Looking at our times through the prism of the moving image.
Set 30
Sneak peak from the upcoming video documentation of CANICULA, where artist Maya Watanabe elaborates on the role of vision and visibility in her video installation “Jarkov”
Within surroundings where the darkness is designed as a spatial experience, the work by Maya Watanabe titled “Jarkov” (2026) exposes us to a paradox of vision and knowledge. The camera leads us into very close proximity with a woolly mammoth from 20,000 years ago, discovered in the Arctic tundra as a result of the increase in temperatures caused by global warming, and forces us to grapple not only with timescales that exceed human understanding but also with the fragility of life
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Set 24
The catalogue for CANICULA, our group exhibition on view at the Complesso dell’Ospedaletto in Venice until November 22, is out now via @marsilioarte
Edited by @abinoppst with @alessandro.rabottini and @leonardobigazzi, this volume expands on the making of CANICULA and offers an in-depth look at the curatorial concept, the exhibition scenography, and the creative processes and poetic concerns of the 8 video-installations by Lawrence Abu Hamdan, Massimo D`Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, Maya Watanabe
The exhibition and the wider rationale of the Fondazione`s work is told via a series of texts by our President and Founder Beatrice Bulgari, the co-curators of CANICULA Rabottini and Bigazzi, and the co-creators of its scenography from @2050.plus studio, @ippopeste and @fralantieri
A two-part monographic section has been dedicated to each of the artists featured in the exhibition: one that documents both the narrative and production aspects of their video installations, and another that expands upon the artists` practice both via newly commissioned critical texts by Svitlana Biedarieva, Leo Goldsmith, Ana Janevski and Dubravka Sekulić, Mason Leaver-Yap, Alvin Li, Nicole Shukin, Jan Verwoert, Sophie Williamson, and an original visual contribution
With the aim of offering a set of complementary points of view to the video installations, the fields of expertise of the writers involved range from environmental humanity to media culture, experimental film-making, performance, architecture, and art history, while the visual contributions use materials as diverse as Romantic paintings and forensic visualization, and are presented in ways as different as encyclopedia-style thumbnails and fictional film strips
The book is completed by a visual essay by photographer @g.i.a.c.o.m.o.b.i.a.n.c.o, capturing the atmosphere at the heart of CANICULA, and by the exhibition views realized by @marcocappellettistudio (Marco Cappelletti, @beppemiotto, @lis.gallo)
Design by @lorenzomasonstudio (Lorenzo Mason, @simonespinazze)
Set 21
Sneak peak from the upcoming video documentation of CANICULA, where artist Wang Tuo elaborates on the fraught relationship between the ideas of public and private spaces in his video installation “The Experimental Paradigm of Ownership and Autonomy”
In what was the pharmacy of the ancient hospital, Wang Tuo sets his two-channel video installation “The Experimental Paradigm of Ownership and Autonomy” (2026), a fictional tale that addresses the tension between the individual experience of events and organised forms of political life. The fragility of the human body becomes a metaphor for the heterogeneity of collective memory, while the past, the present and the future are seen as caught in a perennial cycle of control and amnesia, fabricated truths and omissions
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Set 17
SAVE THE DATE
We are pleased to announce the symposium accompanying the group exhibition CANICULA, which is on view at the Complesso dell’Ospedaletto until November 22, 2026
26-27 October 2026
09:30 - 18:30
Teatrino di Palazzo Grassi, Venice
Free entry, all welcome
The event will unfold as a two-day symposium involving the artists featured in CANICULA and expanding the discourse around their practices via talks, lectures, discussions, and screenings. Together with curators, researchers, and writers from the fields of both the visual arts and cinema, it will also be an occasion to engage with the material and metaphorical atmospheres of the exhibition while fostering meta-reflections on the status of moving images and exhibition making today
Speakers include 2050+/Ippolito Pestellini Laparelli and Francesca Lantieri, Lawrence Abu Hamdan, Damir Arsenijevic, Leonardo Bigazzi, Daniel Blanga-Gubbay, Enrico Camporesi, Xenia Chiaramonte, Massimo D’Anolfi and Martina Parenti, Daphne Dragona, Chema González, Roman Khimei and Yarema Malashchuk, Rebecca Lamarche-Vadel, Quinn Latimer, Alvin Li, Doreen Mende, Alessandro Rabottini, Janis Rafa, Julian Ross, Natalia Sielewicz, P. Staff, Bianca Stoppani, Wang Tuo, Yuyan Wang, Maya Watanabe, Daniela Zyman.
Curated by @abinoppst and organized in collaboration with @palazzo_grassi, Pinault Collection Venezia
Coordinators:
@chiara_nicolini__
Giovanni Giacomo Paolin
Educational partners:
@abavenezia
Department of the Arts, @unibo
@dfbc.cafoscari
@curatorial.school
@iuav_venezia
Visual identity by @lorenzomasonstudio
Set 14
Sneak peak from the upcoming video documentation of CANICULA, where artist Lawrence Abu Hamdan expands on the making-of of his video installation “450XL: The Story of a Fugitive Sound”
“450XL: The Story of a Fugitive Sound” (2026) is a multichannel video installation by Lawrence Abu Hamdan. Through a choral approach of individual testimonies and reconstructions of the events that took place during a peaceful vigil in Belgrade on 15 March 2025, the work contemplates the political potential of silence and the use of sonic weapons designed to disperse forms of collective, non-violent resistance
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
Set 7
Wang Tuo’s “The Experimental Paradigm of Ownership and Autonomy” (2026) and Saodat Ismailova’s film “Melted into the Sun” (2024) are now on view at the 16th @gwangjubiennale curated by Ho Tzu Nyen with Che Kyongfa, @gahee_thepark, and Brian Kuan Wood. Congratulations, Tuo and Saodat!
Commissioned and produced for our current exhibition in Venice CANICULA, “The Experimental Paradigm of Ownership and Autonomy” by @buddhathugtuo is a fictional tale that addresses the tension between the individual experience of events and organised forms of political life. The fragility of the human body becomes a metaphor for the heterogeneity of collective memory, while the past, the present and the future are seen as caught in a perennial cycle of control and amnesia, fabricated truths and omissions
“Melted into the Sun” (2024) by @saodatismailova, which we commissioned and produced for our previous exhibition in Venice NEBULA, is a visual and poetic journey into the cultural and political echo generated across many centuries and geographies by the historical figure of Al-Muqannaʿ, an ambiguous prophet from eighth-century southern Central Asia with revolutionary ideas
Images: 1) Wang Tuo, The Experimental Paradigm of Ownership and Autonomy, 2026. Still. Courtesy of the artist; @blindspotgallery; Fondazione In Between Art Film; 2) Saodat Ismailova, Melted into the Sun, 2024. Still. Courtesy of the artist and Fondazione In Between Art Film
Set 3
After its first iteration at Camden Art Centre in London, Karimah Ashadu’s solo exhibition “Tendered” opens September 12, 2026, at The Renaissance Society in Chicago with an artist talk at 4PM
“Tendered” is the second project launched under UNISON, a biennial initiative promoted by Fondazione In Between Art Film to commission and produce moving image–based exhibitions in partnership with international public institutions
Curated by Alessandro Rabottini and Leonardo Bigazzi with Myriam Ben Salah and Karsten Lund for its iteration at the Renaissance Society, the exhibition marks the US debut of the video installation “MUSCLE” (2025) as well as a series of new sculptures that draw directly from the film’s environments
“MUSCLE” is an intimate portrait of body builders in the heart of Lagos’ slums striving to attain a hyper-masculine ideal, continuing the artist’s research into issues of socio-economic independence and patriarchy within the context of West African culture and society. “MUSCLE” is commissioned and produced by @camdenartcentre, Fondazione In Between Art Film, and @rensoc
“Tendered” is accompanied by the first reference monograph dedicated to the artist, edited by @abinoppst, with @alessandro.rabottini and @leonardobigazzi. Published by @moussemagazine, it features contributions from Karimah Ashadu; @myriambensalah; Leonardo Bigazzi; @ginabuenfeld; @martinclark76; @cjnwonka; Alessandro Rabottini; Bettina Steinbrügge; and @areseuwuoruya
“Karimah Ashadu: Tendered” is presented in conjunction with the installation of the artist work “Machine Boys,” which we produced for the Biennale Arte 2024, at the @artinstitutechi, opening September 11, 2026
Karimah Ashadu: Tendered is supported by Sadie Coles HQ, London
Image credit: Karimah Ashadu, “MUSCLE” (still), 2025. Courtesy of the artist, Camden Art Centre, Fondazione In Between Art Film, @sadiecoleshq and The Renaissance Society at the University of Chicago
Set 1
Sneak peak from the upcoming video documentation of CANICULA, where artist P. Staff elaborates on the deliberate attempt at destroying the cinematic field in their video installation “Terminal Lucidity”
“Terminal Lucidity” (2026) by P. Staff is a multimedia installation that switches between light and darkness, sounds and images. It conjures up the phenomenon of the title, being the brief reacquisition of memory and consciousness by people right before they pass away. The work deepens the exploration of terminal lucidity on the spatial and perceptual level, examining the distance between reality and hallucination
CANICULA is open until November 22 at the Complesso dell’Ospedaletto in Venice and features 8 new site-specific video installations commissioned from Lawrence Abu Hamdan, Massimo D’Anolfi and Martina Parenti, Roman Khimei and Yarema Malashchuk, Janis Rafa, P. Staff, Wang Tuo, Yuyan Wang, and Maya Watanabe
Curated by @alessandro.rabottini and @leonardobigazzi
Scenography by @2050.plus
Video credits:
Directed and edited by @daviderapp
Filmed by @_giorgiodemarco_
Editorial Supervision and Project Coordination by @anninacastelli
Graphic Design by @lorenzomasonstudio
