Invincible Truth is an exhibition, curated by Lars Rachen and Paolo Vincenzi, of works by the London based artist and designer Marianna Kennedy. The choice of works found inspiration in the rooms of Sala Borges of the Fondazione Giorgio Cini
, on the island of San Giorgio Maggiore in Venice. The exhibition will be open to the public free of charge from Sunday, the 1st September to Sunday, the 22nd September 2019.
The project arose and has taken shape as a creative dialogue with the spaces dedicated to Jorge Luis Borges at the Fondazione Giorgio Cini and with the city of Venice. They form an ideal setting for the presentation of a series of past and recent works by the artist, including two new creations that give the exhibition its title. Also, there are two large-format Artist Books made by traditional techniques. Through the exploration of emblematic and alchemical themes and images, these books represent a contemporary catalogue of Marianna Kennedys imagination. By looking to the past she creates works that speak of the present and will endure into the future, wrote Rupert Thomas in the introduction to the exhibitions catalogue.
The exhibitions title, Invincible Truth, alludes to an emblem representing Veritas Invicta contained in Choice of Emblemes, a book published by Geffrey Whitney in 1586. This book brought to England the great continental tradition of the emblem book embodied by Andrea Alciato, 16thcentury jurist and author of the Emblematum Liber. The book presents a gallery of human situations turned into metaphors that was intended to pass on a fund of wisdom and morality, partly through recourse to the efficacy of the iconographic medium.
Marianna Kennedy has created the two large-format Artist Books by combining printing techniques with original drawings reproduced on typographic plates and magnificent contemporary bindings that echo the classic Venetian style. They will be displayed on two large lacquer and bronze tables that deliberately recall the ones in the Fondazione Cinis splendid library, designed by Longhena, from which the artist has drawn inspiration.
At the heart of the exhibition, the two volumes find a natural echo in the celebrated Borges Labyrinth. The room in which they are displayed faces the maze designed by Randoll Coate in 2011. Coate took his inspiration from the story The Garden of Forking Paths by Jorge Luis Borges, the 1940 Argentine writer and poet. The maze presents the appearance of an open book, strewn with the symbology to be found in the Argentinian writers works, just as Invincible Truth opens up a view of the creative imagination of Marianna Kennedy.
The two volumes are presented in a context of works produced by the artist. The visitor will be able to admire plaster vases with inserts in polychrome Murano glass, carved mirrors with mercury glass mirrors infused with color, guéridons made of bronze and Chinese lacquer, fire-gilded bronze candelabra and monumental resin lamps.
For over twenty-five years, Marianna Kennedy has been working in the East End of London. And it is in her studio/home in Spitalfields that she creates a limited number of pieces of artistic design, each of which is the result of months of collaboration with some of the best craftsmen and artisans in the UK. Known and appreciated internationally, her works can be found in a number of important Europian and American collections. This artists use of traditional techniques has always gone hand in hand with a highly contemporary view of aesthetics. Harking back to the past, Kennedy seeks to give new vigor to historical models by creating works that can live today and tomorrow, declare Lars Rachen and Paolo Vincenzi, curators of the exhibition.
As characteristic of her creative practice, for the exhibition at the Fondazione Cini, Kennedy has embarked on collaborations with significant local exponents of the applied arts, and in particular with master glassblowers of Murano and the Officina fabbrile Zanon. Many of the works in the exhibition will be placed on supports made by the Zanon brothers, some of which have been designed by the artist while others are based on historic designs by Carlo Scarpa, originally intended for the Gallerie dellAccademia and the Gipsoteca in Possagno.
The profound enchantment with Venice that is reflected in the work of the Canadian artist stems in part from her daily contact with one of the principal examples of the Palladian style in early 18th century England, Nicholas Hawksmoors Christ Church in Spitalfields stands next to her studio.