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An exploration of Judith, heroism and seduction in AROUND KLIMT
14 December, 2016 - 15 December, 2016
As of December 2016, the Fondazione Musei Civici di Venezia will be inaugurating a series of cultural initiatives to activate a permanent laboratory for modern and contemporary art at the Centro Candiani in Mestre.
The project aims to promote knowledge and exchange concerning the rich heritage of the City of Venice, preserved in the collections of the Fondazione, with the city of Mestre and the metropolitan area.
This desire for cross-fertilisation has given rise to Cortocircuito. Dialogo tra i secoli (Short circuit. Dialogue between the centuries), which aims to propose fresh dialogues between past and present, but above all visual and emotional ‘short circuits’.
The first exhibition is dedicated to the legend of Judith, from the figurative tradition to the most advanced interpretations of the twentieth century. The exhibition centre will be the masterpiece conserved at the Galleria Internazionale d’Arte Moderna di Ca’ Pesaro, Judith II by Gustav Klimt.
Over eighty works will revolve around this powerful icon of the twentieth century in a series of ancient and contemporary suggestions, presenting the figure of Judith in a biblical context and her fortune in the sixteenth and seventeenth centuries, and also how she was interpreted in nineteenth-century Symbolism and in the climate of the Viennese Secession, and so up to the interpretation of the myth that the father of psychoanalysis, Sigmund Freud, gave in 1917 in The taboo of virginity.
The transition from a femme fatale to twentieth-century demon will also be evident in the film section, as expressed in the video entitled Judith: metamorphoses on screen, made using extracts showing the most famous silver-screen women of the first two decades of the last century.
Cortocircuito will continue in April with a new appointment (Io sono un santo (I am a saint), Mestre Centro Candiani, 14 April- 4 June, 2017), dedicated to the Titian masterpiece of The Annunciation, 1522, which will be compared and contrasted with Lucio Fontana’s extraordinary epiphany of matter and sign.