Venetian Cat - Venice Blog in the Financial Times! - Venice

Photo: Highton-Ridley

(VENICE, ITALY) I am honored that Venetian Cat - Venice Blog is featured in the Financial Times Weekend Magazine this weekend, July 26/27 2008 -- especially because today is my birthday! Please run out and buy yourselves a copy and flip to Page 9:)

You will see a page entitled:

 

That was then... this is now: Venice

First, there is a quote from John Evelyn's Diary, 1645. Since John Evelyn is not exactly a household name, here is a description from the British Library Online:

"Hitherto John Evelyn has principally been known from his Diary. The Archive allows him to be seen in his true milieu, that of the community of seventeenth century intellectuals who aimed to establish a major programme of scientific and technological development, linked with social and economic progress. 

He emerges as this community's most long-lived and versatile member: scholar, connoisseur, bibliophile and horticulturalist, as well as a writer and thinker of sometimes startlingly current relevance, on everything from forestry, architecture and the formation of a universal library to fashion and air pollution.

FT Weekend Magazine, page 9, opens with a quote of Evelyn's that speaks of the Venetian perfumers & Apothecaries, and the "cages of Nightingals" and how, if you close your eyes, you would imagine you were in the country -- "tis almost as silent as the field." That quote is highlighted by the image, "Bird's Eye View of Venice" by Joseph Heintz (c.1600-78).

Below that there are three quotes from Venetian Cat - Venice Blog, 2008: "Tips for moving around Venice," in which I ask you to imagine you are a car -- "One person sitting on a bridge can cause a traffic jam for miles." My quotes are highlighted by the legs of tourists in a slightly flooded St. Mark's Square.

Venice Scene 12 - Photo: jschneid 

Well, I will tell you that it is still possible to hear the silence punctuated by the songs of caged Nightingales or Canaries or Parakeets dangling from the windows in several parts of Venice to this very day. In fact, there was a mighty warbler not far from my house in a window on Ruga Rialto. It is a delightful Venetian tradition to put singing birds in the windows, and if you can make your way off the beaten paths, you, too, may find yourself serenaded by a Venetian bird. 

On the days of the regattas, when the vaporetti and other motorized boats don't run on the Grand Canal, Venice is once again, beautifully silent. 

I dream of the future when we have hybrid boats like there are hybrid cars -- electric/solar inside the historic center, and then gasoline (if necessary) out past the lagoon.

I believe that one of the reasons there is such chaos in Venice today is because not enough effort has been made to educate travelers how to move inside the city. We, who live here, sometimes forget just how strange and different Venice is from any other city in the world. So, please, do read my tips you will find listed there on the right before you come!

I want to thank Sue Norris, the Associate Editor of the FT Weekend Magazine, for stumbling on my blog and featuring it in the Financial Times.

Ciao from Venice,
Cat Bauer
The Venice Gazette
Venetian Cat - The Venice Blog

500 Years of Andrea Palladio - Palladian Gala - Save Venice, Inc.

Villa Almerico Capra Valmarana aka La Rotunda

(VENICE, ITALY) When the Director of the International Center for the Study of the Architecture of Andrea Palladio in Vicenza begins his lecture with a not-very-flattering quote by John Ruskin about his subject, you know you're in for an exciting ride.

Professor Guido Beltramini did just that in the Giorgio Cini Foundation's Palladian refectory yesterday, and it was one of the most fascinating lectures I've heard in a long time. He was part of the Save Venice, Inc. Palladian Gala, which culminates at Hotel Cipriani's Granai tonight with the celebration of our most beloved Venetian holiday, the Festa del Redentore, complete with fireworks. (Each one of these topics could be a blog in itself, so I am going to give you a brief overview, and delve more deeply in the future.)

Professor Beltramini said that last year on November 30th, the kick-off of the 500 year anniversary of the renowned architect's birth, many local architects in Vicenza held an anti-Palladio demonstration. The projection screen then flashed up a picture of Andrea Palladio that had been doctored to give him horns!

Professor Beltramini said it was about time we had a look at this part of Palladian architecture, and the dark forces that generate the upper harmony. The windows that are eyes; the doors that are mouths are countered by the belly of the building. He spoke about the "heart of darkness" and the unconscious, and showed us a photo of a brutish faun on the floor, saying no visit to a Palladian villa would be complete without a visit to the underground vaults. The lecture covered the Villa Rotunda in Vicenza, the nobility who supported Palladio, his early life, and much, much more.

It is the ancient argument -- who is more powerful? Man or Nature? Does Man impose his Will on Nature? Does Man work together with Nature? Does Nature impose her Will upon Man? Or, most importantly, what is Man anyway? Who are we and what are we doing on this planet?

People constantly ask me why I moved to Venice, and I reply that Venice is a magnetic center. The more you study Venice, you will find it is not just about canals and gondolas. The palaces and churches were designed with esoteric principles. As was the Art. As was the Music. As was the Literature. Etc.

This is from the website of Centro Internazionale di Studi di Architettura Andrea Palladio:

"Andrea Palladio was born in Padua on St Andrew’s Day, 30 November, 1508. To celebrate this quincentenary, the Centro Internazionale di Studi di Architettura Andrea Palladio, Vicenza and the Royal Academy of Arts, London, with the Royal Institute of British Architects (RIBA), are mounting a major exhibition. It will open in Vicenza, (palazzo Barbaran da Porto, 20 September 2008 – 6 January 2009), it will then move to London (Royal Academy of Arts, 31 January – 13 April 2009) and will close in the United States of America in Autumn 2009. ... Jefferson’s house at Monticello will be presented."

Well, apparently we have run out of money in the United States of America, and the Washington D.C. leg of the exhibition has not been confirmed, and may well be cancelled. Makes you wonder... doesn't it? Well, I most definitely intend to go to Vicenza to see it this fall, and strongly suggest you all try to catch it either here or in London.

Another interesting tidbit about Palladio: as hard as he and the nobility who supported him tried, he didn't make it into Venice until he was about 60-years-old, and even then, he only designed buildings on the outskirts of town, like the Churches of Redentore, Zitelle and San Francesco dello Vigna -- which, if you remember, I have written about before:

Church of San Francesco della Vigna in Venice

After the lecture, the Save Venice, Inc. folks bravely climbed into a wild boat, rearing against its ropes, docked outside on the Island of San Giorgio. It was pouring rain, and the waves were ghastly, but off we chugged over to the Church of Redentore itself, where I have spent a lot of time behind the scenes with the Capuchin friars, an Order close to my heart. (In fact, you will find a Venetian Capuchin friar in Harley's Ninth:-)

We were given a brief tour of the interior by the scholars Professor Deborah Howard of Cambridge, and Professor Frederic Ilchman of the Museum of Fine Arts in Boston. Now, you might think that scholars are stuffy, but I actually hang out with them, and they always amaze me with their wit, humor and ability to bring the past alive.

The Church of Redentore was built in honor of Christ the Redeemer to save Venice from the plague, which wiped out ONE THIRD of the population, including Titian himself. Professor Howard said we must remember the time it was built, and what, exactly, were the sins from which the Venetians thought they needed redemption. One was that they did a lot of trading with the Muslim countries. (I can think of several others:) The Venetians had tried everything, and as we know, when all else fails, the only thing left to do is to pray. In any event, it WORKED!

The end of the plague on July 21, 1577 is what we are celebrating tonight with what is usually the best fireworks in the entire world exploding over the lagoon. Venetians from all over the Veneto arrive in their boats to watch the show. The fondamenta on the Giudecca is lined with tables and Venetians eating traditional food. Terraces and balconies are filled with revelers. The Lido has their own party going on over there. It's a big Venetian party, and deserves its own blog, which perhaps I will give it in the future.

After the Church of Redentore, it was onto the Church of Zitelle, and then a lunch at the newly restored Zitelle convent, now the magnificent five-star Bauer Palladio Hotel & Spa. I have known the Chair & CEO, Francesca Bortolotto Possati for a long time -- and no, I am not related to the Bauer Hotel:) But I saw the convent many years ago, long before Francesca restored it, and I will tell you that she did an amazing job (the photo you see is the garden where we had lunch -- the rain had stopped and the Sun came out!). She is also the International Chairman of Save Venice, Inc.. Something you should know about Francesca -- she puts her whole heart into all her projects with the purest intentions, and works tirelessly to help this city. For instance, despite all odds, she launched the very first solar-electric boat on the Grand Canal, which runs from the Bauer Hotel in the historic center, across to Zitelle.

Here is a little excerpt from something I wrote about Zitelle for the International Herald Tribune's Italy Daily years ago:

"Santa Maria della Presentazione, or Le Zitelle, was once a home for maidens famous for their skill in creating punto in aria Venetian lace. Founded in 1599 on the premise that impoverished, good-looking virgins were doomed to a life of sin unless someone intervened, the convent had strict entry requirements: the virgins had to be between the ages of 12 and 18, very healthy, very beautiful, and have a graceful, lively demeanor. The girls received training that prepared them not for the nunnery, but for marriage.

The three-story structure, built on a Reformation model with a cloister behind the church and two wings near the Giudecca Canal, is currently undergoing restoration. Plans exist to convert it into a hotel and conference center, retaining much of the original structure, and to bring the large botanical garden back to life. The wellhead in the courtyard bears the coat of arms of the aristocratic Loredan family, and dates from the early 14th century when the Loredans were granted possession of the property by the Venetian Senate."

Save Venice, Inc.

And something you should know about Save Venice, Inc. -- I have never seen the organization more vibrant and alive. There is a new contingency from the West Coast in the United States, which I strongly recommend those of you out there support, plus the Old Guard from New York, Boston and the South, etc. If you're looking for a charitable organization to stash your cash, your dollars will not only beautify Venice and its structures, but the soul of Venice itself.

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

Festa del Redentore

Bruno Abbate's yacht

P.S. I am back from Redentore. At the last minute, I decided to watch the fireworks with the Guardia di Finanza in honor of Bruno Abbate. Bruno was a renowned boat builder in a traditional family business, and he made some boats for the Guardia -- their party was next door to Save Venice over at Cipriani's.

Bruno died last week at age 57. His birthday is one day before mine. We are Leos. Last year about this time, I had the great honor to be with Bruno on his yacht you see there during his Primatist Trophy with a group of friendly folks -- seriously, I was taking the Sun on that very cushion in the back of his boat. It seems incredible that he is now gone. 

Last year was the first time I had met him... he was such a generous man; he enjoyed sharing his great wealth. We zoomed all over the coast of Sardinia during the morning, paused for lunch and a swim, then zoomed some more in the afternoon to the next stop. Every evening there was some kind of spectacular. 

Bruno genuinely loved human beings from every walk of life. He created an enormous family called Primatist People, providing lots of jobs and lots of fun. When Bruno showed up, the world came alive with helicopters swirling overhead, and music, music, music -- he was like fireworks personified. 

The great explosion at the end of Redentore tonight reminded me of Bruno... Even though I didn't know him well, when you spend a week on someone's boat, you form a kind of bond.... he touched so many lives... Thank you, Bruno, for granting me the privilege of being one of the Primatist People, if only for a moment.

After the fireworks, I was swept back into another world -- the Cipriani Olympic-size pool where there was music, food, drinks, dancing.... It was strange... one of the first articles I had ever written for International Herald Tribune's Italian supplement, Italy Daily was about the Redentore party at that very pool, back in 2001 -- it seemed almost frozen in time with the same stock characters wearing the same outfits.... as if that party has been going on for centuries during Redentore, and will continue for centuries in the future.

Tonight, however, I met a vibrant woman from Los Angeles, Francesca DeMarco, who had never been there before. She said: "I've seen fireworks at the Rose Bowl. I've seen fireworks at the Hollywood Bowl. But I've never seen fireworks like these!" I said, "Francesca, I am going to quote you. Are they the best fireworks you have ever seen in your life?" Francesca said, "YES!"

Sir Elton John Saves Piazza San Marco - Venice

(VENICE, ITALY) Sir Elton John's performance in Piazza San Marco on Wednesday night, July 9th, underlined why he was knighted. He played with a quiet nobility that radiated enormous power. He was not flamboyant. He let his music do the talking, and when he spoke, his words were simple and dignified.

Napoleon is often credited with calling Piazza San Marco "the drawing room of Europe," but Wikipedia informs us that perhaps it should be attributed to Alfred de Musset (and you know how nitpicky those Wikipedia people can be:). In any event, whoever said it, the atmosphere was exactly like that: as if we were in a grand drawing room, and Sir Elton John was entertaining his guests.

The show was sold out, and to be honest, I didn't make any effort to go, but a friend called and offered a pass at the last moment. So, of course, I went! The pass allowed me to wander everywhere, and I found myself fortunate enough to land in about the tenth row, with an unobstructed view, sitting next to Carlo Pagan, from the Casino di Venezia -- which happens to be the oldest casino in the world, and accounts for about 40% of Venice's income. So, of course, during the show, in the pauses between songs, I harangued Carlo about various problems around town. Poor Carlo! Just when he thinks he can relax during an Elton John concert, he finds himself sitting next to Cat Bauer.

To his credit, he hung in there and listened. So, who knows what the future many bring:)

Elton sang hit after hit after hit. It seems impossible for one human being to have so many hits, but he has them. We have grown up with Elton; Elton is always there. We have suffered with him. We have rejoiced with him. We have tried to kill him, but he did not die. The Queen has knighted him for his grand endurance and now we embrace him and ask him to do charity shows.

Elton performed this concert on behalf of SMS, which is a clever acronym for "San Marco Square" and "Short Message System." Elton raised money to fix up San Marco Square. Now, we can be sure that Elton does not have to do this. So, why would he? Well, he lives here. And I will judge by the few words he used to introduce the last song, "Don't Let the Sun Go Down on Me," that he cares.

He said, "This is dedicated to everyone who likes to live in Venice," or something to that effect. But it was weary, serious, profound. We are all very tired these days over here in the Magic Kingdom, as are most people with souls throughout the world. And then he sang, "Don't Let the Sun Go Down on Me." If you have ever had the Sun go down on you, and most of us have, you will understand. I think Bernie Taupin is one of our greatest lyricists. Elton would not be Elton without Bernie's words:

I can't light no more of your darkness
All my pictures seem to fade to black and white
I'm growing tired and time stands still before me
                                Frozen here on the ladder of my life

                                Too late to save myself from falling
                                I took a chance and changed your way of life

                                But you misread my meaning when I met you
                                Closed the door and left me blinded by the light

       Don't let the sun go down on me
       Although I search myself, it's always someone else I see
       I'd just allow a fragment of your life to wander free
       But losing everything is like the sun going down on me

        I can't find, oh the right romantic line

        But see me once and see the way I feel

        Don't discard me just because you think I mean you harm               
        But these cuts I have they need love to help them heal

(Watch the YouTube video below)

I wish I had some photos, but I always have to depend upon photographers, and they do not always come through, and there are, surprisingly, slim pickings on the net (none of the photos I am using are from the actual show). The last camera I had was destroyed during Carnevale two years ago by Red Wine within a week after purchase. The shop where I bought it in Venice sent it back to the dealer in Milano, without a reason, and the Milano shop wrote back: WE HAVE EXAMINED THIS CAMERA, AND IT WAS DESTROYED BY RED WINE. THEREFORE, WE DO NOT UPHOLD OUR WARRANTY. And, they were right! It WAS destroyed by Red Wine, but not by drunkenness -- it was because I dropped my shopping bag, and the camera was in the bag with the red wine -- there are witnesses! The Venice shop told the Milan shop, "Well, after all, it IS Carnevale."

If you can understand that story, you will understand part of the reason why Venice is sad -- so many people from Milano (and other places) have bought apartments here for profit, caring only about the money, and nothing about the Soul of Venice. If someone from Milano sent a camera back to Venice destroyed by Red Wine, the Venetians would laugh and say, "Well, THAT'S a good reason! It's Carnevale, after all. Give them another!"

Elton John in Piazzo San Marco, Venice - July 9, 2008
Photo: Alex Ruffini

After I published this blog, I asked Alex Ruffini from 2StarPhoto, one of my Venetian MySpace buddies, if he had any photos from the show. He said he didn't have a pass that night, but did manage to get the photo you see. Thanks, Alex! Alex does rock photography, and if you'd like to have a look at more of his work, go to http://www.2starsphoto.com/ 

(UPDATE: That link no longer works. Sadly, very sadly, Alex Ruffini died from cancer on June 18, 2019. Before he died, he created Cancer, Drugs & Rock 'n Roll, together with his brother, Martino. All donations support "Progetto Convivio" at the Borgo Roma Hospital in Verona.)

Below is a video of Elton singing "Don't Let the Sun Go Down on Me" from his 60th birthday last year. Bill Clinton is there, among many other people.

This year, Elton's voice is battle-worn, and his hair is grey, but his scars become him. He looks better than ever. To me, he is a reflection of the past year. Last year was not an easy year for many of us.

How amazing one song can be! It united us all! There were lighters lit, and we All Became One. When the people chanted his name, it sounded like this: "Eel-ton! Eel-ton!"

Thank you, Elton, for adding your great voice to the song of Venice.

Ciao from Venice,
Cat Bauer

The Venice Gazette
Venetian Cat - The Venice Blog

Eleonora Duse 1858-2008 - Giorgio Cini Foundation & Veneto Region - 150 Year Tribute in Venice

Updated January 19, 2026

(VENICE, ITALY) Yesterday, I had the privilege to be invited to a press conference at Palazzo Balbi by the Giorgio Cini Foundation and the Veneto Region. Eleonora Duse -- that fascinating woman -- will be the subject of a celebration this fall in honor of her birth, 150 years ago.

Thanks to the Academy Awards, the general public is now familiar with the French singer, Edith Piaf. Long before there were movie stars in Hollywood, here in Europe, there were many women who lived their lives with passion and daring. Eleonora Duse was a giant among them.

First, a brief blurb about the Giorgio Cini Foundation. To give you a hint of the scope of this organization, before there was G8, there was G7, and twice the meeting was held at the Cini Foundation, in 1980 and 1987. 

Located on the Island of San Giorgio Maggiore, Count Vittorio Cini created the foundation in memory of his son Giorgio, who died in a plane crash. We cannot know the depth of his grief, but we are fortunate that he had the strength of character to spin straw into gold and leave this treasure to mankind, an oasis for enlightened thinkers. I am for anything that allows one the freedom to use one's mind -- to agree or disagree without blindly following, or being forced into an opinion. And they are devoted to Vivaldi!

So, if the Cini Foundation, together with the Region of the Veneto (a region is sort of like a state in the United States, and the Veneto Region happens to be one of the most powerful in the land), decides to focus the spotlight on Eleonora Duse, it is impressive.

Since I drift in and out at press conferences, especially when they are in Italian, I started thinking about the energy of a woman like Eleonora Duse, born into a family of poor actors, who became so powerful that we are celebrating her birth 150 years later. She was a Star on Earth, and she did burn some ordinary mortals. 

Perhaps it takes us 150 years to examine such energy. Perhaps the Light is too bright. Still it shines, still it shines. We can only imagine the wattage we would encounter if we had met her while she was alive. Washington, D.C. itself got a shock when President Cleveland's wife invited Eleonora, an Italian actress, for tea.

When she was 21 years old, Duse had an intense love affair with a journalist who left her while she was pregnant. The baby died before birth, and soon after, so did he...

I'll let you do some research on your own, but her most famous love affair was, of course, with Gabriele d'Annunzio. D'Annunzio is a household name here in Italy, but I would imagine that many of you in America don't know who he is. Well, I HAVE BEEN TO HIS HOUSE on Lake Garda, and it is one of the most incredible villas on this planet. In fact, it's been a lifelong dream of mine to fashion an apartment inspired by d'Annunzio -- I am wild for his bathroom with the blue tub.

Wikipedia describes d'Annunzio as an Italian poet, journalist, novelist, dramatist, and daredevil. One of my favorite rooms in his house was his office. It has a low doorway, so you must bow your head to enter. Over the door is etched: Hoc opus, hic labor est: "This is the work, here is the working." On his shelf is the head of Eleonora Duse, "the veiled witness," which he would cover with a veil before he began to work.

Here is a quote I found by Duse on the Jewish Theater website from Drama's Queen / Eleonora Duse, the great 19th century actress, by Peter Kurth in his review of Helen Sheehy's book, Eleonora Duse, published by my own beloved publisher, Knopf. Duse describes how she felt about her performance at the ancient Roman amphitheater in Verona:

"Oh, grace," Duse later exclaimed, "it was a state of grace!" The crowd roared its approval with a noise that left her exalted, "terrified, " lost in a sea of "indescribable... abandonment." As she wrote to a lover many years later, "The supreme power spoke to me of what I must do in my life; I bowed my head ... and I said, 'So be it.'" 

Eleonora Duse and Gabriele d'Annunzio also caused some commotion here in Venice, among other venues. When he wrote a play and gave the lead to her rival, Sarah Bernhardt, not Eleonora, she left him.

Duse and d'Annunzio are archetypes of human beings who really existed not so long ago, who really loved each other, and who we still recognize and celebrate. They left us many, many gifts, and that is why we are fortunate that the Cini Foundation and the Veneto are sponsoring this tribute, which will begin in September and peak during October 1-4, and include letters, film, and a theatrical production put on by the Goldoni Theater (another one of my favorite organizations), among other events.

Now you are aware:). More details to come.

Ciao from Venice,
Cat Bauer

The Venice Gazette
Venetian Cat - The Venice Blog



P.S. I just can't resist adding an aerial view of the Vittoriale, d'Annunzio's house.

Pow Wow at the Guggenheim - COMING OF AGE. AMERICAN ART, 1850s to 1950s

Sunday, Women Drying Their Hair by John Sloan

(VENICE, ITALY) Last evening there was a Pow Wow at the Guggenheim -- a phrase coined by the artist, Ludovico de Luigi, for a vernissage where the whole town gathers for a bit of conversation and wine, based around an art preview. As one guest put it: "It seems like everybody is here. I don't even see these people on the street!"

Well, that's not entirely accurate because the heavy hitters were there the night before; plus, there were some regulars who were missing-in-action.

The theme of this Pow Wow was COMING OF AGE. AMERICAN ART, 1850S TO 1950S. Since the Guggenheim hasn't put up its English translation yet, we'll borrow a blurb from the E-Flux site.

"In the early 1900s, the prominence of American modernism grew so as to proclaim New York, and no longer Paris, the center of the artistic avant-garde. Proponents of American modernism such as Stuart Davis, Man Ray, and Patrick Henry Bruce defined abstraction in their use of bold, geometric shapes and colors to create an American vision deriving from European Cubism. On the other hand, Arthur Dove, Georgia O’Keeffe and others in Stieglitz’s circle were using reductive shapes and lines to create a modernism that held allegiance to organic forms. Artists such as Charles Sheeler and Edward Hopper, however, preferred representing scenes inspired by American city life, preserving in their works a link with modernism."

Still this war goes on between Paris and New York, exemplified by the battle over the Dogana. You can read about that war in a fascinating New York Times article entitled Guggenheim Passed over for New Venice Museum. Personally, I try to stay in the demilitarized zone. In fact, I hear that these days everybody loves each other.

As the artist, Lawrence Carroll, strolled by, someone I was speaking to said, "He's starting to resemble his art." It was funny because I was thinking the same thing! To read more about Lawrence, go to Lawrence Carroll at the Correr Museum.

Then I spotted Ludovico de Luigi speaking to the new American Consul of the United States of America, A. Daniel Weygandt, who is based in Milano. The conversation went something like this:

 

"Cat! Cat! Here is the new American counsel."

"Ludovico, I had lunch with Dan about three months ago..."

Ludovico and I are sort of like the battle over the Dogana personified except it's Italy vs. America instead of France. He has been married twice to American women (in addition to other nationalities) and they are now both in the grave. At my book launch he gave a raunchy soliloquy about how he met his first wife and their escapades in the Church of San Giorgio Maggiore.

An owner of an art gallery here in Venice was also part of the conversation, and he introduced me as "one of Ludovico's subjects." I immediately clarified: "The only thing Ludovico has ever painted of me are my blue eyes, surrounded by red feathers, hovering over the Grand Canal close to my apartment by the Rialto Bridge. Next to my eyes was a Campbell's Soup Can tipped on its side, tomato soup spilling into the canal, a limp hand dangling from the can, entangled with a fine gold chain. I asked him to at least give me some assistance from above, some Red Light from Heaven or something, but I don't think he ever did it."

Last year, Anny Carraro (whom I adore) won the New York Film and Video Festival Best International Director for Best Documentary for a flick she made about Ludovico called "Impossible Venice."

In any event, I really like our new American Consul, Dan Weygandt. He came to us from Baghdad.* In fact, the car he drove was bombed shortly after he left. I am not sure he is much safer here.

Ludovico said he thought the exhibit was excellent, especially because Italians would realize that Americans played an important part in modern art. I went to get more wine, and when I got back, Dan was up on the stairs next to Philip Rylands, the director of the Peggy Guggenheim Museum, speaking into a microphone that needed amplification.

Later in the evening, I went through the exhibit with an Italian woman who specialized in Old Masters. She gave us a zippy commentary, saying that American art began with Edward Hopper, and that American artists were copying Europeans before that point. 

 

I ran that comment past Philip, and he emphatically disagreed. I wish I could remember exactly what he said so I could quote him, but I can't, so I won't, but it was clever. Philip Rylands is one of the few people on this planet who still has a sense of humor.

In my completely uneducated opinion, I would say that the Europeans seem to be more about Freud, whereas the Americans tripped onto Carl Jung. I was speaking to an Italian psychiatrist after I saw the exhibit, who was a Freudian. She said, "Jung is in secret code." I replied, "Jung is not in secret code. It is all a matter of one's personal level of understanding."

Disappointingly, the effect of the disastrous dollar is even showing up at the Guggenheim -- usually we get some snacks to munch on, but last evening we only got nuts.

Ciao from Venice,
Cat Bauer
The Venice Gazette
Venetian Cat - The Venice Blog

COMING OF AGE. AMERICAN ART, 1850S TO 1950S
June 28 - October 12, 2008

Opening hours: daily 10 am to 6 pm (closed on Tuesday and December 25)

Peggy Guggenheim Collection
701 Dorsoduro
30123 Venice
ITALY
Phone +39 041 2405411
Fax +39 041 5206885
Email info@guggenheim-venice.it
http://www.guggenheim-venice.it/

*Correction: An earlier version of this blog incorrectly stated A. Daniel Weygandt's prior position was in Beirut.

La Biennale International Festival of Contemporary Dance

I love La Biennale, the organization. I've worked, suffered and delighted with them for many years in their struggle to remain one of the most vibrant contemporary art festivals on earth. Most of you know about the Venice Film Festival, and the art festival. But there is also music, architecture, theater, and, for the last six years, dance.

Since La Biennale is contemporary, its energy hits directly against Venice's ancient structure, and there are many wars and battles fought to get each show on the road. Directors come and go, shaking their head in amazement that anything actuality gets up and on its feet.

Ismael Ivo is the Director of the Dance, and, in addition to being one of the most physically beautiful human beings on the planet, he always manages to put on a beautiful show. Because he is so striking, you are always aware of his presence. The Dance section of La Biennale is probably my favorite. I love to watch dancers move. Unlike other forms of "contemporary art," you actually must be able to dance!

I've only been able to catch two programs so far, mostly because they were at the Malibran, close to my house, not down at Arsenale. The first performance I saw was Stephen Petronio Dance Company from the United States, and the second was Ballet Preljocaj from France.

Here is part of the blurb about Stephen Petronio from the program:

"Music, visual arts and fashion all come together in the choreographer's performance, evoking landscapes of a markedly contemporary taste."

Stephen Petronio opened with Beauty and the Brut. I read the New York Times review by Roslyn Sulcas, and I have to disagree:

"In “Beauty and the Brut,” a commissioned score by Fischerspooner (the art-world-darlings music duo) offers a woman’s voice recounting, in English and French, a pickup on a beach. With its Laurie Anderson-like echoes and deadpan unfinished sentences (“My name is — whatever”) set over minimal electronic melodies, the score alone is a delight."

I think the United States and Europe are moving further and further apart, not only in terms of the disastrous dollar, but in culture itself. I found the score to be incredibly annoying. I LOVE Laurie Anderson, and to compare the Fischerspooner score to Anderson is... well... reaching a bit. Please tell me what is interesting about: "My name is -- whatever" over and over and over? And to hear this whiny American accent say that she is French... at first I thought they were joking. That would have been clever. It was a boring pickup on the beach, lacking any wit, with no point, light years removed from Laurie Anderson's original genius. Just that the performers could dance to the score should be applauded. Think of the wasted opportunity! What one could actually say or at least try to say with All That Time with those wonderful dancers in front of a live audience... and the bit of wisdom we get from America is -- "Whatever." It makes one understand Enlil's point of view about the state of humanity. After intermission, a good part of the audience did not return.

Ballet Preljocaj, on the other hand, I thought was brilliant, especially Eldorado. Here is the blurb from the program: "Angelin Preljocaj returns to La Biennale with the mystical yet carnal dance of Eldorado, inspired by the cosmic dance of Stockhausen's Sonntags Abschies, the last part of the great cycle dedicated to the days of the week, and with his historic piece, Larmes Blanches, a rigourous and sensual dance, contrapuntally constructed around the baroque music of Bach, Balbastre and Purcell.

So, while Americans are dancing to whiny girls on the beach saying "My name is -- whatever" over and over, the French are dancing to the music of the spheres.

I just read this on Wikipedia about Fischerspooner.

"As of May 2007 they have been released from their Capitol Records recording contract and are currently unsigned."

And it's not just the music. I see it in my own little neck of the woods, in YA publishing. America seems to be spitting out product at a frantic pace. After spending way too much time on Facebook, I can see why. Everyone is racing to capture the minds of the masses to consume, consume, consume. It is numbing.

Uummm.... why don't you guys, like, um... bring, like a -- book... umm... you know -- a book... yeah, a book -- to the beach...

Whatever.

Ciao from Venice,
Cat

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Author Cat Bauer Takes Pride in PLHS Beginnings

Today, it's Shameless Self Promotion Day, or, rather, Guest Blogger Day, featuring an article written by a young woman from my former high school, aspiring journalist, Pauline Kitele entitled Cat Bauer Takes Pride in PLHS Beginnings. Pauline interviewed me for the 75th Anniversary edition of The Cardinal, Pompton Lakes High School's newspaper. 

Pompton has a vicious cardinal as their symbol -- very frightening on the football field.


While I am happy that Pauline christened me "a superstar by her own creative merits," I have to clarify that although I might have a passion for the piano and the violin, I can't play them at all anymore, and I never could play them very well to begin with. I was, however, first clarinet, first chair in the orchestra after Debbie Fee moved out of Pompton, and I can still strum the guitar a bit. (Even though Harley can play the oboe in the new edition of Harley, Like a Person, I can't play the oboe at all.)

However, Pompton Lakes' BIGGEST claim to fame is that it was the setting for the quiet suburban town in the movie In & Out starring Kevin Kline. Even though it's supposed to be set in Indiana, with the magic of Hollywood, it was actually shot right in good ol' Pompton Lakes, New Jersey because, well, you really cannot find a more typically quiet suburban town in the entire United States of America -- that is why I set Harley there, too! 

In fact, perhaps in the future, Pompton Lakes will become a tourist attraction like Venice, Italy -- the Last Remaining Typical Quiet Suburban Town Left in the World. Then, everyone can go there to have a look, and the locals will get crazy, and...... Apparently the town is still quite upset because Paramount did not put them in the location credits at the end of the film, so we shall correct that situation right now!

I can't figure out how to increase the text size, so I'll leave that to you folks at home to adjust your view. And there is a little bit about Venice at the end, in keeping with the theme of the blog:) (After many attempts to format the article, there was nothing to do so you can read it but create a new blog called): Pompton Cat.

Spiritual Jewish Music - Moni Ovadia and the Arké String Quartet

Sunday night, June 1st, I ran over to the Ghetto to catch the last presentation of the Jewish spectacular going on over there called Festival dell'Arca. This final show was called Kavanàh, Jewish Spiritual Stories and Songs, and it starred the renowned actor/singer writer/musician, Moni Ovadia. The music was by the Arké String Quartet, who are Carlo Cantini on the violin, Valentino Corvino on the violin, Sandro di Paolo on the viola, and Stefano Dall'Ora on the double bass (they forgot to put his name on the poster, so we shall correct that situation here:). They are all world-class musicians, and you can see by the pictures that they are completely In The Zone. Here's a little blurb I found about the group: "The Arke Quartet have shrewdly and musically lent an ear to a lot of world-music materials - from a softly singing microtonal quality reminiscent of Chinese violin music, to the rhythmic devices of Indian classical music and a Shakti-like Indo-jazz fusion, to a Celtic skip, an ambient tone-poetry sigh and much more." So, this night they were performing spiritual Jewish music and they were brilliant.

I love spiritual Jewish music. All those minor chords provoke sorrow and hope and suffering and joy at the same time; it is haunting, beautiful music. I weep when I hear it; it strikes a chord deep inside... it feels human.

[Did you know that the melody of the Israel National Anthem, Hatikvah (which I love) was originally an Italian Renaissance tune called La Mantovana? The controversial words, however, were written in 1878, and it did not officially become the National Anthem until November, 2004.]

Since I decided to go to the show on the spur of the moment, I arrived without a reservation. I was outside explaining who I was to the girl-with-the-list, who was not impressed. Someone overheard me, and then said, well, you need to speak to him, who turned out to be the fellow I know at the press office. We had never met face-to-face, and he said, "Oh, Cat, just go in there and sit where you like." (Hopefully, you regular readers are noticing how I use synchronicity to bumble my way through life -- the exact person I need to see manifests in front of me so often, it is difficult to chalk it up merely to coincidence -- and it was a good thing that he manifested because the Ark was sold out!)

The Ark looked exactly like the picture you see, sort of like a cartoon, but a real structure. Imagine that Ark -- only huge -- recreated in the campo of the Ghetto. Inside the Ark were uncomfortable bleachers to sit on. And once you were in, you were in -- there was no getting out.

The word, "Kavanàh," means focused prayer -- not just blinding repeating words by rote. Here is a definition I found on the internet by Rabbi Jeffrey Summit: "In the Jewish tradition, intention, kavanah, is an essential part of meaningful action. The term kavanah comes from the Hebrew root meaning to direct, intend, focus. The rabbis were very clear that living a meaningful Jewish life involves combining both the actions we do and the intention we bring to those actions. For example, the rabbis stressed that prayer was not just about the act of reading or saying the words of a prayer. If you did not pray with kavanah, actively thinking about the words you were saying, you have not fulfilled your obligation to pray."

So, I can state that I fully support Kavanàh.

Moni Ovadia was the leader of the show, and I am going to be very honest: I only understood about one-third of what he said. There were lots of jokes, with lots of slang that went right over my head. I believe he spoke about the Pope. I believe he spoke about Mary; about the Song of Mary. I know he spoke about the Holocaust. I know he made a joke with Nietzsche as the punchline -- not easy to do. There were complex subjects done with humor and I cannot make any sort of judgment at all, except that I watched the faces of the audience, and they seemed quite interested.

However, I CAN judge the music, because it is the universal language. I wish there had been more of it. These musicians are so great, collectively and individually, if you ever have the chance to hear one or two or all of them, take it.

Ciao from Venice,
Cat