Well, I waited six months to get a haircut, so I suppose I’m not one to criticize a hedge. But I’m confused. Wouldn’t you think that the so-called most beautiful city in the world would do a little more to keep itself presentable? I know my mother would.
Granted, we all know how you just go along thinking everything is fine… you’ll fix your hair/mop the floor/write that thank-you note just any day now…and then suddenly something snaps and you realize that your hair is a freaking mess, etc. etc. The jig is up.
In the case of this hedge, nobody seems to be responding to the jig. Maybe wild-haired hedges are just the latest trend, or something related to the Biennale which is just through the park ahead. But company’s coming to town (and some is already here — I’ve seen the yachts). Tomorrow is the first day of the Venice Film Festival, and if there were ever a time to trim that hedge, I’d think the time would be now. Actually, yesterday. ACTUALLY, a week ago.
But what, as I often ask myself, do I know? I never trimmed my bangs to suit my mother, so it’s clearly just as well I was never responsible for a hedge.
Oh, did you want to see that statue? Sorry, come back later. No, I don’t know when. Later.It’s clear at the end of this row that somebody with a hedge-clipper, or machete, had made a good start. But they got a day off, or had to take their kid to the dentist, or something broke the momentum (or the tool), and here we are.Or it might have been around the time when the hedge finally realized it was never going to play Hampton Court Palace, or the Redberry Maze, or the Laberinto Katira, and just let everything go.
He seemed to have settled in here, or as much as he could while sitting on a boat that looks like a bathtub toy. This is before the storm.
I thought I’d update the life, times, travails, and tribulations of San Giovanni Battista (Saint John the Baptist), visiting Venice as a work of art in the guise (or as they say here, in the clothes) of San Juan Bautista, patron saint of the island of Puerto Rico, as you know.
After unpacking his imaginary baggage back in April, he was left to perch pensively atop a little boat in the canal at the bottom of via Garibaldi. That was fine. Then one night a tempestuous rainstorm swept through, and the next morning he had been removed. He might have blown over or been in danger or damaged or something. I felt sorry, because he was supposed to hang out with us down here in the bilge of the Good Ship Castello till the Biennale closes on November 24.
Then suddenly he was back. But he was shorter somehow, a little less majestic — the storm had taken something out of him, but I couldn’t figure out what — yet he was just as contemplative as before. Maybe more so. I sensed that the experience had sobered him.
Duck feet that want to be rafts? They’re perfect for bracing yourself barefoot in a very small space, that’s clear.These were his hands at the beginning. After the storm, these aren’t the hands of the saint that was. No more arpeggios on the piano for him.Clever machinery in his skull must be there to continue forming new thoughts and ideas. More or less like our skulls.
Time passed, but just when it seemed normal to have him hanging around two men showed up, disassembled him, and carted him (it/them/those) away, down via Garibaldi under the blazing sun. The boat remains, but the saint has left the building.
Saint-moving day. Get some friends, offer pizza.This is my brain either on Friday afternoon or Monday morning.
I went by the small exhibition space dedicated to him to discover his fate. The young Greek woman who had been engaged to answer questions on the art and the artists’ cooperative was startled to hear that Saint John was no longer at his post. This was awkward; she had been encouraging visitors to go down the street to see the creation in the flesh (technically, in the driftwood). Nobody had thought to let her know that the work was no longer working. And therefore she knew only what I knew.
I passed by the space some time later, and another young woman explained that the problem is that when it rains the little boat fills with water and becomes unstable as a base on which to position a saint made of driftwood. Solution: Remove the saint and — one hopes — bail the boat. Not sure about that last part, though. It just floats there, all alone, possibly aware that an abandoned boat really is nothing more than driftwood waiting for the next storm.
I can sort of see the point about the statue’s instability on a waterlogged boat, but maybe the instability is part of the whole concept? Like a metaphor?This image is exhibited in the small space on a narrow side street used as the Explanation Point for this piece of art. This wreckage was the trove from which the statue was constructed.The artist made a model of the assemblage in metal before he started looking for driftwood. I admit I’m out of step with art, but this seems like evolving backward.If you’re capable of making this, I struggle to grasp what could be the point of doing it later in driftwood. I think this is way cool enough. It’s still inexplicable, but much cooler.The artists are listed at the bottom of the poster. My search for enlightenment ends here.I look at his expression and can only say “Same, your saintship. Same.”
It’s been several years since a boat featured in a work of art here. This construction was the first submission ever made by artists of Puerto Rico, an island whose patron saint is St. John the Baptist, as you know. Here’s what I can tell you as gleaned from an article on venezianews: “The exhibition…reunites some of the best interdisciplinary artists of Puerto Rico… Around the monumental sculpture ‘San Juan Bautista,’ potent symbol of the capital, San Juan, actions, works and performances come to life, incorporating the complexity and the resilience of the Puerto Rican spirit, confronting at the same time the persistent heritage of colonialism and urgent questions of urban injustice.”
The Biennale has opened several weeks earlier than usual this year, and the inauguration was Saturday, April 20. What remained usual, however, was the mass of international art(s) journalists and assorted contributors that swarmed the streets of Castello for the three preceding days.
I usually enjoy seeing the exotic plumage of these migrating creatures, not to mention their extraordinary behavior, but this year netted little. A good friend told me he saw a person in the street wearing a toilet on his head and I’m really sorry I missed that. Lino’s father-in-law was a plumbing contractor and was occasionally seen around town carrying a toilet on his shoulder — clearly he didn’t realize the artistic potential in his humdrum little existence and its porcelain trappings. I suspect that supporting four children during a world war might have limited his frivolous side, if he had one.
But such a jape would only have appeared frivolous back then, when life was real and life was earnest. Whoever porta’d that potty the other day was doing it seriously. To what end, I can’t say, but everything at the Biennale is done with a degree of seriousness denser than black granite. Along with the art we get diatribes and philippics and harangues, and also sermons and lectures and platitudes. Lots of words that labor to obscure rather than illuminate. Speaking of art — I mean, words — I’m remembering this self-portrait by Salvator Rosa (1645):
Translation: “Be silent, unless what you have to say is better than silence.” He would never make it at the Biennale.
Back to the bony statue on the boat. It has been moored alongside the fruit and vegetable boat at the bottom of via Garibaldi. It will be there till the Biennale closes in November.
After only two weeks he is beginning to fit right into the neighborhood. I’ve already come to like this little dude. Doesn’t bother anybody, doesn’t need anything.
But if you desire meaning, maybe the following will help:
The exhibition reflects the dissociation and exploitation of a colonial political system that has attempted to unravel the fraught complexities of contemporary Puerto Rican identities. The estrangement that is inherent to the colonial status is an extended act of violence resulting in a psychic malaise because of what Anibal Quijano has so aptly described and defined as “the coloniality of power”.
At the heart of the exhibition stands Celso González’ monumental Yola Sculpture, “San Juan Bautista,” a powerful symbol of Puerto Rico’s enduring spirit. This site-specific installation challenges the constraints of its political status, whil honoring the Island’s rich maritime heritage.
Wishing he could have a puppy.
Remembering the little girl he had a crush on in 4th grade.Trying to come up with a system for knowing which contact lens goes in which eye.It’s like living with a floating room full of masks from Oceania.Come to Venice, they said. You’ll have so much fun, they said.Has just missed the next-to-last vaporetto to Sant’ Erasmo and has to wait an hour for the next one. Good thing he’s not hungry. And doesn’t have to go to the bathroom. And isn’t cold. Wishes he’d brought something to read.St. John on the boat got lots of faces but they only gave her part of one. It’s pretty cool that she’s got those independent eyes, though, like a chameleon.
There have been boats at the Biennale before now. The water is evidently an element that helps some projects seem more interesting. Or important.
The Comoro Islands sent this in 2009. I can’t tell you anything about it, but then again, you know that if you have to ask, you shouldn’t be here.In 2013, a boat overloaded with desperate migrants capsized on its way from Libya to Italy. “Migrants, hundreds dead” is the headline on the borrowed newspaper that reported the tragedy off the coast of Lampedusa in which 360 persons drowned. How audaciously droll to remind people of the catastrophe in such a blithe and child-like way. (uncredited photo)
Vik Muniz’s floating installation Lampedusa was launched during the 56th Venice Biennale in 2015. The article published in the Haifa Museum of Art publication stated that “the 14-meter-long (45 feet) paper boat was coated with a giant reproduction of the Italian newspaper that reported the tragedy. The gargantuan paper boat drifted along the Canal Grande, Venice’s main transportation route, docking near luxury yachts. As art critic Jonathan Jones wrote in The Guardian, “This art project has been overtaken by real-life horror. Perhaps, in theory, it seemed reasonable to make a vaguely thought-provoking, ‘playful’ piece about migration. But now the scale of our cruelty, the true consequences of all the rhetoric that dehumanises migrants, have become so lethally clear. Surely, art on such a theme should be less equivocal, more angry.”
Well said, Mr. Jones. But this is the Biennale, where scruples find little nourishment.
These objects are occasionally left behind, and Muniz’s has been here for nine years now. No idea who is paying mooring fees at the “Vento di Venezia” marina, or why. If its purpose was polemical it has lost whatever value it might have had; migrants keep drowning.One critic explained that “Vik Muniz employs his traditional use of unlikely materials and scale manipulation to generate wonder from predictability. Contextualized in the naval environment of Venice, ‘Lampedusa’ is … built to scale of one of the town’s traditional vaporettos.”
I’m going to go back to floating St. John. Despite not being any closer to resolving urgent questions of urban injustice or the coloniality of power, I’m starting to feel that we understand each other.
The Gardens feel bigger and lusher than they look here, I have to say. But the area must have felt very different indeed when this space was occupied by the church and convent of San Domenico, of San Nicolo di Bari, of the Conception of the Virgin Mary (otherwise known as the Cappuccine), of Sant’ Antonio Abate, and the Old Sailors’ Home. But who needs those when they can have trees?This arch is the only survivor of all those buildings, recovered from the church of Sant’ Antonio Abate, designed by Michele Sanmicheli (the arch served as the entrance to the Lando chapel). It lay on the ground in pieces for 15 years.On the less marbley side is a phrase referring to the reconstruction in 1822. I have no information on why this was done or what happened to the rest of the church. Maybe Napoleon wanted something that looked like a triumphal arch. L’Arc de la Devastation.
This sylvan glade was created by Napoleon when he went through Venice like the Destroying Angel, razing and demolishing scores of churches, convents, scuole and other buildings that were inconsiderately sited where he wanted something else to be, or that happened to contain things he wanted such as gold, jewels and works of art.
Nowadays the Giardini Pubblici (Public Gardens) are best-known for accommodating the original pavilions of the art extravaganza known as the Biennale. Also, being a garden, the area is full of trees and flowers and shrubs, plus an attractive little playground. It even offers a useful amount of space to handle thousands of runners at the finish line of the Venice Marathon.
However, this 13-acre piece of Venice is more than a shrine for art lovers or a bosky dell for the relief of exhausted tourists. It is a garden of remembrance(s) of people and/or events of which hardly anybody remembers anything. That’s a wild guess on my part, based on the general nonchalance with which people wander through. Look at the bronze bust of Giorgio Emo Capodilista; it has “And now the weather report from Oblivion” written all over it. Not to mention Carlo de Ghega, another extremely worthy Venetian whose crumbling memorial plaque is only about 45 seconds away.
We get an extra dollop of wit here, considering the title of the exhibition whose banner is concealing half of the too-high-to-read-and-by-now-disintegrating plaque to Carlo de Ghega. It’s one thing not to be able to read it; it’s another not to be able even to see it. But sic transit, dude, you had your moment.
So I’ve decided — SEEING THAT THERE ARE NO HELPFUL EXPLANATORY SIGNS ANYWHERE, THE KIND THAT MANY TOWNS WHOSE CITIZENS AND OFFICIALS FEEL SOME CIVIC PRIDE OFTEN PLACE NEAR WORTHY LANDMARKS — to remedy this oversight. I’m limiting myself to the Gardens at the moment, because I intuit that trying to address the skillions of other personages “remembered” around Venice would be a life’s work. Not a reason not to do it, just a reason to evaluate it carefully.
But the Gardens are calling. May I present Riccardo Selvatico, our first example of departed glory:
This bronze herm by sculptor Pietro Canonica bears the most modest inscription possible (and it’s not “The Thinker”): “A Riccardo Selvatico La Sua Citta’ 1903” — “To Riccardo Selvatico, His City 1903.” The date is two years after his death.
Selvatico was born in Venice in 1849 and died in 1901. Trained as a lawyer, he was mayor of Venice from 1890-95. He was also a poet and writer of comedies (I guess politics could help you with that) written in the Venetian dialect. When he wasn’t scribbling he did a number of important things. For one, he established a fund to finance the construction of healthier housing, replacing swathes of dwellings which were worthy of New York’s Lower East Side or Rio’s favelas; he would have lived through several cholera epidemics, so he didn’t need anybody to explain the problems of slums.
And if that doesn’t seem especially herm-worthy, he was also the person who came up with the idea, approved by a city-council vote in 1894, of holding an international art exposition in Venice every two years. In other words, he invented the Biennale, which now runs for at least six months, and sometimes seven, every year. It brings glory to the participants and boatloads of money to the city — I have no way of knowing which aspect inspired him more. Maybe it was a draw. The opposition party, naturally, stigmatized it as yet another example of his administration’s tendency to waste money on projects of barely discernible utility, in order to favor its friends and clients.
So he wrote a little poem called “Metempsicosi” in which he imagines that if it were true that we can be reincarnated as some animal, he’d like to come back as a pigeon in the Piazza San Marco, watch the people, fly around, and poop on the hats of a couple of individuals he isn’t going to name.
Not your ordinary politician, nor even your average man of letters. If there’s one thing that comes through every word, it’s his love for his city and its people and its life. One critic praised his poetry and comedies as being “ennobled by (his) exquisite Venetianness and refined wit.”
His five years as mayor were busy, of course, partly due to an ongoing battle between his highly eclectic and non-religious government and the opposition party marshaled by Giuseppe Sarto, then patriarch of Venice but later Pope Pius X. In 1895 Sarto’s faction won the election and Selvatico was back on the street. Separation of church and state was not an important principle at the time.
His birthplace also rates a plaque (translated by me): “Here was born on April 15 1849 Riccardo Selvatico poet of the vernacular and mayor of Venice who carried the intimate sense of life into his art and in life transfused the dignity and the measure of art. The city places this 1902.” This house stands at the foot of the bridge of Sant’ Antonio between Campo S. Lio and Calle de la Bissa.He also gets a campiello named after him. Next time you’re voyaging between Campo S. Bartolomio and Campo of the Santi Apostoli, tip your hat. All these memorials are impressive, especially as nobody now remembers who he was. If the city fathers hadn’t made all these efforts, even I might not have heard of him (apart from the fact that Lino has a copy of “I Recini di Festa” and other works of Selvatico from which he reads poetry to me).
Selvatico clearly accomplished more than your usual assortment of Bepis and Tonis (“Bepi”and “Toni” are the immemorial nicknames of the quintessential pair of Venetian friends, up to and including today). I’m glad his efforts were appreciated, though the encomiums came after his death, as usual.
This portrait must have been made toward the end of his life; he was only 52 when he died, and his somewhat wary expression might be one effect of life in City Hall. Or maybe he’s imagining himself as a pigeon.
I Recini da Festa (“The best earrings”) is a comedy in two acts set in Venice, first performed in Venice to great success at the Teatro Goldoni on April 4, 1876 (14 years before he became mayor, so people knew what they were getting into, so to speak, when they elected him). One critic calls this comedy as “light and intricate as a piece of Burano lace,” still a stellar example of the best of the theatre in Venetian dialect of the time. Then as now, everybody spoke Venetian, so it wasn’t necessarily seen as a quaint way of talking, or even typical of a particular social class.
A poverty-stricken young married couple — also, she’s pregnant — is living with her parents because the husband has been rejected by his rich father who was opposed to the wedding. This opposition is based on an old quarrel between the two fathers-in-law dating from their youth, about which the newlyweds know nothing. Her father can’t support them all, so his wife breaks the piggybank in which the money for the crib was being kept.
But the baby MUST have a crib so that the father can at least put up a good appearance, therefore the daughter (soon to be mother) decides to pawn her best earrings. The person who resolves all the twists is the big-hearted and astute midwife, who’s ready to make any sacrifice to settle the matter. In the end the two old enemies make peace, and the rich father himself gives the earrings back to his daughter-in-law. Happy ending for everybody!
One critic calls this little confection “fresh, simple, full of domestic intimacy, which even today one hears willingly.”
Regata Storica, 2013, only a minute to the finish line.
Perhaps even better-known (among Venetians) is his poem “Brindisi” (toast), written in honor of the Regata Storica of 1893, and read by Selvatico at the then-traditional dinner given for all the racers the Thursday evening before the big event on Sunday.
That year the festivities were grand — nine new gondolinos had been constructed, and six bissone were bedecked at a cost of 3000 lire ($15,678 adjusted value). The rockstar pair of rowers, the Zanellato brothers, weren’t competing, and that left three crews which were virtually equal. Emotions were high even before the wine began to flow.
Like most poetry, it’s infinitely better spoken than read in silence, and I can only imagine the exultation that greeted the last few verses. I will translate, knowing that things like this come out in translation as if they’d been soaked in bleach. The original is below.
There are some who tremble/Looking around/And seeing that the world/Keeps going along every day
It seems that Venice/Once so beautiful/A little at a time/She too has changed
Mincioni/Let me say it/Venice doesn’t change/No matter how much people shout (terms in italics explained below)
The calle de l’Oca/has gone to hell/But the Grand Canal/For Lord’s sake, who would touch it?
They’ve gone to hell/parties and gambling houses/Dances, country festivals/
The Forze di Ercole/the puppet shows
So fine– but there is always/our Regata/There is always the festa/That nothing can affect (literally “impact”)
Cape, wig/ hat shaped like a raviolo/They’re dead and buried/But there is still the boatman!
And as long as this breed/Of arms and lungs/Of men who are tressi/sbragioni but good
As long as this breed/I repeat, is like this/Venice doesn’t change/Venice is beautiful!
————————————————————-
Mincioni: Refers to the male member; I’ve tried and can’t confidently give an English equivalent in the sense intended here, which summarizes all the great qualities of men’s men, in a good sense, even while using a word which usually implies the opposite.
Forze di Ercole: These “strengths of Hercules” were complicated human pyramids, spectacular exhibitions of endurance and equilibrium put on during festive occasions such as Carnival.
The men appear to be supported by barrels, but don’t be impressed. Sometimes they would construct their tower with the two outer men standing on boats. The group shown above was seen in Salizzada San Pantalon in 1769.
Hat like a raviolo: Tricorn
Tressi: A person who is a “tresso” (here he is using the plural to characterize boatmen in general) is big, strong, burly, muscular. I can imagine this inspiring an enormous burst of laughter, table- and friend-pounding, general uproar. What’s even better is that “tresso” is also the piece of wood which strengthens and unites two things that without it would collapse — for example, the legs of a chair (technically known in English as the “stretcher”). Calling somebody a tresso suddenly seems like a great thing.
Sbragioni: People called “sbragioni” are those who tend to yell when talking, especially with the belief that yelling will make the shouter win the argument. More laughter.
So far we have literary, bronze, geographic, and economic memorials to Selvatico. But his earthly remains? They can be found in the extreme southeast corner of the cemetery on the island of San Michele. But first you have to circumnavigate an enormous raised tomb in the center of the walkway.The three arches are facing the water and are currently blocked by a chain-link fence. Which is so easy to get around it might as well not be there. Selvatico’s is the plaque on the right.He has been joined by the famous actor Cesco Baseggio, who died in 1971. Baseggio, born up the road in Treviso, was famous for his performances in Venetian dialect.The epitaph is the same phrase incised on the plaque at his birthplace. When you’ve perfected something, just leave it alone, though accenting the letters with gold leaf seems appropriate.
This is only the first personage to be rediscovered in the Garden of the Forgotten Venetians. Next chapter coming soon.
“Brindisi” for the Regata Storica by Riccardo Selvatico 1893
Gh’è certi che trema
Vardandose a torno,
E visto ch’el mondo
Camina ogni zorno,
Ghe par che Venezia
Un dì cussì bela,
Un poco a la volta
Se cambia anca ela.
Mincioni, mincioni,
Lassè che lo diga;
Venezia no cambia
Per quanto che i ziga.
Xe andada in malora
La cale de l’Oca;
Ma el so Canalazzo,
Perdio, chi lo toca?
Xe andai in so malora
Festini e ridoti,
I salti, le sagre,
Le forze, i casoti:
Va ben, ma gh’è sempre
La nostra Regata,
Gh’è sempre la festa
Che gnente ghe impata.
Velada, paruca,
Capelo a rafiol
Xe morti e sepolti;
Ma gh’è el barcariol!
E fin che sta razza
De brazzi e polmoni,
De omeni tressi,
Sbragioni ma boni,
In fin che sta razza,
Ripeto, xe quela,
Venezia no cambia,
Venezia xe bela!
