At Ca' Rezzonico in Venice, Loris Cecchini's works dialogue with the palace's architecture

The exhibition project LORIS CECCHINI - Leaps, gaps and overlapping diagrams....... presents at Ca’ Rezzonico in Venice from September 21, 2024 to March 31, 2025 ten new works by Loris Cecchini (Milan, 1969), and his artistic practice that has themodular element at its core. Curated by Luca Berta and Francesca Giubilei, the exhibition is produced in collaboration with Galleria Continua and VeniceArtFactory with the support of Deutsche Bank, Rimani, MAG Italia Group. Employing the different languages of architecture, design, and engineering to investigate intermediate spaces and morphological processes determined by jumps, gaps, and overlapping diagrams, Cecchini initiates a dialogue with the collections and architecture of the three floors of the Museo del Settecento Veneziano. The starting point are the monumental climbing installations, protagonists of an interaction with the architecture of the exterior portego. Waterbones and Arborexence expand in space from individual steel and aluminum units. The structures, inspired by molecular or plant forms, develop into branches that envelop the architectural elements, blending with their surroundings. On the second floor, in the Ballroom, the experience is one of vertigo: dialogue is arranged between the Otherworldly Winds, red narrative and black narrative (aeolian landforms on zigzag particles) structures-molded resin works with rippling nylon velvet that evoke vibrant desert landscapes; works from the Zigzags particles series, sculptural interventions of a granular nature created with aluminum castings; Baroque furniture made of ebony and boxwood by Andrea Brustolon ; and frescoes by Giambattista Crosato and Girolamo Mengozzi Colonna.

On the second floor, between the rooms of Giandomenico Tiepolo ’s frescoes and the portego with Canaletto ’s views is the wall work Wallwave vibration (Chorus Transition Probabilities), in which the artist imagines a sudden variation, a sonic vibration, that provocatively dissolves the architectural surface, and a large telescope from the Zigzags particles series, facing the “tear” of the fresco at Villa Tiepolo in Zianigo: Il mondo novo. In this last room Cecchini’s artistic discourse is condensed: the work as a tool to propose a change of perspective and a reversal of the very concept of representation. In Il mondo novo of 1791, Giandomenico Tiepolo depicts a crowd scene around the magic lantern house, the invention through which the audience represented here could imagine turning their gaze toward the exotic, toward the future, giving room for imagination. Cecchini’s Telescope I reinforces the idea of the work of art as a device for breaking through reality. Admiring the masterful frescoed ceilings by Tiepolo, Guarana, Crosato and Diziani, the recurring theme of the cloud emerges, a central element in the opening of rooms through painted skies. It is here that the point of contact between the eighteenth-century painters and the contemporary artist is found: the cloud becomes an intermediate unit, a symbol of transition between the real and the virtual. The element propagates organically and fluidly, adapting freely to the space and architectural context.

At Ca' Rezzonico in Venice, Loris Cecchini's works dialogue with the palace's architecture

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