Passion for the beauteous

Venetian Love & Fondation Valmont

In a way, this says it all.

It is a performance that is driven by its search of blissful aesthetics—nothing more, nothing less. The roots of art become the ultimate ambition. The exhibition is an exploration of different interpretations through various mediums, whereby the artists offer their silent dialogue to the public.

“Designing an exhibition in a 16th-century Venetian palace that connected different interpretations of universal beauty was no simple thing.

A rather loose image inspired by the principle of balance began to emerge and slowly but surely became an obvious choice. The artists and works selected had only to perfect this delicate balance.

Between Aristide Najean’s wild chandeliers pulled straight from the Artist’s will to reveal inner emotions, and Silvano Rubino’s immense photos with his invented and essential architecture which create suspended atmosphere, I slipped in with my humble scarred masks”.

(Didier Guillon, April 2019, Munich)


Didier Guillon

With his scenography focused around an array of white masks, Didier Guillon explores the notions of new beginnings and endings, choices and passages. Baptised Janus as a tribute to the roman God, his two-faced masks embody past and future opportunities.

Didier descends from a long lineage of major art contributors: merchants such as Charles Sedelmeyer, sculptors and art historians as Stanislas Lami. He takes pride in his filiation with the emblematic sculptor and Egyptologist Alphonse Lami, whose father François was the illegitimate son of Francesco Borghese …

From this phenomenal genealogy, Didier Guillon draws his passion for the arts, as his profound bond with Italy. Specifically speaking, Venice. True to his nature, he exhilarates as he relentlessly works to fine-tune his ideas. He designed multiple works in various media and several dimensions, skillfully combining a wide array of materials. He likes to think of new ways to approach, discuss and appreciate contemporary art.


Aristide Najean

Aristide’s chandeliers initiate an unedited journey across time, from Marco Polo to the current melting of glaciers… led only by poetry and aesthetics. Murano glass allows the mutation by fire from fantasy to reality, transcending his inspiration, enhancing his contradictions.

Born and raised in Paris, Aristide arrived in Murano (Italy) in 1986 to study the Venetian island’s renowned, century-old glassmaking techniques. Originally a painter, he saw glassmaking as an extension, and it became his preferred material. The inspiration for his chandeliers derives from both painting and glassmaking. It is a mutual interaction that pushes both limits.

Open to all inspiration, Najean observes the world around him with great curiosity. Mastering glass, he knows how far he can push his sketch and to which extent the material will retain the sculpted shape. He lives in a world of images, producing artworks that resemble none other than his inspiration – colour schemes combined with disobedient forms that either strike of seduce.


Silvano Rubino

Silvano worked on a series of large-scale 3D modelled digital images called “Parallel Travels”. Empty decors came to life in a mysterious suspended atmosphere as he added inhabited objects, opening a dialogue between the past and present in a space filled with key references.

Silvano studied at the Academy of Fine Arts in Venice. He lives and works in Venice and Milan. His education included the study of Renaissance iconography, particularly in painting, and this was a fundamental reference for many years.

Throughout the 1990s, the environmental installation became one of the most significant aspects of his work. Here a formal synthesis became the element which, combined with a poetic-conceptual characteristic, would determine the very essence of his work and its identity.

In 1994 he became interested in photography. His photos are stories told through images which he constructs starting with sets created in the studio.

Glass became his material of choice in 2001.

The exhibition will be open by appointment until January 31, 2021, in an exclusive partnership with Fondaco Dei Tedeschi, Venezia.

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