Corsican Landscape (n.d.)
oil on canvas 38 x 45.8 cm
“One morning in 1961 at the Querini Stampalia, I asked him to keep water outside the palace… He looked at me and after a pause he said: “Inside, inside! Water must be inside, like everywhere in the city. We just need to control and use it as a shining and reflecting substance. You will see the light reflections on the yellow and purple stuccos on the ceiling. That is so gorgeous!”
- Giuseppe Mazzariol, director of the Fondazione Querini Stampalia, recalls Carlo Scarpa’s attitude to the creation of the museum space in the centre of Venice.
When I arrived at the Fondazione one afternoon last week, the tide was rising and canal water was slowly infiltrating the dusty channels cast into the museums interior, making it’s way through round holes cut into the walls. The steel grilled ‘watergate’ in the museums facade is permanently submerged and the sound of water lapping against stone inside the corridor and it’s cooling effect makes the space uniquely beautiful, neither interior nor exterior.
In the garden to the rear there is a beautiful continuity of form and material from the inside spaces.
I think Scarpa’s design and many of the older buildings in Venice offer a positive glimpse of future opportunities for living in cities threatened by rising water levels.
Seurat, The Painter Aman-Jean als Pierrot.
Boy With a Straw Hat
Oil on canvas
68.9 x 58.1 cm
The Black Chronicles II is a newly curated exhibition exploring black presences (African and Asian) in 19th and early 20th century Britain, through the prism of studio photography.
Drawing on the metaphor of the chronicle the exhibition presents over 200 photographs, the majority of which have never been exhibited or published before. As a curated body of work, these photographs present new knowledge and offer different ways of seeing the black subject in Victorian Britain, and contribute to an ongoing process of redressing persistent ‘absence’ within the historical record.
A highlight of the show is a dedicated display of thirty portraits of members of The African Choir, who toured Britain between 1891-93, seen here for the first time. Perhaps the most comprehensive series of images rendering the black subject in Victorian Britain, these extraordinary portraits on glass plate negatives by the London Stereoscopic Company have been deeply buried in the Hulton Archive, unopened for over 120 years.
These are presented alongside those of other visiting performers, dignitaries, servicemen, missionaries, students and many as yet unidentified black Britons. Their presence bears direct witness to Britain’s colonial and imperial history and the expansion of Empire. (read more)
Sep 12 - Nov 29, 2014