, Berlin Biennale 2018, Contour Biennale 2017, Yinchuan Biennale 2016, Sharjah Biennial 2013.

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TWO

Ari Benjamin Meyers
Marshall Allen, 99, Astronaut, 2024

Single-channel video, color, sound, 17’42”

The work is centered around Marshall Allen, renowned free and avant-garde jazz musician and current leader of the legendary Sun Ra Arkestra, of which he has been a continual member since 1958. For this film, the artist composed two original scores for Allen to interpret, inviting him to engage, through music, in an intimate conversation about the spontaneity of music-making, the rigor of rehearsals, and the potentiality of collaboration. The camera portrays Allen privately practicing a seemingly nostalgic melody in his Philadelphia residence, the Arkestral Institute of Sun Ra, which has been at once the band’s home, its rehearsal hall, and the frontier of musical exploration, for over five decades. On the brink of his one-hundredth birthday, he interprets the composition on the alto saxophone, and turns the occasional memory lapse into prompts for improvisation, exposing both his frail age and his brilliant virtuosity. Meanwhile, we wander through the house that, like a dense palimpsest, manifests the rich history and eclectic activities of the Sun Ra Arkestra through futuristic props and images of ancient cosmologies. Merging the documentary with the speculative genre, the film then teleports Allen onto a stage, and we witness him playing an evocative composition with his Electronic Valve Instrument (EVI) against the dome of Philadelphia’s historic Fels Planetarium. There, spectacular nebulas and symbols of his life—from the patch representing the racially segregated US Army regiment he served in, to the landmark mosaic dedicated to the Sun Ra Arkestra in the city’s Vernon Park—come one after the other before he disappears into the darkness and becomes a constellation. Telling a musical and visual story of transformation from the earthly to the otherworldly, the work transcends temporalities and places and pays homage both to Allen’s century-long life lived through music and to Sun Ra’s revolutionary musical vision and political utopia, which discerned in the unknown of sonic experimentation and the vastness of the universe the possibility of a transformed present and a radically different future.

The scores “Outer Space” and “Inner Space” are composed for Marshall Allen by Ari Benjamin Meyers. Additional music by Marshall Allen.

The work of Ari Benjamin Meyers (1972, Stati Uniti d’America) has been exhibited at Berliner Festspiele, Hamburger Kunsthalle, Hamburger Bahnhof, MAAT, Beaufort Triennial, V–A–C Foundation, OGR, Museum of Contemporary Art Santa Barbara, Frac Franche-Comté, Palazzo Grassi – Punta della Dogana, Liverpool Biennial, Public Art Munich, Kunstinstituut Melly, Sonic Somatic Festival, Biennale de Lyon, Lenbachhaus.

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THREE

Christian Nyampeta
When Rain Clouds Gather, 2024

Single-channel video, color, sound, 29′

In a fictional situation, three artist friends debate how to spend one of their few remaining Saturday nights in New York. Interpreted by artist and documentary filmmaker Maliyamungu Gift Muhande, artist and researcher Akeema-Zane, and Christian Nyampeta, their dialogue is centered around life’s little annoyances in the face of a world ablaze with unjust wars and cruel exterminations. Through improvisation and collaboration with theater maker and director Adrian Alea, their conversation draws from the works and ideas of Black and African writers and film makers who reflected on exile, social life, and urgent cultural action in the society of their time. The film borrows its title from Bessie Head’s 1969 novel of the same name, and its script loosely reenacts Sembène Ousmane’s short story “In the Face of History” (1962). The film does not rehearse irony but an “anticipatory inertia” that, as one of the songs here has it, may guard the world against the missteps and blunders that we call progress. The protagonists lead their lives in defiance of imminent disaster, against which their cultural privilege offers no shield. This results in spirited half-actions, incomplete answers, and moral dilemmas. The film looks both back and forward, as well as being an exercise in cooperative filmmaking. An animated section of the film emerges from a mutual learning circle convened periodically by Nyampeta at the Centre d’art Waza in Lubumbashi. It asks: How do we know what we know? Finally, a short film directed by artist and filmmaker Kivu Ruhorahoza pays tribute to past and future generations whose childhood is without grown-ups. Are the adults at work? Are they inside with guests or busy with domestic chores? Or are they hiding and sheltering from the atrocities unfolding outside the gate? Are the children becoming orphans without realizing it? The seating provided is borrowed from the local community of the Castello neighborhood in Venice, inviting Nyampeta’s practices of gathering and communion into the exhibition.

The work of Christian Nyampeta has been exhibited at Shanghai Biennale 2023, Carnegie International Pittsburgh 2022, Istanbul Biennial 2022, Manifesta 14, Solomon R. Guggenheim Museum, WIELS, Dakar Biennale 2018, Camden Art Centre, Ural Industrial Biennial of Contemporary Art 2019, Gwangju Biennale 2016.

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FOUR

Giorgio Andreotta Calò
Nebula, 2024

Site-specific single-channel video and multi-channel audio installation, color, sound, 33′

Immersed in an atmosphere suspended between dream and reality, the Complesso dell’Ospedaletto is both the place where this work was shot and where it is being exhibited. Here, far from the mountains it calls home, a sheep wakes up and begins to make its way through the building, its solitary route taking in the grandiose, monumental spaces of the church of Santa Maria dei Derelitti as well as those, more functional and pared-back, of the former care home—sites that, at different times, provided succor to the soul and to the body. The video camera accompanies us on a journey in which temporal dimensions and meanings filter into each other, charting the enigma of a sheep that, rather than being led by a shepherd, leads the viewer. Punctuating this reconnaissance of a space that is as physical as it is symbolic, we hear the recurring sound of a little bell, which seems to offer the senses a possible orientation and which, echoing off-screen, amplifies the oneiric atmosphere of the work and the questions it poses. The memories of the artist’s childhood—it was here that his father worked in the early 1980s—overlap with the experience that the public has today of these same spaces along the exhibition route, on the basis of a principle of gradual accumulation and slippage between memory and perception. In the year that marks the centenary of the birth of Franco Basaglia, the artist pays homage to the revolutionary vision of the Venetian psychiatrist, who made it possible for us to redefine the political and medical borderline between health and illness, care and custody. The artist does so by means of a work inspired by the title of the exhibition, which offers a spatial and metaphorical meditation on the search for meaning but also on its loss, on reality and the imagination, on rationality and the inner life. The film ends on the words of a woman who, alongside the other presences within the space created by the work, questions our acquired notions of truth and hope.

The work of Giorgio Andreotta Calò (1979, Italy) has been exhibited at Fondazione Prada, Pirelli HangarBicocca, Oude Kerk, High Line, Depart Foundation Los Angeles, Castello di Rivoli, Biennale Arte 2017 – Italy Pavilion, Biennale Arte 2011.

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FIVE

Basel Abbas and Ruanne Abou-Rahme
Until we became fire and fire us, 2023–ongoing

Site-specific multi-channel video and sound installation with subwoofer, steel panels, archival inkjet prints, sublimation prints on fabric, digital prints on metal, variable dimensions

The work entangles disrupted lands and fragmented communities as lively witnesses, as absent presences through which otherwise suppressed or lost stories survive and re-enter the fabric of reality. For this new adaptation of the work, the artists respond to the original purpose of the Complesso dell’Ospedaletto—which was a shelter for both the poor and the sick for four centuries—and fold in the drawings created by Abou-Rahme’s father in Jerusalem in the 1970s and ’80s, to reflect on past and current forms of dispossession and erasure in Palestine. In and out of a string of rooms, arrangements of words, sounds, images, and lights progressively accumulate and dissipate. Their non-linear, poetic ebb and flow is an invitation for the viewers to make sense of the visual, sonic, physical, and environmental components of the installation through the sensory experiences it offers. From indigenous plants that resist uprooting, to ancient stones that resurface from colonial concrete, to sites where violent events and sparks of freedom occurred, to song lyrics about love and loss or traditional dances performed across the diaspora, the work rekindles the traces of alienated existences and transforms them into an intergenerational means for spiritual and bodily reconnection as much as for historical reconstruction. Sampled from a growing archive of materials that the artists have been co-authoring, compiling and remixing since 2010, these dizzyingly scattered—albeit engulfing—narratives appear, only to then disappear, at times merging with one another by means of sensuous layerings and distortions. Their distinctive textural engagement with the space points towards a form of reciprocity between who is watching and who is watched, who is haunting and who is haunted. This work is part of the wider project May amnesia never kiss us on the mouth (2020–ongoing) which, through the prism of performance, looks at how communities bear witness to and weather experiences of brutality and displacement.

The work of Basel Abbas (1983, Cyprus) and Ruanne Abou-Rahme (1983, U.S.A.) has been exhibited at Migros Museum of Contemporary Art, MoMA, Kunstverein in Hamburg, Protocinema, ICA Philadelphia, Office for Contemporary Art Oslo, Sharjah Biennial 2023, Berlin Biennale 2022, Seoul International Media Art Biennale 2016, São Paulo Biennial 2014, Gwangju Biennale 2014, Istanbul Biennial 2013.

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SIX

Cinthia Marcelle and Tiago Mata Machado
Acumulação Primitiva, 2024

Two-channel video, color, 5.1 sound, 16’40”

A family is sitting amid what is left of their home, their belongings piled up in the open air without shelter, while bulldozers shift piles of raw material with relentless aggression. A few moments later, members of the family walk away with whatever small items they can carry on their backs, while a worker prepares the ground for the erecting of a barbed-wire fence. The persistent sound of cargo trains haunts the visually stunning but despoiled landscape in a reminder of how money never sleeps. Through a series of allegorical vignettes, Acumulação Primitiva (Primitive Accumulation) looks at the ongoing material consequences of colonialism and capitalism on people and the land, as epitomized by the scene in which a white man is being carried by a Black man, who pants and struggles in an effort to keep going as the gravel moves dangerously beneath his feet—an homage to Lev Tolstoy’s observation that “the rich will do anything for the poor, except get off their backs.” Simultaneously engaging with the past and present of generations who have been dehumanized, dispossessed, and expelled—when not erased entirely— the work pays tribute to the survivors who bear witness to and resist the damage being continually wrought upon them by economic and political forces. Acumulação Primitiva is the second chapter of Trilogia do Capital (Capital Trilogy, 2021–ongoing), an investigation into economic concepts, their theological origins, and their tendency towards abstraction. The Marxist notion of “primitive accumulation” is evoked here to visualize the relationship between the violent expropriation of land, the commodification of labor power, and the racialized class structure, which combine to fuel the reproduction of capitalism to this day. It follows the first chapter, Dívida (Debt, 2021), which portrayed the concept of debt as a boulder looming over humanity; one which people try in vain to climb over.

The work of Cinthia Marcelle (1974, Brazil) and Tiago Mata Machado (1973, Brazil) has been exhibited at Gallerie d’Italia Torino, Logan Center for the Arts, Pinacoteca de São Paulo, MAXXI, Kiasma, Biennale Arte 2017 – Brazil Pavilion, Biennale Jogja 2017, Biennale de l’Image en Mouvement 2016, Istanbul Biennial 2013, New Museum Triennial 2012.

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SEVEN

Saodat Ismailova
Melted into the Sun, 2024

Single-channel video, color, 5.1 sound, 35’50”

The work is inspired by the ambiguous figure of Al-Muqannaʿ (“The Veiled One”), a dyer who became a spiritual and political agitator in eighth-century southern Central Asia, while it speculates about the cultural and political echoes of his revolutionary ideas. Al-Muqannaʿ preached an ideological syncretism of Zoroastrianism, Mazdakism and Buddhism, and awakened the minds of his “White-Clothed” disciples by shedding light on the status quo of his time, challenging practices of land exploitation, authoritarian centralized power, and religious repression. His legacy, which might be seen today as “proto socialist,” was appropriated by the regional Soviet propaganda machine as a nativist heroic example of how to rise up and fight for the communal sharing of property and wealth. Embracing a cyclical understanding of history and knowledge where meanings are unstable and constantly remade, the artist re-imagined Al-Muqannaʿ’s preachings and invited the influential Uzbek poet Jontemir Jondor to embody a modern version of the charismatic leader. The film takes us to the banks of the Amu Darya river, the round burial ground of Chillpiq, and the city of Bukhara, all of which were said to have been touched by Al-Muqannaʿ’s legendary deeds, such as summoning a second moon from a well. But also to the charred door found in the Zoroastrian fortress of Kafir-Kala that depicts the water goddess Nana being worshipped around an altar of fire, and to Soviet infrastructures such as the Kirov Reservoir and the solar furnace of Uzbekistan. This visual time travel looks at Al-Muqannaʿ’s mastering of illusion and science for demagogical purposes and reflects on the central role that technology and the manipulation of the Earth have played in sustaining power structures since ancient times. Together, the lyrical sequences, complete with reflections and glinting light, and the textural, non-diegetic soundtrack, metaphorically address the twofold aspect of the history of Al-Muqannaʿ—who eventually fell into the darkness which he opposed, turning his ideal citadel into ashes—while continuing to make his powerful and still-unanswered questions reverberate in our own time.

The work of Saodat Ismailova (1981, Uzbekistan) has been exhibited at Eye Filmmuseum, Center for Contemporary Art Tashkent, Tromsø Kunstforening, Kunstsammlungen & Museen Augsburg, Haus der Kulturen der Welt, Para Site Hong Kong, Sharjah Biennal 2023, documenta fifteen 2022, Biennale Arte 2022, Biennale Arte 2013.

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EIGHT

Diego Marcon
Fritz, 2024

Single-channel video, CGI animation, color, sound, loop

Inside a woodshed illuminated by an autumn dawn, a young boy is yodeling. Traditionally employed in the Central Alps to call the cattle back to the barns or to communicate with distant villages, Fritz’s yodel is instead a muffled call and a lugubrious requiem, accompanied by other voices coming back from nearby valleys and mountains. The neatness and simplicity of the scene may appear as perfectly true and reassuring as it does absurd and disturbing. Details such as Fritz’s fleece and joggers partially covered in grass and mud stains, which more or less ground the story in a plausible reality, are too small to make up any authentic subjectivity for him, nor do they provide any explanation for the strange situation he finds himself in, or for the weird things he does, such as kicking the wall to make himself spin around a little. Suspended between childhood and adulthood, being in the world and being worldless, humanity and puppetry, Fritz looks like an irreparable character who—together with his song pulled back to vocalizations and guttural sounds—is dead tired, exhausted by the theater of life and its expectations of meaning. Mixing drama, comedy and the grotesque, while also evoking literary figures such as Pinocchio, this short but never-ending sketch builds up a reality where facts are hyper-real tricks that create space around an abyss of horror and astonishment. At the same time, its eerie atmosphere gives this polyphonic tale an unexpected lightness that compassionately ironizes the communal forms of sadness and isolation that mark out our own time. The work was brought to fruition with the artist’s long-term collaborators, animator Diego Zuelli and musician Federico Chiari. The yodel was performed by Coro Genzianella, an all-male Italian folk choir founded in 1961 in a small mountain village in the Trentino-Alto Adige region.

The work of Diego Marcon (1985, Italy) has been exhibited at Kunsthalle Basel, Centro per l’arte contemporanea Luigi Pecci, Fondazione Nicola Trussardi, Museo MADRE, Biennale Arte 2022, Mudam Luxembourg, Museo MACTE, Fondazione Prada, Quinzaine des cineastes Cannes International Film Festival, Rotterdam, Viennale, Festival du nouveau cinema de Montreal, BFI London Film Festival.

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Set Design

In modern English, the word “nebula” was used as a medical term to describe a cloudy speck or a film on the eye that would blur vision. From the early 1700s, it started to be applied in an astronomical sense to describe great interstellar clouds of gas and dust. The exhibition design and architecture at the Complesso dell’Ospedaletto offer up a meditation on the various visual, acoustic, haptic and mental conditions of nebulosity, attempting to translate them into spatial attributes. The architectural strategy plays with a range of environments, enhancing or obfuscating different senses each time, reacting to the artists’ works and creating moments in which those works spill out from their rooms. Conceived as a series of micro- interventions occupying the spaces of transition between the works, the exhibition design encompasses everything from metal-clad passageways, reverberating as the installation soundtracks play, to soft, tactile environments and soundproofed rooms, geared towards creating moments of sensory isolation. The geography of the venue is transformed into an ecosystem of both existing and newly carved out spaces that ultimately amplify the corporeal experience of the video installations and allow visitors to lose their bearings, albeit temporarily, as they engage with different spatial contexts one after another.

2050+

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PUBLIC PROGRAM AND GUIDED TOURS

Nebula will be accompanied by a cross-disciplinary public program curated by Bianca Stoppani, editor at the Fondazione, and organized in collaboration with Palazzo Grassi, Pinault Collection Venezia at the Teatrino di Palazzo Grassi on October 17–18, 2024. The public program will involve the artists featured in the exhibition and expand the conversations around their practices, via panels, screenings and performative contributions. For more information, visit www.inbetweenartfilm.com

The Foundation also offers free guided tours of Nebula. Every second and fourth Saturday of the month, at 11 am and 3 pm, the exhibition can be visited under the guidance of Oltreforma, a Venice-based collective operating in the field of art education. The maximum capacity is 12 people. For reservations, write to: tour@inbetweenartfilm.com

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FONDAZIONE IN BETWEEN ART FILM

The cultural program of Fondazione In Between Art Film is focused on the role of contemporary moving images and on providing support to international artists, institutions, and research centers exploring the dialogue between different disciplines. The Fondazione investigates the boundaries of time-based media—film, video, performance and installation—by commissioning and producing new works, organizing exhibitions and public programs, collaborating with international institutions, and producing editorial projects. The Fondazione drives forward and expands the work of the production company In Between Art Film, which from 2012 to 2019 supported video and film productions by international artists and directors.

President: Beatrice Bulgari
Artistic director: Alessandro Rabottini
Curators: Leonardo Bigazzi, Paola Ugolini
Project Manager: Alessia Carlino
Editor: Bianca Stoppani
Administrative office: Simona Iandoli
Collection manager: Chiara Nicolini

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COLOPHON

NEBULA

17.04–24.11 2024
Complesso dell’Ospedaletto

An exhibition conceived and produced by Fondazione In Between Art Film

with

Basel Abbas and Ruanne Abou-Rahme, Giorgio Andreotta Calò, Saodat Ismailova, Cinthia Marcelle and Tiago Mata Machado, Diego Marcon, Basir Mahmood, Ari Benjamin Meyers, Christian Nyampeta

curated by
Alessandro Rabottini
Leonardo Bigazzi

Project manager
Alessia Carlino

Texts and public program curated by
Bianca Stoppani

Assistant curator
Giovanni Giacomo Paolin

Exhibition office
Chiara Nicolini

Set design
2050+
Sara Barbini, Che Delano Facchin, Nils Grootenzerink, Francesca Lantieri, Ippolito Pestellini Laparelli

Exhibition set-up
Altofragile
Lapo Gavioli, Valentina Goretti, Giulia Mainetti, Alessia Pasqualetti, Francesco Rovaldi

Design
Lorenzo Mason Studio
Lorenzo Mason, Michele Bellinaso, Simone Spinazzè

Technology
Giochi di Luce

Display
Definizioni

Lighting
Riato

Graphic Lab
Colorzenith, Graphic Report

Organizational office
Venews C563 Arts – Massimo Bran, Paola Marchetti
Ospedaletto Con/temporaneo – Mariachiara Marzari
Fondazione In Between Art Film – Simona Iandoli

Education
Oltreforma

Legal advisor
Angela Saltarelli

Fiscal advisor
Benigni&K

Institutional relationships with Soprintendenza e Comune di Venezia
Anfibio – arch. Piero Vespignani

Press relations and communications
Lara Facco P&C – Lara Facco, Claudia Santrolli
Sam Talbot – Matthew Brown, Maja Hollmann, Sam Talbot

Visual story-telling
Giacomo Bianco

Thanks to
arch. Don Gianmatteo Caputo, Delegato Patriarcale per i Beni Culturali e l’Edilizia di Culto Curia Patriarcale di Venezia
I.P.A.V. (ex I.R.E.)
Luigi Polesel, Presidente Consiglio di Amministrazione di I.P.A.V.
Laura De Rossi
Fondazione Venezia Servizi alla Persona
Claudio Beltrame, Presidente Consiglio di Gestione di Fondazione Venezia Servizi alla Persona
Jessica Morosini, Direttore Laura Marcomin, Edoardo Rizzi, Elisa Torri

 

EXHIBITION GUIDE

Synopses
Bianca Stoppani except the synopsis for “When Rain Clouds Gather” by Christian Nyampeta

Copy-editing and translations by
Traduzioni Liquide – Gordon Fisher
Claudia Cazzaniga

All works commissioned and produced by Fondazione In Between Art Film

All works courtesy of the artist, and Fondazione In Between Art Film

 

Additional credits

Basel Abbas and Ruanne Abou- Rahme, Until we became fire and fire us, 2023–ongoing. Co-produced by Sharjah Art Foundation. Co-commissioned by Polygreen Culture and Art Initiative (PCAI) for Sharjah Biennial 15 (2023)

Giorgio Andreotta Calò, Nebula, 2024. Co-produced by Studio Giorgio Andreotta Calò. Courtesy Annet Gelink Gallery, Galleria ZERO…, Sprovieri

Saodat Ismailova, Melted into the Sun, 2024. Co-produced by: Batalha Centro de Cinema

Basir Mahmood, Brown Bodies in an Open Landscape are Often Migrating, 2024. Additional support from Mondriaan Fund

Cinthia Marcelle and Tiago Mata Machado, Acumulação Primitiva, 2024. Co-produced by Cuy Filmes, Ela.LTDA and Cinemari. Courtesy Galería Luisa Strina, Sprovieri

Diego Marcon, Fritz, 2024. Co-produced by Sadie Coles HQ, Galerie Buchholz. Courtesy Sadie Coles HQ, Galerie Buchholz

Ari Benjamin Meyers, Marshall Allen, 99, Astronaut, 2024. Co-produced by Fluentum. Courtesy Esther Schipper

 

Public program organized in collaboration with

Palazzo Grassi, Pinault Collection Venezia

at the

Teatrino di Palazzo Grassi
17–18.10.2024

Please visit inbetweenartfilm.com for details of the public program for Nebula

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