In an abandoned Murano glass factory, artist Loris Gréaud shines light on an age-old art

In the 12th century, the Venetian island of Murano was famed for its glassmakers. They made chandeliers for palaces; glass mirrors and colourful jewellery for the ruling class. But in recent years, Murano has closed a number of its glass factories, as demand for this diminishing industry declines.
As part of the Glasstress initiative at Palazzo Franchetti, French artist Loris Gréaud is presenting an offsite exhibition inside of an abandoned glass factory on Murano, on view for the duration of the Venice Biennale. The latest project in his ‘The Unplayed Notes Factory’ series reopens a factory that been closed since the 1960s, where the artist has lit up the kiln and hired local glass makers to revive the production line.
Fog fills the main installation space, while the ceiling is lined with 1,000 grey-hued glass chandeliers made from hourglass sand. They glow and dim with a brooding soundtrack that calls to mind a suspense scene in a science-fiction film. One area of the factory is sectioned off, with glassblowers creating the ceiling pieces using a century-old kiln. Once they’re made, they hang them on a conveyor belt and every so often, one piece is let go and crashes to the ground. The glass is then swept up and recycled to make new pieces.
The Murano glassmakers are akin to secret alchemists conjuring up trade secrets only some still know, with techniques that are handed down through generations. Gréaud’s installation sheds light on how quickly this age-old art can disappear over a matter of centuries; a lost art which has a sort of spellbinding magic to it, even if today it’s at risk of being lost.
The latest project in his ‘The Unplayed Notes Factory’ series reopens a factory that been closed since the 1960s
The ceiling is lined with 1,000 grey-hued glass chandeliers made from hourglass sand
Gréaud has created a ‘tableau vivant’ in the space
The exhibition is part of the Glasstress initiative organised by the Fondazione Berengo
INFORMATION
‘The Unplayed Notes Factory’ is on view until 26 November. Open Saturday through Monday, from 1 – 4pm. For more information, visit the website
ADDRESS
Fondazione Berengo
Campiello della Pescheria
30141 Murano
Venice
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
-
Designer Marta de la Rica’s elegant Madrid studio is full of perfectly-pitched contradictions
The studio, or ‘the laboratory’ as de la Rica and her team call it, plays with colour, texture and scale in eminently rewarding ways
By Anna Solomon Published
-
‘Nothing just because it’s beautiful’: Performance artist Marina Abramović on turning her hand to furniture design
Marina Abramović has no qualms about describing her segue into design as a ‘domestication’. But, argues the ‘grandmother of performance art’ as she unveils a collection of chairs, something doesn’t have to be provocative to be meaningful
By Anna Solomon Published
-
A local’s guide to Los Angeles by defiant artist Fawn Rogers
Oregon-born, LA-based artist Fawn Rogers gives us a personal tour of her adopted city as it hosts its sixth edition of Frieze
By Sofia de la Cruz Published
-
Remembering Oliviero Toscani, fashion photographer and author of provocative Benetton campaigns
Best known for the controversial adverts he shot for the Italian fashion brand, former art director Oliviero Toscani has died, aged 82
By Anna Solomon Published
-
Distracting decadence: how Silvio Berlusconi’s legacy shaped Italian TV
Stefano De Luigi's monograph Televisiva examines how Berlusconi’s empire reshaped Italian TV, and subsequently infiltrated the premiership
By Zoe Whitfield Published
-
Louis Fratino leans into queer cultural history in Italy
Louis Fratino’s 'Satura', on view at the Centro Pecci in Italy, engages with queer history, Italian landscapes and the body itself
By Sam Moore Published
-
Portrait of a modernist maverick: last chance to see the Jean Cocteau retrospective in Venice
‘Cocteau: The Juggler’s Revenge’, celebrating the French artist's defiance of artistic labels, is in its final week at Peggy Guggenheim Collection, Venice
By Caragh McKay Published
-
‘Personal Structures’ in Venice is about ‘artists breaking free’
‘Personal Structures 2024: Beyond Boundaries’ reveals a rich tapestry of perspectives on the challenges of our time, from culture to climate and identity
By Nargess Banks Published
-
‘I just don't like eggs!’: Andrea Fraser unpacks the art market
Artist Andrea Fraser’s retrospective ‘I just don't like eggs!’ at Fondazione Antonio dalle Nogare, Italy, explores what really makes the art market tick
By Sofia Hallström Published
-
Aindrea Emelife on bringing the Nigerian Pavilion to life at the Venice Biennale 2024
Curator Aindrea Emelife has spearheaded a new wave of contemporary artists at the Venice Biennale’s second-ever Nigerian Pavilion. Here, she talks about what the world needs to learn about African art
By Ugonna-Ora Owoh Published
-
Kapwani Kiwanga considers value and commerce for the Canada Pavilion at the Venice Biennale 2024
Kapwani Kiwanga draws on her experiences in materiality for the Canada Pavilion at the 60th Venice Biennale
By Hannah Silver Published