VAenezia, April 11th (askanews) -Another decade of relations between the Murano glass and the Venice Biennale: the story of this fascinating story continues at the glass rooms of the island of San Giorgio, which, in the second chapter, focuses on the period 1932-1942.
“In the six previous biennials – the curator Marino Barovier explained to askanews – the glass was put a little at random, a little between one room and the other in improvised boys. In 1932 the Venice pavilion and the Venice pavilion was created, all the Muranese windows welcomed and therefore it was a privileged showcase and gave the stimulus to a research, an evolution, always wanting to produce something better. As long as there was the Biennale, which unfortunately closed in 1972, the Muranesi gave their best to be able to say something new “.
The Biennale, with its artistic fervor and international breath, in the 1930s became a profitable opportunity for comparison for the glassworks and the world of artistic glass in general. With the complicity of a great architect. “I held Carlo Scarpa – added Barovier – as a key character of this period of this period because from 1932 to 1942 Scarpa works from Venini and there he tries to do everything. He tries because he was a curious one, he was a genius, an experimenter, he looked at the subject, looked at the technique, looked at the shapes, he looked at everything that could be looked at and that was innovative, was absolutely different from what had been done before. All the others have aligned themselves. “
In an installation that once again manages to be interesting and attentive to the nature of the objects exposed, the exhibition tells us how the glass changes, becomes more colorful, denser. And the rooms of glass confirm a museum that takes care of its stories and stages them with an elegance full of affection.
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