{"id":119579,"date":"2025-09-17T12:49:26","date_gmt":"2025-09-17T10:49:26","guid":{"rendered":"https:\/\/www.cini.it\/?post_type=cini_events&#038;p=119579"},"modified":"2025-10-28T13:15:59","modified_gmt":"2025-10-28T12:15:59","slug":"glass-and-decorative-arts-at-the-venice-biennale","status":"publish","type":"cini_events","link":"https:\/\/www.cini.it\/en\/eventi\/glass-and-decorative-arts-at-the-venice-biennale\/","title":{"rendered":"Glass and Decorative Arts at the Venice Biennale"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">In line with the second exhibition chapter, situated at LE STANZE DEL VETRO on the evolution of Murano&#8217;s activity and production at the Venice Biennale in the decade 1932-1942, the Glass Study Center is organizing its usual annual conference. It focus on themes and dynamics during the period in question, thanks in part to the international openness that the lagoon events allowed for experimental progress in glass art in that juncture of time.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In fact, 1932 represented a sort of significant watershed, considering that from that year onwards, for the first time, the International Institution decided to dedicate an autonomous section to Murano glass, giving it a designated space and considerable visibility.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The protagonist of this conceptual and programmatic shift was the then Secretary General Antonio Maraini, who involved architect Brenno Del Giudice in designing and building the Venice Pavilion. An architectural idea that was as coherent as it was functional in terms of promoting the decorative arts, thus also expanding the gardens of the Biennale itself.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This was a forward-looking operation that immediately launched a period of remarkable creativity and experimental momentum, which was unfortunately brought to an abrupt halt in 1942 by the Second World War.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It is precisely thanks to this extraordinary artistic fervor of national and international scope, aided by the synergies between prestigious glassworks and artists and designers of great depth\u2014such as Ercole Barovier, Pietro Chiesa, Flavio Poli, Carlo Scarpa, and Vittorio Zecchin\u2014that experts in glass and decorative arts will explore the context and taste of the design evolution. It was developed both in contemporary, in France, and through other displaying venues, including the Triennale di Milano.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A continuously growing ferment that will mark a decisive leap in quality in the glass art sector, above all thanks to the numerous opportunities for exchange and the expansion of the global collectors&#8217; market, which is, now and then, always open to revisited technical solutions and innovative methods.<\/span><\/p>\n<p>The conference will be preceded on <strong>Wednesday 5 November<\/strong> by the presentation of the <strong>Quaderni del Vetro<\/strong> series, which in this second edition pays tribute to international artists Cristiano Bianchin, Silvano Rubino and Giorgio Vigna. On this occasion, their respective digital archives will be published on the Fondazione Giorgio Cini <a href=\"https:\/\/archivi.cini.it\/?lang=en\">website<\/a>, putting approximately 3,500 items online, including photographs, drawings and sketches, accompanied by the relevant catalogue entries.<\/p>\n<p>PROGRAMME<\/p>\n<div class=\"parsed-accordion-container\">\n<div class=\"parsed-accordion title-wrapper\">\n<div>\n<div class=\"parsed-accordion-title-container\"><span class=\"parsed-accordion-header-text-span\">5 novembre| h 12:00<\/span><\/div>\n<\/div>\n<div class=\"parsed-accordion-icon-container\"><span class=\"accordion-icon-span\"><img decoding=\"async\" src=\"\/wp-content\/themes\/cini\/icons\/Plus.svg\" alt=\"plus\" style=\"transform: rotate(0deg);\"><\/span><\/div>\n<\/div>\n<div class=\"parsed-accordion-content\">\n<div class=\"parsed-accordion-content-inner\">\n<p>Presentazione collana <strong><em>Quaderni del Vetro<\/em><\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"parsed-accordion-container\">\n<div class=\"parsed-accordion title-wrapper\">\n<div>\n<div class=\"parsed-accordion-title-container\"><span class=\"parsed-accordion-header-text-span\">6 novembre\u00a0 | h. 9.30 \u2013 13.00<\/span><\/div>\n<\/div>\n<div class=\"parsed-accordion-icon-container\"><span class=\"accordion-icon-span\"><img decoding=\"async\" src=\"\/wp-content\/themes\/cini\/icons\/Plus.svg\" alt=\"plus\" style=\"transform: rotate(0deg);\"><\/span><\/div>\n<\/div>\n<div class=\"parsed-accordion-content\">\n<div class=\"parsed-accordion-content-inner\">\n<p>Saluti istituzionali<\/p>\n<p><strong>Luca Massimo Barbero<\/strong><\/p>\n<p>Direttore dell\u2019Istituto di Storia dell\u2019Arte, Fondazione Giorgio Cini<\/p>\n<p><strong>Paola Cordera<\/strong><\/p>\n<p>Verre-en-valise: un repertorio per la modernit\u00e0<\/p>\n<p><strong><\/p>\n<p>Debora Rossi e Lia Durante<\/strong><\/p>\n<p>Un racconto, attraverso i documenti dell\u2019ASAC, sulla presenza delle arti decorative alla Biennale<\/p>\n<p><strong><\/p>\n<p>Giovanni Bianchi<\/strong><\/p>\n<p>Il mosaico a Venezia nella prima met\u00e0 del Novecento, tra produzione e promozione<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"parsed-accordion-container\">\n<div class=\"parsed-accordion title-wrapper\">\n<div>\n<div class=\"parsed-accordion-title-container\"><span class=\"parsed-accordion-header-text-span\">6 novembre | h. 14.30 \u2013 16.30<\/span><\/div>\n<\/div>\n<div class=\"parsed-accordion-icon-container\"><span class=\"accordion-icon-span\"><img decoding=\"async\" src=\"\/wp-content\/themes\/cini\/icons\/Plus.svg\" alt=\"plus\" style=\"transform: rotate(0deg);\"><\/span><\/div>\n<\/div>\n<div class=\"parsed-accordion-content\">\n<div class=\"parsed-accordion-content-inner\">\n<p><strong><\/p>\n<p>Carla Sonego<\/strong><\/p>\n<p>Ricerche e sperimentazioni alla Biennale (1932-1942): Carlo Scarpa ed Ercole Barovier<\/p>\n<p><strong><\/p>\n<p>Rosa Chiesa<\/strong><\/p>\n<p>Il vetro e Milano<\/p>\n<p><strong><\/p>\n<p>Jean-Luc Olivi\u00e9<\/strong><\/p>\n<p>What happened to glass in France between 1932 and 1942?<\/p>\n<p><strong><\/p>\n<p>Lucia Mannini<\/strong><\/p>\n<p>Dai vetri alle lacche: Pietro Chiesa e le presenze straniere nel Padiglione Venezia alle Biennali 1932-1936<\/p>\n<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n","protected":false},"author":3,"featured_media":119186,"template":"","meta":{"_acf_changed":false,"footnotes":""},"cini_tax_event_categories":[1467],"cini_tax_institutes":[1703,1882],"cini_tax_event_locations":[1464,1802],"class_list":["post-119579","cini_events","type-cini_events","status-publish","has-post-thumbnail","hentry","cini_tax_event_categories-convegni-e-seminari","cini_tax_institutes-glass-study-centre-en","cini_tax_institutes-istituto-di-storia-dellarte-en","cini_tax_event_locations-island-of-san-giorgio-maggiore","cini_tax_event_locations-isola-di-san-giorgio-maggiore-venezia"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Glass and Decorative Arts at the Venice Biennale - Fondazione Giorgio Cini<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.cini.it\/en\/eventi\/glass-and-decorative-arts-at-the-venice-biennale\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Glass and Decorative Arts at the Venice Biennale - Fondazione Giorgio Cini\" \/>\n<meta property=\"og:description\" content=\"In line with the second exhibition chapter, situated at LE STANZE DEL VETRO on the evolution of Murano&#8217;s activity and production at the Venice Biennale in the decade 1932-1942, the Glass Study Center is organizing its usual annual conference. 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