The primary mediums of this exhibition are oil on canvas and ink, which engages with Digital Art through a tablet available to exhibition visitors.

The hyper-realistic subjects by the talented Venetian artist Alice Andreoli, who is one of the most significant voices of her generation in the Venetian art scene, translate faces and anatomical fragments into symbolic figures that echo the artwork featured in the National Pavilion of the United Republic of Tanzania. Her research explores the relationship between society and imagery at a historical moment when visual stimuli permeate every sphere of communication.

The representation of the image as a synthesis of content and form reacts to the overload of its own constant reproduction, losing any reassuring function. 

In dialogue with her, the energetic painting found in the gigantic, post-Baroque canvases by Romanian artist Gheorghe Fikl speaks of power and relationships. Formally, Fikl embraces the theatricality of symmetrical composition and dramatic chromatic contrasts dominated by red and black. Baroque, cinema, and neo-figurative expressionism merge into a pictorial rhetoric of excess that aims not only to enchant the gaze, but also to disturb and question it.

In the middle ground lies the expressionistic brushwork of another Venetian, the masterful Francesco Grimaldi, whose works symbolically investigate the subconscious through an "ebb and flow" that recalls minor, deep psychic frequencies. Alongside him, the serial, standardized, acrylic-treated panels by Giorgio Cassone revive Kierkegaardian philosophy's reflections on the individual. They offer a critique of the conscious disorientation that marks a lack of awareness during pivotal moments of civil life, both by those who are its protagonists and those who interpret the audience.

Regarding ink, the exhibition features two Chinese masters: Liu Ge and Huang Liang. Their works unfold through a traditional practice masterfully woven into the contemporary present.

Through the use of burnt ink, Liu Ge investigates the “Non-Being” of the Transcendental World and the infinite weak, marginal elements that shape the totality of our world. A digital artwork developed through AI serves as an extension of his ink painting,  amidst visions of matter, spirit, life and multiple shifting cosmos taking shape on an iPad available along the exhibition path.

This inquiry is accompanied by the practice of Huang Liang, who imprints his minor tones in ink on canvas, evoking Chinese writing systems while freeing the characters from their semantic chains. He elevates the blank spaces on the canvas, viewing them as a void saturated with meaning. The featured artworks articulate a dialogue between sign, gesture, painting, and calligraphy, leaving their mark on large-format paper and canvas within Venice’s fascinating industrial archaeology space.

The installations trace a path that is highly symbolic, gentle and powerful at the same time. They turn the exhibition into a conversational space where, piece by piece, visitors can construct an ethical, fertile path of relational practice, something that only great Art can inspire.