The Fabbriche and Cantieri, works which Edmondo Bacci created between 1945 and 1953, were inspired by the blast furnaces in the industrial area of Porto Marghera and influenced by the artists of the Fronte Nuovo delle Arti. These artists, including Armando Pizzinato and Emilio Vedova, searched for a balance between making art and acknowledging new ethical and social issues related to the working world. Bacci’s interest in sociopolitical topics only lasted eight years, anticipating the development of a lyrical abstract language in a strikingly new style.
The Landscape #1 itinerary covers some of the sites in the industrial area on the Venetian mainland that likely inspired Bacci. Many are now transforming into “cultural clusters,” populated by artists and creatives. The trip will be led by architect and urbanist Claudia Faraone, and poet and writer Francesco Targhetta, author of Elegia a Marghera (2015), whose books examine the contemporary solitude of a world scarred by the effects of late capitalism.
- Participation is free.
- The trip is led in Italian and lasts approximately two hours.
- After registering for the event, participants will receive further information about the itinerary and where to meet.
Claudia Faraone, architect, holds a PhD in Urban Planning. She teaches and carries out research at various architecture universities in Italy and Europe. She has extensive professional experience and is a coordinator of the ETICity – Exploring Territories, Imagining the City association. She has published various articles in specialized journals, and coauthored Città e lavoro. Spazi, attori e pratiche della transizione tra Mestre e Marghera (2021), Territori della rigenerazione tra Europa e Italia (2014), and Rappresentazioni Urbane (2013). www.eticity.it
Francesco Targhetta is a literature teacher. He has published poetry—La colpa al capitalismo (2022), Le Lettere (2020); Le cose sono due (2014), and Fiaschi (2009)—a verse novel, Perciò veniamo bene nelle fotografie (2012); and a prose novel, Le vite potenziali (2018), which was a finalist for the Campiello Prize and the winner of the Berto Prize.