The first institutional exhibition of Fondazione In Between Art Film with 8 newly commissioned and produced video installations organised on the occasion of Biennale Arte 2022
20 APRIL – 27 NOVEMBER 2022
COMPLESSO DELL’OSPEDALETTO, VENICE
Karimah Ashadu, Jonathas de Andrade, Aziz Hazara, He Xiangyu, Masbedo, James Richards, Emilija Škarnulytė, Ana Vaz
Alessandro Rabottini, Artistic Director, Fondazione In Between Art Film
Leonardo Bigazzi, Curator, Fondazione In Between Art Film
Read the digital exhibition guide here
Penumbra is accompanied by the cross-disciplinary public programme “Vanishing Points”
Bianca Stoppani, Editor, Fondazione In Between Art Film
Paola Ugolini, Curator, Fondazione In Between Art Film
with the coordination of
More details and complete calendar here
Penumbra is open every day, except on Tuesdays, from 10 am-6 pm (last admission at 5 pm). Free entry
How to get here
Complesso dell’Ospedaletto is located in Barbaria de le Tole, 6691, in the area of Castello. Open Google Maps.
The nearest waterbus stops are Rialto, San Zaccaria, and Ospedale. Find timetables and routes.
International media inquiries
Matthew Brown, firstname.lastname@example.org +44 (0) 7989 446557
Images of Ospedaletto and Church of Santa Maria dei Derelitti by Giacomo Bianco
Penumbra is a group exhibition curated by Alessandro Rabottini and Leonardo Bigazzi that feature eight new video and filmic installations commissioned to Karimah Ashadu (1985, UK), Jonathas de Andrade (1982, Brazil), Aziz Hazara (1992, Afghanistan), He Xiangyu (1986, China), Masbedo (Nicolò Massazza, 1973 and Iacopo Bedogni, 1970, Italy), James Richards (1983, UK), Emilija Škarnulytė (1987, Lithuania), and Ana Vaz (1986, Brazil), and produced by Fondazione In Between Art Film.
Taking inspiration from the rarefied atmosphere of Venice and from the hybrid architecture of the Ospedaletto and the church of Santa Maria dei Derelitti, Penumbra is conceived as a stage where images, sounds, and the set design are in reciprocal dialogue with the architecture and its history, and explores moving images as a site of material and metaphorical transformation. The concept of “penumbra” is addressed on two levels: in material terms, the absence of light is the necessary condition for making moving images visible; in metaphorical terms, semi-darkness is interpreted as a threshold or place of transition within which the contours and appearance of things blur together. Understood as the space we inhabit as much at nightfall as at dawn, semi-darkness redefines the distinction between true and false, historical memory and personal specters, the reality of bodies and their social representations, the human subject and the subjugated environment. Through a diversity of languages ranging from narrative approaches to visual and sound experimentations, moving images stand here as a multi-faceted medium to speak of a world that is global, fragmented and in continuous metamorphosis.
Presented within a sequence of areas of darkness and light, the works echo the transformations that the venue faced throughout the centuries, following its foundation in the 16th century as a hospital for the needy. The exhibition design by Ippolito Pestellini Laparelli and his studio 2050+ reflects on the history of the location and spatialize the curatorial concept by looking at the interconnected notions of human and architectural anatomy.
Penumbra is accompanied by Vanishing Points, a cross-disciplinary public programme curated by Bianca Stoppani and Paola Ugolini that will involve the artists featured in the exhibition and expand the conversations around their practice, via panels with international curators and thinkers.
Karimah Ashadu (b. 1985, UK) is a British-Nigerian artist who lives and works between Hamburg and Lagos. Ashadu’s practice concerns the perception of self and place, as well as the concepts of labour and patriarchy relating to the socio-economic context of Nigeria and West Africa. Her work has been exhibited and screened in institutions such as Kunstverein, Hamburg; Galerie für Zeitgenössische Kunst, Leipzig; MoMA, New York; and Center d’Art Contemporain Geneva. Ashadu received the ars viva award (2020) and the Contemporary art prize (2020), Rotary Club. She also received awards at festivals such as the Ann Arbor Film Festival, European Media Art Festival, and Euro Video. Her work is part of the public collections of MoMA, New York; and Fonds Municipal d’Art Contemporain de la Ville de Genève (FMAC). In 2020, Ashadu founded her film production company Golddust by Ashadu, which specializes in artists’ films on black culture and African discourses. She was named Abigail R. Cohen Fellow 2021 at the Columbia Institute for Ideas and Imagination, Paris.
Jonathas De Andrade (b. 1982, Brazil) is an artist who lives and works in Recife. De Andrade uses installations, photographs and videos to explore the effects of power dynamics in society, the evolution of humanity and of ethics with the aim of reflecting on the lasting consequences of modernist culture—something that has profoundly changed Brazilian society due to numerous political decisions made in the twentieth century. His works have been shown in solo exhibitions at the Museum of Contemporary Art, Chicago; New Museum, New York; The Power Plant, Toronto; Museu de Arte de São Paulo; Museu de Arte do Rio; Musée d’art Contemporain de Montréal; Kunsthalle Lissabon; Centro Cultural São Paulo; among many others. De Andrade’s works were also presented at the MOMENTA Biennale de l’image, Montréal (2019); Istanbul Biennial (2019); SITE Santa Fe; 32nd Biennial of San Paolo; Performa15, New York; Biennial of Lyon (2013); New Museum Triennial, New York (2011); and Mercosul Biennial (2009); among many others.
Aziz Hazara (b. 1992, Afghanistan) is an artist working across various media such as video installation, photography, sound, and sculpture. His work addresses the relationship between dichotomies such as proximity and distance, migration and memory, reality and fiction in the context of war on terror, amongst many others. In 2021, Hazara has been awarded with the Future Generation Art Prize. Hazara has shown his works at institutions such as PinchukArtCentre, Kyiv; Hessel Museum of Art – CCS Bard College, New York; Netwerk Aalst; 22nd Biennale of Sydney; and IKOB, Eupen; among others. He has also participated in residential programmes at Colomboscope, Colombo; Embassy of Foreign Artists (EoFA), Geneva; Camargo Foundation, Cassis; and KHOJ – International Artists’ Association, New Delhi. He is currently residence artist at Künstlerhaus Bethanien, and a grantee of KfW Stiftung.
He Xiangyu (b. 1986, China) is an artist and film director who lives and works in Berlin. Emerging from a generation of artists who have experienced the radical changes in China’s society reverberated within the economy and international relations, He’s practice is based on his unique cultural experience. Using a diverse range of media, his work contemplates and echoes the fatalistic micro conflicts on specific individuals in a time of macro geopolitical and historical turbulence. He’s works have been shown at institutions such as Ullens Center for Contemporary Art, Beijing; OCAT Institute, Shanghai; Para Site, Hong Kong; The Drawing Center, New York; Solomon R. Guggenheim Museum, New York; Smart Museum of Art, Chicago; Kadist Foundation, San Francisco; LACMA, Los Angeles; KW Institute for Contemporary Art, Berlin; Centre Pompidou, Paris; and Castello di Rivoli, Turin, among others. He’s works were also presented at the 58th La Biennale di Venezia – China Pavilion, 13th Biennale de Lyon, 10th Shanghai Biennale, 5th Yokohama Triennale, and 8th Busan Biennale. More recently, He Xiangyu was shortlisted for the “Mario Merz Prize” (2021) and the “Future Generation Art Prize” (2014).
Masbedo is Nicolò Massazza (b. 1973, Italy) and Iacopo Bedogni (b. 1970, Italy). They live in Milan and have been working together since 1999, focussing on video art and installations. They express themselves through the language of video, using different formats such as performance, theater, installation, photography and, recently, cinema. Their works have been exhibited in museums, biennials and institutions including ICA, Milan; MAMM – Multimedia Art Museum, Moscow; Manifesta12, Palermo; Center Pompidou / Forum des Images, Paris; Haus der Kulturen der Welt, Berlin; Museum of Contemporary Art, Zagreb; MART, Rovereto; Merz Foundation, Turin; Leopold Museum, Vienna; MAMBA – Museum of Modern Art of Buenos Aires; Castello di Rivoli, Turin; MAXXI, Rome, Museo Nacional Centro de Arte Reina Sofía, Madrid; and 53rd International Art Exhibition La Biennale di Venezia, just to name a few.
James Richards (b. 1983, UK) is an artist who lives and works between Berlin and London. His works have been presented in personal exhibitions at Castello di Rivoli, Turin; Malmö Konsthall; Künstlerhaus Stuttgart; Chapter Arts Center, Cardiff; ICA, London; Bergen Kunsthall; Kunstverein München; Chisenhale Gallery, London, among others. Richards’ works have also been featured in group shows at the Camden Arts Center, London; Whitney Museum of American Art, New York; Walker Arts Center, Minneapolis; MoMA, New York; Artists Space, New York; and the 55th International Art Exhibition La Biennale di Venezia. In 2017, Richards represented Wales at the 57th International Art Exhibition La Biennale di Venezia, and in 2014 he was shortlisted for the Turner Prize.
Emilija Škarnulytė (b. 1987, Lithuania) is an artist and film director. Working between documentary and the imaginary, Škarnulytė makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Škarnulytė won the Future Generation Art Prize 2019, represented Lithuania at the XXII Triennale di Milano, and was included in the Baltic Pavilion at the Venice Architecture Biennale in 2018. Her work has been featured in solo exhibitions at Tate Modern, London (2021); Kunsthaus Pasquart, Biel (2021); Den Frie, Copenhagen (2021); National Gallery of Art in Vilnius (2021); CAC, Vilnius (2015); and Kunstlerhaus Bethanien, Berlin (2017); as well as in group exhibitions at Ballroom Marfa, Seoul Museum of Art, Kadist Foundation and the 1st Riga Biennial. Her films are included in the collections of IFA, Kadist Foundation and Center Pompidou and have been screened at the Serpentine Gallery, London; Pompidou Center, Paris; as well as at film festivals in Rotterdam, Busan and Oberhausen. Škarnulytė is the founder and currently co-directs the Polar Film Lab, a collective in Tromsø that works with analogue cinema, and is a member of the artistic duo New Mineral Collective, which was recently commissioned a new work by the 1st Toronto Biennial.
Ana Vaz (b. 1986, Brazil) is an artist and film director who works with and considers cinema as a tool. Her films, or rather her film-poems, travel through territories and events haunted by the perennial consequences of internal and external forms of colonialism, and their footprints on the earth as well as on human and different from human forms. Her practice can also take the shape of writing, critical pedagogy, installations, film programs or ephemeral events, which are expansions or developments of her films. Her works have been presented, screened and discussed at film festivals, seminars and institutions such as Tate Modern, London; Palais de Tokyo, Paris; Jeu de Paume, Paris; LUX Moving Images, London; New York Film Festival – Projections; TIFF Wavelengths, Toronto; BFI, London; Cinéma du Réel, Paris; TABAKALERA, San Sebastián; Whitechapel Gallery, London; MAM – Museum of Modern Art, São Paulo; Sesc-Belenzinho, São Paulo; Matadero, Madrid; Jameel Arts Center, Dubai; Confort Moderne, Poitiers; Savvy Contemporary, Berlin; Sonic Acts, Amsterdam; among others. Vaz is also a founding member of the COYOTE collective along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, an interdisciplinary group working between ecology and political science through conceptual and experimental formats.