Tintoretto and The Light at "ILLUMInations," the 54th Venice International Contemporary Art Festival

The Last Supper (1592-94) by Jacopo Tintoretto 

(Venice, Italy) This year's 54th Venice International Contemporary Art Festival, ILLUMInations, stars three paintings by an ancient master, Jacopo Tintoretto, who would have been 493-years-old this year. Bice Curiger, the curator remarks:

...His compositions are audacious and fly in the face of classical Renaissance rules, while the light in his paintings, rather than being cool or harmoniously integrated, is "ecstatic" and at times almost feverish. [...]

The presentation of Tintoretto at this year's Biennale is not meant as an espousal of some notion of "classical timelessness." Far from seeking to trace superficial formal analogies between Tintoretto and art of the present, it concerns a form of pictorial energy that is altogether "anti-classical" but is also the kind fueled by the friction that results from letting a reckless Old Master become involved in a contemporary context.

If we look at the Last Supper, we can see that Tintoretto was a bit of a radical:

From Wikipedia:

The Last Supper (1592-1594) is a painting by the Italian Renaissance artist Jacopo Tintoretto. It is housed in the Basilica di San Giorgio Maggiore in Venice, northern Italy.

Different from usual depictions of the Last Supper, the work does not portray the apostles in the centre of the scene which is instead occupied by secondary characters, such as a woman carrying a dish or the servants taking the dishes from the table.

Tintoretto's Last Supper incorporates many Mannerist devices, including an imbalanced composition and visual complexity. The ability of this dramatic scene to engage viewers was well in keeping with Counter-Reformation ideals and the Catholic Church's belief in the didactic nature of religious art.

The setting is also similar to a Venetian inn. Also personal is the use of light, which appears to come into obscurity from both the light on the ceiling and from Jesus'aureola.

The Stealing of the Dead Body of St. Mark (1562-66) by Jacopo Tintoretto

According to Paolo Baratta, the President of Biennale, Meetings on Art are conversations, open to the public, which "are intended to confirm the role of la Biennale di Venezia as an institution open to knowledge and the spirit of exploration, worth a pilgrimage." Judging by the crowds that were there on Saturday, October 29, there are still plenty of people making the pilgrimage late unto the season -- there were 22,242 visitors for the week of October 16 to 22, making ILLUMInations the most visited exhibition in Italy.

Creation of the Animals (1550-53) by Jacopo Tintoretto

Please forgive the brevity of this blog, but I seem to have twisted my wrist!

Ciao from Venice,

Cat

Venetian Cat - The Venice Blog

SEVEN DEADLY SINS - La Biennale's 41st Venice International Theater Festival

The Holy Gangster by Jan Fabre
Venue: Ateneo Veneto Aula Magna
Photo: La Biennale

(Venice, Italy) The 41st Venice International Theater Festival, directed by Alex Rigola and chaired by Paolo Baratta, ended on Sunday, October 16, 2011. More than 5,000 people from all over the world were in attendance -- double the last time the festival was held in 2009. Every performance was sold out. A total of 40 events were packed into powerful week. In addition to the theatrical productions, an intense week of workshops, conferences, laboratories, and conversations introduced international masters of theater to students from around the globe. 


The festival concluded with a topic of endless fascination, The Seven Deadly Sins. From Biennale:

Envidia by Calixto Bieito
Venue: Teatro La Fenice Sala Rossi
Photo at La Biennale

The 41st International Theatre Festival started from here, with the idea by Director Àlex Rigola to invite seven artists who represent the most powerful and poetically extreme experiences on the international scene, and ask them to develop a personal and contemporary vision of the seven deadly sins. And to Venice they came: Ricardo Bartís (Argentina), Calixto Bieito (Spain), Romeo Castellucci (Italy), Jan Fabre (Belgium), Rodrigo García (Argentina), Jan Lauwers (Belgium), and Thomas Ostermeier (Germany) -- figures with their own unmistakable artistic approach, each different from the other, but each of them has reconsidered his way of doing theatre in radical terms, developing a new and original language. It is rare to see directors of this calibre working together on a single project in a shared effort to formulate and elaborate new hypotheses for interpreting the contemporary.

Attore, il tuo nome nonè esatto (Actor, Your Name is Not Correct) by Romeo Castelucci
Venue: Teatro La Fenice Sale Apollinee
Photo: La Biennale

From October 2010 to March 2011, the Seven Masters workshopped their Seven Deadly Sin projects with a group of selected actors. The final outcome was seven short pieces set in four of Venice's most riveting venues, rarely seen by the public: two spaces inside Venice's opera house, Teatro La Fenice -- the Sale Apollinee and Sala Rossi;  two spaces inside one of Venice's historic institutes of knowledge, the Ateneo Veneto -- Aula Magna and the Library; two spaces inside Venice's music conservatory, the Conservatorio Benedetto Marcello -- the Concert Hall and Rehearsal Room; and one space inside the prestigious Istituto Veneto di Scienze Lettere ed Arti (Veneto Institute of Science, Literature and Art) -- the Sala del Portego. This meant that we, the audience, had to move en masse throughout the center of Venice to four different venues -- just like a group from a cruise ship, only more funky and hip. The space in which each piece was set had enormous influence on the productions themselves. Some of the pieces worked; others did not.


For those of us who have forgotten, here is a checklist of the contemporary Seven Deadly Sins (also known as the Capital Vices, also known as the Cardinal Sins):

The Slow Lie by Jan Lauwers
Venue: Conservatorio B. Marcello Sala Concerti
Photo: La Biennale

	Lust
	Envy
	Pride
	Sloth
	Anger
	Greed
	Gluttony

We began the evening with Thomas Ostermeier's Death in Venice set in the Sala del Portego of the Istituto Veneto. Ostermeier, the head of the Schaubühne in Berlin, one of Germany’s leading theatre institutions, was awarded the Golden Lion this year, and his piece was one of the standouts. Using video, a piano and live actors, a narrator read a critical excerpt from Thomas Mann's Death in Venice in the German language as a chilling, understated dinner scene played out -- not only live in front of our eyes -- but simultaneously on an overhead screen... above our heads a raw, darker, more lustful version was projected... 

Death in Venice by Thomas Ostermeier
Venue: Istituto Veneto Sala del Portego
Photo: La Biennale

"...Fear was the beginning, fear and lust and a horrified curiosity of what would be coming. It was night, and his senses were listening intently because from away a commotion, a noise, a din approached: a rattling, a clashing, a muffled thunder, shrill cheers and a howling of an 'oo' sound, all mixed and sweetly drowned in a terrible way with deep-sounding and continual flute-playing, which cast an obtrusive spell on the entrails. And he saw a phrase, dark, but denoting what was coming: 'The alien God!'"

The Holy Gangster by Jan Fabre
Venue: Ateneo Veneto Aula Magna
Photo: La Biennale

The other standout was Jan Fabre's The Holy Gangster in the Aula Magna of the Ateneo Veneto. Men in drag and spiked heels posed seductively, leashed to chairs. Women dressed as men in suits were the aggressors. Outbursts of rage, outbursts of lust, outbursts of sloth, pride, envy, gluttony, and greed punctuated the performance; the tables turned and the aggressors became victims of torture. Fabre "views the gangster as an archetype, a mythical figure, a criminal whose place is outside society, yet he is sacred."

Earlier in the week I had a chance to stop by a conference where the designer Jim Clayburgh, one of the founders of the Wooster Group, the renowned experimental theater company in New York City, shared a glimpse into his creative process. He started with a funnel... upside down.

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

Cemetery Party in Venice - Music Amidst the Graves

The Barque of Dante by  Georgy Frangulyan Photo: Alloggi Barbaria

(Venice, Italy) Only in Venice can you end an international music festival in a cemetery, playing the music of Igor Stravinsky (1882-1971) directly in front of Stravinsky's tomb. On Saturday evening, October 1, 2011, a few hundred people journeyed past the The Barque of Dante, created by the Russian sculptor Georgy Frangulyan, to participate in Luca Francesconi's fourth and final production as the Artistic Director of the Venice International Festival of Contemporary Music. With Virgil pointing the way, the audience arrived on the Island of San Michele by boat.

Luca Francesconi:

TODD GIPSTEIN/National Geographic Stock

After three editions that have proven that culture is not a bore and an effort and have brought us the enthusiastic approval of the public, the lack of attention and even the lack of interest of politicians for music and research, for "non-horizontal" projects such as ours, made me decide to end my last Biennale with a provocation that is both ironic and somewhat melancholy. 

If it's true that the thought and knowledge born out of 5,000 years of art and culture are scrap, then let's make our farewells with an extreme tribute: a ritual procession on the water to the Island of San Michele in which we celebrate Stravinsky, Machaut, Verdi, Monteverdi, Gesualdo and even Nono -- but with simple instruments, ensembles pared down to the bone, performing the finale of Mozart's Don Giovanni not with an orchestra, but with a band. 

Photo at La Biennale Blog

If our culture is dead because it does not bring profits, then with the thirty pieces of silver that they give us we will set up a frugal but merry "banquet over the abyss."


By candlelight, we ventured past the uniform rows of Venetian tombs, the living among the dead, into the Orthodox section of the cemetery to where Stravinsky's simple tomb is located. At the site, Dirk Descheemaeker played Three pieces for clarinet solo by Igor Stravinsky (1918). We listened as the tones of the clarinet floated through the cemetery and gently nudged the dead to join us in a celebration of life.

After listening to some Verdi in the entrance way, we entered the Church of San Michele itself, the first Renaissance church in Venice, designed in 1469 by Mauro Cordussi. Waiting for us inside was the Orchestra from Teatro La Fenice. They started off with the Venetian composer, Luigi Nono (1924-1990), who is also buried at San Michele. Nono is considered one of the most prominent composers of the 20th century, and we heard Incontri for 24 instruments (1955), followed by another piece by Stravinsky, Concerto in mi bemolle Dumbarton Oaks (1937-38).

Scuola of San Rocco
Photo at La Biennale Blog

Then, from the choir loft came the A Capella voices of the Scuola of San Rocco singing ancient tunes by Guillaume De Machaut (1300-1377), Carlo Gesualdo da Venosa (1566-1613) and Claudio Monteverdi (1567-1643). The beauty and force of the human voices -- only the human voices, unaccompanied by any instruments -- made me marvel at what a magnificent instrument our vocal chords are. That human beings were created with chords in our throats, able to produce sound and music, is a bit of a miracle.

Chromalodeon keyboard

Earlier in the day, I (and everyone in the audience around me) had been blown away by the Ictus Ensemble performing American composer Harry Partch's Barstow (1941) and The Letter (1943) at the Teatro alle Tese at the Arsenale in Venice. I didn't have a clue who Harry Partch was, and chatted with the vocalist (and flutist) Michael Schmid during the intermission, who told me Partch had created his own instruments to play his own music; Tim Mariën arranged the pieces to fit with the Ictus Ensemble.
 

From Wikipedia:

Harry Partch (June 24, 1901 – September 3, 1974) was an American composer and instrument creator. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for custom-made instruments that he built himself, tuned in 11-limit (43-tone) just intonation.

...In 1941, Partch wrote Barstow, a work whose text comes from eight pieces of graffiti Partch had spotted on a highway railing in Barstow, California. The piece, originally for voice and guitar, was transcribed several times throughout the composer's life as his collection of instruments grew.

Ictus Ensemble The Letter 
Photo:  Anna di Manincor

After the intermission, Michael Schmidt alone on stage performed Sonate in Urlauten by Kurt Schwitters (1887-1948) with just his human vocal chords and his breath. I strongly suggest that you find "Ursonate," on YouTube and listen to it yourself to understand the enormity of this feat.

UPDATE AUGUST 11, 2013: Reading this again after two years, I have to say that I think Luca Francesconi was a brilliant music director, full of passion, intelligence, wit and soul. He taught me a lot. Apparently someone uploaded Michael Schmidt's actual performance. (I will confess that I immediately developed a crush on Michael after watching him perform.) Here it is:


From Wikipedia:

Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 - 8 January 1948) was a German painter who was born in Hanover, Germany. Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism,poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.

The Ursonate

Schwitters composed and performed an early example of sound poetry, Ursonate (1922–32; a translation of the title is Original Sonata or Primeval Sonata). The poem was influenced by Raoul Hausmann's poem "fmsbw" which Schwitters' heard recited by Hausmann in Prague, 1921.^[23] Schwitters performed the piece regularly, developing and extending it, until finally publishing his notations for the recital in the last Merz periodical, 1932.

Many artists have cited Schwitters as a major influence, including Ed Ruscha,^[32] Robert Rauschenberg,^[33] Damien Hirst,^[34] Al Hansen,^[35]and Arman.^[36]

"The language of Merz now finds common acceptance and today there is scarcely an artist working with materials other than paint who does not refer to Schwitters in some way. In his bold and wide-ranging experiments he can be seen as the grandfather of Pop Art, Happenings, Concept Art, Fluxus, multimedia art and post-modernism." Gwendolyn Webster

Photo at La Biennale Blog

Back at the cemetery, the audience spilled into the cloister for the last scene from Mozart's Don Giovanni, a Venetian all-time favorite, when the stone figure of the Commendatore arrives to take an unrepentant Don Giovanni up on his dinner invitation, and drags him down to hell. Stefano Bellon arranged the scene to be played by a band, not an orchestra; the vocalists were Andrea Zaupa, Enkhbat Nyamdorj and Gino Gobbo. 

After Don Giovanni went down to hell with the Commendatore, we took up where they left off and had our own ritual dinner out in the cloisters with great food and local Zitelle wine. I met three young American theater students (ciao Ellen, Nathan and Dean), who were in Venice for the very first time. They were thrilled that they had found their way into this unique performance. We all agreed that it was very strange that we had to come to Venice to learn about Harry Partch, an American composer who was working with "contemporary music" so long ago, and that none of us had known who Kurt Schwitters was before that day. If Luca Francesconi's goal was to make us think vertically, he certainly succeeded when it came to our little American group.

Photo at La Biennale Blog

At the end of the night, I sat down on the steps of the ancient well where Don Giavonni had defied the Commendatore earlier in the evening. "I lost my friends," I said to an interesting-looking woman, also seated on the well. "We will be your friends," she replied. 

It turned out that she was the composer, Alwynne Pritchard, currently the Festival Director of the Borealis Contemporary Music Festival in Bergen, Norway. Alwynne remarked how it was difficult to make such extraordinary demands on an audience, asking them to listen to a contemporary music concert at 4:00 in the afternoon, loading them all on boats to go to a cemetery after dark, shuffling them around a graveyard, and finishing up with a dinner served after 9pm. Only in Venice would such a thing be possible. 

To me, it was the perfect conclusion to the 55th Venice International Festival of Contemporary Music. After all, how many cities have their own Island of the Dead?

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

MUTANTS at the 55th Venice International Festival of Contemporary Music

Mutanti - Photo: la Biennale di Venezia © 2011

(Venice, Italy) Mutants and mutations is the theme of the La Biennale's 55th International Festival of Contemporary Music. Is mankind losing the ability to think deeply, vertically, on a profound level? Are we being fed superficial, horizontal knowledge? Are we losing our memory? Here are some excerpts of a conversation between Luca Francesconi, the Artistic Director of the music festival, and Enrico Girardi:

EG: The title of this Biennale, your fourth and last, talks about Mutants, mutations; about something that ends, at least in the form in which we know it, to become something else. What is ending?

Luca Francesconi

LF: We are witnessing a sort of genetic mutation in Western culture, in our tradition. We are living in a world that makes not only thought seem anachronistic, along with in-depth analysis and the effort that it requires, but even paper, practice, craftsmanship. At a time in which everything is available at the click of a mouse, even those of us who do not belong to a generation of "computer natives," but can compare a variety of modus operandi, are tempted to let go of memory as if it were a burden too heavy to carry. ...


LF... I was saying that there has never been such a deep fracture like the one taking place today between the old "vertical" dimension of knowledge that implies depth of research and the awareness of the territory one is working in ... and the "horizontal" dimension of the here and now, which, on the contrary, is globalized, extra-territorial, capable of ... effacing differences, and always downgrading them. We don't know if this horizontality is a new form of knowledge or an illusion that makes you believe that you know more, but, in fact, invites you not to think, not to dwell on things, to bounce like a marble in a pinball machine between the knowledge of Google, Facebook, Twitter, Wikipedia.  

Imagine a Piano in the Center
Imagine the Audience on all 4 sides

Someone who illustrated the ability to move both vertically and horizontally was Michaël Levinas, the Parisian piano soloist. The venue was dramatic. The piano was located in the center of the four columns of the newly (and beautifully) restored Sala delle Colonne, or the Hall of Columns at Ca' Giustinian, headquarters of La Biennale. The audience sat on all four sides. Levinas began with Beethoven's Piano Sonata op. 111 (1821-22),"the last in the series composed by the master from Bonn, who died in Vienna on March 26, 1827." It was music from heaven, and to hear it inside the Sala delle Colonne was magical.

Next Levinas played compositions from Études by Gyorgy Ligeti, 18 pieces composed over a period of time from 1985 to 2001. I could see the written score from my position in the audience and it looked technically difficult to play. Levinas succeeded brilliantly. From the program:

Photo at La Biennale

In the first study - Désordre - diatonic and pentatonic scales overlap in a proliferation of syncopated rhythms; Cordes à vide is a moment of intimate mediation; Arc en ciel represents a rainbow in a sequence of rising and falling chords, whereas in Automne à Varsovie Ligeti is thinking of the annual contemporary music festival in Warsaw in the is fascinatingly polychrome piece. 


Levinas then played his own collection of Three Studies for the piano composed in 1992. When he was finished, the audience gave him ovation after ovation. The applause would not stop. Levinas returned again and again to take a bow, then finally played an encore, another piece by Beethoven, this time an early work, the Piano Sonata No. 10 in G major, Op. 14, No. 2, composed in 1798-99 -- a perfect closing to a perfect performance. 

Opening Night at Teatro alle Tese
Photo at La Biennale

The opening concert was conducted by the Hungarian composer and conductor, Peter Eötvös, winner of this year's Golden Lion for Lifetime Achievement who "brings together an exceptionally fine ear and level of knowledge, with iconoclastic and experimental delight." The program included works by the Hungarian composer and pianist Béla Bartók, considered one of the most important composers of the 20th Century, Peter Eötvös' own work, the Concerto for two pianos, and Agon by Igor Stravinsky, who is buried here in Venice. 


The Silver Lion went to the Milan ensemble, RepertorioZero, for "innovative research -- in its way of working with today's music -- that seeks to expand on the experience of th traditional avant-garde, addressing a repertory yet to be constructed and with the need to find solutions to the many variables in contemporary music."


Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

LIONS, DRAGONS & BRUNI in Venice

(Venice, Italy) During the film festival, there are so many collateral events, parties and happenings that it's difficult to physically arrive at them all, let alone write about them. Here are a few standouts:

Pitunia

Liselotte Hohs' whimsical carpet exhibition ANIMAL MAGNETISM is located in one of the most prestigious venues in Venice: the Libreria Sansoviniana, the ancient golden library inside the Biblioteca Marciana, built by the great architect Jacopo Sansovino -- a work that started in 1537 and spanned fifty years. 

Scattered throughout the historic room are 40 of Liselotte's cheerful animal carpets, inspired by an encounter with a group of Tibetan carpet weavers in 2005, escapees who had fled to India. The quality of the weaving is spectacular -- they used cotton warp and high quality Tibetan or New Zealand woolen woof which they dyed personally; there are 20 Tibetan knots per square centimeter.

From Barbara Rose:

Austrian by birth, Venetian by choice, Liselotte Hohs has travelled the world. In her various adventures to faraway places she has gathered ideas, techniques and materials to use in her art. Indeed, we might say her spiritual nomadism is a precursor of the so-called "globalization of art" of which we hear so much today.

Paradiso

From Erica Jong:

Artists have always loved animals. And animals have always loved artists.
My grandfather, the painter, Samuel Mirsky, used to go to the zoo in Central Park every day after his commissions were done.
I would ask: "Papa, how was the zoo?"
He invariably replied: "The lion wouldn't pose."
But the lion will pose for Liselotte Hohs. The lion is blue like George Gershwin's  "Rhapsody in Blue" -- a happy blue lion of San Marco with a seagull on his back and the New Testament in his right paw. He comes to Venice to bring us happy blues -- blues of the ocean and the sky. ...

Unfortunately I had to dash and couldn't attend the intimate press conference, but I did have the honor of chatting with the delightful Mimi Kilgore, curator of the show and great friend of Liselotte. Mimi regaled me with tales of how she and Liselotte arrived on the scene in Venice years ago, two young women draped in Fortuny.

The star of the show, the Leone Blu, had sold before the exhibit even opened. Click to see some fabulous photos at Contessanally's visual online diary.

ANIMAL MAGNETISM runs through September 30, 2011.

Dragon by Mahdiyar Arab at OPEN 14

Mahdiyar Arab is an ancient spirit in a seven-year-old body. The young sculptor was here with his parents from Iran at the opening party of OPEN 14, the annual outdoor sculpture exhibition conceived and curated by Paolo De Grandis and co-curated by Carlotta Scarpa. 

In order to talk to Mahdiyar, we had to entice him to stop running around like a normal kid and sit with me on the grass -- the party was at Nicelli del Lido, Venice's private airport. Within a few minutes, Mahdiyar had created a helicopter out of clay, simply by gazing at a real copter and letting his fingers work their magic -- he doesn't look at his hands, he looks at the object.

Mahdiyar Arab

Mahdiyar Arab is the son of an ordinary Iranian couple. His father is a banker, and his mother is a housewife. They sat with me on the grass in an attempt to get Mahdiyar to cooperate with an interview. They spoke Iranian and no English or Italian. An interpreter joined us who could translate Iranian into Italian but not English. Mahdiyar did not want to be there at all, he wanted to play, but he dutifully agree to give me a few moments of his time.

Mahdiyar looked like a normal kid, spoke like a normal kid, but there was most definitely something different about him, and it's not just because he has an IQ of 148. I asked him if he spoke English, and he replied, "No, I do not speak English." 

Looking into his eyes, listening to him describe his process, he had the confidence of a 40-year-old artist who was channeling energy from the object into his hands and into the clay. Then he morphed back into a 7-year-old kid again, wiggling and squirming and gazing at the other children who are running around the party playing tag. He told me he "feels an object and he creates it." Mahdiyar likes to create primitive animals like dragons and elephants. He does not like to create people. His favorite food is pizza and hot dogs. "Now can I go, Mom?"

OPEN 14 runs through October 2, 2011.

Verso il Vento - Argentine Ushuaia by Virginio Bruni Tedeschi from MONDO  UNO

The opening of the traveling photography installation MONDO UNO by the late Virginio Bruni Tedeschi, "a sailor at heart," at the Giorgio Cini Foundation was a casually elegant fête. The Cini's cloisters had been transformed into a gracious outdoor living room with excellent food and drink, a noble celebration of the photographer's life and work. 

Virginio was the brother of Carla Bruni, the wife of French President, Nicolas Sarkozy; Virginio died of AIDS in 2006. His mother, Marisa Bruni Tedeschi, is the president of the Virginio Bruni Tedeschi Foundation. 

Two years after he died, his wife, Isabelle Bezin, "plunged into the 3000 snapshots he took during his numerous travels from Patagonia to India, going by Easter island and Polynesia." Together with Karine Chahin, she created a book that accompanies the exhibition.

From Le Lavandou.eu:

The entire profit of the books and photographs sales goes as always to the Virginio Bruni Tedeschi Foundation. This foundation has been created on February 12th 2007 in memory of Virginio Bruni Tedeschi. This non-profit foundation exclusively pursues social solidarity by promoting and developing, through its own resources, projects and initiatives at world level, in the domains of the education, medicine and research.

Following a partnership with Unesco, the foundation is currently committed in four Southern African countries particularly affected by AIDS: Leshoto, Namibia, Angola, and Swaziland. Mondo Uno became a travelling exhibition in order to spread the good word in all four corners of the world.

MONO UNO runs through October 3, 2011.

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog

68 Venice International Film Festival - And the Winners Are!

Faust - Directed by Alexsander Sokurov

(Venice, Italy) Russian director Alexsander Sokuroy's FAUST won the Golden Lion, the top prize at the 68th Venice International Film Festival, so I guess all the gossip about some jury members walking out of the film was not true. When asked about Russian distribution, Sokuroy said he wasn't going to spend any money to promote it: "The film doesn't need the public. The public needs the film." Faust, of course, sells his soul to the devil in exchange for worldly knowledge and pleasure. Sokuroy said his goal in coming to Venice had been to simply to get the film shown. He stressed the importance of culture, and spoke very strongly about funding being an obligation of the government. He said, "If culture remains delicate and fragile, it will disappear and then we will disappear." (Today is the birthday of Giancarlo Galan, the Italian Minister of Culture, and he honored us with his presence in the audience at the award ceremony this evening.)

Michael Fassbinder in SHAME

The German-born Irish actor Michael Fassbinder won the Volpi Cup for Best Actor in the movie SHAME, directed by Steve McQueen, a graphic account of a man with a serious sex addiction. Fassbinder said he played the part because Steve McQueen had changed his life by casting him in HUNGER, and that he would always jump on board for him.

Fassbinder with Volpi Cup

"He always wants to talk about things that 'we' don't want to address." Fassbinder said it was nice to come to Venice and have an audience reaction where "people are honest enough and open enough to embrace it for what it is." Jury President Darren Aronofsky said that he had been "blown away" by SHAME and that it was the best orgasm he had seen since Fellini's Nights of Cabiria, and that as a director he was impressed with the enormous level of trust between an actor and a director.

The Chinese film REN SHAN REN HAIR (People Mountain People Sea) won the Silver Lion for Best Director, Shangjun Cai.

Italy won the Special Jury Prize for Terraferma, directed by Emanuele Crialese.

The United States did not win any awards at all this year even though the jury president was American Darren Aronofsky and included Scottish-born American David Byrne. Here is my Venice blog post about the jury if you are interested in seeing what kind of minds came up with this list of winners -- which went against the opinions of many people in the press. We must remember that Aronofsky studied film theory at Harvard, after all:)

The complete list:

Ermanuele Crialese directs TERRAFERMA Photo: agrigentooggi

 BEST FILM GOLDEN LION
- "Faust" by Alexander Sokurov (Russia)
BEST DIRECTOR SILVER LION
- Shangjun Cai for "People Mountain People Sea" (China)
SPECIAL JURY PRIZE
- "Terraferma" by Emanuele Crialese (Italy)
BEST FIRST FEATURE
- "La-Bas" by Guido Lombardi (Italy)
BEST ACTRESS
- Deanie Yip for "A Simple Life" (Hong Kong)
BEST ACTOR
- Michael Fassbender for "Shame" (Britain)
EMERGING PERFORMER
- Shota Sometani and Fumi Nikaidou for "Himizu" (Japan)
BEST SCREENPLAY
- "Alpis" (Alps) by Yorgos Lanthimos (Greece)
BEST CINEMATOGRAPHY
- "Wuthering Heights" directed by Andrea Arnold (Britain)

Ciao from Venice,
Cat
Venetian Cat - The Venice Blog