Pietro Ruffo caught attention with his installation The Image of the World at the show Domestic sextant of the Venice Pavilion, bringing the pavilion back to its historic relevance in the Biennale. Curated by Giovanna ZabottiRuffo’s work is part of a research on the home, exploring the concept beyond territorial and historical borders, revealing a universal feeling of familiarity and change. The Image of the World it is made up of three elements in dialogue: the “Migration Globe”, a terrestrial globe, the “Constellation Globe”, a celestial globe, and a library in which the books are replaced by rolls of paper drawn in ink, “the Woodland’s Archive” . The artist’s distinctive style is intertwined with historical and contemporary myths, prompting reflection on the role of human beings in the world.
What meaning did participating in your first Biennial have for you?
The Venice Biennale is a significant achievement for any artist. It is not only a highlight in your career, but can represent a milestone of great importance. Personally, it was a dream that finally came true at 45, a moment that I consider the most beautiful of my artistic life. It was an unexpected opportunity: it arrived with a phone call on 28 December 2023 asking me to develop a project for the Biennale in April 2024. Since I was young I have visited the Biennale of art and architecture, but this year experiencing the behind the scenes it was a unique emotion. In mid-January, in the pouring rain, the gardens looked like an open construction site. In early April, when I returned for the exhibition, I felt a great effervescence, as if there were a hundred exhibitions with a hundred curators and hundreds of artists, all united to achieve a goal. Working in Venice is a unique experience, with all the logistical challenges associated with water transport. The installation week was intense and exciting, with carpenters, electricians, fitters and the young people from the Art Moving and Set Up Manager course all involved in bringing my installation to life.
The Image of the World it is an installation that occupies a space rich in history, enhancing it from both an architectural and conceptual point of view. How did your training as an architect influence the design of the project?
The Venice Pavilion, built in 1930 by Brenno del Giudice, has a unique structure that embraces visitors. I decided that instead of being just an exhibition space, it should become a place of reflection. This vision brought me back to my roots as an architect, underlining the importance of drawing and manual skills. Using the distinctive arches of the pavilion, I created a huge shelving unit that recalls the atmosphere of the Marciana Library.
Exhibiting at the Venice Pavilion involves a great responsibility. How did Venice inspire you and what message did you want to communicate?
The Venice Pavilion represents the capabilities and potential of the lagoon city. I was inspired by the Marciana Library as a symbol of knowledge. I wanted to pay homage to the great geographer Vincenzo Coronelli, reinterpreting the beauty of the globes present in the library.
Now that The Image of the World it is exhibited and can be visited, what is the importance of this installation for you and for your artistic career?
I had understood that this installation would have a particular meaning within the Biennale, considering the attention to themes such as migration and the evolution of territories. It was important for me to create a paper pavilion to express the fragility of our knowledge. Interacting with international artists and curators on a daily basis was a stimulating experience. Now, seeing how the Venetians have welcomed the pavilion as an integral part of the city has been my greatest satisfaction: I receive many messages of appreciation and I am extremely grateful.
