In Venice the solitary matter of Bosco Sodi

Cubes, spheres and pigments at Palazzo Vendramin, in the festivals and depopulated city

Like many Venetian palaces that face the Grand Canal in the sun, too Vendramin Grimani Palace has its access (pedestrian) from a discount that can be reached by flanking Campo San Polo, shortly after the historic barber shop, the pharmacy and the post office, a corner of the lagoon city still intact almost to demonstrate the existence as well as the resistance of a citizenship and its daily life. And it is precisely starting from the elaboration of a close and intimate bond with the city that the residence of the Mexican artist Bosco Sodi took shape. What Goes Around Comes Around it is in fact the result of a residence open to the public and the real exhibition of the works elaborated in recent months and the result of the care of Daniela Ferretti (her with Axel Vervoordt the wonderful exhibitions made at Palazzo Fortuny before it was reduced to her same parody), Dakin Hart and the Golden Tree Foundation which also took care of the careful restoration of the building. The dialogue takes shape right from the secluded entrance, the internal volumes of Palazzo Vendramin Grimani do not betray the splendor and brilliance of a powerful and monumental architecture that at the same time Bosco Sodi’s works reveal and camouflage, here the conceptual becomes pure form, the material practice takes on the contours of a theory in continuous and rapid elaboration. The drying times of the canvases in the air of the lagoon during the residence now reveal their compact and icastic reflective power, the red pigments express a light in relation to that of the Grand Canal filtered by the large windows of the building. The works appear at the center of the scene as absurd yet natural blocks such as objects crossed by a vivid presence. You turn and rotate around the red-glazed clay blocks, but the desire is only to slide your fingers over the smooth surfaces until you meet the cracks and fractures that the corners and walls reveal. A desire that is totally fulfilled in the last exhibition hall where 195 small spheres modeled with Oaxaca clay are revealed, symbolizing the states recognized by the UN. Each visitor is given the opportunity not only to touch them but also to move them or roll them, arranging a new form of the installation day after day. Clay globes that give shape with their movement to the relations that exist between the States, but also to the possibilities of living today so dramatically endangered by climate change as – in a certain sense – by tourist flows that perhaps not by chance they increasingly take the form not so much of a discovery, but of an escape: from one’s home, one’s work and one’s perhaps exhausted affections. At the end of the exhibition (closes November 27) each of the 195 globes / nation will end up with one of the 49,999 residual Venetian residents hoping that they can still retain the ability to contain the whole world within their city and soul as it has always been able to do. Venice.
Giacomo Giossi

In Venice the solitary matter of Bosco Sodi