{"id":890,"date":"2021-12-07T09:26:43","date_gmt":"2021-12-07T08:26:43","guid":{"rendered":"https:\/\/inbetweenartfilm.com\/en\/?page_id=890"},"modified":"2026-04-07T15:01:10","modified_gmt":"2026-04-07T13:01:10","slug":"penumbra","status":"publish","type":"page","link":"https:\/\/inbetweenartfilm.com\/en\/penumbra\/","title":{"rendered":"PENUMBRA <\/br><\/br>"},"content":{"rendered":"

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PENUMBRA<\/strong><\/h2>\n

[\/vc_column_text][vc_column_text]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<\/p>\n

20 APRIL \u2013\u00a027 NOVEMBER 2022<\/p>\n

COMPLESSO DELL\u2019OSPEDALETTO, VENICE<\/p>\n

with<\/p>\n

Karimah Ashadu, Jonathas de Andrade, Aziz Hazara, He Xiangyu, Masbedo, James Richards, Emilija \u0160karnulyte\u0307, Ana Vaz<\/p>\n

curated by<\/p>\n

Alessandro Rabottini, Artistic Director, Fondazione In Between Art Film
\nLeonardo Bigazzi, Curator, Fondazione In Between Art Film<\/p>\n

Read the digital exhibition guide here<\/u><\/a><\/p>\n

Penumbra<\/i>\u00a0is accompanied by the cross-disciplinary public programme \u201cVanishing Points\u201d<\/p>\n

curated by
\nBianca Stoppani, Editor, Fondazione In Between Art Film
\nPaola Ugolini, Curator, Fondazione In Between Art Film<\/p>\n

with the coordination of Giovanni Paolin
\nwith exhibition design and scenography by 2050+<\/p>\n

More details and complete calendar here<\/a><\/span><\/p>\n

Opening hours<\/strong>
\nPenumbra<\/em> is open every day, except on Tuesdays, from 10 am-6 pm (last admission at 5 pm). Free entry<\/p>\n

How to get here<\/strong>
\nComplesso dell\u2019Ospedaletto is located in Barbaria de le Tole, 6691, in the area of Castello. Open\u00a0Google Maps<\/span><\/a>.
\nThe nearest waterbus stops are Rialto, San Zaccaria, and Ospedale. Find\u00a0timetables and routes<\/a><\/span>.<\/p>\n

General inquiries<\/strong>
\n+39 3463158767<\/p>\n

International media inquiries<\/strong>
\nSAM TALBOT
\n<\/strong>Matthew Brown,\u00a0matthew@sam-talbot.com<\/a>\u00a0+44 (0) 7989 446557<\/p>\n

Italian media inquiries<\/strong>
\nLARA FACCO P&C
\n<\/strong>Lara Facco,\u00a0lara@larafacco.com<\/a> +39 349 2529989
\nClaudia Santrolli,\u00a0claudia@larafacco.com<\/a>\u00a0+39 339 7041657[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_row_inner el_class=”inner-pics” css=”.vc_custom_1638956780289{margin-bottom: 0px !important;}”][vc_column_inner width=”1\/2″][vc_single_image image=”895″ img_size=”large” el_class=”img-penumbra imgcstmpenumbra” css=”.vc_custom_1638956908251{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”894″ img_size=”large” css=”.vc_custom_1638956916834{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}” el_class=”imgcstmpenumbra”][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner][vc_column_text el_class=”dida-penumbra”]Images of Ospedaletto and Church of Santa Maria dei Derelitti by Giacomo Bianco<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text el_class=”colonne-2″]Penumbra<\/i>\u00a0is a group exhibition curated by\u00a0Alessandro Rabottini<\/strong>\u00a0and\u00a0Leonardo Bigazzi<\/strong>\u00a0that feature eight new video and filmic installations commissioned to\u00a0Karimah Ashadu<\/strong>\u00a0(1985, UK),\u00a0Jonathas de Andrade<\/strong>\u00a0(1982, Brazil),\u00a0Aziz Hazara<\/strong>\u00a0(1992, Afghanistan),\u00a0He Xiangyu<\/strong>\u00a0(1986, China),\u00a0Masbedo<\/strong>\u00a0(Nicol\u00f2 Massazza, 1973 and Iacopo Bedogni, 1970, Italy),\u00a0James Richards<\/strong>\u00a0(1983, UK),\u00a0Emilija \u0160karnulyte\u0307<\/strong>\u00a0(1987, Lithuania), and\u00a0Ana Vaz<\/strong>\u00a0(1986, Brazil), and produced by Fondazione In Between Art Film.<\/p>\n

Taking inspiration from the rarefied atmosphere of Venice and from the hybrid architecture of the Ospedaletto and the church of Santa Maria dei Derelitti,\u00a0Penumbra<\/strong><\/i>\u00a0is 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 \u201cpenumbra\u201d 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.<\/p>\n

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\u00a0Ippolito Pestellini Laparelli<\/strong>\u00a0and his studio\u00a02050+<\/strong>\u00a0reflects on the history of the location and spatialize the curatorial concept by looking at the interconnected notions of human and architectural anatomy.<\/p>\n

Penumbra<\/i>\u00a0is accompanied by\u00a0Vanishing Points<\/strong><\/i>, a cross-disciplinary public programme curated by\u00a0Bianca Stoppani<\/strong>\u00a0and\u00a0Paola Ugolini<\/strong>\u00a0that will involve the artists featured in the exhibition and expand the conversations around their practice, via panels with international curators and thinkers.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text css=”.vc_custom_1589698019580{border-bottom-width: 1px !important;border-bottom-color: #ffffff !important;border-bottom-style: solid !important;}”]<\/p>\n

ARTISTS BIOGRAPHIES<\/strong><\/h2>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/3″][vc_single_image image=”1111″ img_size=”full” alignment=”center”][vc_column_text]Karimah Ashadu<\/strong>\u00a0(b. 1985, UK) is a British-Nigerian artist who lives and works between Hamburg and Lagos. Ashadu\u2019s 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 f\u00fcr Zeitgen\u00f6ssische Kunst, Leipzig; MoMA, New York; and Center d\u2019Art 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\u2019Art Contemporain de la Ville de Gen\u00e8ve (FMAC). In 2020, Ashadu founded her film production company Golddust by Ashadu, which specializes in artists\u2019 films on black culture and African discourses. She was named Abigail R. Cohen Fellow 2021 at the Columbia Institute for Ideas and Imagination, Paris.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”911″ img_size=”full” alignment=”center”][vc_column_text]Jonathas De Andrade<\/strong>\u00a0(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\u2014something 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 S\u00e3o Paulo; Museu de Arte do Rio; Mus\u00e9e d\u2019art Contemporain de Montr\u00e9al; Kunsthalle Lissabon; Centro Cultural S\u00e3o Paulo; among many others. De Andrade\u2019s works were also presented at the MOMENTA Biennale de l\u2019image, Montr\u00e9al (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.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”920″ img_size=”full” alignment=”center”][vc_column_text]Aziz Hazara\u00a0<\/strong>(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\u00a0at institutions such as PinchukArtCentre, Kyiv; Hessel Museum of Art – CCS Bard College, New York; Netwerk Aalst; 22nd\u00a0Biennale 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\u2019 Association, New Delhi. He is currently residence artist at K\u00fcnstlerhaus Bethanien, and a grantee of KfW Stiftung.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/3″][vc_single_image image=”913″ img_size=”full” alignment=”center”][vc_column_text]He Xiangyu\u00a0<\/strong>(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\u2019s society reverberated within the economy and international relations, He\u2019s 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\u2019s 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\u2019s 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 \u201cMario Merz Prize\u201d (2021) and the \u201cFuture Generation Art Prize\u201d (2014).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”587″ img_size=”full” alignment=”center”][vc_column_text]Masbedo<\/strong>\u00a0is Nicol\u00f2 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 Sof\u00eda, Madrid; and 53rd International Art Exhibition La Biennale di Venezia, just to name a few.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”914″ img_size=”full” alignment=”center”][vc_column_text]James Richards<\/strong>\u00a0(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; Malm\u00f6 Konsthall; K\u00fcnstlerhaus Stuttgart; Chapter Arts Center, Cardiff; ICA, London; Bergen Kunsthall; Kunstverein M\u00fcnchen; Chisenhale Gallery, London, among others. Richards\u2019 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.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/3″][vc_single_image image=”915″ img_size=”full” alignment=”center”][vc_column_text]Emilija \u0160karnulyt\u0117<\/strong>\u00a0(b. 1987, Lithuania) is an artist and film director. Working between documentary and the imaginary, \u0160karnulyt\u0117 makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. \u0160karnulyt\u0117 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. \u0160karnulyt\u0117 is the founder and currently co-directs the Polar Film Lab, a collective in Troms\u00f8 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.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_single_image image=”917″ img_size=”full” alignment=”center”][vc_column_text]Ana Vaz<\/strong>\u00a0(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; Cin\u00e9ma du R\u00e9el, Paris; TABAKALERA, San Sebasti\u00e1n; Whitechapel Gallery, London; MAM – Museum of Modern Art, S\u00e3o Paulo; Sesc-Belenzinho, S\u00e3o 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 Ho\u00ebg and Cl\u00e9mence Seurat, an interdisciplinary group working between ecology and political science through conceptual and experimental formats.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”1\/3″][vc_column_text] PENUMBRA [\/vc_column_text][vc_column_text]The first institutional exhibition of Fondazione In Between Art Film with 8 newly commissioned and produced video installations organised on the occasion of [\u2026]<\/span><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-890","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/pages\/890","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/comments?post=890"}],"version-history":[{"count":58,"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/pages\/890\/revisions"}],"predecessor-version":[{"id":1775,"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/pages\/890\/revisions\/1775"}],"wp:attachment":[{"href":"https:\/\/inbetweenartfilm.com\/en\/wp-json\/wp\/v2\/media?parent=890"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}