On the occasion of the forthcoming opening of the exhibition The Fondation Cartier pour l’art contemporain by Jean Nouvel, to be held on the Island of San Giorgio Maggiore, a public event will precede and explore its principal themes in greater depth.
Organised during the opening days of the Biennale, the initiative forms part of the Biennale Architettura 2025 – 19. Mostra Internazionale di Architettura, it broadens the Biennale’s discourse, placing particular emphasis on the role of the museum in shaping the future of architecture. The morning of discussions brings together architects and museum professionals for a series of conversations dedicated to one of the key sites of contemporary architectural experimentation: the museum.
The initiative aims to foster a dynamic dialogue on the contribution of architecture and architects to the development of museum cultural policies and to the shaping of our relationship with art, in both urban and non-urban contexts.
10:00 | Introduction by Béatrice Grenier
10:15 – 10:45 | Cultural Infrastructure for urban transformation
Joshua Ramus, REX
Andrés Jaque, Office for Political Innovation
Antoine Picon, Harvard University Graduate School of Design
11:00 – 11:30 | The Architectural Layers of the Museum
Cecilia Puga, Museo Cileno di Arte Precolombiana
Giovanna Borasi, Canadian Centre for Architecture (CCA)
Manuel Segade, Museo Reina Sofía
11:45 – 12:15 | Rethinking Pavilions As Potential Museums
Lina Ghotmeh, Lina Ghotmeh Architecture
Nicolas Fayad, EAST Architecture
Chris Dercon, Fondation Cartier pour l’art contemporain
One of the Fondazione Giorgio Cini’s earliest institutes, the Institute for the History of the Venetian State and Society dates back to 1955. Its main purpose for decades has been to make a fundamental contribution to the study of the history of Venice through the collection of documentation, research, the publication of the journal Studi Veneziani and the organisation
of seminars and scientific meetings. This year, through the participation of expert scholars, we are celebrating seven decades of activity by recalling the figures of the directors who have led the Institute, the scientific and publishing experiences, all with an eye to the future. As part of the seminar, volume 87–88 of Studi Veneziani (2023) will be presented.
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Egidio Ivetic
Introduction
Marcello Verga
Full Professor of Early Modern History, University of Florence
Italian Historiography and the History of Venice
Niccolò Zorzi
Full Professor of Byzantine Civilisation, University of Padua
Agostino Pertusi, Director
Antonella Barzazi
Full Professor of Early Modern History, University of Padua
Gaetano Cozzi, Director
Gino Benzoni
Member of the Istituto Veneto di Scienze, Lettere ed Arti and former Director of the Institute for the History of Venetian Society and State
A Life Chapter at the Giorgio Cini Foundation
Egidio Ivetic
Director, Institute for the History of Venetian Society and State, Fondazione Giorgio Cini
New Challenges
Marco Pellegrini
Full Professor of Early Modern History, University of Bergamo
Presentation of Volume 87-88 of Studi Veneziani (2023)
moderator
Andrea Zannini
Full Professor of Early Modern History, University of Udine
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Accesso libero fino a esaurimento posti.
The Georg Solti Academy returns to Venice with the Solti-Peretti Repetiteurs Course. Founded by the legendary conductor Georg Solti, the Accademia is dedicated to training young opera singers and repetiteurs at the start of their professional experience. The courses are completely free of charge for students, giving them the opportunity to access training of the highest level. The Course allows six selected repetiteurs to hone their skills under the guidance of some of the finest international conductors, vocal coaches and repetiteurs.
On Friday 18 April at 6pm, at the conclusion of the Masterclass, the Sala degli Arazzi of the Fondazione Giorgio Cini will host the Academy concert with five grand pianos, six pianists and six singers. An innovative training course for those aspiring to conduct, which is a rarity in the Italian musical context.
On the occasion of the 19th International Architecture Exhibition – La Biennale di Venezia, the Fondation Cartier pour l’art contemporain presents at the Fondazione Giorgio Cini the new architecture of its future building designed by Jean Nouvel in The Fondation Cartier pour l’art contemporain by Jean Nouvel.
This grounbreaking exhibition, part of the Collateral Events of the Biennale, will run from May 10 to September 14, 2025.
Since its creation, the Fondation Cartier has placed architecture at the heart of its programming and used it as a way to foster cross-disciplinary creative dialogue. Its current building designed by renowned architect Jean Nouvel and inaugurated in 1994 on Boulevard Raspail, Paris, broke all conventions of exhibition making by its apparent immateriality as a glass cube. Thirty years later, the Fondation Cartier commissioned to Jean Nouvel a new building set to open late 2025 at the Place du Palais Royal, Paris, next to the Louvre. Pushing the boundaries of architectural design, it embodies the Fondation’s mission to engage all forms of contemporary creation. The exhibition presented by the Fondation Cartier at the Fondazione Giorgio Cini unveils the innovative design concepts of this new landmark building and explores the future of architecture through its lenses.
It draws inspiration from Nouvel’s critical text, written in 1980: The future of architecture is no longer architectural. The Fondation Cartier pour l’art contemporain by Jean Nouvel revisits this statement and restages the architect’s contextual approach, consisting in creating spaces that are not merely buildings but cultural and intellectual environments, in an architecture that transcends boundaries. In his project for the Fondation Cartier’s new space, architecture becomes a platform for the broader spectrum of human intelligence, including the visual arts, philosophy, and technology, in echo with the Biennale’s central theme, Intelligens. Natural. Artificial. Collective.
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Open daily from 11am to 7pm. Closed on Wednesdays.
Free admission
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The Fondazione Giorgio Cini has always had a vocation for dialogue between the humanities and sciences, and is recognised as a place for reflection on global issues.
With the symposium Global Health in the Age of AI: Charting a Course for Ethical Implementation and Societal Benefit, organised last November, it renewed this commitment, inaugurating a new cycle of international meet ings to facilitate the identification of solutions to rise to contemporary challenges.
This year, the symposium Democracy and Pandemics aims to explore how democracies can address the challenges posed by pandemics, approaching the topic from an interdisciplinary perspective. The symposium brings together experts from medicine, economics, politics, sociology, philosophy and law to develop comprehensive and sustainable solutions.
The event underlines the importance of international collaboration, and aims to offer concrete reflections to minimise the human and economic damage of future health crises.
Throughout its history, Venice has been ravaged by dramatic epidemics. Votive basilicas such as the ‘Salute’ and the ‘Redentore’ are traces of this. However, Venice has always been able to react, developing rules and structures to prevent and contain its pandemics. It is no coincidence that words like ‘lazarette’ and ‘quarantine’ originated here in Venice. We will also offer an account of this activity of the Republic, with a series of cultural events organised by the Foundation’s Institutes, ranging from historical narratives to artistic recollections, from theatre to concerts.
Concert | Musical Direction by Kudsi Erguner and Giannis Koutis
Building on a decade-long collaboration with Kudsi Erguner, artistic director of the advanced training project in Ottoman classical music Birûn, the Institute presents an event dedicated to interfaith dialogue.
Two choirs, Byzantine and Ottoman, have been invited to perform in Venice, accompanied on the ney flute by Kudsi Erguner himself. The repertoire includes significant Muslim and Eastern Orthodox Christian musical works, composed within the cosmopolitan context of Constantinople during the Ottoman period.
The event is held thanks to the contribution of the Fondation A.G. Leventis
www.leventisfoundation.org | p.panayi.cy@icloud.com
Free admission until capacity is reached | 18:00
From 3 to 5 March, the seminar Singing in the air, with masks, organised in collaboration with Isabelle Moindrot and Giulia Filacanapa, professors at the Théâtre Performance et Societé of the Université Paris 8 and the École Universitaire de Recherche ArTeC – Nanterre, will be held at the Institute of Theatre and Opera.
The seminar, a follow-up chapter to the Singing in the pool seminar hosted last year, focuses on the discovery and study of the theatrical mask, with particular reference to the aerial environment. The students attend a lecture on the history of theatrical scenography by the director, Professor Maria Ida Biggi, who gives them an overview of the research carried out by important scenographers. In addition, the students present can view sketches, masks and preparatory materials relating to some of the productions of set designer Santuzza Calì, whose entire documentary archive is preserved at the Institute.
With his threefold activity as composer, conductor and theorist, Pierre Boulez profoundly influenced twentieth-century musical thought.
On the occasion of the hundredth anniversary of his birth, a workshop in the Research- Led Performance cycle focusing on conducting orchestral ensembles is offered. The programme, coordinated by Marco Angius, includes four compositions that reflect Boulez’s sound world: Anton Webern’s Symphony op. 21, Edgard Varèse’s Octandre, Pierre Boulez’s Mémoriale, and Niccolò Castiglioni’s Tropi. Eight young conductors who have shown interest and aptitude for the repertoire in question are to be selected through a call for applications. Practical sessions alternate with theoretical sessions held by Pietro Cavallotti, Paolo Dal Molin, Massimiliano Locanto and Francisco Rocca.
The workshop ends with a concert on 7 March, at 6 p.m., in the Sala degli Arazzi of the Foundation, at the conclusion of a three-day workshop focused on conducting orchestral ensembles, within the Research-led Performance cycle.
The concert programme includes performances of pieces by Niccolò Castiglioni, Tropi (1959, for chamber ensemble), Pierre Boulez, Mémoriale (1985, for solo flute and eight instruments), Edgard Varèse, Octandre (1923, for eight instruments) and Anton Webern, Sinfonia op. 21 (1928).
Concert | 6 p.m.
The Istituto Italiano Antonio Vivaldi organizes six masterclasses on the performance practice of the compositions by Antonio Vivaldi, dedicated to young singers (max 39 years) and players.
Each meeting of three/five day each will take place at Fondazione Giorgio Cini, on the island of San Giorgio Maggiore, in Venice:
19-22 February, 2-4 April, 28-31 May, 16-19 July, 10-13 September, 25-29 November.
Deadlines for presentation of requests: 20 January, 3 March 28 April 13 June, 8 August and 24 October.
Teachers are Gemma Bertagnolli, Verónica Cangemi, e Antonio Frigé.
In cooperation with Fondazione Ugo and Olga Levi Foundation, lectures by musicologists from the research group La drammaturgia musicale a Venezia (1678-1792) are scheduled at each meeting.
Download Accademia Vivaldi 2025
Calendar
19-22 February
Singing masterclass: Gemma Bertagnolli
2-4 April
Basso continuo masterclass: Antonio Frigé
28-31 May
Singing masterclass: Verónica Cangemi
15-19 July
Singing masterclass: Gemma Bertagnolli
10-13 September
Singing masterclass: Gemma Bertagnolli
26-29 November
Singing masterclass: Gemma Bertagnolli
This workshop is part of the Research-led Performance series, one of the most popular and esteemed activities at the Institute for Music since its inaugural edition in 2016.
Our guest lecturer for 2024 is Lucas Fels, cellist of the Arditti String Quartet and professor at the Frankfurt University of Music and Performing Arts. A masterful musician, Fels combines his expertise with a keen interest in philological aspects and theoretical reflection. The workshop will focus on works for solo cello by Italian composers, with particular attention to the collections preserved at the Institute for Music. The following compositions will be studied:
- Luigi Dallapiccola, Ciaccona, Intermezzo e Adagio (1945);
- Renato de Grandis, Serenata seconda (1970);
- Giacomo Manzoni, Freedom (2001);
- Ernesto Rubin de Cervin, Omaggi (2002).
The workshop is aimed at young cellists with a strong ability to understand and interpret research and experimental music. The program includes both practical and theoretical sessions, as well as a final concert featuring performances by a select group of workshop participants. The practical sessions will be led by Lucas Fels, while the theoretical sessions, open to the public, will be given by musicologists Gianmario Borio (Director of the Institute of Music and Professor at the University of Pavia), Francisco Rocca (scientific collaborator at the Institute of Music) and Francesca Scigliuzzo (doctoral student at the University of Udine) they will address various aspects of the works being studied. Giacomo Manzoni’s participation is expected.
Call for applications for 8 cellists with scholarships
Download WorkshopVioloncelloBandoING_DEF (dec)
Application deadline: 25 October 2024
