q

BackYard (detail) by American artist Jeff Koons, part of the "Mapping The Studio" exhibition at the Palazzo Grassi and the new Punta della Dogana. EFE/Andrea Merola

VENICE.- On June 6th 2009, Punta della Dogana, the new art center for contemporary art of the François Pinault Foundation, opens its doors after fourteen months of renovation entrusted to the Japanese architect Tadao Ando.

The first exhibition Mapping the Studio: Artists from the François Pinault Collection, curated by Alison M. Gingeras and Francesco Bonami, is shown simultaneously at Punta della Dogana and Palazzo Grassi and is shaped in response to the particular atmosphere of each space.

Undisputed masterpieces of contemporary art by such figures as Jeff Koons, Sigmar Polke, Cindy Sherman, Richard Prince, Cy Twombly, Takashi Murakami or Jake & Dinos Chapman are presented alongside pieces by emerging talents such as Matthew Day Jackson, Adel Abdessemed, Wilhelm Sasnal, Richard Hughes, Nate Lowman, Mark Bradford and Kai Althoff.

Conceived as a single exhibition that will unfold over the two venues, this presentation will be shaped in response to the particular atmosphere of each space: the inward-looking private sphere on one side, and the outward looking, world-at-large on the other. The two halves of the exhibition will constitute a dialogue between artists of different generations, covering a vast range of practices and aesthetic sensibilities.

François Pinault has entrusted the renovation of this 17th century edifice to Japanese architect Tadao Ando. Respecting the spirit of the original building, he has renovated the space in order to house a selection of works from the François Pinault Foundation, one of the world’s most important collections of contemporary art.

With its triangular shape, Punta della Dogana split the Grand Canal from the Giudecca Canal. As center for contemporary art , the former monumental port of the city present a permanent exhibition of works from François Pinault Collection.

Punta della Dogana project
Tadao Ando drew up his plans for the new centre quickly. In effect, if one looks at his drawings one sees that, from the first, the broad outlines of the project were clear in his mind. The characteristic layout of the former warehouses, which occupy the triangular tongue of land where the Grand Canal meets the Giudecca Canal, was to be maintained.

And while extensive work on the foundations was to be carried out – to safeguard the structure from humidity and high water – the layout of the existing lofts was to be modified in order to create a space able to house the artworks of the François Pinault Collection. At a point almost dead-centre of the triangular floor plan, Ando immediately envisaged the creation of a new space standing the entire height of the building: a sort of pivot for the entire layout, this would occupy one of the middle warehouse aisles and was to be created in smooth and polished cement, a material that is now a recognised leitmotif of Ando’s architecture. This axial point – through which run all the routes within the structure – forms a cube, rising vertically within the volume of the building.

The work of restoration had to remove the unwanted accretions that had accumulated over time, with the new partition walls, stairs, walkways and service facilities all clearly identified as such. In effect, there is no attempt to disguise these new additions within the old body of the structure. Instead, there is a continual play of juxtaposition – almost as if Ando’s intention were to insert within the ancient building new volumes and levels that seem to mark out the stratifications added over time, organising them into a veritable spectacle of the structure’s own history.

Finally, he had the idea of creating gates for the water entrances that are explicit quotations of the wonderful gate that Carlo Scarpa designed in 1956. The design of these new doors and windows, though very modern, effectively employed Venetian traditional craft. Tadao Ando has thus succeeded in establishing a dialogue between old and new elements, creating a link between the history of the building, its present and its future.

9

Rudolf Stingel, Untitled, (2008) © Palazzo Grassi, ORCH, orsenigo_chemollo

124151876022942

Paul McCarty, Train, Pig, Island, 2007. Schiuma, poliuretanica, tecnica mista / Foam, mixed media / Mousse, polyuréthane, techniques mixtes, 266 x 558 x 124 cm © Palazzo Grassi SpA. Foto: ORCH, orsenigo_chemollo

Le 6 juin 2009, Punta della Dogana, le nouveau centre d’art contemporain de la François Pinault Foundation, ouvre ses portes après 14 mois de travaux de réhabilitation dirigés par l’architecte japonais Tadao Ando

Punta della Dogana, l'ancienne Douane de Mer à l'embouchure du Grand Canal, est l'un des bâtiments les plus anciens et emblématiques du paysage vénitien.
La François Pinault Foundation a confié à l'architecte japonais Tadao Ando, le soin de rénover l'édifice, alors abandonné depuis plus de 30 ans, et de le convertir en un centre d'art contemporain. A cette occasion, Punta della Dogana accueille l'exposition Mapping the Studio: Artists from the François Pinault Collection, sous la direction conjointe d'Alison M. Gingeras et de Francesco Bonami.

Investissant simultanément les espaces de Punta della Dogana et Palazzo Grassi, elle présente 200 œuvres de 60 artistes.Les commissaires ont choisi le titre Mapping the Studio dans le but de témoigner de l'infatigable vitalité et de l'esprit de découverte qui, au fil des années, ont été au cœur de la collection de François Pinault. L'exposition propose une analogie entre la créativité et la dimension intime de l'atelier d’un artiste et la vision personnelle et passionnée du collectionneur. Ce parallèle est le point de départ d’un dialogue entre les œuvres d'artistes confirmés et celles d’une génération émergente.

Ainsi l'exposition présente d'incontestables chefs d'œuvres d'art contemporain tels que ceux de Jeff Koons, Sigmar Polke, Cindy Sherman, Richard Prince, Cy Twombly, Takashi Murakami, et Jake & Dinos Chapman, aux côtés d'œuvres de talents émergents comme Matthew Day Jackson, Adel Abdessemed, Wilhelm Sasnal, Rob Pruitt Richard Hughes, Nate Lowman, Mark Bradford, ou Kai Althoff.

7

Rudolf Stingel, Untitled, (2008) © Palazzo Grassi, ORCH, orsenigo_chemollo

a

Jeff Koons, Bourgeois Bust - Jeff and Ilona (1991) © Palazzo Grassi, ORCH, orsenigo_chemollo

b3

Mark Grotjahn, Untitled (Black Butterfly Filled in Black Mark Grotjahn 2004), (2004), © Palazzo Grassi, ORCH, orsenigo_chemollo

b

Charles Ray, Light from the Left (2007) © Palazzo Grassi, ORCH, orsenigo_chemollo

c

Charles Ray, Light from the Left (2007) © Palazzo Grassi, ORCH, orsenigo_chemollo

d

Rudolf Stingel, Untitled (2008) © Palazzo Grassi, ORCH, orsenigo_chemollo

DSC00548_1_

Rudolf Stingel, Untitled, (2008) © Palazzo Grassi, ORCH, orsenigo_chemollo

e

Rudolf Stingel, Untitled , (2008) © Palazzo Grassi, ORCH, orsenigo_chemollo

f

Paul McCarthy, Bear and Rabbit on a Rock, (1992) © Palazzo Grassi, ORCH, orsenigo_chemollo

g

Richard Prince, Untitled (de Kooning), (2006) © Palazzo Grassi, ORCH, orsenigo_chemollo

i

Richard Hughes, Crash My Party You Bastards, (2004) © Palazzo Grassi, ORCH, orsenigo_chemollo

j

Rachel Whiteread, Untitled (One Hundred Spaces), (1995) © Palazzo Grassi, ORCH, orsenigo_chemollo

k

Fischli and Weiss, Rat and Bear (Mobile), (2008-2009) © Palazzo Grassi, ORCH, orsenigo_chemollo

l

Maurizio Cattelan, Untitled, (2007) © Palazzo Grassi, ORCH, orsenigo_chemollo

m

Maurizio Cattelan, Untitled, (2007) © Palazzo Grassi, ORCH, orsenigo_chemollo

n

Huang Yong Ping, A Football Match of June 14th 2002, (2002) © Palazzo Grassi, ORCH, orsenigo_chemollo

o

Maurizio Cattelan, All, (2008) © Palazzo Grassi, ORCH, orsenigo_chemollo

p

Mark Handforth, Man in the Moon, (2009) © Palazzo Grassi, ORCH, orsenigo_chemollo